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).

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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!

Oscars 2019 Nominated Feature Documentaries Shot Using Canon Cameras

The 2019 Academy Awards have officially wrapped up and all the winners have been announced. “Free Solo” took the award for Best Documentary Feature. Want to shoot like an Oscar-nominated film? Well, all five of the Oscar-nominated Documentary features were shot using Canon cameras and lenses.

Oscars 2019 Documentaries

We’ve listed the Canon equipment that the films were shot with and where you can watch these Oscar-nominated documentaries.

“Free Solo” 

Cinematographers: Jimmy Chin, Clair Popkin, Mikey Schaefer

Shot using: Canon C300 Mark II, Canon 1D X Mark II, Canon Cinema Primes, Canon 50-1000mm Cine-Servos

Film Synopsis 

Renowned free solo climber Alex Honnold has long desired to attempt El Capitan, the 3,000-foot granite rock in Yosemite National Park. Although he wants to begin, Honnold is suddenly plagued by injuries and his friends and family worry for his safety. Nothing can stop him, however, and Honnold becomes the only athlete to make the treacherous ascent without ropes.

Where to watch: “Free Solo” will be having its Network Premiere on National Geographic on March 3 at 8/7c. You can find it in select theatres here.

“Hale County This Morning, This Evening” 

Cinematographer: RaMell Ross

Shot using: Canon EOS 5D Mark III

Film Synopsis

The dreams and everyday experiences of friends Daniel and Quincy, and also those of Boosie, the mother of Quincy’s children, are depicted as they go about their lives in Hale County, Alabama. Also explored is the idea of how the Southern African-American experience can be depicted on film.

Where to watch: You can rent or buy on YouTube, Google Play, Vudu and Apple.

“Minding the Gap”

Cinematographer: Bing Liu

Shot using: Canon 5D (no indication which mark), Canon EF 16-35mm lens

Film Synopsis

As he films his fellow skateboarders over the years, Bing Liu wonders why so many of them have experienced contentious relationships with their fathers. As he focuses on friends Zack, who is about to become a father himself, and Keire, who is grappling with his racial identity, Liu realizes that he must resolve his feelings about his own abusive childhood.

Where to watch: You can watch with a Hulu Subscription or on PBS. of f

“Of Fathers and Sons”

Cinematographer: Kahtan Hassoun

Shot using: Canon EOS C300

Film Synopsis

Documentarian Talal Derki returns to his native Syria and gains the trust of Abu Osama, a founder of the Al Qaeda-affiliated Al Nusra Front. Believing in an Islamic caliphate, Abu Osama indoctrinates his sons in his beliefs, sending the oldest two, Osama and Ayman, to a military training camp. The brothers have differing reactions to their training, however, with Ayman longing to return to school.

Where to watch: You can stream on Kanopy and rent or buy on Amazon, Apple, Fandango Now and Vudu.

“RBG”

Cinematographer: Claudia Raschke

Shot using: Canon C300 Mark II, Canon EF Zoom 16-35mm, Canon EF 24-70mm T2.8, Canon 70-200mm, Canon 400mm Prime lens

Octogenarian Ruth Bader Ginsburg, who was sworn in as a Supreme Court justice in 1993, had spent her prior legal career battling laws that allowed gender discrimination. Supported by her devoted husband, a fellow lawyer, and their two children, Ginsburg becomes renowned for her tireless work ethic, liberal outlook and keen intellect.

Where to watch: You can stream with a Hulu or Hoopla subscription. You can rent or buy on Amazon, Fandango Now, Vudu, YouTube, Google Play and Apple.

You can shoot like an Academy Award-nominated film with the right Canon gear. Give us a call at 512-440-1400 or shop all Canon here. 0% Lease financing is available on select Canon products. 

Canon XF705 Video Tutorial Series

Canon’s new XF705 4K Camcorder has a new Tutorial Series, Canon XF-705:  From Prep to Post, just released today on YouTube.

The five videos feature Charles Zablan, Senior Trainer for Canon USA, showing how to customize and use the feature settings in the Canon XF705.

Canon has also announced new lease financing promotional interest rates available through Canon Financial Services.

