Canon kyboshes the competition – full cinema system

Canon has launched, out of the blue as far as we were concerned, a complete fully featured Cinema HD production system including full-frame digital video camcorder and EF-fit lenses designed to compete head-on with the top offerings from Zeiss/Arri and Red.

The Cinema EOS system also competes with Sony right in the heart of Sony prime territory. It looks like nothing so much as an acknowledgement that Sony has attacked Canon’s primary still imaging market effectively, and Canon, instead of competing in that arena, has decided to hit their rival where it really hurts. Their announcement feels like ‘right, we’ll show them – this will be the best HD movie production system in the world’.

Porn film makers will be rubbing their hands with glee – or something, not sure if you call it glee…

At the heart of this is optical excellence. They have created a 4K (the higher resolution than 1080p HD, full large screen cinema format) lens system. Imagine these – they come in the ciné PL mount, but also in the full frame EF camera mount. You could use these on a regular Canon. And they will not have the shortcomings of lenses such as the 24-105mm f/4 L – these will be better than CZ quality if Canon is to secure a market share.

CN-E 14.5-60mm f/2.6 L S (Super-35 or APS-C is what the S stands for, like EF-S)

CN-E 30-300mm f/2.95-3.7 L S

CN-E 24mm f/1.5 L F (the F stands for Full Frame)

CN-E 50mm f/1.3 L F

CN-E 85mm f/1.3 L F

Look at those apertures – they are like Angenieux apertures! Bet you they are also true T-stop figures. Here’s their wording:

Wide-Angle and Telephoto Cinema Zoom Lenses for EF and PL Mounts
CN-E14.5–60mm T2.6 L S / CN-E14.5–60mm T2.6 L SP
CN-E30–300mm T2.95–3.7 L S / CN-E30–300mm T2.95–3.7 L SP

The four new Canon 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, which delivers a pixel count four times that of Full HD (1920 x 1080 pixels), and offers compatibility with industry-standard Super 35 mm-equivalent cameras as well as APS-C cameras (Not compatible with 35mm full-frame or APS-H camera sensors).

Employing anomalous dispersion glass, effective in eliminating chromatic aberration, and large-diameter aspherical lenses, the zoom lenses achieve high-resolution imaging from the centre of the frame to the outer edges. Each lens is equipped with a newly designed 11-blade aperture diaphragm for soft, attractive blur characteristics, making them ideally suited for cinematographic applications.

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, a range that often requires a combination of three or more separate zoom lenses. Canon’s new wide-angle and telephoto cinema zoom lenses, however, offer a wider angle and powerful zooming to provide complete coverage across this range with just two lenses. The new wide-angle cinema zoom lenses will offer the industry’s widest angle of view among 35 mm digital cinema lenses with a wide-angle-end focal length of 14.5 mm (as of November 3rd 2011, according to published competitive data).

Zoom, focus and iris markings are all engraved on angled surfaces for improved readability from behind the camera. With a focus rotation angle of approximately 300 degrees and a zoom rotation angle of approximately 160 degrees, the lenses facilitate precise focusing performance while making possible smooth and subtle zoom operation.

The new top-end cinema zoom lens line-up can be used with standard manual and electronic movie industry accessories, as well as matte boxes. Featuring a unified front lens diameter and uniform gear positions, the lenses do away with the need to adjust or reposition accessory gear when switching between other lenses in the series.

Single-Focal-Length Cinema Lenses for EF Mounts
CN-E24mm T1.5 L F / CN-E50mm T1.3 L F / CN-E85mm T1.3 L F

Like their wide-angle and telephoto cinema zoom lens co-stars, Canon’s new CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F cinema lenses deliver 4K optical performance. The three lenses, designed for use with EF mounts, are compatible with not only industry-standard Super 35 mm-equivalent cameras, but also 35 mm full-frame, APS-H and APS-C sensor sizes. The trio incorporates anomalous dispersion glass and large-diameter aspherical lenses for high resolution imaging throughout the frame, and features a newly designed 11-blade aperture diaphragm for gentle, attractive blurring.

