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. 

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.”

Quasar Science Battery Light Kit Price Reductions

Some of the most versatile video kits on the market, these price reductions make Quasar’s 3X1 and 3X3 kits even more of a no-brainer for any videographer.

Don’t miss this chance to pick up a great set of lights that are perfect for anything from sit down interviews to run and gun guerrilla shoots. 

3X1 Kit Includes:

1 – Q20LS 24″ Q-Lion Battery LEDs
1 – Q10LS 12″ Q-Lion Battery LEDs
1 – Q5LS 5″ Q-Lion Battery LEDs
3 – Single Chargers
3 – Battery LED Baby Pins
1 – Custom Case and Foam

3X3 Kit Includes:

(3) Q20W3056S 24″ Q-Lion Battery Bi-Color LED Lights
(3) Q10W3056S 12″ Q-Lion Battery Bi-Color LED Lights
(3) Q5W3056S 7″ Q-Lion Battery Bi-Color LED Lights
(2) QC30MC2 Q-Lion 3.0 Multi-Charger
(9) QLionQC3ChrgCab US Single Chargers with Micro USB Cables
(9) QAAP 3/8″ Battery LED Baby Pins
(1) CASE-3x3SKB-F Custom SKB Case and Foam

Introducing the Canon C500 Mark II

Canon representatives Stephen Olsen and Mike Edwards will be in the shop to tell us all about the new Canon C500 Mark II.

Come by the showroom at 4311 Medical Parkway. Austin, TX 78756 on Wednesday October 30th at 1-4pm as we unveil the new Canon C500 Mark II. Limited amount of give away t-shirts from Canon will be available, first come first served.

To RSVP, click on the following link: https://www.facebook.com/events/400413033982468/

Canon 500 Mark II T-Shirts have arrived and are looking good! Come by the show on October 30th 1-4 PM to get yours before they are all gone!

Blackmagic Pocket 6K In Stock!

Description

The Blackmagic Pocket Cinema Camera 6K features a Super 35 size sensor, 13 stops of dynamic range and dual native ISO up to 25,600 for HDR images and incredible low light performance. External controls give quick access to essential functions, while the large 5 inch touchscreen makes it easy to frame shots, focus accurately and change camera settings. Features include built in SD/UHS‑II or CFast 2.0 recorders for Blackmagic RAW or ProRes recording as well as a USB‑C expansion port for recording externally to disks, plus EF lens mount, built-in microphones, XLR input, full sized HDMI, 3D LUT support, Bluetooth and more.

Price    $2,495

Camera Features

Effective Sensor Size
23.10mm x 12.99mm (Super 35)

Lens Mount
Active EF mount.

Lens Control
Iris, focus and zoom on supported lenses.

Dynamic Range
13 Stops.

Dual Native ISO
400 and 3200

Shooting Resolutions
6144 x 3456 (6K) up to 50 fps
6144 x 2560 (6K 2.4:1) up to 60 fps
5744 x 3024 (5.7K 17:9) up to 60 fps
4096 x 2160 (4K DCI) up to 60 fps
3840 x 2160 (Ultra HD) up to 60 fps
3728 x 3104 (3.7K 6:5 anamorphic) up to 60 fps
2868 x 1512 (2.8K 17:9) up to 120 fps
1920 x 1080 (HD) up to 120 fps


Frame Rates
Maximum sensor frame rate dependent on resolution and codec selected. Project frame rates of 23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps supported.
Off-speed frame rates up to 60 fps in 6K 2.4:1, 120 fps in 2.8K 17:9 and 1080HD.

Focus
Auto focus available using compatible lenses.

Iris Control
Iris wheel and touchscreen slider for manual iris adjustment on electronically controllable lenses, iris button for instant auto iris settings on compatible lenses.

Screen Dimensions
5” 1920 x 1080.

Screen Type
LCD capacitive touchscreen.

Metadata Support
Automatically populated lens data from electronic EF lenses. Automatic recording of camera settings and slate data such as project, scene number, take and special notes. A 3D LUT can also be embedded in metadata of Blackmagic RAW files.