0% 12 Months

0% 24 Months

1.99% 36 Months

Episode 1: XF-705 Function, Form, and Design

Episode 2: Canon LOG 3—Expanding the Possibilities

Episode 3: Advancing Forward – Technology Driving the XF-705

Face Detection, Tracking, Continuous AutoFocus, and Push AF

Episode 4: IP Streaming on the XF-705

Built In Ethernet Port on Camera with Efficient XF-HEVC Codec

Episode 5: Canon XF-705 Custom Picture Menu

 

CANON XF705 4K 60P 4:2:2 10-BIT PROFESSIONAL CAMCORDER $6,999

 

 

“Let People See” Founder Chris Brank talks cameras and lenses

At Texas Media Systems our goal is to help you get the equipment you need, when you need it. Chris Brank is the founder and CEO of Let People See, a video production agency based in South Carolina.  His business has utilized the leasing options we have to get the gear he needs or to simply add another tool to his kit. Let People See just won a Gold American Advertising Federation award for a mini-doc that was shot in the Congo that you can watch here. We took the time to chat with Chris about how he got started, his business and more.

Photo courtesy of Chris Brank/Let People See

What’s your earliest memory of filmmaking or the moment you knew you wanted to pursue this as a career?

Chris: It might not be the earliest moment, but back in 2012 I was planning a trip to Lima, Peru. I had been shooting fun little promos and corporate work, some of them profitable, but I decided it was time to shoot for the moon. Canon announced the Canon C100 and one of the first stores in the U.S. to get one was this place called Texas Media Systems. I struck up a conversation with Leroy and we worked for weeks to get one of the very first Canon C100’s shipped to me before my Peru trip. The giant box was delivered the night before the flight, and the whole week in Lima I only brought it out of the case twice! I said I was terrified to get it dirty, but secretly I didn’t even know how to use the thing. Three Canon C100’s later (along with two Canon 5D Mark IV’s, a Canon 1DX Mark II, two Canon C300 Mark II’s, and four Canon C200’s), I still don’t know how to use them to their full potential. But along the way, I’ve found team members who are way better than I am.

Your company Chris Brank Films started in 2011 and you recently transitioned to a new banner, “Let People See.” Can you talk about some of the projects you started working on and what’s the story behind “Let People See.”

Chris: I never liked working alone! And so even as “Chris Brank Films” it would always be “Hi, I’m Chris, and this is Taylor, David, John, Lauren….” And because of the team approach, nothing was ever just a “Chris Brank” film. I was thrilled to change the name! After many nights on godaddy.com, we finally found something that resonated with what we do. We “let people see” the awesome things our clients are doing! And Let People See was born. Or…registered.

Photo courtesy of Chris Brank/Let People See

As an independent filmmaker with a small team, expenses must be very important. You’ve leased quite a bit of equipment with us, can you talk about how that’s been a benefit to your company and being able to grow?

Chris: Absolutely! Payroll is tough – cash flow is of utmost importance. We’ve often got 2-4 shoots happening at the same time. And as we’ve continued to grow, I can’t tell you how many emails I’ve sent to Leroy along the lines of: “We’ve got 20 shoots over the next 3 months and we need another camera and another set of lenses. Can you get it here by next Tuesday?” The leasing options are fantastic because we usually don’t have the money until after shoots are wrapped, but we need the gear to accomplish the shoots. Leasing gives us no hesitation to grab gear at 0% or incredibly low interest rates. We know we can get the gear and get the job done!

What would you tell people who may be hesitant about the lease to own program?

Chris: Cash flow is what can make or break a business. There’s so many 0% options or incredibly low interest rate options through Texas Media Systems (we’ve found the 36 month with 1.9% interest to be a sweet spot), it’s a no-brainer for us to split up the cost of equipment. “Spend it all now” or “split it up over time”… seriously, it’s a no-brainer when interest rates are ridiculously low.

What’s in your arsenal right now? Do you have any must-have lenses or cameras you can’t live without now? Any favorites to shoot with or your team’s favorites?

Chris: Right now, each of our kits has two Canon C200’s, a Canon 5D Mark IV on a DJI Ronin-M, and a full set of Canon L primes and zooms (24mm 1.4L, 35mm 1.4L, 50mm 1.2L, 85mm 1.4IS, 100mm L Macro, 24-105mm 4.0L II, 70-200mm 4.0L IS, 16-35mm 4.0L IS, 100-400mm II). We’ve got two of those kits, and also two C300 Mark II’s. For stills, we’ve got a 1DX Mark II and we’re working on building another Canon L lens set. We’re also traveling with Quasar Science bulbs that we bought through Texas Media Systems…those have been game-changers!