With focus and iris markings that are easily visible from behind the camera, Canon’s three new fixed-focal-length lenses support convenient film-style operation and, offering a focus rotation angle of approximately 300 degrees, facilitate precise focusing performance.

The CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions, eliminating the need for adjustments when switching lenses.

Costs

Is there a snag? Maybe. The cheapest of the prime lenses will be over £4000/$6,300 and the zooms will cost a cool… $47,000 each. That is not a misprint. That is not even my income. But it shows you how big the stakes are in movie making gear PROPER.

The movie camcorder

Then there’s the camera to go with them – the EOS C300/C300PL interchangeable lens digital video camcorder. It may only have an 8.29 megapixel Super-35mm CMOS sensor. It’s only 1080p but it claims to read coincident or complete RGB pixels for each pixel location, using 4:2:2 sampling, and to record at 50 Mbps (almost twice the data rate of the best DSLR video). It has twin CF card slots. It has many other features including things like metadata coding for better identification of lenses in edit work, and the capacity to be controlled remotely from an iPad or iPhone (with accessory WFT-E6B wireless transmitter).

A new DSLR

Canon is developing a new-concept EOS-series digital single-lens reflex (SLR) camera. Incorporating an enhanced version of the video-capture capability offered in the current EOS-series line-up, the new camera will be ideally suited for cinematographic and other digital high-resolution production applications. The model will be equipped with a 35 mm full-frame CMOS sensor and, enabling the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), will make possible the type of exceptional image quality and sublime imaging expression to be expected from the next generation of “EOS Movies.”

So why have I posted this on Photoclubalpha? Easy. I was still up and around at 1am when the news had come in by email. And it matters, because Sony will react to this. Canon has just moved in on their home territory, where they were already getting a foothold through EOS-movies and existing Canon video offerings, in a much bigger way. This could be the best thing Alpha owners could see happen because it will force Sony to update their lens range quickly and to improve the overall offering their DSLR division makes to their camcorder division (via adaptors).

– DK

Canon release new Final Cut Pro converter

Canon today announces the latest update for EOS Movie Plug-in-E1 for Final Cut Pro – the company’s custom-developed software application that provides quicker and easier editing of EOS Movie footage in Apple’s Final Cut Pro software suite.

Launching to coincide with the start of the 2011 National Association of Broadcasters (NAB) Show in Las Vegas, EOS Movie Plug-in-E1 for Final Cut Pro version 1.2 will make the importing of EOS Movie files even easier, allowing users to transfer files from any folder, without needing to mirror the folder structure on the camera itself.

The update also enables smoother importing from Canon’s EOS 7D, EOS 5D Mark II and EOS-1D Mark IV models, allowing users to import footage without requiring the THM file generated by the camera.

Originally launched in February 2010, EOS Movie Plug-in-E1 for Final Cut Pro is designed to quickly and seamlessly convert EOS Movie footage from Canon’s leading range of EOS DSLR cameras to Apple’s high-quality ProRes 422 codec. The plug-in allows users to convert footage at approximately twice the speed of Apple’s standard conversion, creating a smoother workflow for the rapidly growing number of videographers shooting HD video content on DSLR cameras.

EOS Movie Plug-in-E1 for Final Cut Pro version 1.2 will be available to download for free from 25th April 2011.

Canon EOS 500D – 15.1 MP plus HD video

Received from Canon press office today: United Kingdom / Republic of Ireland, 25 March 2009: Canon announces the new 15.1MP EOS 500D which offers photographers an outstanding combination of features. Following the launch of the first Canon EOS camera to shoot movies – the EOS 5D Mark II in September 2008 – Canon now brings Full High Definition (HD) video capability to consumers in a compact and lightweight DSLR.

