Articles tagged #CINEMA
Articles tagged
#CINEMA
Garage Sale 2022
Bring your car, bring your van, bring your trailer 'cause the Videocraft Garage Sale is back baby!
We're having a garage sale in Melbourne and selling off everything from ex-demo to ex-rental and overstocked items!
Come and get yourself a bargain.
Be quick - once it's gone, it's gone!
Date: Saturday 19th of March
Time: 10am - 2pm
Where: 148 Highbury Rd, Burwood VIC 3125
Why Videocraft chooses the FX3 over the A7S
Arden from Videocraft delivers the low down on the 5 reasons why we choose the FX3 over the A7S for video.
New Updates to FX6 Cinema Line Camera
Sony announces new updates to FX6 cinematography cameras
Sony FX6 features released and here’s the reasons why we love it!
After the year we've had so far, we've all been looking forward to a bit of good news from Sony. After the release of the A7S MK3 and the early teaser of the Sony FX6 in September, there has been a lot of discussion on the Internet about what features the camera will and will not have. The early morning announcement reveals that the new Sony FX6 gives us pretty much everything that everyone had wished for and then quite a few other things as well. The FX6 is the newest addition to Sony’s recently announced Cinema Line series of Digital Cinema cameras, joining the PXW-FX9 and the flagship VENICE in the range. Sony’s Cinema line represents a real change in philosophy from Sony, moving from the idea of producing cameras that produce images that try to match what we see in day to day life, to producing cameras with images that evoke a feeling. This is the basic premise of Sony’s S-Cinetone colour science and is a big step forward for Sony. Sony has been criticised over the years for producing cameras that produce ‘cold’ images out of the box, but Sony’s Cinema Line cameras certainly swing well away from the traditional ‘Sony’ look.
Canon EOS C70 new compact Cinema EOS camera
Canon Australia launched the new EOS C70, it combines the image quality of the Cinema EOS System with the compact size, portability and flexibility of its EOS R line-up of cameras, so you get to enjoy the RF-Series lens range. The EOS C70 comes complete with pro interfaces and input/output terminals and ports, which makes it a suitable choice for a broad range of uses including documentaries, productions of all sizes, newsgathering, and events such as weddings. Content Creators wanting to achieve higher production quality for social media content on channels such as Instagram Stories or Reels or especially for TikTok, the C70 makes it much easier to capture thanks to the EOS C70’s vertical shooting capability.
New Canon EOS C300 MKIII and 25-250mm Cine Servo Lens
[vc_row][vc_column][vc_column_text]Canon Australia launched today the EOS C300 Mark III, Canon’s next-generation Cinema EOS System camera with a new Super 35mm 4K CMOS DGO (Dual Gain Output) sensor, modular design and the ability to record in multiple formats. Canon also revealed the CN10X25 IAS S, a versatile, 8K-capable 25mm-250mm 10x power zoom CINE-SERVO lens with exceptionally broad focal length range and capabilities to extend up to 375mm using its built-in 1.5x optical extender.[/vc_column_text][vc_images_carousel images="4850,4854,4849,4848,4853,4852" img_size="medium" css=".vc_custom_1587431764799{margin-top: 1px !important;margin-right: 1px !important;margin-bottom: 1px !important;margin-left: 1px !important;}"][vc_column_text]EOS C300 Mark III's key new feature is the new DGO sensor that enhances HDR output exceeding 16-stops of dynamic range, configurable design (similar to that of the EOS C500 Mark II launched last year) and enables the ability to record up to 120fps in 4K Cinema RAW Light or XF-AVCi. Such features make the EOS C300 Mark III the perfect choice for those looking to produce everything from documentaries and commercials to corporate videos and dramas. The production of the EOS C300 Mark III, along with the new CN10X25 IAS S, is a great combination for producing high-end content across all genres. Outstanding HDR with new DGO sensor
The first of Canon’s cameras to include the DGO sensor – a newly developed imaging system that offers exceptionally clean low light picture quality as well as superb HDR acquisition capabilities. Each pixel on the DGO sensor is read out with two different amplification levels – one high and one low – which is then combined to make a single image. The higher amplification readout is optimised to capture clean details in darker areas, while the lower amplification readout is optimised to capture details in brighter areas. When combined, at pixel-level accuracy, the details and the qualities on the highlight and low light areas of the image are maintained and enhanced, enabling professionals to achieve an impressive higher dynamic range of up to 16+ stops. What’s more, the DGO sensor is also compatible with Dual Pixel CMOS AF offering professionals greater creative freedom. Flexible workflow for any style of productions 