Quasar Lights in action | Photo courtesy of Chris Brank/Let People See

Can you talk about the approach to a project “Let People See” takes and how having the varied equipment helps you make the best product for a customer.

Chris: We really serve as a video factory for agencies and brands. They tell us what they want, we make it happen. We’re incredibly involved on the execution side, so takes plenty of crew and plenty of gear. With equipment like DSLRS, Canon C200’s, and Canon C300 Mark II’s, we’re able to work on a wide range of production levels. The Canon C200’s are used on 95% of the work (with the .mp4 codec on beautifully inexpensive SD cards), but they have the ability to step up to RAW if the project calls for it.

What are you working on now that you can share with us?

Chris: At any given time we’ve got 10-20 projects in the works, the juggle is half the fun! Some of the most exciting projects right now are an upcoming conference in Minneapolis, some tourism work in the mountains of North Carolina, and a trip to Toronto for an awesome scrap metal company.

Why do you keep coming back to Texas Media Systems?

Chris: The customer service is exceptional. We’ve been able to get everything we need exactly when we need it for seven years straight. The access to a real person on the phone in under 30 seconds is getting harder and harder to find! There are plenty of suppliers closer to us in South Carolina, but when you find someone you trust, it doesn’t matter where they are. I trust Texas Media Systems, and they go above and beyond to retain that trust. That’s what matters!

Take a look at Let People See’s demo reel that was shot on Canon. 

Let People See Hype Reel from Let People See on Vimeo.

You can see more of Let People See’s work by visiting their website www.letpeoplesee.com.  If you’re looking for equipment for your company, give us a call at 512-440-1400 to speak with a sales rep today!

Introducing the Next Generation of Canon 70-200mm Lenses

Canon has introduced two new telephoto zoom lenses, the Canon EF 70-200mm f/4L IS II USM and Canon EF 70-200mm f/2.8L IS III USM.

The new lenses serve advanced amateur and professional photographers in a variety of applications and solutions including wildlife, landscapes, portrait and sports photography. Canon EF 70-200mm focal-length lenses are a popular option for photographers in need of a long zoom range that maintains a relatively compact design. In addition, these updated lenses inherit the same overall build-quality and ruggedness photographers have come to expect from the Canon EF L-series line of lenses.

“At the core of image capturing, Canon believes the lens is just as important as the camera. A seamless relationship between the two allows photographers to produce emotion-evoking and timeless images,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is excited to offer photographers two distinct options in the 70-200mm focal-length, continuing to further expand our optics heritage.”

Take a look at the new features below!

Canon EF 70-200mm f/2.8L IS III USM

The new Canon EF 70-200mm f/2.8L IS III USM is an ideal lens for professional photographers who shoot with the Canon 1D and 5D series of DSLR cameras. The inclusion of Air Sphere Coating (ASC) technology helps to reduce flaring and ghosting, and suppresses the reflection of light.

Additional noteworthy features of the Canon 70-200mm f/2.8L IS III USM include:

  • Optical Image Stabilizer up to 3.5 shutter speed stops of correction
  • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
  • Inner focusing system with Ring Ultrasonic Motor
  • One fluorite lens and five UD lenses helps to provide high-image quality
  • Minimum focusing distance of 1.2m (3.9ft)
  • Lens features 23 elements in 19 groups
  • Circular eight blade aperture

The Canon 70-200mm f/2.8L IS III is scheduled to begin shipping in August 2018 for an estimated retail price of $2,099.00.

Canon EF 70-200mm f/4L IS II USM

Additional noteworthy features of the Canon EF 70-200mm f/4L IS II USM include:

    • One fluorite lens and two UD lenses helps to provide high-image quality
    • Minimum focusing distance shortened from 1.2m to 1m (3.9ft to 3.3ft)
    • Super Spectra Coating technology and optimized lens element placement helps minimize ghosting and flaring
    • Circular nine blade aperture producing a beautiful bokeh quality, ideal for portrait shooting
    • Lens features 20 lens elements in 15 groups
    • Fluorine coating on front and rear elements helps to reduce smears and fingerprints
    • Inner focusing system with Ring Ultrasonic Motor

The Canon EF 70-200mm f/4L IS II is scheduled to begin shipping in late June 2018 with an estimated retail price of $1,299.00

Call us at 512-440-1400 to speak with a sales rep today! Interested in financing the lenses? We have leasing options for you.

