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.”
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.
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 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
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.
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.
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.
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)
“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
Download the new V1.0.3.1.00 firmware to avoid any issues with your F-stops in the future. Click here and scroll to the bottom of the page- Click Firmware to download the new firmware for Mac OS or Windows.
The Canon C100 Mark II is now in stock at Texas Media Systems.
Canon announced today their new flagship cinema camera: the EOS C700. This shoulder-mounted cinema camera features a Super 35mm 4.5K sensor and 15 stops of dynamic range with rolling shutter. There is also a global shutter option for the C700 with 14 stops of dynamic range (global shutter available for PL Mount only). Canon’s famous Dual Pixel AF is present in the C700, along with built-in ND Filters.
The Canon EOS C700 is capable of internal 10-bit 4K recording up to 59.94 in XF-AVC. For the first time in a Canon camera ProRes is a recording option, giving users 10-bit 422HQ in 4K at 30fps and ProRes 4444 at 12-bit in 2K. The C700 internally records to CFast 2.0 Cards, and an SD card slot for recording XF-AVC proxies, photos (JPEG), custom pictures, metadata, menus and more. There is also an optional Codex CDX-36150 external recorder that attaches to the back of the C700 via the V-Mount plate. Recording to the CDX-36150 enables 4.5K RAW up to 100fps and 4K RAW up to 120fps. Users can also record 4K ProRes at 60fps and 2K/HD ProRes up to 120fps in 10-bit, along with 12-bit ProRes 444 XQ at 60fps.
Recording Specifications:
XF-AVC
4096×2160 YCC422 10 bit/3840×2160 YCC422 10 bit
2048×1080 YCC422 10 bit/1920×1080 YCC422 10 bit
2048×1080 RGB444 12 bit/1920×1080 RGB444 12 bit
2048×1080 RGB444 10 bit/1920×1080 RGB444 10 bit
Bit Rate: 810/440/410/310/225/210/170/160/ 90Mbps Intra-frame
50 Mbps Long GOP
Optional Canon EVF-V70 OLED High Resolution Viewfinder.
Optional Canon SG-1 Shoulder-Style Grip Unit.
The Canon EOS C700, C700 PL and C700 GS PL are expected to be available in December 2016. Pre-order from Texas Media Systems today! See below for C700 models and pricing.
Check out the Canon C300 Mark II Tutorial Series with Jem Schofield below to help you get oriented to your new camera.
After you watch the videos, head over to the C300 Mark II Menu Simulator to practice setting up your camera.
New Features of the C300 Mark II:
Custom Picture Menu for C300 Mark II
Internal Recording Options for the Canon C300 Mark II
External Recording Options for the Canon C300 Mark II
This video in the tutorial series shows how to set the EOS C300 Mark II menu up for external recording. He goes over the menu options found in the Recording/Media Setup, Picture/Terminals Setup menus as well as relevant menus in the Odyssey 7Q+ that he is using.
We expect that the native EF mount version of the Cine-Servo lens will be very popular with Canon C300 EF owners and operators who have not had a native EF Mount Servo lens available for use with their cameras.
The Cine-Servo PL and EF mounts can be swapped by Canon Cinema EOS Service Centers for an additional fee. One upgraded, the extra mount is returned with the lens.
Texas Media Systems is accepting Pre-Orders at the links below with an expected ship date of August 2014:
MELVILLE, N.Y., April 2, 2014 – Shallow, creative depth of field, high-resolution and optimal low-light shooting capabilities are just some of the many reasons that large, single-sensor digital cameras have been kitted and rigged for use in nearly every application involving video capture. Further enhancing the versatility and adoption of these cameras into markets such as ENG (Electronic News Gathering), documentary, narrative production and special event coverage is the new CINE-SERVO 17-120mm T2.95 zoom lens from Canon U.S.A., Inc., a leader in digital imaging solutions.
Designed to perform in a shoulder-mounted application or as a traditional cinema lens, the Canon CINE-SERVO 17-120mm T2.95 zoom lens has an ENG-style Digital Drive handgrip with zoom rocker switch, which can also be detached to allow for manual cinema operation. The new CINE-SERVO lens features high 4K optical performance throughout the broad focal length of 17mm to 120mm within its compact and lightweight body, a three-group inner focus system to help minimize focus breathing and provide a stable angle of view, an 11-blade iris to help achieve creative depth-of-field manipulation and natural “bokeh” background, user-friendly design features, support for matte boxes, follow focus and other accessories, and rugged reliability. Designed to work with single-sensor cameras, the lens will be available in either PL- or EF-mount.
