LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

Canon Debuts Cinema EOS Camera

CreativeCOW presents Canon Debuts Cinema EOS Camera -- Canon EOS DSLR Feature


CreativeCOW.net. All rights reserved.


Canon made its official debut in Hollywood yesterday, unveiling the Cinema EOS, its first camera to target moving, not still, images. "Please welcome us to Hollywood," asked Canon CEO/chair Fujio Mitarai. "We don't expect to be welcomed without good reason so I have brought these special tools. With great images, the right weight and an affordable price, the Cinema EOS is an extension of the human eye."

On the Paramount Pictures studio lot, Canon had gathered leading Hollywood cinematographers and journalists from all over the world to show off not only the new camera but new lenses, and to reiterate that its Canon Hollywood Professional Technology And Support Center would serve as a venue for in-store repairs, training and education.

To emphasize its Hollywood support, Canon brought on UCLA Dean of the School of Theater, Film and Television Teri Schwartz to introduce the event…and to introduce filmmaker Martin Scorsese, who praised Canon for introducing another tool that helps to democratize the creation of stories. "It was great to be a filmmaker in the early 1960s," he said. "Now the road has widened. Anyone can make a movie. All a young person has to do is summon the will to tell a story. I thank Canon for future generations of cinematographers. Yes, Mr. Mitarai, welcome to Hollywood."

Rather than tout the specifications of the Cinema EOS, Mitarai instead handed the evening over to the four teams of filmmakers who had had access to the prototype cameras to make movies. "They say a picture is worth a thousand words but I hope this leaves you speechless," he noted wryly.

XXIT by Sam Nicholson, ASC

Top two images: XXIT by Sam Nicholson, ASC. Set in the future, XXIT is the story of a replicant who must travel back in time to save the life of the original human from whom she was cloned.
Bottom image: MOBIUS by Vincent LaForet
The filmmakers who worked with the camera had plenty to say. The audience saw clips from the four movies: Max is Back, directed and shot by Richard Crudo, ASC; Sword, co-directed and shot by Felix Alcala and Larry Carroll; XXIT, directed by Sam Nicholson, ASC and shot by Dana Christiansen, and Mobius, directed by Vincent Laforet. All of them praised the images they got from the camera, and noted its ease of use and sensitivity. Each filmmaker said they had been able to achieve 50 to 60 set-ups a day with the camera, as well as shoot in very low-light situations.

"This does what a camera should do," said Nicholson. "It gets out of the way and let's you make a film." Crudo noted how so many filmmakers (and lens manufacturers) say that a camera is a box with a lens. "But occasionally a camera can come along that changes everything," he said. "This could be a new relationship between the cinematographer and the box."

Canon Senior Vice President and General Manager of Sales, Imaging Eliott Peck reported that the camera was built based on over 350 one-on-one interviews with cinematographers. "We wanted to know what you needed and then we pushed hard for it," he said. "And this is just the first step. We're putting a stake in the ground that we are here to support you."

In audience Q&A, someone asked about rolling shutter that comes with the CMOS sensor. All of the filmmakers on the panel said they never had any indication of this problem. Several of the filmmakers, including Crudo, did not use a DIT. "I just used my meter and I wasn't disappointed," he said. With regard to color rendition, the filmmakers answered that they had "a complete range."

"Having the Cinema EOS really opened creative possibilities," said Laforet, who used six cameras and shot at night with available light. Another audience question was whether the Cinema EOS is mainly aimed at indie productions. Not necessarily so, said Alcala. "This camera can be used for any production and for any reason," he said. Nicholson agreed. "It makes it easier to make movies."


Cinema EOS specs

The Canon EOS C300 features an 8.29-megapixel COMS sensor, which the company calls a 35mm-equivalent, and is available in two versions: with an EF lens mount compatible with Canon's EF lens line-up and a PL lens mount, for use with industry-standard PL lenses. According to Canon, the CMOS sensor reads 1920x1080 video signals for each of the three RGB primary colors. Mitirai also pointed to Canon's DIGIC DV III image processor, noting the company's long expertise in this arena. The Cinema EOS employs MPEG-2 Full HD compression, 4:2:2 color sampling and a maximum recording rate of Mbps.

