The Canon C70 is Here!

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. 

If that list has got you sold already then read no further.

BUT if you do want to learn more, then lets continue this labored metaphor and deconstruct Frankenstein’s camera piece by piece. 

The Brain

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Canon C300 Mark III or C500 Mark II R5 Lease Rates!

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/

C300 Mark III/ R5 bundle

Canon C300 Mark III Camera $10,999
+
Canon EOS R5 Body $2899


= $14,898

$621 @ 0% 24m
$427 @1.99% 36m
$379 48m
$310 60m

C500 Mark II/ R5 Bundle

Canon C500 Mark II Body + Sandisk 512 GB CFexpress Card $15,999
+
Canon EOS R5 Body $3899

= $19898

$830 @ 0% 24m
$570 @ 1.99% 36m
$508 48m
$414 60m

*Estimated Monthly Payments Do Not Include Taxes or Insurance

New Battery Plate Brings Added Functionality to C500 Mark II and C300 Mark III Cameras

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 V-mount plate is manufactured in small batches and is compatible with Canon C500 Mark II and C300 Mark III cameras. A Gold-mount option has been introduced as well, if that’s more your flavor. 

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

Related Items

Compact V-Mount Plate

Canon C500 Mark II Camera

Canon C300 Mark III Camera

Update! If C500 MarkII bundled CFexpress has issues

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.

Read this notice for more information from Canon

Read this notice for more information from SanDisk

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.

Fujinon Zooms Instant Rebate Extended!

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 MK 18-55mm T2.9 for Sony E mount

 $3,799.00
-$500 instant rebate

$3,299.00

Fujinon MK 50-135mm T2.9 for Sony E mount

 $3,999.00
-$500 instant rebate

$3,499.00

Fujinon MK 18-55mm T2.9 for Sony E mount
          +
Fujinon MK 50-135 T2.9 for Sony E mount

 $3,799.00
 $3,999.00
-$1,400 instant rebate

$6,398.00

Fujinon 20-120mm T3.5 Cabrio Cinema Zoom instant savings valid now through March 31st!

Fujinon XK6X20 20-120mm T3.5 Cabrio Cinema Zoom Lens PL mount

 $13,499.00
-$2,500 instant rebate

$10,999.00

Canon C500 Mark II captures Jaguar Luxury

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.”

The New Canon C500 Mark II Camera

Its no secret that 2019 has been the year of the camera. It feels like a new camera has been either announced or released almost every month this year, and Canon looks like it is going to cap it all off this December by releasing the new C500 Mark II.

With the bevy of new DSLM cameras that have blurred the line between pro-sumer stills camera and professional video camera Canon’s Cinema EOS line has been given an increasingly intense run for its money.  Canon looks to be re-asserting it’s status as King of the Heap by releasing the C500 Mark II. The new camera offers some truly impressive specs and a high degree of modularity at a very competitive price point (compared to other similarly capable and similarly modular camera systems).

Limited Offer: Free SanDisk CFexpress 512gb Memory Card and Card Reader. A $649 Value!

Here is a list of official features that Canon has announced for the camera:

  • 5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes
  • User Changeable Lens Mounts which gives users freedom to use the lenses they desire
  • Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data
  • Canon RAW Light and XF-AVC Recording
  • Proxy Recording
  • Compatibility with EF and PL* Lenses
  • Anamorphic Lens Support
  • Electronic Image Stabilization
  • Modular Design with three available Expansion Units allows a high level of connectivity and interoperability
  • 3” LCD Touch screen Monitor LM-V2
  • Dual Pixel CMOS AF with support for Touch AF and Face Detection AF
  • Canon Log 2 and 3 Support
  • 4 Channel Audio Recording
  • Support for Custom User LUTs
  • 15 stops dynamic range
  • Cinema RAW light internal
  • Drone and gimbal size and weight

Let’s break down what some of these features mean.

  • 5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes
  • User Changeable Lens Mounts which gives users freedom to use the lenses they desire
  • Compatibility with EF and PL* Lenses
  • Anamorphic Lens Support
 
These features taken together point to Canon’s effort to make this camera just as comfortable shooting high budget narrative films as it is shooting run and gun docs and commercial work. The drone/gimbal sizing means that you with the right drone you can send this 100ft in the air while still maintaining all the advantages of the full frame sensor and advanced video codecs. The crop modes, user swap-able lens mounts, anamorphic lens support and EIS (Electronic Image Stabilization) make this camera truly lens agnostic.  As Canon’s own literature states, this camera can take anything from old servo zoom B4 lenses to vintage stills glass to PL cinema glass (especially their own Sumire Prime Cinema lenses, because y’know, synergy).
 
