Atomos has recently announced the Ninja V+, which in conjunction with a new firmware upgrade will enable the EOS R5 to record 8K Full Frame ProRes RAW.
With the mirrorless arms race heating up Canon has introduced a new competitor by announcing the EOS R3.
Canon looks to be introducing a juggernaut into its EOS R line of of mirrorless cameras. Canon literature is positioning the new EOS R3 squarely between its EOS R5 and flagship 1DX Mark III models. Specifically, they allude to “great emphasis on superb AF performance and speed, with fast-moving subjects” and “being designed to meet the reliability and durability demands of professionals.” It’s not hard to infer with this new model that they are trying to entice more professional sports and news photographers over to their mirrorless line.
Let’s dive a bit deeper into the bevy of features that they’ve mentioned in their press release.
Sensor Step Up
The center of the EOS R3’s is it’s new Canon-developed, back-illuminated, full-frame, stacked, CMOS sensor. This buzz-word jumble should provide the camera with faster readout speeds while taking stills. It should also produce less rolling shutter distortion when using the Electronic Shutter, and be able to operate with Electronic Shutter still image shooting at up to 30 fps (with Dual Pixel CMOS AF and auto exposure1 no less!) Not to mention 30 fps is a staggering 10 fps more than even Canon’s own 1DX Mark III.
Echoes of AF Past
The EOS R3 will benefit from the advanced AF systems introduced in the R6 and R5 cameras as well as employing deep learning technology to enhance the eye and body detection. Currently the Canon AF system has options for Eye and Head detect, but will be introducing a new Torso Detect function as well. (Presumably useful for any sports photographers who’s subjects wear helmets or masks of any sort.)
The camera also introduces a new system of Eye Control AF through the electronic viewfinder. Eye control AF was introduced in Canon Cameras way back in the early 90’s, but with the technological advancements in the intervening 30 odd years the EOS R3’s new Eye Control system promises to be more reliable while also incorporating more features overall. (Coincidentally the last camera to carry this Eye Control AF was the EOS 3, which was also the last EOS camera to carry the ‘3’ moniker until the EOS R3 as well.)
According to Canon, the EOS R3’s EVF will offer the ability to set “the initial area for AF tracking by simply looking directly at the viewfinder location where they (the photographer) want to begin AF.” The camera will then focus on and track subjects in that location of the frame automatically, as long as Eye Control AF2 and Servo AF are active.
It is unclear if the Eye Control AF will work continuously in video mode, but it will likely be useful to sports or wildlife photographers where milliseconds can be the difference between a great shot and missing the picture.
Tough New Body
The EOS R3 will feature a new body with better weather and dust resistance. The new body is the first in the EOS R line to feature an integrated vertical grip section for easier shooting in portrait orientation. Canon refers to the body being a one-piece design similar to other professional cameras who’s chassis are machined from a solid block of material. The one-piece body will give the camera greater durability and weather sealing, equivalent to EOS 1D class cameras.
Canon also makes mention of a Mobile File Transmitter application for iOS and Android as well. This sort of app is great for stream lining modern photographic workflows, whether its getting a shot to social media or sending proofs to a client.
Canon’s press release heavily touts the camera’s utility to sports, wildlife and photojournalism photographers, but makes little mention of it’s video capabilities. As such its hard to say if this new camera will offer much for video shooters over the EOS R5 or Cinema EOS C70, but if nothing else the improved body and weather sealing over the rest of the EOS R line may make it a solid choice for any videographers in need of a truly bullet proof camera.
Delkin has released a new CFexpress card in their BLACK series. These new cards should be great for Canon R5, C300 MarkIII, C500 MarkII shooters. Press Release from Delkin Follows:
Delkin’s New BLACK CFexpressTM Type B Cards Deliver Up to 1700 MB/s Sustained Speeds
POWAY, CA, MARCH 30, 2021 – Delkin Devices, a manufacturer of flash storage solutions and camera accessories,
announced today the newest addition to their top-selling line of memory cards: BLACK CFexpressTM Type B memory cards. Specially designed to meet the ever-growing demands of today’s broadcast, cinema and photography industries, Delkin’s BLACK CFexpressTM cards leverage today’s latest technology in order to provide the fastest speeds on the market.