The versatile multi-recording format ability of the EOS C300 Mark III provides workflow efficiency to fulfil multiple production requirements across broadcast and cinema. The camera’s ability to internally record 4K Cinema RAW Light provides all the benefits of a RAW file in terms of flexibility in post-production, but in a smaller file size – easing the burden and cost that can come with large file sizes. In addition to this, the EOS C300 Mark III can record internally in Canon XF-AVCii at 4K DCI and UHD at 4:2:2 10-bit, as well as 2K and Full HD. For non-RAW recording in XF-AVCiii, professionals can select ALL-I or Long GOP to film with high compression for efficient workflow and longer recording times. When recording 2K or Full HD in Super 35mm, footage boasts the 4K sensor’s full capabilities. This recording is downsampled internally to record the footage at the resolution selected by the user – providing higher image quality and uncompromised field of view of the selected lens thanks to no cropping of the sensor. Versatility sits at its heart
Professionals can configure the camera using two different optional Expansion Units (EU-V1 and EU-V2) – both which add extra connection terminals to the camera body and expand the camera’s compatibility with various styles of shooting. Additionally, the lens mount can be changed between EF, PL and EF Cinema Lock mounts without the need to send the camera to an Authorised Service Centre – a huge benefit for professionals looking to create productions with various looks. The EOS C300 Mark III will be available from June and the CN10X25 IAS S available from July. EOS C300 Mark III Key Features:- New Super 35mm 4K CMOS DGO (Dual Gain Output) sensor
- 16+ stops of dynamic range
- 4K 120P high-speed supported
- Multiple internal recording options:
- 4K Cinema RAW Light 10-bit or 12-bit
- 2K RAW recording in Super 16mm Crop, 10-bit or 12-bit
- XF-AVC (MXF) recording, 4:2:2 10-bit ALL-I or LongGOP
- Up to 120P 4K RAW or XF-AVC recording, up to 180P in Super 16mm crop 2K/FHD.
- User changeable lens mount (EF, PL or EF Cinema Lock)
- Flexible, modular design with optional expansion modules and EVF
NEW hybrid CN10X25 IAS S CINE-SERVO lens
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_images_carousel images="4855,4856,4858,4857,4859" img_size="medium"][vc_column_text]With outstanding optics and compact and lightweight design, the versatile 4K and 8K-capable CN10X25 IAS S CINE-SERVO lens meets multiple production needs. Thanks to its wide focal length range, ability to be configured for both broadcast and cinema productions, and compatibility with Super 35mm and Full Frame sensor cameras; the CN10X25 IAS S CINE-SERVO lens is ideal for professionals looking to filming high-quality productions across a wide range of genres such as drama, commercials, sports and documentary. For these reasons, the lens makes a great pairing with the likes of the new EOS C300 Mark III. With its 11-blade aperture, a soft and subject popping bokeh is achieved with warm colour tones for high image quality and cinematic rendering. When used with Canon’s Cinema EOS System cameras, including the EOS C300 Mark III, the CN10X25 IAS S CINE-SERVO lens offers top image quality, operability and reliability the industry is looking for. Ability to handle a range of filming situations Producing optically excellent ‘cinematic’ images that are sharp from centre to outer edges, the power zoom lens can handle a large range of shooting situations from 25mm wide angle, to 250mm telephoto. This range can be pushed to an impressive 375mm with the built-in 1.5x optical extender, allowing professionals to capture exceptional close-up content of breathtaking moments happening in distance. What’s more, with the built-in extender it is possible to enlarge the image size of the lens to make it compatible with 35mm Full Frame sensor cameras – such as Canon’s EOS C500 Mark II – a great advantage that pushes the capability of the lens. Flexible design with multiple communication functions The ergonomic drive unit of the CN10X25 IAS S is detachable, suiting a multitude of broadcast and cinema production requirements. Its lens mount can also be interchanged between an EF and PL mount providing even greater value and flexibility to professionals. It’s compliance with a wide range of communication standards supporting EF communication with EF mount and Cooke Technology with PL mount, provides additional support and functionality which is hugely beneficial for those looking for a high-quality lens suitable for various productions. A 12-pin serial communication is also supported for broadcast standards, as well as a 20-pin connector which outputs accurate lens positional data for various virtual systems. CN10X25 IAS S Key Features:- 4K and 8K camera-compatible image quality