Controls
Touchscreen menus on 5 inch screen. 1 x Power Switch, 1 x Record Button, 1 x Stills Button, 1 x Scroll Wheel with push integrated into handgrip, 1 x ISO, Button, 1 x White Balance, 1 x Shutter Button, 3 x software configurable Fn buttons, 1 x High Frame Rate (HFR) Button, 1 x Zoom Button, 1 x Menu Button, 1 x Play Button, 1 x Focus Button and 1 x IRIS Button.

Connections

Total Video Inputs
None.

Total Video Outputs
1 x HDMI Type A

Analog Audio Inputs
1 x mini XLR analog switchable between mic with phantom power support and line level (up to +14dBu). 1 x 3.5mm Stereo Input. Can also be used for Timecode input.

Analog Audio Outputs

1 x 3.5mm headphone jack.

Computer Interface

USB Type-C for external drive recording and software updates.

Audio

Microphone

Integrated stereo microphone.

Built in Speaker

1 x mono speaker.

Media

Media
1 x CFast card slot, 1 x SD UHS‑II card slot, 1 x USB-C 3.1 Gen 1 expansion port for external media for Blackmagic RAW and ProRes Recording.

Media Format
Can format media to ExFAT (Windows/Mac) or HFS+ (Mac) file systems.

Please click here for a summary of compatible media.

Supported Codecs

Codecs
Blackmagic RAW Constant Bitrate 3:1,
Blackmagic RAW Constant Bitrate 5:1,
Blackmagic RAW Constant Bitrate 8:1,
Blackmagic RAW Constant Bitrate 12:1,
Blackmagic RAW Constant Quality Q0,
Blackmagic RAW Constant Quality Q5,
ProRes 422 HQ QuickTime,
ProRes 422 QuickTime,
ProRes 422 LT QuickTime,
ProRes 422 Proxy QuickTime.

Storage Features

Storage Type
1 x CFast 2.0.
1 x SD UHS-II card.
1 x high speed USB-C expansion port for external media.

Storage Rates
6144 x 3456 (6K)

Blackmagic RAW 3:1 – 323 MB/s
Blackmagic RAW 5:1 – 194 MB/s
Blackmagic RAW 8:1 – 121 MB/s
Blackmagic RAW 12:1 – 81 MB/s
Blackmagic RAW Q0 – 194 to 483 MB/s *
Blackmagic RAW Q5 – 49 to 139 MB/s **

6144 x 2560 (6K 2.4:1)

Blackmagic RAW 3:1 – 240 MB/s
Blackmagic RAW 5:1 – 144 MB/s
Blackmagic RAW 8:1 – 90 MB/s
Blackmagic RAW 12:1 – 60 MB/s
Blackmagic RAW Q0 – 144 to 359 MB/s *
Blackmagic RAW Q5 – 37 to 103 MB/s **

5744 x 3024 (5.7K 17:9)

Blackmagic RAW 3:1 – 264 MB/s
Blackmagic RAW 5:1 – 159 MB/s
Blackmagic RAW 8:1 – 100 MB/s
Blackmagic RAW 12:1 – 67 MB/s
Blackmagic RAW Q0 – 159 to 395 MB/s *
Blackmagic RAW Q5 – 40 to 114 MB/s **

4096 x 2160 (4K DCI)

Apple ProRes 422 HQ – 117.88 MB/s
Apple ProRes 422 – 78.63 MB/s
Apple ProRes 422 LT – 54.63 MB/s
Apple ProRes Proxy – 24.25 MB/s

3840 x 2160 (Ultra HD)

Apple ProRes 422 HQ – 110 MB/s
Apple ProRes 422 – 73.6 MB/s
Apple ProRes 422 LT – 51 MB/s
Apple ProRes Proxy – 22.4 MB/s

3728 x 3104 (3.7K 6:5 anamorphic)

Blackmagic RAW 3:1 – 176 MB/s
Blackmagic RAW 5:1 – 106 MB/s
Blackmagic RAW 8:1 – 67 MB/s
Blackmagic RAW 12:1 – 45 MB/s
Blackmagic RAW Q0 – 106 to 265 MB/s *
Blackmagic RAW Q5 – 27 to 76 MB/s **

2868 x 1512 (2.8K 17:9)