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Canon launches UK/IR pro dealer network

United Kingdom / Republic of Ireland, 02 February, 2009: Canon today announces the launch of the EOS Professional Network (EPN) across the UK & Ireland. The Network will consist of EOS Professional Centres and EOS Professional Stockists. This may sound similar to Sony’s ACE dealer concept – but read the small print! It includes hire stock. Canon is fighting back seriously.
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Canon EOS 5D MkII, Nikon D3X, and Sony Alpha 900 compared

This set of full size shots was taken with the still life left set up, because the Nikon and Canon cameras were not here at the same time. The report originally appeared in December 2008 on photoclubalpha. It compares the A900, 5DMkII and D3X using the converters supplied by the makers – Image Data Converter SR2, Digital Photo Professional, and Capture NX2. Each small image in the article can be clicked to open a Level 10 quality full size JPEG – beware, the largest is over 13MB of data.

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Canon 5D MkII black dot problem

Much has been written in the past few days about the Canon 5D MkII’s so-called black dot problem, in which pixels to the right (as viewed) of extreme point source highlights appear as black dots. Canon has been asked for explanations; my feeling is that the explanation is already present in the way that the 5D MkII handles the necessary process of sharpening.

5D MkII files I have shot (around 500, I’m not a prolific shooter, before the test camera went back) display a far more aggressive edge sharpening policy than any other DSLR raw file I’ve seen. Combined with a very steep midtone curve – crushing the shadows a fair bit, but not unkind to highlights – this produces some of the sharpest looking images around ‘out of the box’.

But, if that visual acuity is to exist on moderate contrast contours and transitions (dark/light boundaries – the basis for all sharpening) it may be extreme on boundaries between dark midtone and small blown highlight pixels. The directional quality of the black dot problem points to a sharpening artefact, or more accurately an edge enhancement artefact – not to be confused with post-capture or JPEG process sharpening.

If so a firmware fix is possible. It may, in the process, make the 5D MkII images from raw appear a touch softer than they do right now. These ‘black dots’ are certainly not dead pixels, and don’t have much to do with the actual sensels on the CMOS. They are created after the image is read out from the silicon.

I may be wrong, but that’s my prediction – the black dots will prove to be an artefact created by a aggressive contour sharpening policy.

– DK

Studio comparison A900, 5DMkII, D3X

This set of full size shots was taken with the still life left set up, because the Nikon and Canon cameras were not here at the same time. It compares the A900, 5DMkII and D3X using the converters supplied by the makers – Image Data Converter SR2, Digital Photo Professional, and Capture NX2. Each small image in the article can be clicked to open a Level 10 quality full size JPEG – beware, the largest is over 13MB of data.

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EOS 50D 15.1 mpixel DSLR announced

United Kingdom / Republic of Ireland, 26 August 2008: Canon today strengthens its EOS range with the addition of a powerful new digital SLR: the EOS 50D. With a 15.1 Megapixel CMOS sensor, 6.3 frames per second shooting and Canon’s latest DIGIC 4 image processor, the EOS 50D delivers unparalleled speed and resolution at a price point that is unique in today’s market.

EOS 50D with 17-85mm IS lens

EOS 50D with 17-85mm IS lens

Outstanding, clean images

A newly designed 15.1 Megapixel CMOS sensor delivers ultra-detailed, low-noise images – ideal for large-scale reproduction or creative cropping. New manufacturing processes, plus redesigned photo diodes and microlenses, extend the light gathering capabilities of the sensor – allowing more pixels to be fitted on the CMOS sensor without compromising image quality. These changes ensure improved high ISO performance and low noise. High-speed, low light shooting is enabled by ISO levels of 3200, expandable to an ultra-sensitive 12800.

The EOS Integrated Cleaning System – including the improved Self Cleaning Sensor Unit with a new fluorine coating – increases protection of image quality by helping to reduce, repel and remove unwanted dust from the sensor. Stubborn particles can be removed automatically in post-production with Dust Delete Data and Canon’s included Digital Photo Professional software.