- 25mm wide angle and 10x high-power zoom
- Internal 1.5x extender
- Detachable drive unit
- Interchangeable EF and PL mount
- Compliant with wide-ranging communication standards with a lens-to-camera communication function for added experience
Sony FX9 Camera, features in more detail
We recently interviewed Hiroki Hamamoto from Sony Japan whilst he was visiting Australia and asked him about all the new features available on the Sony FX9 Features we love about the FX9The Sony PXW-FX9 is definitely the talk of the town and a lot has been discussed about the Full-Frame sensor and more importantly when our stock will be arriving, as the first in the country to put orders in we will be pleased to see these cameras hit our shelves hopefully early in the new year. The camera’s full-frame 6K sensor will provide recording in DCI 4K*(4096 x 2160 at 17:9 recording available in future firmware release), Ultra HD and HD resolutions. The image processing with debayering and oversampling ensures image quality beyond the limits of conventional Super 35mm sensors. Compared to a 4K Super 35mm sensor, the FX9’s 6K sensor has over twice the surface area while providing a wider angle of view and shallower depth of field. Sony has this video which highlights some of the key features of the PXW-FX9 beyond its sensor.Sony Product Feature Video for FX9So there are a few key features here at Videocraft we are particularly fond of with the FX9 camera and not necessarily the ones you would expect. Auto Focus Features that work for productions!Tracking shots with Fast Hybrid AF you can effortlessly track fast-moving subjects with pin-sharp focus, even when using wide lens aperture settings to maintain a shallow depth of field with the camera’s full-frame sensor. Developed by Sony’s α camera engineers, the enhanced Fast Hybrid AF combines phase-detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognises and locks on to human faces. The dedicated 561-point phase-detection AF sensor covers approximately 94% of the whole image area width and 96% of the height, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects.
So all these cool functions for auto-focus are also available to camera operators as customisable Auto Focus settings, such as 7-level AF transition speeds from Fast – switching between subjects as quickly as possible – to Slow, where speed is reduced to fit a more measured shooting style, such as a historical TV drama. And also 5-level AF subject shift sensitivity ranges from Locked-on – ignoring other moving subjects in the frame – to Responsive that switches focus from one subject to another – ideal for snapping between race cars as they speed by. Dual Base ISO for stunning images in any light
FX9 features a base sensitivity of ISO 800, providing the optimal dynamic range for typical documentary applications such as shooting outside or in brightly lit interiors. A secondary High Base sensitivity of ISO 4000 excels in low light conditions such as early morning and evening shoots while maintaining superb image quality. ISO 4000 is also ideal whenever you’re using slow lenses. Combining Dual Base ISO with the camera’s electronic variable ND Filter provides superb creative control in almost any shooting environment, equipping you with responsiveness to changing lighting conditions on the go. Cinematic colour science with S-Cinetone™
S-Cinetone is the default look of FX9 that’s tuned to meet the requirements of today’s content creators with rich mid-range colours, alluring facial tones and a softer tonal look – developed with the same expertise as Sony’s world-leading VENICE digital cinematography camera. S-Cinetone means that straight out of the camera your content looks fresh and vivid, with subjects that really stand out while retaining plenty of latitude in post-production thanks to the high-performance full-frame image sensor. Stable, shake-free handheld footage with Image Stabilization
Advanced image stabilisation information means even handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software in post-production to look as smooth as if it were shot with a gimbal. Unlike in-camera or lens stabilisation, metadata generated by FX9’s built-in gyro allows you to creatively choose the balance between the level of shake-compensation and the resolution of trimmed 4K imagery. