Canon announces EOS-1D C, C500 and new lenses for NAB 2012

Canon EOS-1D C

Canon EOS-1D C

For the NAB 2012 show in Las Vegas Canon announced the following new products:

  • Canon EOS-1D C 4K camera:

"Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications. Equipped with an 18.1-megapixel full-frame 24mm x 36mm Canon CMOS sensor, the camera records 8-bit 4:2:2 Motion JPEG 4K video to the camera's CF memory card at 24 frames-per-second (fps) or Full HD 1920 x 1080 video at selectable frame rates from 24p to 60p, making it possible for next-generation visual expression with even higher image-quality and resolution performance."

Canon Cinema EOS C500 camera

Canon Cinema EOS C500 camera

  • Canon Cinema EOS C500 camera:

"The 4K imaging format is emerging as the new standard for advanced effects and post-production in Hollywood, and it is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The Cinema EOS C500/C500 PL digital cinematography cameras will not only support 4K-resolution video but also outputs this as a 10-bit uncompressed RAW data stream with no de-Bayering. The cameras offer the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards. All 4K formats can be selected to operate from one to 60 frames per second. The cameras employ a 12-bit RGB 4:4:4 signal format during 2K output, which can be selected to operate from one to 60 frames-per-second (fps) as well. If switched to a 10-bit YCrCb 4:2:2 mode, the camera can operate up to 120 fps."

  • Development of four EF cinema zoom lenses:

"Building upon the historic November 2011 introduction of the Cinema EOS System of professional digital cinematography products, Canon U.S.A., Inc., a leading in digital imaging solutions, today announced the development of four EF Cinema zoom lenses. Designed to deliver exceptional optical performance on 4K resolution Super 35mm-equivalent cameras, each of the four lenses features a compact, lightweight design to facilitate handheld and SteadicamTM shooting while also covering a wide range of focal lengths. Included are two wide-angle cinema zooms - the CN-E15.5-47mm T2.8 L S* (for EF mounts) and the CN-E15.5-47mm T2.8 L SP* (for PL mounts) - and two telephoto cinema zooms - the CN-E30-105mm T2.8 L S* (for EF mounts) and CN-E30-105mm T2.8 L SP* (for PL mounts)."

Canon HJ17ex6.2B lens

Canon HJ17ex6.2B lens

  • Canon HJ17ex6.2B Portable HD lens with improved wide-angle and close-up imaging capabilities:
"Weighing in at less than 4.5 lbs., the HJ17ex6.2B provides videographers with a wide range of expressive possibilities that can help to minimize production costs by reducing the need for multiple lenses. At a 6.2mm focal length, the lens provides an impressive 75.5 degree horizontal viewing angle. Combined with the short 0.4 meter M.O.D. (reduced to 10mm with Macro), the extra-wide angle of the HJ17ex6.2B enables it to be used for vivid shooting even when ultra-close to the subject, such as in small rooms where adequate distance from the subject cannot be attained. The 17X magnification and built-in 2X extender of the HJ17ex6.2B, meanwhile, provide superb telephoto performance, which is so often needed in news and documentary applications. Although capable of focal lengths ranging from wide-end to tele-end, and subject distances ranging from infinite to extreme close-up, the HJ17ex6.2B minimizes optical aberration across the entire screen and exhibits superb optical performance throughout the field."
  • Prototype of 30-Inch 4K Industrial Video Display:

"The prototype to be displayed will provide support for cinema and other video editing processes while also responding to film production needs for consistency and reliability through proprietary Canon high image-quality technology. While detailed specifications and pricing have yet to be finalized, Canon aims to commercialize the display before the end of 2012."

You can see the full press releases here.

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  • adonay pernia

    greetings from venezuela!

    hi ! could you please post some information about the new canon lens C , because i see they have several scale rings , no just distance , thanks for your time

    :-)

  • Video guy

    Before someone says it, you can’t really use 4k and grab a 8.8MP still. Not if you don’t want motion blur. Good video is shot at a framer ate of about 1/50 (180 degree shutter) assuming a 24p frame rate. This makes for nice smooth videos, but not great stills.

    Of course there’s times you’ll use a faster shutter, but usually the video won’t look so smooth.

    • http://www.flickr.com/genotypewriter genotypewriter

      “Of course there’s times you’ll use a faster shutter, but usually the video won’t look so smooth.”

      But if someone is only interested in capturing video to grab frames then who cares about what the video looks like?

      • Video Guy

        Well that’s up to the person. But that’s an a lot of hd space just for one or two shots. Maybe the 100m final at the olympics etc would be an exception. But you’d have to treat it like you’re shooting 25fps stills not video. Video is not shot the same way as stills, you have to be smooth with video, photography you just need to be steady for the moments you’re shooting. No zoning in/out during a shot either. ;)

        So perhaps I should have said. If you want to shoot 4k VIDEO and grab a 8.8Mp still from it for photo use, then it’s not really possible (in most cases) to get both good video and good stills.