Other competing CFexpressTM Type B cards may state a maximum write speed, but BLACK takes things further with sustained sequential write speeds of at least 1400 MB/s (higher depending on capacity). This sustained speed versus potential write speeds is what guarantees flawless cinema-quality video capture, including DCI 8K RAW 12-Bit @30fps (2600 Mbps) in the Canon R5. This is especially valuable during events like weddings, sport meets, concerts and other situations you cannot redo. The cards are also capable of offloading data at speeds reaching up to 1730 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production.
“With more camera manufacturers deciding to integrate support for CFexpressTM Type B memory cards into their new camera models, we felt the need to provide camera owners with a card that they could trust to protect and preserve their precious memories” says Jenn Sherry, Delkin’s Retail Sales & Marketing Manager, “As cameras continue to advance and new data-heavy modes are introduced, it has become even more important for storage mediums to be able to keep up. We believe that BLACK CFexpressTM is the solution for complete video capture, just as the creator envisioned.”
Each BLACK CFexpressTM Type B memory card has undergone extensive testing to ensure full functionality and performance in today’s high-end cinematic hosts, including ones from Canon® (C300 Mark III, C500 Mark II, 1D X Mark III & R5) and Nikon® (D6, Z6 II & Z7 II). Select hosts originally designed with native support for XQD cards can also accept CFexpressTM Type B cards via firmware upgrade. In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48 Hour Replacement Guarantee”. Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends – in the US and UK), prior to receiving the non-working card. Cards can also be replaced over-the-counter at any authorized Delkin BLACK reseller. Additional information on Delkin BLACK can be found here:
Canon recently released a batch of firmware updates for a few different cameras.
The main one us in the video world are concerned with though are the new features this will add to the R5.
Here’s a list of the highlights of the new firmware as compiled by Canon Rumors.
- Added Canon Log 3 to Canon Log settings, a log gamma curve that possesses largely the same characteristics with Canon Log 1 but with a wider dynamic range. It is also found in our professional line of cameras, the Cinema EOS Series, allowing easier post-production camera matching work between the EOS R5 with Cinema EOS cameras.
- Added Low Bitrate recording option, allowing users to shoot smaller file size footage with lower image details. This is very useful for longer recordings that do not require the best possible image quality or when storage space is a concern.
- Added 120p Full HD video recording, allowing users to have the flexibility to select the desired resolution for slow-motion content thus allowing more convenience during post-processing.
- Electronic Full-time Manual Focus
- LCD Backlight OFF option
- FTP Transfer Status Display
- Protect Image Transfer
- Save/Load Settings on Card
- Fixes a phenomenon, in rare cases where the camera does not function normally when using certain CFexpress cards.
- Fixes a phenomenon, in rare cases where the camera does not function normally when the drive mode is set to “High-speed continuous shooting” to shoot still images continuously.
It may have taken them a while to join the mirrorless party, but with the release of the Canon EOS C70 you’d be hard pressed to argue that it wasn’t worth the wait.
The new camera is another strong addition to Canon’s already legendary Cinema EOS line, and represents an interesting synthesis of features from the Cinema EOS line and its newer EOS R mirrorless cameras.
To call a spade a spade here, the EOS C70 looks a bit like an EOS R body with Cinema EOS parts Frankenstein-ed onto it. It’s not until you look at the features that you realize ‘Yeah that’s pretty much exactly what it is’; A small and compact body with a plethora of pro level video features packed into it.
The camera features:
- Canon Super 35mm Dual Gain Output (DGO) Sensor, 16+ stops of TotalDynamic Range
- DIG!C DV7 Image Processor
- Canon Log 2, 3,PQ, HLGRecording
- Built inND filtersystem(2/4/6/8/10 stops)
- Time Code Terminal(BNC)
- Dual Pixel CMOS AF, EOS iTRAF X,Dual Pixel Focus Guide
- Electronic Image Stabilization with Combination IS
- Auto ISO/Gain Control
- RC-V100 Remote Control Support
- Dual SD Card Slotswith Various RecordingOptions
- AND MORE, but we’ll get into those in more detail later.
The Canon EOS C70 is an absolute monster of a camera that offers exceptional image quality and professional video features in a compact and mobile form factor, perfect for documentary, newsgathering, and corporate videos. It’s new RF gives you access to a slew of new glass while still maintaining backwards compatibility and extra features through the use of an adaptor. The dual gain output sensor and the DIG!C image processor enable a variety of features to make pumping out amazing footage in a a bevy of different formats out as easy as possible. Overall it looks to be a heavy hitting video camera priced to compete with a crossover DSLM cameras.