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilisation workflows. Yippee its Variable ND!So we fell in love with Variable ND on previous Sony cameras such as the FS5 and FS7 and now we get even greater creative control with Sony’s unique built-in electronic variable neutral density (ND) filter on the PXW-FX9. Set it to Auto, or adjust filter density manually in smooth increments from 1/4 to 1/128 as you shoot, for perfectly exposed images without affecting depth of field as lighting conditions change. Use higher density settings with slower shutter speeds for breathtaking artistic effects. So what is 'Electronic Variable ND Filter'?Sony’s Electronic Variable ND Filter can be seamlessly varied while shooting because of its innovative technology, which is optically based rather than using image processing. There are three different ways to use this filter: seamlessly altering the image exposure while shooting by scrolling the dial on the right side of the camera. Selecting Auto ND, where the camera will proactively adjust the density of the filter to find the best exposure for shooting, which works really well in outdoor environments where the light may have considerable variations, this auto function maintains your exposure and adjusts the ND when the light level changes. Or you can set your own fixed filter levels just like you would with a conventional optical ND filter, the default settings are 1/4, 1/16, and 1/64. However, it is possible to change these three settings to whichever values you prefer. Generally, camera operators use iris, gain control, or shutter speed and each has their own side effects to the creative look of your frame, by using the optical-based yet seamlessly control your image exposure with the electronic ND filter without sacrificing your creative choices. Audio is just as important as the images you capture!
Well, the pictures are only half the story and with the 4-channels of audio input and recording on the PXW-FX9 Camera, enables simultaneous use of an external microphone for recording ambient sounds, the built-in microphone for voice memos by the operator, and two optional wireless microphones for voice of interviewer and interviewee. Plus the FX9 offers independent control dials for each channel. In addition, using the optional accessories such as the XLR-K3M, XLR-K2M or XLR-K1M XLR adapters – with two extra XLR inputs – allows even more devices to be connected.On a side note if you are thinking about a multi-cam job with the PXW-FX9 - we’ve been nerding out about the fact it takes external timecode into the camera without having to add any external accessories to achieve it. To get in early and make sure you are one of the first to own an FX9 camera - place your pre-order onlineProduct Review: Sony FS5 II Super 35mm Compact Cinema Camera
News & DocumentaryYes, but with mixed results
Sony unveils new E-mount Cinema lens FE C 16-35mm T3.1 G
Sony introduced a new full-frame E-mount lens, 16-35mm (FE C 16-35mm T3.1 G) to accompany the newly announced PXW-FX9 full-frame format camcorder, offering high optical performance, reliable operability and intelligent shooting functions for professional video creation. Compatible with a wide range of E-mount cameras from VENICE to Alpha™ interchangeable lens cameras as well as the new flagship FX9, the addition of this new lens, optimised for professional video shooting, brings unprecedented creative flexibility for content creators. Sony will further enhance its Cinema Lens line-up going forward. "Our ongoing conversations with partners and customers have shown that there is a clear need for versatile tools which improve efficiencies and drive greater ROI (Return on Investment). Along with Sony’s “One Mount” solution based on its Alpha series, the flexibility of our new E-mount Cinema Lens series offers content creators greater creative freedom and helps them concentrate to their artistic vision," comments Anthony Kable, Group Manager Content Creation, Sony Australia. Lens for a new age of full-frame video shooting The new lens is compatible with intelligent shooting functions of E-mount system that support and improve Large Format Sensor (LFS) shooting. Paired with the new full-frame format camcorder FX9, the new lens supports fast and accurate auto focus, making it possible to track fast moving subjects while maintaining a shallow depth of field. Stunning bokeh and corner-to-corner resolution The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces colour distortion. Additionally, floating focus provides outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon. Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate so they get the exact results they desire. The linear response Manual Focus (MF) feature provides precise manual focusing action. The focus ring with a large rotation angle comes with a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly. Used with compatible cameras such as FX9, remote controllers and supported smartphone applications, full-control of zoom/iris and focus can be operated from the camera. This drastically simplifies lens operation and give more opportunities to capture critical moments. The new range also supports numerous lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8 mod. (32 pitch) gears on each lens ring provides the option to use standard follow focus. Equally, widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression. The new 16-35mm (FE C 16-35mm T3.1 G) will be available from April 2020 onwards.