For instant availability for editing systems, the Cinema EOS has adopted the MXF open source format and records to CF cards (the camera is equipped with two CF card slots, for back-up recording). Similar to previous Canon DSLRs, the Cinema EOS is compact, measuring 5.2-inches wide by 7.0 inches high and 6.7 inches deep. The camera can be controlled remotely by a smartphone or tablet.

Frame rates include 59.41i, 50.00i, 29.97P, 25.00P and 23.98P as well as a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras; frame rates between 1 and 60 frames per second can be adjusted in increments of 1 fps.

The Canon EOS C300 (EF mount) version will be shipped in late January 2012, and the PL mount version will ship in late March 2012. Both are slated to be sold for an estimated list price of $20,000.


New Canon lenses

Canon also introduced seven new 4K EF Cinema Lenses: four zoom lenses and three single-focal-length models. The four zoom cinema lenses comprise the CN-E14.5-60mm T2.6 L S (for EF mounts) and CN-E14.5-60mm T2.6 L SP (for PL mounts) wide-angle cinema zoom lenses, and the CN-E30-300mm T2.95-3.7 L S (for EF mounts) and CN-E30-300mm T2.95-3.7 L SP (for PL mounts) telephoto cinema zoom lenses. Each lens supports 4K (4096 x 2160 pixels) resolution. Each zoom lens uses anomalous dispersion glass, large-diameter aspherical lenses and is equipped with a newly designed 11-blade aperture diaphragm for soft blur characteristics. The focal length range of 14.5-300 mm covered by the new zoom lenses represents the most frequently used focal lengths in theatrical motion picture production.





The Canon CN-E14.5-60mm T2.6 L S (EF mount) lens and the Canon CN-E14.5-60mm T2.6 L SP (PL mount) lens will be available in late January 2012 for an estimated list price of $45,000 each. The Canon CN-E30-300mm T2.95-3.7 L S (EF mount) and Canon CN-E30-300mm T2.95-3.7 L SP (PL mount) lens will be available in late March 2012 for an estimated list price of $47,000 each.

The three single-focal-length cinema lenses for EF mounts are the CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F. They all also incorporate anomalous dispersion glass, large-diameter aspherical lenses and feature a newly designed 11-blade aperture diaphragm. They also support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions. The Canon CN-E24mm T1.5 L F and CN-E50mm T1.3 L F lenses will ship in late July 2012 and the CN-E85mm T1.3 L F lens is scheduled to be available in late August. All three have an estimated list price of $6,800.

Immediate feedback

The filmmakers who used the prototype cameras were unabashedly enthusiastic over its features. Cinematographer Bill Megalos, who also teaches cinematography at USC's School of Cinematic Arts, sat next to Rodney Charters, ASC and Steve Fierberg, ASC and describes all of their reactions as "impressed."

With regard to the use of greenscreen by at least one of the filmmakers, Megalos reported that all three of them were impressed with the results. "Greenscreen is superb because of some tricks in the new chip that prevents any aliasing in the green channel," said Megalos.

"Of the four films screened, some looked superb," said Megalos. "They claim 12 stops of dynamic range and everything I saw seems to bear that out. Color was great. The body is very small, modular and it seems to be quite ergonomically flexible."

Cinematographer Stephen Lighthill, ASC liked the Cinema EOS' viewfinder as well as other features. "It's very robust," he said, noting that Canon creates cameras out of a block of steel. "It feels good in your hand." Cinematographer James Mather also agreed that the camera looked good, although the camera landscape had gotten very crowded with good choices.

The only disappointment that several people expressed to me was the price which, at $20,000, was more expensive than many expected. Canon's accidental fame in Hollywood came from filmmakers who gravitated to the 5D and 7D because of its low-light sensitivity and very low price. The Cinema EOS is clearly quite impressive, and I did hear rumors that the "$20,000 list price" might actually be as low as $16,000 when the Cinema EOS hits the market. But I do wonder if, even at $16,000, that is this camera's sweet spot.

My guess is that Canon is going to be quite aggressive in terms of getting this camera into the hands of filmmakers; they have already announced their desire to have one-on-one discussions with any cinematographer (just stop by the Canon Hollywood Professional Support Center). Canon's intent may be to "leave no story untold," but the story of its own Cinema EOS has yet to be written…by the filmmakers they're courting. Let the storytelling begin.