We have a couple of C300 Mark III/R5 and C500 Mark II/R5 Camera Bundles Available down here in Austin!
Whether you need the perfect A and B cam for a doc, you’re a DP who dabbles in stills on the side, or you just plain like good deals a C300 Mark III/ C500 Mark II and R5 bundle may be right for you!
ETA on Canon R5 camera Body only orders is 30+ days.
0% 24m and 1.99% 36m Lease Promos are available on most of the Canon Cinema EOS Main Model Items.
If you bundle Canon Photo products, like the R5 Camera Body, Canon will offer the Cinema EOS promo rate on the bundled Canon Photo item or accessories.
Apply Online: https://texasmediasystems.com/leasing/
*Estimated Monthly Payments Do Not Include Taxes or Insurance
As any videographer will tell you, with the rate of technological advancement a new camera can become outdated within a year or two of its initial release, but good glass is a lifetime investment. One other long-term investment that gets its due much less frequently are batteries.
A career’s worth of batteries can represent thousands of dollars. Thousands of dollars that can become valueless if you decide to switch to a different camera system. Because of this, many shooters turn to V-mount or Gold Mount batteries for a truly brand agnostic power solution. However powering off these batteries can sometimes entail kludge-y rigs with wires hanging every which way and nothing but Velcro and hope holding 3lbs battery bricks in place.
Enter the Full Frame Camera Co V-mount Plate for C500 Mark II and C300 Mark III. A high quality way to bring your old collection of batteries to your brand new Cinema EOS camera.
Our story begins with the founder of UK based Full Frame Camera Corporation: Alex Stone. Upon receiving his Canon C500 Mark II and realizing that the OEM solution to power the camera from V-Mounts, the EU-V2 Expansion Unit, was on back order he simply decided to make his own instead of waiting around.
The Compact V-Mount plate is machined from aluminium (Ah-loo-mini-um if wish to pronounce it in the manufacture’s native tongue), attaches to the camera via two captive M4 bolts and powers the camera via a low profile right angle xlr connector.
The plate features one D-tap port for supplying 10A to any other accessories on your rig. The port is located on the side of the plate at an angle so that all the rear buttons and SDI outputs are still accessible.
An additional feature of the plate is that in its default mounting position the Canon A60 battery slot is unobstructed, which allows you to hot swap batteries.
The plate is compatible with any V-mount battery and can be mounted in a lower position for a more streamlined setup (if you are using taller V-mount batteries). One drawback of this though is that in this position, the plate blocks the A60 slot making the aforementioned hot swapping impossible.
If you are looking for robust and relatively inexpensive way to take all your old V-Mount batteries to your brand new Cinema EOS camera the Full Frame Camera Co. Compact V-Mount plate is the solution for you!
The plate has dimensions of 60 x 95.3 x 29.3mm (2.36″ x 3.75″ x 1.15″) and weighs 256g
Compact V-Mount Plate
Canon C500 Mark II Camera
Canon C300 Mark III Camera
Some SanDisk CFexpress card readers bundled with C500 MarkII kits have been experiencing issues properly seating cards, making transferring data impossible. Canon and SanDisk are aware of this problem and are working towards a solution.
If you are experiencing issues with your own card reader contact SanDisk customer support
Wrapping rubber bands around the reader to hold the card in the reader has been found to work in a pinch.
Instant rebates on select Fujinon Zoom lenses have been extended until March 31st!!!
Fujinon has new discounts available on the Cabrio XK6x20 20-120mm PL Lens and MK lenses below.
0% 24 Month Lease to Own Financing is also available on almost all Fujinon lenses and bundles.
Estimated Lease Payments do not include insurance and local taxes.
Longer and Shorter Lease Terms are available from 12 to 60 Months.
IRS Section 179 Tax Deductions for 2019 can be taken on your Taxes if the lease is written before Dec 31 2019.
Fujinon MK 18-55mm zoom and MK 50-135 zoom instant rebate valid now through March 31st!
Fujinon 20-120mm T3.5 Cabrio Cinema Zoom instant savings valid now through March 31st!