Everyone is talking about the New Blackmagic Pocket Cinema Camera 4K
Next generation 4K camera features dual native ISO, full 4/3 HDR sensor, 13 stops of dynamic range, and ProRes or RAW recording to internal SD/UHS-II and CFast cards, or even external USB‑C drives! The all new Blackmagic Pocket Cinema Camera 4K, a handheld digital film camera with full 4/3 HDR sensor, dual native ISO with up to 25600 ISO for incredible low light performance as well as 13 stops of dynamic range. It also eliminates expensive external recorders, as it features a unique new USB-C Expansion Port, which allows customers to record using the internal SD/UHS-II and CFast recorders or directly to the same external disks they will use for editing and color correction. The revolutionary new Blackmagic Pocket Cinema Camera 4K is the handheld digital film camera that customers have been asking for. It packs incredibly high end imaging and professional features into a portable and affordable design that can be used anywhere. The compact body style is perfect for shooting independent films and documentaries, fashion shows, travel blogs, web videos, weddings, corporate video, sports and much more. The Blackmagic Pocket Cinema Camera 4K features a full size 4/3 HDR sensor with native 4096 x 2160 resolution and 13 stops of dynamic range for true digital film quality. The full size of the 4/3 sensor is designed to perfectly match MFT lenses so the crop factor is greatly reduced, giving customers a wider field of view. It also features dual native ISO with up to 25600 ISO for incredible low light performance. The Blackmagic Pocket Cinema Camera 4K is packed with features such as a MFT lens mount, large 5 inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, 4 built in microphones, mini XLR audio input with phantom power, Bluetooth wireless camera control, HDMI on set monitoring output and more. The latest Blackmagic Design color science lets customers shoot images that are far better than DSLR cameras and even better than professional digital film cameras costing tens of thousands more.
Designed using a space age carbon fiber polycarbonate composite, the body of the Blackmagic Pocket Cinema Camera 4K is extremely strong and light. The carbon composite material consists of a high strength polymer that’s reinforced with carbon fibers. This gives the camera body incredible strength and rigidity to help protect it from accidental knocks and drops which can often result in damage. The handheld design features a multi function grip which has logically placed buttons and dials that allow super fast access to essential shooting functions such as recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. Fourth generation Blackmagic Design color science lets customers shoot HDR images in film, video and new extended video modes. The new extended mode combines the latitude of digital film with an optimized video file. This gives customers working on fast turnaround projects an ideal solution for shooting great looking images that don’t need a lot of color correction or post production work. Images can be recorded onto standard SD cards, faster UHS-II cards or CFast 2.0 cards in either ProRes or RAW formats. The Blackmagic Pocket Cinema Camera 4K can record 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. It’s also the first camera that lets customers record directly onto the same exact external USB-C media drives they use for editing and color correction. That means customers can turn projects around much more quickly because they don’t have to transfer files. All they need to do is unplug the USB-C drive and then connect it to their computer to start editing. The Blackmagic Pocket Cinema Camera 4K uses the same MFT (Micro Four Thirds) lens mount as the original Pocket Cinema Camera so customers can use the investment in lenses they already own. The MFT mount is extremely flexible and allows for different lens adapters so customers can also use PL, C, EF and other types of lenses from manufacturers such as Canon, Nikon, Pentax, Leica and even Panavision. The rear of the camera features a large bright 5 inch touchscreen that makes it easy to frame shots and accurately