Canon C200 & C200B Training Videos

Canon C200 & C200B Video Training Series:

Jem Schofield Canon C200

Camera Overview

Host Jem Schofield gives an overview of the Canon C200 and C200B digital cinema camera systems. This episode explains the differences and similarities of the two models, takes a look at the design features, external accessories, sensor, processors, recording capabilities, touchscreen LCD, electronic viewfinder, inputs and outputs. Get familiar with the location and functions of the camera’s buttons, dials and controls.

Setting Up for Shooting – Part 1

In this episode, host Jem Schofield explains the Function (FUNC) button controls, examining White Balance, Iris and Shutter control, and the options when adjusting white balance, shutter, gain and aperture to achieve great results.

Setting Up for Shooting – Part 2

Explore some of the key Menu features and how to set up the Menu for your projects. Host Jem Schofield looks at buttons, dials and switches, activating LUTs, saving and loading camera settings, time code, video outputs, assignable buttons, the Status menu, My Menu features, and more.

Audio Setup

Host Jem Schofield explains the audio recording and monitoring capabilities of the Canon EOS C200 and C200B cameras. He walks you through setting up either 2-channel or 4-channel recording, and shows how to adjust and monitor the microphone levels using the Mic terminal, XLR inputs and camera body microphone.

Shooting with the Camera

In this video, host Jem Schofield demonstrates strategies for shooting with the Canon EOS C200 and C200B for best results. He goes in-depth about shooting with the cameras including the Focus Guide, focus assistance functions, recording formats (Cinema RAW Light/MP4), Color Space, Gamma and Custom Pictures/HDR settings, HDR/LUT options, exposure recommendations using the waveform, proxy recording, and more.

Dual Pixel CMOS Autofocus Features

In this video, host Jem Schofield demonstrates the key features of Dual Pixel CMOS Autofocus and touchscreen control of autofocus to get you ready for shooting with this important camera option.

Special Recording Modes & Browser Remote

Take a close look at Special Recoding Modes and explore the options for remote control operation of Canon’s EOS C200 and C200B camera systems. Host Jem Schofield takes a close look at slow motion recording options based upon recording format. Also, look at how to remotely operate the cameras when they are out of reach by using the Browser Remote feature and a computer, smartphone, or tablet.

Cinema RAW Light & Post Production

Host Jem Schofield is joined by post-production experts Loren Simons and Nicholas Recano to explore the best practices for working with Cinema RAW Light in a variety of post-production workflows including Cinema RAW Development software, BlackMagic Design DaVinci Resolve, and Avid Media Composer. Also, visit Canon Burbank’s DI Suite to examine at the intricacies of finishing a project with an OpenEXR/Aces finish using SGO’s Mistika color grading and finishing system.

CANON C200 DIGITAL CINEMA CAMERA 4K RAW INTERNAL – 2215C002 $7499

CANON C200B DIGITAL CINEMA CAMERA BODY W/O EVF – 2216C002 $5999

CANON C200B COMPLETE:

C200B + GR-V1 Grip, HDU-2 Handle, LM-V1 LCD, LA-V1 Attachment Unit, UN-5 Cable $7499

Canon C200 Leasing Apply Online Button

 

 

View Original Canon Digital Learning Center Article

 

 

 

Canon Announces C200 & C200B Cinema EOS Cameras

Canon USA announced an expansion to their Cinema EOS Line in a press release this morning, the EOS C200 and EOS C200B. We had a chance to get our hands on this camera before the announcement and made this video breaking down the major features and innovations:

The EOS C200 Digital Cinema Camera is a “ready-to- go” production camera that comes with a built-in electronic viewfinder and an array of accessories including a 4-inch touch screen LCD monitor, a versatile handle and ergonomic handgrip. The camera can record internal 4K RAW to a CFast™ 2.0 card in our new Cinema RAW Light format without compromising detail, as well as 4K UHD and Full HD in MP4 format to SD cards. The 8.85 Megapixel Super 35mm CMOS sensor, 13 stops of dynamic range, Dual Pixel CMOS AF, full compatibility with Canon EF-mount lenses, and HDR capability help make the EOS C200 ideal for film, documentary and television production, corporate and event videography, and newsgathering.