“Since the launch of the Cinema EOS system, Canon has been a part of the large-sensor camera movement that has taken many video markets by storm. Each day the markets that employ these dynamic tools are growing, as is the way professionals are using them in the field,” explained Yuichi Ishizuka, president and COO, Canon U.S.A. “We remain dedicated to providing the equipment and service that enables professionals to reach the full potential of their talent. With the CINE-SERVO 17-120mm T2.95 zoom lens, we sought to arm them with a lens that is equally as versatile and adaptable as they are, and just as comfortable shooting a feature documentary as it would be shooting a corporate event or an interview for the evening news.”
Lens-Camera Communication
Compliance of the Canon CINE-SERVO 17-120mm T2.95 lens with industry-standard camera-to-lens communication protocols helps ensure its compatibility with multiple brands and models of 4K, 2K, and HD cameras. These standards include 12-pin serial communication (common to major broadcast camera brands), Cooke’s /i Technology, and Canon EOS technology (employed by the EOS C500, EOS C300, and EOS-1D C Cinema cameras, and the EOS C100 Digital Video Camera). Specific types of data-management functions involving focus, zoom, iris and other settings can vary, depending on camera brands and models. In the case of the Canon EOS system, precise lens data – including aperture setting – are displayed in the EOS camera’s viewfinder, as well as recorded in the video file as metadata along with the model name of the lens and focal length setting.
Dual Operability
With its Canon Digital Drive handgrip unit attached, the CINE-SERVO 17-120mm T2.95 lens is ideal for shoulder mount camera configurations commonly employed in ENG, broadcast, or cinema shooting. Attaching the Digital Drive unit does not require manual adjustment of the focus, zoom, and iris gears on the lens, and a rubber cap prevents dirt from entering the Digital Drive unit connections when it’s detached. Together with Canon’s unique LCD display equipped on the Digital Drive unit that allows the operators to easily access the various digital functions, a 16-bit high-precision microprocessor contained within the Digital Drive unit enables operators to pre-program focus and zoom position/speed, as well as iris settings if desired – allowing for precise, repeatable performance. The microprocessor also provides the capability of a very high-speed zoom of 0.5 seconds to a very slow and consistent zoom of 300 seconds, from wide-end to telephoto-end. Three 20-pin connectors on the Digital Drive unit enable the use of zoom and focus demands or the precision integration of images from the lens and its accompanying camera into a variety of virtual set systems.
In addition to its removable ENG-style Digital Drive unit handgrip that gives users a choice between programmable broadcast-style or fully manual cinema-style operation, the new Canon CINE-SERVO 17-120mm T2.95 zoom lens integrates strategic design features for intuitive, convenient operation by a wide range of camera operators. These features include an ergonomically designed compact and lightweight Digital Drive unit that fits into an operator’s hand and brings the palm closer to the center of the lens barrel which can contribute to lessening fatigue on the operator’s arm. The lens barrel markings are clearly engraved in both feet and meters on both sides of the lens barrel, and focus indicators on the front side of the lens are marked on an inclined surface to make them easier to see from the back of the camera, especially when mounted on an operator’s shoulder. Additionally, luminous paint is used for the scale display on one side of the barrel to help make the markings visually identifiable in the dark.
Combining both broadcast operability and the accuracy required by cinematographers, the lens features a 180 degree focus rotation angle. Both 0.8 type and 0.5 type gear module focus accessories can be used, with the 0.8-pitch gear positioned in front of the focus ring to preclude any interference with the Digital Drive unit or a connecting cord. Major power-driven accessories, matte boxes, and other standard options used by filmmakers can all be mounted. Lens support shafts for support rods as well as a lens hood unit are also included with the lens.
As a symbol of inheriting the optical technology that was developed for other Canon Cinema lenses, a red alumite identity color is used for the mount area. A structure enabling the lens’ EF mount to be replaced with the PL mount, or vice versa (electrical system included), is also incorporated. This conversion upgrade can be provided at authorized Canon service centers.
Pricing and Availability
The Canon CINE-SERVO 17-120mm T2.95 zoom lens (CN7x17 KAS S/E1 in EF mount and CN7x17 KAS S/P1 in PL mount) is expected to be available in August 2014 for a suggested list price of $33,000. For more information, please visit the Canon U.S.A. website atwww.pro.usa.canon.com/cine-servo.