focus. It also uses the same Blackmagic OS as URSA Mini so customers can use simple tap and swipe gestures to adjust settings, add metadata and view recording status. On screen overlays make it easy to see recording parameters, status, histogram, focus and peaking indicators, and playback controls. In addition, 3D LUTs can be applied for both monitoring and recording. For audio, the Blackmagic Pocket Cinema Camera 4K features multiple built in microphones with an extremely low noise floor, a mini XLR input with 48 volts of phantom power to connect professional lapel and boom mics, and a 3.5mm stereo audio jack for connecting different types of video camera microphones. The high quality built in audio recording means customers don’t have to carry around a separate recorder. The Blackmagic Pocket Cinema Camera 4K also includes a full size HDMI connector which can output HDR video as well as a clean 10-bit video feed with optional on screen overlays. There’s also an innovative high speed USB-C Expansion Port for adding external accessories such as flash drives and an SSD for external recording. The camera uses standard LP-E6 batteries and can be charged via USB-C or the locking DC power connector, which protects the camera from being accidentally unplugged during a shoot. “Customers love the original Blackmagic Pocket Cinema Camera and have been asking us for a 4K version,” said Grant Petty, Blackmagic Design CEO. “We’ve listened and built a camera that combines all of our newest ideas and customer feedback from the previous model! The new Blackmagic Pocket Cinema Camera 4K is exciting because it packs so much technology into an incredibly small design. We feel it will go well beyond what customers expected. It’s perfect for anyone that needs a truly professional ultra compact digital film camera. This is not a consumer camera that's trying to do high end work, it’s a true high end camera designed for high end work.”BLACKMAGIC POCKET CINEMA CAMERA 4K FEATURES * Full size 4/3 sized sensor with native 4096 x 2160 resolution sized sensor. * Compatible with extremely high quality Micro Four Thirds lenses. * Super wide 13 stops of dynamic range allows capture for high end feature film look. * Up to 25600 ISO for incredible low light performance. * Carbon fiber polycarbonate composite body which makes it lightweight, portable and durable. * Multi function grip for quick access to recording start/stop, still photos, ISO, shutter, aperture, white balance, power and more. * Built in SD, UHS-II and CFast card recorders. * USB-C expansion port allows longer duration recording directly to an external SSD or flash disk. * Standard open file formats compatible with popular NLE software such as 10-bit ProRes and 12 bit RAW. * Features full size HDMI output for monitoring with camera status graphic overlay. * Professional mini XLR input with 48 volts of phantom power for connecting to pro microphones. * 3.5mm audio jack, headphone jack, and locking DC 12 volt power connection. * Built in 5” LCD touchscreen allows accurate focus when shooting 4K. * LCD supports on screen overlays including status, histogram, focus peaking, and transport controls. * Records 4K images at up to 60 frames per second and windowed HD at up to 120 frames per second. * 3D LUTs can be applied for both monitoring and recording. * Blackmagic OS as used in URSA Mini and URSA Broadcast cameras. * 4th generation Blackmagic color science. * Supports remote camera control via Bluetooth. * Includes full license for DaVinci Resolve Studio editing, color, visual effects and audio post production.
PRE-ORDER is available from Videocraft Online
View the short films from the Panasonic EVA1
Sit back and enjoy watching "Near the Superstition", a short film demonstrating the top-class imagery of an EVA1 production. Director of Photography Elle Schneider shot the western in the Mojave National Preserve, where the digital cinema camera captured high-quality footage in extraordinary weather and lighting conditions. No matter the circumstances, the newly-developed Panasonic camera utilizing Dual Native ISO and 5.7K Super 35mm ensures a truly cinematic experience in visual storytelling.