The EOS C200B version comes as a standalone camera body, excluding the built-in electronic viewfinder, LCD monitor, handle and handgrip. This will allow the user the flexibility to customize the camera with a wide range of accessories to fit their specific needs. The EOS C200B’s smaller form factor allows it to be used in tighter spaces, and more easily attached to a gimbal or drone.

The back of the C200 compared to the C200B
The back of the C200 compared to the C200B

Canon’s announcement included the pricelist of $7,499.00 for the C200 and $5,999.00 for the EOS C200B models. Though Canon’s popular 0% Financing Promotion for its Cinema EOS Line has not yet been extended to include the C200 or C200B, even with standard financing you should be able to own one for under $200/month (either model). You can join our waitlist on each individual product page, or check out the press release or on the Canon website. Below is a video shot on the C200: From Dock to Dish.

Canon C700 4K Film The Calling

In the standing Cinema EOS tradition, Canon has released a new film to showcase its camera; check out its new C700 4K film, The Calling. Be sure to change the quality settings on the embedded video to 4K (2160p) to really see the Canon Cinema difference. The new camera’s low light capabilities really shine in the film.

Cinematographer Russell Carpenter, ASC (Titanic, Ant-Man, True Lies) and Director Tyler Stableford.

 

Tyler Stableford talks about shooting with the Canon C700 on his blog at the line below:

Canon C700 Short Film

Directing A Canon Short Film With The New C700 Camera and Russell Carpenter

c700-show-banner-29_800px
RSVP to see the Canon C700 and Canon Compact-Servo 18-80mm Zoom Lens on November 29!

Canon C300 Mark II Used on Leonardo DiCaprio and National Geographic Film

Canon USA has announced that the C300 Mark II was used on the just released film Before the Flood that was produced by Leonardo DiCaprio and directed by Fisher Stevens.

BAFFIN ISLAND, CANADIAN ARCTIC - (From left to right): Leonardo DiCaprio, Enric Sala, National Geographic Explorer-in-Residence, and Jake Awa, Arctic Guide, Pond Inlet. For two years, Leonardo DiCaprio has criss-crossed the planet in his role as UN messenger of Peace on Climate Change. This film, executive produced by Brett Ratner and Martin Scorsese, follows that journey to find both the crisis points and the solutions to this existential threat to human species. The climate change feature documentary ‘Before the Flood’ airs globally on the National Geographic Channel October 30.

(photo credit: © 2016 RatPac Documentary Films, LLC and Greenhour Corporation, Inc.)

BAFFIN ISLAND, CANADIAN ARCTIC – (From left to right): Leonardo DiCaprio, Enric Sala, National Geographic Explorer-in-Residence, and Jake Awa, Arctic Guide, Pond Inlet.  

(photo credit: © 2016 RatPac Documentary Films, LLC and Greenhour Corporation, Inc.)

Canon C300 Mark II EF Mount 0635C002 Camera Body

Canon C300 Mark II Cine-Servo Zoom Lens 0635C019 ENG Package

Canon CN-E30-105MM T2.8 7623B002 Cinema Zoom Lens

Canon Cine-Servo 17-120mm CN7x17 T2.95 4K 9785B001 Servo Zoom Lens

Apply Now!

MELVILLE, N.Y., October 28, 2016 – Canon U.S.A. Inc., a leader in digital imaging solutions, is proud to announce that Academy Awardâ winners Leonardo DiCaprio and Fisher Stevens chose Canon EOS Digital Cinema cameras and lenses, including the Cinema EOS C300 Mark II camera, for their new documentary Before the Flood. Directed by Stevens and produced by DiCaprio, the film presents a riveting account of the dramatic changes now occurring around the world due to climate change, as well as the actions individuals and society can take to help prevent catastrophic disruption on our planet. Before the Flood premieres on National Geographic Channel this Sunday, October 30th at 9 pm ET/8 pm CT in 171 countries and 45 languages. Coinciding with the television premiere, Before the Flood will also be released commercial free on a number of digital and streaming platforms around the world, including NatGeoTV.com and Nat Geo TV Apps.