Blackmagic RAW 3:1 – 67 MB/s
Blackmagic RAW 5:1 – 41 MB/s
Blackmagic RAW 8:1 – 26 MB/s
Blackmagic RAW 12:1 – 17 MB/s
Blackmagic RAW Q0 – 41 to 101 MB/s *
Blackmagic RAW Q5 – 11 to 29 MB/s **

1920 x 1080

Apple ProRes 422 HQ – 27.5 MB/s
Apple ProRes 422 – 18.4 MB/s
Apple ProRes 422 LT – 12.75 MB/s
Apple ProRes Proxy – 5.6 MB/s

Recording Formats
Blackmagic RAW 3:1, 5:1, 8:1, 12:1, Q0 and Q5 at 6144 x 3456, 6144 x 2560, 5744 x 3024, 3728 x 3104 and 2868 x 1512 with film, extended video, video dynamic range or custom 3D LUT embedded in metadata.
ProRes at 4096 x 2160, 3840 x 2160 and 1920 x 1080 with film, extended video or video dynamic range or custom 3D LUT.

Storage rates based on 30 frames per second.
* Constant Quality setting Q0 storage rates quoted are indicative only, based on a 2:1 – 5:1 compression range.
** Constant Quality setting Q5 storage rates quoted are indicative only, based on a 7:1 – 20:1 compression range.
Actual storage rates are entirely dependent on image subject matter.

Software

Software Included
Pocket Cinema Camera 6K Operating System.

Operating Sytems

Mac 10.13 High Sierra
Mac 10.14 Mojave or later.

Power Requirements

Power Supply
1 x External 12V power supply.

External Power Input
1 x 2‑pin locking connector.

Battery Type
Canon LP-E6.

Battery Life
Approximately 45 minutes
(recording 6K RAW at 24 fps to CFast 2.0 with screen brightness at 50%)

Power
12V-20V.

Accessories

Optional Accessories
Blackmagic Pocket Camera Battery Grip.

Physical Specifications

Environmental Specifications

Operating Temperature
0°to 40°C (32° to 104°F)

Storage Temperature
-20°to 45°C (-4° to 113°F)

Relative Humidity
0% to 90% non-condensing

What’s Included

  • Blackmagic Pocket Cinema Camera 6K
  • Lens turret dust cap
  • Camera strap
  • 30W power supply with locking connector and international adapters
  • LP‑E6 battery
  • Welcome booklet
  • DaVinci Resolve Studio activation key

Warranty

Product Warranty
12 Month Limited Manufacturer’s Warranty.

Blackmagic Design Cinema Cameras and Accessories In Stock Now At TMS.

Texas Media Systems is a licensed dealer of Blackmagic Design products. Shop all Blackmagic products below.  

Blackmagic Pocket Cinema Camera 4K

Next generation 4K camera with dual native ISO up to 25,600, full 4/3 HDR sensor, 13 stops of dynamic range, Blackmagic RAW recording to internal SD/UHS‑II and CFast cards, as well as a USB‑C expansion port for recording to external drives and more!

$1,295

Blackmagic Pocket Cinema Camera 6K

Next generation 6K camera with dual native ISO up to 25,600, Super 35 HDR sensor, 13 stops of dynamic range, Blackmagic RAW recording to internal SD/UHS‑II and CFast cards, as well as a USB‑C expansion port for recording to external drives and more!

$2,495

Blackmagic Pocket Camera Battery Grip

Battery extender and hand grip for Blackmagic Pocket Cinema Camera lets you shoot for over 2 hours on a single charge!

 

 

$245

LP-E6 Battery

LP-E6 compatible Lithium-Ion rechargeable battery. For use with Blackmagic Micro cameras and Blackmagic Pocket Cinema Camera.

 

 

$45

Mini XLR Adapter Cables

Adapter cable for connecting to professional audio equipment which use full size XLR connectors.

 

 

$39

Blackmagic Pocket Camera DC Cable Pack

Now you can conveniently power your Pocket Cinema Camera from a variety of different power sources. Pack includes D-tap to 2-pin, 2.5mm barrel to 2-pin and 2-pin to fly lead to create your own custom cables. All cables are 650mm long.

$55

Want to know more about the Blackmagic Pocket 6K Cinema Camera?

Check out TMS Media Consultant Ross Grasse’s Pocket 6K blog post at the link below
Focusing With The New Blackmagic Design Pocket 6K Camera