FIRMWARE UPDATE: Sony PMWF55 Binary Package V 9.00
IMPORTANT NOTE:
Panasonic announces Australian pricing, additional technical specifications for AU-EVA1EN Compact Cinema Camera
“In our VariCam Cinema Cameras, Dual Native ISO sensor technology opened up a whole new world to cinematographers. It allowed them to shoot, light and work in new ways not possible before,” noted Rob Myers, National Sales Manager, Broadcast, Panasonic Australia. “The inclusion of that proprietary technology in the AU-EVA1 means that they will be able to shoot in bright sunlight or night exteriors without compromising the image quality.” The newly-designed AU-EVA1 sensor is Super-35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the AU-EVA1 delivers more than 17.25 million photosites, nearly double the 8.8 million for 4K DCI (4096 x 2160). By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased color information results in a finer, more accurate finished image.
Canon introduces a 4K compact Cinema EOS camera, the EOS C200
Canon announced today the launch of the EOS C200, the latest addition to the esteemed Cinema EOS range. Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals. As the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0TM card. Newly developed Canon Dual DIGIC DV6 processors provide the ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop. At the same time, advances in Dual Pixel CMOS Auto Focus (AF) technology and a new touch screen LCD monitor provide smooth AF operation and effective tracking. [gallery type="slideshow" columns="1" size="medium" ids="https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_rearR_1.jpg|Rear View (Right),https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_rearL_7.jpg|Rear View (Left),https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_back_5_3.jpg|Back,https://www.videocraft.com.au/blog/wp-content/uploads/2017/05/D195_main_1.jpg|Front"]
EOS C200 – key features
Internal 4K recording with Cinema RAW Light and MP4 format Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD Up to 15-stops dynamic range (Cinema RAW Light) Professional High Quality image and audio Dual Pixel CMOS AF with touch control and extensive shooting functions Easy operation and flexible configurationCapability drives creativity
The EOS C200 features Canon’s 4K Super 35mm CMOS sensor with an effective pixel count of 8.85MP, along with the newly developed Dual DIGIC DV6 image processors. As a result, it can deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0TM card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format. Supporting up to 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3), the camera is perfect for capturing highlight and shadow details. The EOS C200 is also capable of delivering both slow and fast motion recording at up to 120fps with no crop in Full HD/MP4, ideal for those wanting creative slow motion capture. An ISO range of 100 to 102,400 guarantees excellent performance, even in difficult lighting conditions, such as when quickly switching between locations. The built-in optical ND filters of up to 10 stops provide further flexibility and convenience, allowing filmmakers to shoot in bright light and expand the depth of field control.Advanced operability and ergonomic design
Built for professionals and ideal for single shooters, the EOS C200 features an advanced AF system that provides reliability and accuracy when shooting 4K, as well as a touch screen LCD panel for filmmakers to easily select their subject. For those who need to switch effortlessly between several subjects in a single shot, the Dual Pixel CMOS AF enables smooth AF operation whilst the Manual Focus Assist Function, Face Detection with Face Priority and Face-Only options provide greater creative focus control. The EOS C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting and will benefit those who are filming for long periods. The compact size also makes the camera suitable for mounting onto a drone or gimbal. Built-in Wi-Fi and Ethernet connectivity allows for browser remote control and the ability to transfer files via FTP, whilst the camera’s compatibility options mean new and existing accessories can be used, including Canon’s electronic viewfinder – the EVF-V70.Cinema RAW Light for next generation workflows
Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs1. As a result, editing and grading of the Cinema RAW Light video format will be supported in DaVinci Resolve of Blackmagic Design. Editing will be possible in Media Composer from Avid Technology, using Canon RAW Plugin for Avid Media Access2. This format can also be processed using a Canon application, Cinema RAW Development3. Support for Cinema RAW Light is also scheduled for EDIUS Pro, Grass Valley’s editing software during 2017. Additionally, a future version of Final Cut Pro X from Apple Inc. will support Canon’s Cinema RAW Light, using Canon RAW Plugin for Final Cut Pro X4.Future Firmware upgrade