Comments

Re: Canon Debuts Cinema EOS Camera
by rohan ferreira
Does this camera output raw video files files?
Re: Canon Debuts Cinema EOS Camera
by Richard Herd
Lenses. How can you, Mike, not mention lenses?
Re: Canon Debuts Cinema EOS Camera
by Justin King
Canon is fighting with image quality while the Red Scarlet is fighting with numbers. the C300 videos showed what the camera could do, while the Scarlet has yet to show its true colors. Sure it supposedly "uses the same sensor as the Red", but thats not entirely true. According to what I heard about the presentation, they used the sensors that were not good enough or the epic. The camera also has a slower processer etc. Although I imagine the Scarlet might compete with the Canon, we can't know until we see the image quality and workflow.

Arri and the Epic had a similar battle and based on the number of Alexa productions I've worked on, it appears that Arri won (although Red still has a clear market share). If Canon can stress it's low light performance and extended latitude it will have a chance, and I can't wait to see canons next camera. It seems most like the easier workflow of the Alexa, while the big budget scifi blockbuster like the 4k image resolution that facilitates imax presentation and higher frame rates. Of course people use the red for films like social network as well, so it still has an indie market share.

Canon's Sensor is designed so that it does not deal with Bayer, which involves guessing what the missing red and green pixels are. The sensor can capture 4k green, and 2k red, and 2k blue. Although they could sample the green to fake red and blue and make a "4k" image like many cameras do (including the DSLRs do it to make a 1080p image) that isn't true 4k. The 4k image sensor sampled to 1080p allows for excellent low light capabilities. I don't know enough about the Scarlett to know whether it does this or not, and it doesn't change how great the C300 sensor actually is. They were able to do green screen without artifacts on 16,000 iso (thats a big deal). And that extra zero is not a mistake (It goes all the way to 20,000 iso). Personally I liked the way the noise looked at 20,000 iso, although digital enthusiast who like crystal clear images might not like it.

If Canon makes a 4k sensor the same way they made the one in the C300, they would blow away the scarlet, although by the time they get there, the scarlet will have probably been replaced by something better. MotionJpeg is not good enough for the market they are competing for, although it might be good enough for wedding photographers.
Re: Canon Debuts Cinema EOS Camera
by Mike Garrick
Despite all the supposed price differences these Camera's are almost identical in price range. Scarlet modularity drives the cost up where as I would say the C300 is almost a stand alone unit (a part from lenses). If Canon drops the price to around $16K as some have discussed, the E300 becomes cheaper than Scarlet.

So the only real differences comes down to specs. This is where Scarlet wins. Everyone bangs on about Red workflow like it's some black art this is way over rated & just process in the postpipeline . Yes Scarlet doesn’t do Pro Res (yet?) but the sleeper issue is you can hang a Atomos Samurai or Kona off the back of Scarlet & have it record to Pro Res 442 & be editing straight away, just like the E300.

Having said that I would not underestimate Canons ability to come back from this launch & improve significantly on the specs & price. Why do they have a 4k sensor recording only HD? Also what about that DLSR full frame camera, yes the one sitting behind the E300 in the advertising recording to JPEG 24fps for a rumoured $6K ???? (who knows I dont) is sounding like a winner for a lot of people DLSR users.

Round 1 to Red, Round 2 will be interesting.


Recent Articles / Tutorials:
Apple Motion
Apple Motion 5: EPIC Title Tutorial by Simon Ubsdell

Apple Motion 5: EPIC Title Tutorial by Simon Ubsdell

Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for some really useful and interesting techniques for creating a fake 3D title treatment with dramatic depth, texture, reflections, staining and other details that goes way beyond what you can achieve with the 3D Title Tool. Not only that, these techniques work well with any graphic object, for maximum motion graphics flexibility.