        • http://www.flickr.com/genotypewriter genotypewriter

          “So perhaps I should have said. If you want to shoot 4k VIDEO and grab a 8.8Mp still from it for photo use, then it’s not really possible (in most cases) to get both good video and good stills.”

          That’s more like it :)

        • joey

          I don’t dispute that video shot for people view as a movie is shot a particular way. I also don’t know the applications that Canon designed the camera for. I do know that I sometimes shoot video for work that is not intended for people to view. We break the images into stills and use image recognition software to track particles in flow fields often referred to as particle imaging velocimetry. The 24+ frames per second is generally sufficient my purposes.

          My point, if there is one, is canon may be making this camera for purposes that include more than creating movies for people to watch.

  • outkasted

    this is like Whoa….

  • Chris K.

    1D-C for $15,000US

    interesting to see Sony and Canon duke it out for 4k video.

  • R!

    I got to say good job Canon !!!!!!

  • Boing Wronkwell

    Fugly pictures of 1d C at Engadget…..

    • Boing Wronkwell

      By “fugly” I mean the device looks it to me. But then, it’ll be on a dolly most of the time surrounded by loads of other gear, and never visible to those who watch the end result, so WTF does it matter….

      • http://www.flickr.com/genotypewriter genotypewriter

        Haven’t you seen a full-size SLR body before? Are you new here? :D

  • Joaquim Prado

    well as a nikon user and photographer don’t really care about video feature but Nikon always a mile behind Canon on video recording and a step further on photography. Canon is really getting into the digital cinema market and we are all going to see lots and lots of great low budget independent movies shot with thoses canon cameras and it won’t last long this to happen.

    • applepie

      Nikon has usually been a mile behind Canon in the photography department too, from the time the Canon EOS debuted, until the release of the Nikon D3.

      I fully expect that Nikon will put Canon’s video gear to shame, in about 5 years.

      • Robert Falconer

        Ahh, if only any of that were actually true.

        Nikon pwns Canon in low light capability, metering, flash, legacy integration, etc.

        • http://www.flickr.com/genotypewriter genotypewriter

          “Nikon pwns Canon in low light capability, metering, flash, legacy integration, etc.”

          Nikons are for people who don’t know how cameras work. Sadly, that includes a lot of big-mouthed photographers who just point and click.

          Also who cares about legacy lenses? Canon’s got better lenses than Nikon, at least… use some and see. I know I have.

          • chris

            than why not make the canon even harder to use..
            hm.. maybe we should add razor blades to the grip and a bright laser to the viewfinder, and it should certainly have a concrete body and the buttons should be made out of smashed glass.. no actually the body should be made out of sharp smashed glass too. and the flash should be just a half pipe where you put magnesium in it and lit it on fire.. and the lenses should be covered

            that would be a camera you would probably really proud of how hard it is too use..

            because the nikons are really just for people who point n shoot. *rolleyes
            *rollingonthefloorlaughing

          • chris

            (…) and the lenses should be covered with barbed wire..

          • Mrguyfawkes

            “Nikons are for people who don’t know how cameras work.”

            Wow…in one sentence of statement you’ve manage to discredit yourself entirely and revealed yourself merely a hater/fanboy…..then again,we do live in a free world of internet, poverty and Kony2012(sigh)

          • http://www.flickr.com/genotypewriter genotypewriter

            Just because a statement is used by one group (fan boys) it doesn’t mean the statement is exclusive to that group.

            Logic failure in Nikon camp? :D

          • Canikon FTW

            I shot canon for years. Nikon too. And you sir are either trolling (in which case, well done) or a major idiot.

          • http://www.flickr.com/genotypewriter genotypewriter

            @Canikon FTW: A major idiot is one who shoots all kinds of 35mm “for years” and never learns the limitations of the format ;)

    • Dhdj

      The D4 and D800 are hardly miles behind

      • Joaquim Prado

        come on! Optics from Nikon are far better than Canon… At least I have seen lots of 5D MKII with nikkor lenses, so why is that? I know a lot of canon users that switched to Canon because of Video features and keeped their nikkor lens. Also this is pretty subjective and personally I prefer nikon ergonimics compare to any canon body, such as nikon metering system which is amazing (my fm3a meters better than any DSLR from Canon). I don’t really care for Auto-focus system and don’t have a opnion on date but at least I am able to use my older lenses in the digital system with metering on A mode (which is my favorite), canon swtich mount to force users to buy new lenses when introduced EOS system and their FD lenses can be only used with adapters and fully manual!