With Canon’s excellent Dual Pixel AF, EIS system, and support for custom user LUTs the C500 Mark II is a big boy cinema camera that still provides exceptional user assistance. The camera supports Continuous, Face Detect, and One-shot AF modes when using appropriate lenses. The EIS system is basically just Canon’s way of saying this camera has 5 axis IBIS, so you can use any non-OIS lens with impunity. 
  • Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data
  • Canon RAW Light and XF-AVC Recording
  • Proxy Recording
  • Canon Log 2 and 3 Support
  • 15 stops dynamic range
  • Cinema RAW light internal
 
The C500 Mark II is a lean, mean, media recording machine. The new DIGIC DV 7 Image processor allows you to record in a variety of frame rates, resolutions, bitrates, and codecs depending how much color flexibility you need in post or how much space you have on your hard drive. The ability to record 2K 8bit proxies to standard SD cards lets you streamline your transition into post-production and make your editor’s life just a little bit easier. With 15 stops of dynamic range and Cinema RAW light internal this camera is capable of producing footage that will make the hardest part of color grading be deciding what ‘film look’ best fits your quirky indie dramady about deconstructing the manic pixie dream-girl trope.
  • Modular Design with three available Expansion Units allows a high level of connectivity and interoperability
  • 3” LCD Touch screen Monitor LM-V2
  • 4 Channel Audio Recording
 
This one goes out to all you multi-cam users out there. The C500 Mark II system features a variety of expansion units that enable features to make the C500 Mark II a capable broadcast camera. The stand-outs in this section are the EU-V1 expansion unit and the EU-V2 expander. The studio-centric EU-V1 adds Ethernet ports for live-streaming, RS244 remote camera control, and genlock/sync-out. If the EU-V1 is the nerdy indoor kid little brother, the EU-V2 is the beefy, out on the football field big brother expansion unit. The EU-V2 adds a V-Mount battery plate, two additional XLR audio inputs for 4-channel recording, a lens control port, 24V and D-tap power outputs, Genlock, an additional RS422 port and an Ethernet port. 

Oh! and also this camera supports IP streaming. You can pair the camera with a separately available transmitter or stream to your computer via Wi-Fi or Ethernet to allow an off-set producer or a nosy client to view your capture at rates of up to 1080p XF-AVC at 9 or 4 Mb/s.

Getting down to the nitty gritty, the Canon Cinema C500 Mark II is scheduled to be available in December 2019 for an estimated retail price of $15,999.00. 

If you are are in the market for a camera system that can do everything from low budget docs to real cinema work and have a spare $16k burning a hole in your pocket the new Canon Cinema C500 Mark II is a pretty solid value proposition. 

 For more information, including accessory prices and availability, call or email us today!

Panasonic AG-CX350 Tutorials & Guidebook

Have you ever wanted to know everything about Panasonic’s AG-CX350 camcorder? Well good news! Writer and Filmmaker Barry Green has put out a new series of instructional videos that covers exactly that.

Some copy from Panasonics release on this:

The AG-CX350 is the industry’s lightest 4K 10-bit fixed-lens camcorder and includes HDR recording, 4K 10-bit 60p capture and is equipped with the RTMP/RTSP/RTP protocol for live streaming and NDI | HX-ready IP connection. A few topics that A Guide To The Panasonic AG-CX350 Camcorder include are:

  • Explanation of formats
  • Getting proper exposure
  • System and menu settings
  • Inputs and outputs
  • Using NDI | HX
  • Setting the camera up for live streaming
  • And much more

Purchase the Panasanonic AG-CX350 Here!

You can find all the videos here:

CX350 – Camera Tour

CX350 – Tips & Tricks

CX350 – User Buttons

CX350 – Menu Tour

CX350 – Adjusting Color

CX350 – Controlling Audio

CX350 – Networking

CX350 – OIS, Hybrid, i.ZOOM and D.ZOOM

CX350 – Recording Formats

CX350 – Streaming

How to Get Free Entrance to TAB 2019!!!

The Texas Association of Broadcasters convention and trade show (TAB 2019) will soon be upon us!