The two filmmakers, known for their environmentally themed documentaries, joined forces for Before the Flood’s two-year production, which follows U.N. Messenger of Peace DiCaprio as he travels to five continents and the Arctic speaking to scientists, world leaders, activists and local residents to gain a deeper understanding of the complex issue of climate change and investigates concrete solutions to the most pressing environmental challenge of our time.

“Canon is honored to have been selected as the camera and lenses of choice in the creation of this documentary,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Viewers will see on Sunday, with the clarity of the imagery produced with Cinema EOS products, a compelling picture of the current environmental conditions around the world.”

To capture the stunning visuals of the documentary, cinematographer Antonio Rossi relied on a mix of Canon EOS Digital Cinema cameras. He began production with the EOS C500 and EOS-1D C Digital Cinema Cameras, the latter often rigged to a handheld camera stabilizer. They shot portions of the documentary in RAW 4K using the EOS C500 camera in conjunction with an external recorder.

When the EOS C300 Mark II camera was introduced, the production adopted it as their new “A” camera. “The switch to the C300 Mark II camera was seamless and easy, and we were happy to have on-board 4K recording as well as extended color gamut options,” Rossi said. “Overall, we found that Canon Cinema EOS cameras were the perfect tools for this project, as they enabled us to shoot in a variety of configurations while maintaining a consistently beautiful look and image quality.”

Before the Flood mixes interviews with some of the most influential world leaders, with chilling but beautiful footage from locations impacted by our changing global climate. Rossi and his team traveled north of the Arctic Circle to Greenland and to Canada’s Baffin Island to show the rapid ice melts, as well as to Sumatra to capture some palm oil farmers burning rain forest habitat, among other shooting locations.

Rossi primarily outfitted his cameras with the Canon CN-E 30-105mm T2.8 compact zoom lens and the CN-E 17-120mm T2.95-3.9 CINE-SERVO lens.

Before the Flood is vital viewing for anyone who has any doubts about humanity’s role in global climate change,” Rossi said. “Working with Fisher Stevens and Leonardo DiCaprio on the film was a magical and elucidating journey.”

For more information about Canon Cinema EOS cameras and lenses, please visit the Canon U.S.A. website at cinemaeos.usa.canon.com

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions to the United States and to Latin America and the Caribbean (excluding Mexico) markets. With approximately $31 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents granted in 2015† and is one of Fortune Magazine’s World’s Most Admired Companies in 2016. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. In 2014, the Canon Americas Headquarters secured LEED® Gold certification, a recognition for the design, construction, operations and maintenance of high-performance green buildings. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss and follow us on Twitter @CanonUSA. For media inquiries, please contact pr@cusa.canon.com.

Canon C300 Mark II Cine-Servo 17-120 Package $39,070 ($48,070 – $9,000 Instant Rebate)

Canon C700 Footage Aston Martin Hackett

Check out the Canon C700 video and BTS from Canon Europe for Aston Martin Hackett.

The Canon C700 is expected to ship in November 2016 and is available in three configurations:  EF, PL, and PL with Global Shutter.

Texas Media Systems will have the Canon C700 and the 18-80mm Cine-Servo Lens In-Store at our show on Tuesday November 29th!

Click below to be added to the C700 Waiting list:

Canon C700 EF Mount $28,000

Canon C700 PL Mount $28,000

Canon c700 PL Mount with Global Shutter $30,000

“Chris Clarke was the DoP on the shoot and he was using the EOS C700, which was a pre-production version and I think the only one in the world at that time. In a project of this size I have to distance myself from the kit and concentrate on directing. It’s all about finding the right people for the job and Chris and I had worked on an RNLI project before and got on really well. Plus I liked his approach. If you have got an ambitious shot list, actors and a performance you don’t want to be bogged down with the technical. That’s really important and that’s why Chris was brought in.” – Clive Booth

Apply Now!

Canon C700 PL with 30-300mm Cinema Zoom Lens
Canon C700 PL with 30-300mm Cinema Zoom Lens