        Nikon users like their DSLR because it have great ability to produce great quality pictures! Canon users like their 5D MKII because it films like a charm! There is a diffrent marketing share on that.

        • http://www.flickr.com/genotypewriter genotypewriter

          Joaquim: You’re concluding things based on what others are doing and worst of all, based on what you see.

          Try the Canon lenses… they’re better and they wipe the floor with Nikons. Why else would I shoot Canon? I can afford and also adapt Nikons too if they had anything good.

  • ATK

    Small market for now….good luck canon !!

    who know ? new nikon D4C should be announced in the next month and launched on the market before Canon 1DC… haaaa haaaaaa

  • anon

    .
    …Canon is much more invested in video than Nikon…its as simple as that.

    Nikon is focused more on stills, almost like Leica (which is necessarily exclusively stills)…but they need to keep up with the changing demands of their client base and features of their most obvious competitor…

  • Pikemann Urge

    Not that long ago, some people were saying that 2K resolution was enough. Now those same people will be buying these new cameras and waking up to the fact that 2K is was not enough after all. Canon is still not on par with RED, even when price is considered – but their lenses will be good for sure.

    Oh and if anyone thinks that SLR lenses are good enough for cinema use (low budgets excepted) then ask yourself why Canon is competing with Zeiss in the ‘affordable’ cine lens category. Both Canon and Nikon make their share of unacceptable SLR lenses.

    • http://www.flickr.com/genotypewriter genotypewriter

      “Oh and if anyone thinks that SLR lenses are good enough for cinema use…”

      You make it sound almost as if it’s a platform/format issue with SLRs vs. cine cameras.

    • Mark

      Depends on how you define “as good.”

      For image quality, yes. Zeiss reps in interviews say the optics are pretty much the same as those found in their ZF or ZE line.

      For use with a follow focus, yeah no. Cine lenses have crazy long focus throws and ultra precise markings for fluid focusing during shots. They also don’t have click stopped apertures so you can have smooth iris openings and closings.

      The Zeiss lenses are also hand made in germany, in smaller numbers than photo lenses. I don’t know how the Canon C lenses will be made, but I’m sure it’s the same, but in Japan.

      I would not want to use a CP2 prime for still photography. It wouldn’t do anything for me at all, in fact it would make my job HARDER.

      They’re different tools for different jobs, that’s it.

      Same reason I wouldn’t want to use the Arri Alexa for low light photography over the D3S, or vis-versa.

  • Pikemann Urge

    I would not want to use a CP2 prime for still photography. It wouldn’t do anything for me at all, in fact it would make my job HARDER.

    Actually… for some subjects (e.g. landscapes) it would make your job easier. Cine lenses – especially wide-angles – have negligible distortion and more even illumination across the frame. For photojournalism you would probably not want to be shooting with cine lenses. :-)

    • http://www.flickr.com/genotypewriter genotypewriter

      Have you used the CP.2 lenses? Or are you just speculating? Like Mark said, optically they’re exactly the same as the ZF/ZE lenses. So the vignetting and distortion levels are the same. Zeiss also mentions better “light traps” in the CP.2 versions but that doesn’t help with the distortions.

      I’ve used the CP.2 85mm T2.1, which seems to be a 85 1.4 with a smaller iris (stopped down to around f/2 permanently). It has around 1 stop darker corners on FF. And this is exactly the same vignetting amount you get when you stop the ZE/ZF.2 85 1.4 to f/2.

      The only place they’ll be different from the ZF/ZE versions, for stills, is in the out of focus (bokeh-) highlight circles, since the cine lenses have rounder irises.

  • Pikemann Urge

    Like Mark said, optically they’re exactly the same as the ZF/ZE lenses. So the vignetting and distortion levels are the same.

    Oh, I’m sorry. I should have been reading more closely. I assumed that they were just ‘affordable’ Zeiss cine lenses as opposed to re-housed ZF optics (some of which are as bad as the Canon or Nikon equivalents). Mea culpa. In that case I certainly would not want to assume anything about them (shame, because the whole point of cinema lenses is that you’re allowed to take certain things for granted).

    • Mark

      You have to take into account that 35mm still format is a larger format than super35. That may account for changes in consistency in the image quality. Super35 is more like APSC.

      We’re I doing landscape and wanted a Zeiss lens to do it with, I’d opt for the 21mm Distagon ZE. Great lens, and I like lenses that vignette because it’s so easy to correct, but faking it in LR is not quite the same.

      • Mark

        Were*

      • http://www.flickr.com/genotypewriter genotypewriter

        Adding vignetting can be faked perfectly to match that of any lens at any aperture. And no expert, not even the designer of the lens, would be able to tell under close scrutiny, if done correctly.

        CA “removal” on the other hand is not like that. An image from a lens without CA is significantly better than an image caught with lens whose CA has been removed in post.

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