Canon officially announces the C100 (and the C500)

Canon unveiled the rest of the family of Cinema cameras with the C100 and C500. The C100 (which is new to the blogosphere) is the the smaller brother of the C300 (and the 4k C500) camera will run an predicted $7999 (which really means it will retail between $5-7,000 conservatively).

  • 85% of the size of the EOS C300 model,
  • push auto iris function,
  • one-shot auto focus
  • a multi-angle 3.5-inch LCD control panel
  • a high-resolution electronic viewfinder (EVF)
  • built-in ND filters
  • dual XLR inputs
  • locking HDMI output.
  • Dual SD cards
  • Super 35mm 16:9 CMOS sensor
  • ISO range of from 320 to 20,000
  • DIGIC DV III image processor
  • The camera’s AVCHD codec utilizes MPEG-4 AVC/H.264 compression similar to the codec used in Canon’s XA10 professional HD camcorder.
  • AVCHD features a maximum recording bit rate of 24Mbps in full HD 1920 x 1080 and 4:2:0 color space

  • .

    Read the Press release



    Two New Camera Models Fill Out a Well-Rounded Cinema EOS Line-up with
    High-End 4K and Entry-Level HD Camera Solutions

    LAKE SUCCESS, N.Y., August 29, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, continues its commitment to the advancement of tools for visual expression and expand its contribution to cinematic culture with the introduction of the new EOS C500 4K Digital Cinema Camera* and the EOS C100 Digital Video Camera*. The C500 will take its place as the flagship camera model in Canon’s Cinema EOS System while the C100 provides another option for beginning filmmakers working on a budget. The C500 is Canon’s high-end professional 4K (4096 x 2160-pixel) cinema camera capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. The C100 digital video camera is a compact, affordable entry-level model delivering full 1920×1080 HD video and integrating the popular AVCHD codec for universal compatibility with laptop and desktop editing systems. The C500 will be available in both EF- and PL-mount versions; while the C100 will be offered in EF mount only and will be compatible with the more than 70 zoom and prime lenses in Canon’s EF, EF-S and EF Cinema lens lineups. All products in the Canon Cinema EOS line are engineered to provide exceptional image creation capabilities for professionals in the motion picture, television, and other diverse high-resolution digital production industries.

    “We developed the Cinema EOS C500 digital cinema camera to deliver the benefits of full 4K motion capture to Hollywood’s premier filmmakers, while the C100 is designed for economical productions that need sophisticated HD capabilities and optical lens diversity. As we said in November of 2011, the C300 was just the beginning to our Cinema EOS system and we now offer a more complete system of imaging solutions with a range of cameras for every level of production,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A., Inc.

    The EOS C500 4K digital cinema camera and EOS C100 digital video camera join Canon’s Cinema EOS System which includes two other camera models, the EOS C300 digital cinema camera for mainstream HD production and the EOS-1D C 4K Digital SLR cinema camera for 4K and HD filmmakers favoring the SLR form factor. The Cinema EOS System also offers filmmakers optical diversity with seven EF Cinema lens models: the compact and lightweight CN-E15.5-47mm T2.8 L wide-angle cinema zoom and the CN-E30-105mm T2.8 L telephoto cinema zoom (available in EF and PL versions); the CN-E14.5-60mm T2.6 L wide-angle zoom and CN-E30-300mm T2.95-3.7 L telephoto zoom (also available in EF and PL versions); and the CN-E24mm T1.5 L, CN-E50mm T1.3 L, and CN-E85mm T1.3 L prime lenses for EF-mount cameras, in addition to the more than 60 lenses in Canon’s EF and EF-S lens lines (which include macro, fisheye, telephoto, and tilt-shift models).

    4K, 2K, and Full HD Image Quality

    The Canon EOS C500 and C500 PL digital cinema cameras are designed to provide a versatile high-quality 4K imaging solution to high-end productions. High-quality 4K resolution imaging has become the new standard for advanced effects and is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The C500 and C500 PL cameras output 4K resolution to external recorders as a 10-bit uncompressed RAW data stream, as well as offering 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. When shooting in 2K, the C500 and C500 PL cameras employ a 12-bit RGB 4:4:4 signal format from one to 60 frames-per-second (fps) as well. For high-speed shooting and slow motion capture the cameras can be set to a 10-bit YCrCb 4:2:2 mode, and can output 4K or 2K video up to 120 fps.

    While outputting 4K or 2K video to an external recorder, the Canon EOS C500 and C500 PL digital cinema cameras simultaneously record a 50 Mbps Full HD video file in-camera to the user’s choice of one or two CF cards. The 8-bit 4:2:2 in-camera recordings can be used as a proxy for offline editing of 4K projects, and they are also suitable for various projects that do not require 4K resolution. Equipped with Canon’s exceptional Super 35mm 8.85-megapixel CMOS sensor, both C500 camera models are compatible with a wide range of interchangeable Canon lenses – the C500 is compatible with EF, EF-S and EF Cinema lenses for Canon SLR cameras, while the C500 PL is compatible with PL-mount EF Cinema lenses and other PL-mount lenses. Highly mobile and compact, the C500 digital cinema camera provides the same ergonomic features as the C300 model, with the exception of a fixed hand grip that incorporates a pair of 3G-SDI ports for 4K video output and another pair of video ports for monitoring purposes. Canon is working with several independent manufacturers of external video recorders to support smooth workflow options, and these recorders are expected to be available by the time the EOS C500 and C500 PL 4K digital cinema cameras ship to authorized dealers later this year.