While it may not have the ‘Whizz Bang’ Product releases of flashier conventions like NAB, Photokina, and E3, TAB more than makes up for it in potential business and networking opportunities. With over 1,200 annual registrants and a 137 booth trade show, there is no better way to put your finger on the pulse of what is happening int the Texas video and broadcasting industry.

The day and a half convention provides invaluable training geared towards nearly every position in the broadcast industry. The trade show provides great opportunities to get hands on with the newest video gear and talk face to face with a myriad of vendors, suppliers, and service providers.

And the best part is, right now you can get in for free! All you have to do is visit: https://www.tab.org/convention-and-trade-show/registration before July 22 and use the code TEX2019. BAM now you’re getting in to the premiere event in Texas for everything in the broadcasting industry!

Now that you’ve got free entrance to TAB make sure you swing by booth 714 and say hello to everyone at the Texas Media Systems booth!

New Lumix Full Frame Mirrorless Camera!

In what seems like the endless stream of Full-Frame Mirrorless camera announcements this summer a new contender has just entered the ring!

Exciting New Specs

Earlier today at Photokina Panasonic announced the Lumix S1 and S1R. Similar to Sony and Nikon’s recent offerings the new Lumix camera will come in two flavors. The S1 will feature 24 megapixel resolution and the slightly up-spec’d  S1R will have 47 megapixel resolution.

Other key spec’s that Panasonic is touting for the camera is it’s dual image stabilization, 3-axis tilty-flippy LCD screen, Dual XQD/SD card slots, 100% weather sealing and of all things resistance to low temperatures (Panasonic appears to be trying to shake Canon and Nikon’s strangle hold on the nature and adventure photographer market).

One last feature that the New Lumix will feature is 4K 60p recording (50p for all you PAL folks). The S series is the first, and so far only, full-frame mirrorless to feature 4K 60p recording. THE WAIT IS FINALLY OVER!

New Collaborative Mount

Panasonic will also be introducing a new mount to go along with the new cameras. The L-mount is relatively new product of a collaboration between Leica, Sigma and Panasonic. The mount is 51.6mm in diameter and has a 20mm flange distance. The new specs puts it squarely between Sony’s E mount and the new Nikon Z and Canon RF mounts in terms of size and ability to use adapters.

Outside of 4K 60p recording  and 24/47MP sensors not many other details have been released about the new camera’s features. Given the camera’s Lumix lineage it’s safe to assume that the S1 and S1R will have similar max shutter speed and other video modes to the GH5.

Exact Release date and Pricing TBA

Panasonic has announced that the S1 and S1R will be released in early 2019.

Pricing for the camera has not been announced. Going by the competition it is safe to assume the bodies will be around $2000 for the S1 and $3000 for the S1R.

They did not confirm any lenses that will be releasing with the cameras. However, they did announce a commitment to expand the lineup of S-series compatible lenses to more than 10 by 2020. They mentioned 3 lenses in this expanded lineup specifically.

So far a 50mm f1.4, a 24-105mm, and a 70-200mm lens were included in the press release. (No max aperture for the 24-105 and the 70-200 were announced.) Based on some of the photos used during the Photokina presentation, it is safe to assume that these lenses will be released with S1 and S1R. The 24-105mm will likely be a kit option.

Currently, the only L-mount lenses are from Leica. They have 11 full-frame L-mount lenses in production at the time of writing.

Final Thoughts

With Panasonic entering the game it is now undeniable that full-frame mirrorless is (or at least will soon become) the new standard in Photography. Panasonic has lead the way in introducing rock solid video performance in a small package with it’s Lumix GH series cameras.

It’s too soon to say if there will be any major video improvements over the GH5 and GH5s, but the introduction of a full-frame sensor will make the new cameras much more appealing to crossover shooters.

Without official confirmation on pricing and a few other key video features (looking at you 4:2:2 10bit internal) it’s hard to tell how these will stack up against the A7iii and A7riii. If the S1 and S1R come in within a few hundred dollars of the current A7 series lineup, Panasonic will be rocking Sony’s full-frame boat pretty hard.

Overall the Lumix S1 and S1R pack a lot of great features into a single camera which will make Panasonic an increasingly viable alternative for professional photographers who want to switch to mirrorless and videographers who need rock solid video in a full-frame package.

 

The Full Photokina Panel

 

If you have any questions give us a call at 512-440-1400 to speak with a sales rep today or shop Texas Media Systems online here