Rapid-fire performance

Canon’s new DIGIC 4 processor is fast enough to allow up to 6.3fps continuous shooting, in bursts of up to 90 JPEGs with a UDMA card. Used with Canon’s wide area AF system, which locks onto subjects with 9 individual cross type sensors, stunning action sequences can be captured – even in low-light conditions. This makes the EOS 50D particularly suited to sports and wildlife shooting.

DIGIC 4 works with the CMOS sensor to deliver 14-bit image processing, for smooth gradation and natural-looking colours – as well as ensuring ultra-fast startup times and near-instant image review after shooting.

See everything

A new 3.0” Clear View VGA LCD provides extra-large and wide angle-of-view image review, with plenty of clarity for accurate focus checks in playback. By switching to Live View mode – which displays a real-time image on the LCD – photographers can enjoy simplified shooting from awkward angles, or connect to a PC for remote shooting. Live Mode now offers three ways to auto focus: Quick AF, Live AF, and new Face Detection Live AF, which optimizes focus based on faces detected in the frame – for fast, spontaneous portraiture.

Control and ease of use

The famously intuitive EOS menu system includes a new Quick Control screen, for instant access to the most commonly-changed settings. A new Creative Auto mode offers automatic focus and exposure – while still allowing creative ‘tweaks’ to settings such as background sharpness.

“For advanced amateurs and semi-professionals – or professionals looking for a powerful backup model – the EOS 50D stands alone,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “No other camera in this price bracket offers a comparable combination of speed and image quality.”

Features at a glance:

  • 15.1 Megapixel APS-C CMOS sensor
  • 6.3fps continuous shooting, max. burst 90 JPEGs with UDMA card
  • DIGIC 4 processor
  • ISO 100-3200, expandable to 12800
  • 9-point wide area AF
  • 3.0” Clear View VGA LCD with Live View mode & Face Detection Live AF
  • Magnesium alloy body, with environmental protection
  • EOS Integrated Cleaning System
  • HDMI connection for high quality viewing and playback on a High Definition TV
  • Full compatibility with Canon EF and EF-S lenses and EX-series Speedlites

Pricing & Availability

The EOS 50D (body only) is available from end of September 2008 priced at £1199.99 / €1599.99 RRP inc. VAT.  The EOS 50D EF-S 17-85mm f/4-5.6 IS USM kit is available from end of September 2008 priced at £1499.99 / €1949.99 RRP inc. VAT. (UK/Ireland prices).

The 18-200mm ƒ3.5-5.6 IS USM lens

Canon 18-200mm IS EF-S lens

Canon 18-200mm IS EF-S lens

Breaking Canon’s claimed resistance to designing ‘superzooms’, the EF-S 18-200mm f/3.5-5.6 IS is designed exclusively for use with EOS cameras featuring an EF-S lens mount – including the new EOS 50D, EOS 1000D, EOS 450D, and earlier models. (The cosmetic design with the silver rings is unusual in a lens costing this much; it’s reminiscent of lower-cost Canon lenses, and an all-black design might have been better received. – Ed)

The EF-S 18-200mm f/3.5-5.6 IS features a 16 element, 12 group construction. This includes UD and aspherical lens elements, which minimise chromatic aberration and ensure crisp, corner-to-corner detail across the zoom range. A close focusing distance of just 45cm offers photographers total framing flexibility.

A Canon 4-stop optical Image Stabilizer – specially designed for the lens’ specific focal length range – works to counteract image blur that can occur when shooting handheld, or at slow shutter speeds. Automatic panning detection ensures effective performance when tracking moving subjects. Plus, because the IS system is based in the lens, results are visible through the viewfinder during framing.

Reflection off a digital camera’s image sensor can cause flare and ghosting. To suppress this, the EF-S 18-200mm f/3.5-5.6 IS uses optics treated with Canon’s patented Super Spectra coatings – for crisp, undistorted images with natural colour balance.

The EF-S 18-200mm f/3.5-5.6 IS is available from end of September 2008 priced at £549.99 / €729.99 RRP inc. VAT.