    One-Person Full HD With Automatic Functions

    A cost-effective camera solution for a wide range of everyday users, the EOS C100 digital video camera is ideal for many full HD applications such as:

    Low-budget television production and independent moviemaking
    Museums, galleries, and film schools that utilize Full HD video
    Wedding, corporate and event videography

    The EOS C100 digital video camera is approximately 85% of the size of the EOS C300 model, for maximum mobility. Designed for professional operability, the C100 includes a push auto iris function, one-shot auto focus (or full manual focus and exposure control), a multi-angle 3.5-inch LCD control panel, a high-resolution electronic viewfinder (EVF), built-in ND filters, dual XLR inputs, and a locking HDMI output. These features combine with such advanced technologies as reduced rolling shutter artifacts in 60i mode, enhanced gamma modes (including Wide Dynamic Range (DR) Gamma and Canon Log Gamma), cinematic depth of field characteristics, and excellent low-light performance. The C100 records to dual SD cards contributing to the camera’s reduced size and convenience.

    Like its C300 sibling, the EOS C100 employs Canon’s uniquely designed Super 35mm 16:9 CMOS sensor that captures individual R, G, and B channels for each full HD 1920 x 1080 frame. This high-sensitivity CMOS sensor provides creative depth of field capabilities for an excellent “bokeh” effect, and provides an ISO range of from 320 to 20,000, enabling the capture of images in low light with minimal picture noise. The Canon DIGIC DV III image processor in the C100 helps ensure high color fidelity and smooth color gradations. The camera’s AVCHD codec utilizes MPEG-4 AVC/H.264 compression similar to the codec used in Canon’s XA10 professional HD camcorder. AVCHD features a maximum recording bit rate of 24Mbps in full HD 1920 x 1080 and 4:2:0 color space for sharp, vivid images. Multiple recording modes, resolutions, and frame rates (including 24p) make the C100 creatively flexible for many production environments. The C100 also offers enhanced gamma modes (including Wide DR Gamma and Canon Log Gamma) for a peak dynamic range of 800% and the wide exposure latitude needed for creative post-production image processing, color correction, and contrast manipulation.

    Designed for extensive operational versatility, the Canon EOS C100 digital video camera features a mobile core configuration that allows users to flexibly add accessory parts to the main camera body according to their production needs. A removable side-mounted rotating grip with start/stop button and miniature “joystick” menu control provides traditional SLR camera-style operation. A detachable handle unit connects to the top of the C100 and includes dual XLR connectors, a built-in stereo microphone, a bracket for an external microphone, audio-input level adjustments, and a tally light. The C100 records linear PCM two-channel audio or Dolby digital two-channel audio.

    In addition to its ability to record to both SD cards simultaneously, or relay-record from one card to the other, the Canon C100 Cinema EOS camera can also output uncompressed digital HD to an external recording device via its locking HDMI connector. This HDMI output includes superimposed time code and 2:3 pull-down marker information. Additional outputs include a USB connector and stereo headphone jack.

    Pricing and Availability

    The Canon EOS C500 and C500 PL 4K Digital Cinema Cameras are scheduled to be available in October for an estimated list price of $30,000. The Canon EOS C100 Digital Video Camera is scheduled to be available in November 2012 for an estimated list price of $7,999.

    Martian Landing Footage Interpolated to 25 FPS

    YouTube user hahahaspam took the publically available 5 fps footage from Curiosity’s descent onto the Red Planet and interpolated it to broadcast standards.

    I downloaded the 1648x1200px pictures from here and imported them into After Effects as an image sequence. Then I stretched the image sequence to run at 25 fps which resulted in a legit frame being copied 4 times until the next real frame came. At this point, I went to the original image sequence and started oding manual motion tracking, watching a crater here or there. I made sure I always had at least two data points at any given time so that I could reposition and rotate for fluid motion.

    Then I copied that motion tracking data to some null objects, and told after effects to interpolate the data in between using bezier curves. Here is a picture of that progress.

    Well, this wasn’t quite enough because I needed the difference in movement between frames, not motion overall, so I coded for position and rotation with After Effect Expressions [...]

    This gave me a pretty good approximation for the main duration of the descent. Near the end I had to start accounting for changes in scale, and I went in a manually had fun with the heat shield for the first couple seconds of its descent. That’s why it looks extra smooth for the first bit.