Recently Canon Europe interviewed filmmaker Brett Danton after he used Canon’s new C500 Mark II to shoot a commercial for Jaguar to promote their new luxury SUV.
Here are some of the advantages he found while using the camera.
Brett was a convert to the Full-Frame shooting capabilities of the Canon C700 FF. The large sensor mated to fast prime lenses at wide apertures – aided by built-in ND filters for exposure control, provided a unique look that Brett trusts for prestige brands.
The new Canon C500 Mark II shares the same 5.9K sensor as the C700 FF, with the added benefit of being able to record Cinema RAW Light internally to dual CFexpress cards and recording Canon XF-AVC with 2K 4:2:0 8-bit simultaneously to an SD card to use as a proxy.
Brett relies on the flexibility of the Cinema RAW Light codec to be able to dial in a precise look in post to satisfy discerning clients. “Jaguar has a very specific list of cameras it will allow its commercials to be shot on, and it doesn’t want silver cars to look grey. I had to get everything right first time.” said Brett.
The small form factor and modular nature of the C500 Mark II provided other advantages over its larger counterpart the C700 FF. The C500 Mark II could be rigged up with monitors, follow focus rigs, the whole shabang to make it a decked out cinema camera, or stripped back to make it as light and compact as possible for use on a drone or gimbal.
For the Jaguar shoot the C500 Mark II was attached to a Russian Arm mounted to the top of a separate Jagaur F-PACE to get chase shots of the ‘hero’ car. The camera was also used in a Ronin 2 gimbal and flown up in a drone to get more dynamic images as the F-PACE zoomed through the Spanish mountains.
Another distinct advantage of the C500 Mark II is its user swap-able lens mount. For the Jaguar commercial Brett used Canon Sumire Prime lenses. “The Sumire Primes bring a filmic feel and give nice flares. Using a Sumire to shoot the car coming towards you at dusk with its headlights on softens the image. The highlights on the metalwork gleam and there are flares from the headlights – just what I wanted.” Brett explained.
Brett did not have a full kit of Sumire Primes on set so for the drone shots he had to use a Canon CN-E14mm T3.1. The CN-E14mm had an EF mount instead of the PL mount of the Sumires. In a matter of minutes the crew was able to swap the cameras mount from PL to EF and keep on trucking.
The benefits of this system became even more apparent when Brett swapped onto some of Canon’s super-telephoto prime lenses, the Canon EF 300mm f/2.8 IS II USM and the EF 600mm f/4L IS II USM. The advantage of this interchangeability is that you are able to use canon stills glass on the C500 Mark II while maintaining auto-focus functionality.
Here’s a video that goes into more detail about the swap-able lens mounts:
“It was amazing,” Brett says. “We were tracking the cars charging up mountains and the autofocus just kept everything sharp. I don’t care how good a focus puller you are, if you’re using a 300mm or 600mm lens wide open, it’s a hard thing to get right – especially on a full-frame sensor.”
The C500 Mark II also supports face detect AF. Brett noted that “The C500 Mark II doesn’t suddenly stop focusing when the shot is sharp; the focus has a roll-off which gives it a more traditional look, like a focus puller feel. You can really notice it – it just makes it look right.”
With a quick turnaround on the commercial Brett was able to wow the clients with just a quick color grade and LUT. The footage he was able to pull out of the camera exceeded all of his expectations.
“I shot everything in 5.9K as I wanted to see it on a big screen, and taking it down to 4K cleans it all up. The dynamic range is crazy, over 15 stops for sure. Filming in Cinema RAW Light, I shot at the base of ISO800 the entire time and in the edit added no noise reduction, yet I can’t see any noise at all. The camera performed and made my life easy.”
Brett came away from the shoot thoroughly impressed with the C500 Mark II’s capabilities and versatility.
“The C500 Mark II has the same sensor as the C700 FF, so there’s consistent quality,” he says. “You can build the camera to the shape you need to make it work for that particular environment. I’d use the C500 Mark II for 90% of my work now and go to the C700 FF with its RAW recorder for SFX work when I need to pull out every last bit of data if the post house requests it, or if I need more choices on SDI output to send more signals out on set.
“The C500 Mark II is a camera I would now happily use for everything, either on its own or with the C700 FF – everything matches up beautifully.”