Simon Ubsdell
TV & Movie Appreciation
Designing Tarantino's Once Upon A Time in Hollywood

Designing Tarantino's Once Upon A Time in Hollywood

Barbara Ling, production designer for Once Upon a Time in Hollywood, discusses how she was able to turn back time and recreate 1960’s Hollywood. Barbara and Go Creative Show host Ben Consoli discuss how Quentin Tarantino kept the film’s script a secret, how she restored Hollywood to the 1960’s, not using green screen, sourcing vintage props from eBay, filming the real Playboy Mansion, the challenges of filming on Hollywood Boulevard, and much more.


Ben Consoli
Blackmagic Design Announced WHAT?

Blackmagic Design Announced WHAT?

As if this wasn't already the hottest summer on record, Blackmagic Design's Grant Petty rolled out some blazing news across a wide range of the company's product lines in cameras, production hardware, and software.


Creative COW
Apple Motion
Apple Motion 5: Light Art Tutorial

Apple Motion 5: Light Art Tutorial

Discover how to create this moody light art scene with Apple Motion 5! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for a tutorial that also includes number of useful tricks, including how to create an ambient occlusion effect and textured specular highlights.


Simon Ubsdell
Cinematography
The Lion King's Virtual Cinematography: Caleb Deschanel, ASC

The Lion King's Virtual Cinematography: Caleb Deschanel, ASC

Caleb Deschanel, cinematographer for Disney’s live-action The Lion King, shares how they used traditional cinematography to create the life-like virtual film. Caleb and Go Creative Show host, Ben Consoli, discuss modeling cameras and lenses for virtual filmmaking, how Caleb was able to move the sun around in virtual space to get the perfect lighting, using a real drone for the Circle of Life sequence, and more!


Ben Consoli
Adobe After Effects
Adobe After Effects Reverse Stabilization

Adobe After Effects Reverse Stabilization

You're going to be blown away by how you can power up your After Effects workflow with reverse stabilizing your footage! By separating your tracking from your compositing, you can focus on each step, and in addition, overcome the render order complexities when match moving elements and effects on a moving shot.


Roei Tzoref
Makin’ Planets! Adobe After Effects Tutorials by Graham Quince

Makin’ Planets! Adobe After Effects Tutorials by Graham Quince

Here's a great new Adobe After Effects tutorial series from Creative COW leader Graham Quince that takes advantage of the free Orb plug-in from our friend Andrew Kramer at Video Copilot. Graham supplies project files, tips and tricks, and good humor on this tour through building every planet in the solar system, with customization options galore!


Creative COW
Adobe After Effects
After Effects Content Aware Fill: When It Doesn't  Work

After Effects Content Aware Fill: When It Doesn't Work

There’s a new artificial intelligence-powered feature in Adobe After Effects called Content-Aware Fill that allows you to remove anything from your shots fairly easily! It's powerful, but if you’ve tried it you know that it doesn’t always work perfectly. So what do you do when it doesn’t work as well as you'd hoped? Filmmaker Cody Pyper is here to show what to try next!


Cody Pyper
Cinematography
Shooting RED 8K for Danny Boyle's Yesterday

Shooting RED 8K for Danny Boyle's Yesterday

The magical romantic comedy Yesterday reunites cinematographer Christopher Ross BSC with director Danny Boyle to tell the story of a singer-songwriter who wakes up to discover that he's the only one in the world who remembers The Beatles. Christopher selected the RED HELIUM S35 8K sensor (with as many as 17 cameras rolling simultaneously in a single scene!) to capture a variety of looks as the story takes viewers from East Anglia to Los Angeles. With 10-15TB of footage coming in every day, this is also a workflow story, featuring DIT Thomas Patrick and the team at Mission Digital for dailies, and Goldcrest Post for online, VFX, conform, and grade.


Adrian Pennington
Apple Final Cut Pro X
Animate Text Without Keyframes or Plug-ins in Apple FCPX

Animate Text Without Keyframes or Plug-ins in Apple FCPX

Join longtime editor, VFX artist, plug-in developer, Creative COW leader Bret Williams of BretFX to learn how the FCPX Custom text tool allows you to animate text in Final Cut Pro X without using keyframes or plugins. With the often overlooked custom text tool you can easily create great text animation with just a couple of clicks. Change opacity, position, rotation, scale, duration, spread, blur and easing all without creating a single keyframe!


Bret Williams
MORE
© 2019 CreativeCOW.net All Rights Reserved
[TOP]