    Comparison between the original and interpolated footage:

    Via PetaPixel

    Meet the Dude behind “The Dude”

    Sundance Award winning director JEFF FEUERZEIG, (THE DEVIL AND DANIEL JOHNSTON, ESPN 30 for 30′s THE REAL ROCKY), reveals the inspiration for the beloved central character in the Coen Brothers’ cult-favorite film THE BIG LEBOWSKI. This documentary short follows Jeff Dowd to a Lebowski Fest offering a glimpse into this fascinating subculture and colorful real-life character behind the iconic mythical Dude and the secret to how he always abides…

    THE DUDE (Director’s Cut) from Jeff Feuerzeig on Vimeo.

    The Basic Filmmaker’s “Code of a Filmmaker” came up with 12 rules to live by as a filmmaker.

    1. I promise to create the best works I can, using the time, knowledge and tools I have available, and complete those works to the best of my ability.

    2. I promise to not explain or make excuses for my work, but to improve my competence by learning and practicing my craft.

    3. I promise to help others when I can with those things I know, and to not pretend I know something when I don’t.

    4. I promise to not make less of my own or another’s work, and to not damage another filmmaker’s reputation or status.

    5. I promise to give advice to those who ask for it, and to keep my advice constructive and helpful.

    6. I promise to ignore and not engage those who are super-critical and irrational.

    7. I promise to not condone the theft of another’s work, and will legally obtain, license and credit another’s work as required.

    8. I promise to get the proper releases and permissions I need for my work as required.

    9. I promise to treat those around me with respect, courtesy, and understanding, and to help them understand the film making process and its terminology.

    10. I promise to not permit unauthorized photos, shots, sound recordings, or information given to me in confidence, to be passed on to anyone for any reason.

    11. I promise to not condone any type of discrimination of any filmmaker because of race, color, religion, creed, age, sex, or national origin.

    12. I promise to recognize and support Filmmakers, knowing their true intentions are to have their ideas brought into being, shared and enjoyed by others.

    Submitted by Simon Hosick

    Revenge of the Revenge of the Great Camera Shootout (the Wrap)

    Camera tests be damned as John Hess pixel peeps (or doesn’t) Zacuto’s Great Camera Shootout.

    Listen Audio Only:

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    The Zacuto Shootout films (all 103 minutes of it)

    Art Adam’s Article on PVC

    To quote Steven Poster, ASC, in part 2, “You have to be very careful what you release into the world.” Showing the film industry a series of camera tests where the results have been manipulated to make them look as similar as possible does no one any favors—unless you make the differences clear FIRST. I, for one, am dreading the phone call where, based on this test, someone tries to talk me into shooting with a GH2 because it “looks nearly as good” as an F65. Do I do my due diligence and try to explain the technical nuances of the test and risk losing the job because I appear at best “geeky” and at worst argumentative? Or do I just nod my head, say yes, and collect the paycheck? That’s not a choice I want to have to make. I do my best to ensure that my clients get the most bang for their buck, but if they want to second guess me… I’d be stupid to turn down the paycheck. And then, one way or the other, we all lose.

    Art Adam’s in the comment Section in response to Steve Weiss of Zacuto:

    In my opinion the best thing you could have done is to show the differences first. By showing the re-lit footage first and trying to fool a bunch of people into potentially picking the poor cameras you set a bad precedent. Francis Ford Coppola is a director, not a DP, and while he has impeccable visual taste he does not have as nuanced an eye as a lot of people in that room. But—his quote is the one Gizmodo picked up on, and a lot of other people will pick up on it too. He’s very well known, and people don’t know that he’s not as visually sophisticated as, say, Steven Poster, ASC or Daryn Okada, ASC.

    Will they also pay attention to him liking the Epic and Alexa? Sure! But the GH2 is the one that’s going to stick because it costs $700. That’s what a lot of people want to hear: that you don’t need to spend a lot of money to buy a camera that will allow you to become a famous filmmaker. (RED started that, but more on that subject later.)

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    Filmmakers: Continue to think of the Critic as Irrelevant

    “Asking a writer what he thinks of critics is like asking what a fire hydrant feels about dogs.” No one has portrayed that Ann Landers quote better (or more directly) than Mel Brooks in History of the World: Part 1 in the sketch where a caveman critic pisses all over a newly envisioned cave drawing. Not only is the relationship between creator and critic as old as man, it’s also always involved urination.

    On the most recent edition of the Scriptnotes podcast, screenwriters John August and Craig Mazin discuss the looming spectre that is The Critic – a terrifying boogeyman for some, a knock-kneed weakling to others, and a complete non-entity to more.

    “Well this isn’t going to endear me with many critics,” begins Mazin (who recently explained the depressing state of screenwriting as a career to Reject Radio listeners). “I don’t care. I do not care. I don’t write movies for critics; I write movies for audiences. My entire focus is on what the audience thinks of the film.”

    The thing is, that outlook does endear him to me. That may sound counter-intuitive coming from a critic, but it’s an excellent mindset to have as a creator. Here’s why.

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