Canon’s XF-AVC video format will be available with a future firmware upgrade. This upgrade is free of charge and is planned to be available from 1H 2018.The EOS C200 will be available from late July 2017. To preorder click here
Canon launches compact cine-servo lens
Canon has unveiled a new Cinema EOS lens with cine-servo style functionality - the CN-E18-80mm T4.4 L IS KASS. Designed for professional and advanced amateur videographers using large-format, single-sensor cameras, the lens strengthens Canon’s line of cine-servo lenses, following in the footsteps of the CN7x17 and CN20x50. The latest addition offers the perfect balance of operability with outstanding precision and quality, giving videographers the power to capture exceptional footage.Available out-of-the-box, the lens includes a servo engine which is powered via EF mount connectors, supporting hand-held shooting. For increased versatility, Canon is launching the ZSG-C10, an optional dedicated zoom grip, ideal for use with hand-held rigs. Free of charge, Canon is also announcing today a firmware upgrade to the CN7x17 cine-servo lens, adding Dual Pixel CMOS AF, Push Auto Iris and one shot or continuous AF when used with Canon Cinema EOS C100 and C300 cameras[ii].Outstanding 4K optical performanceBased on Canon’s heritage in optical design and performance, the CN-E18-80mm T4.4 L IS KAS S is equipped with a resolving power that matches 4K, producing exceptionally high quality images. The 18-80 mm focal length equates to 4.4x zoom ratio with stable T4.4 number maintained across the entire zoom range from the center to the edges. Thanks to three Canon Image Stabilization modes, the lens ensures complete stability even during hand-held shooting, perfect for wedding videographers. The CN-E18-80mm T4.4 L IS KAS S also features a nine blade diaphragm, to give the much loved ‘bokeh’ look and is colour balanced, matching other Cinema EOS lenses.The perfect companion for single-shootersWeighing in at just 1.2kg, the CN-E18-80mm T4.4 L IS KAS S is Canon’s smallest and lightest cine-servo lens to date, providing instant benefits for mobile videographers, such as those shooting news and interviews. Its compact size and weight also means it can be used for drone-style shooting or in discreet or restricted positions. It’s also incredibly easy to function, negating the need to switch between lenses, opening up a variety of shooting opportunities for single users.Undeniable performanceThe CN-E18-80mm T4.4 L IS KAS S has an incredible servo performance as the servo unit is incorporated on the body, enabling precise digital zoom operations. Users such as documentary and filmmakers are able to achieve maximum speed and responsiveness with seamless switching between auto and manual focusing and zoom. For those using a shoulder-style rig or shooting hand-held in challenging positions, the ZSG-C10 is a perfect accessory – the grip simply attaches to the side of the lens, offering simple integration and zoom management. The lens features minimal focus breathing, thanks to the 3-group inner focus system. Users are able to quickly change focus without losing viewing angles, perfect for those capturing fast moving activity such as in adverts or corporate film.AvailabilityThe CN-E18-80mm T4.4 L IS KAS S will be available November 2016.
Atomos go Bare Bones and Big at NAB with a 4K Theatre Dome, and lots of upgrades for Shogun
Atomos go big in Las Vegas with a 4K Theatre Dome A 4K Theatre Dome housing a mammoth Sony 4K projector, premium AV kit and comfortable theatre seating within a 45ft diameter inflatable dome has been the centre of attention in Central Hall, especially with free popcorn on entry. The entire 4K production is of course be driven by the Atomos 4K Shogun ... although the dome is a sight to be seen so are their Shogun announcements for both hard and firmware upgrades for both new and existing Shogun users. ‘Bare Bones’ comes to the entire Atomos Monitor Record Line
The Atomos Shogun has contributed to making 4K affordable, manageable and accessible to more filmmakers all while making production simpler and more affordable. A new variant of the Shogun called Shogun ‘Bare Bones’ will soon be available at an even cheaper price point of USD$1695 that removes all accessories except an SSD media case, soft carry case and AC power supply The complete suite of accessories will also be available for USD$395.This allows customers customers to utilise legacy Atomos accessories they already own or decide what makes sense for their first and second 4K camera rig. The “Bare Bones” option has also been applied to the full range of Atomos Monitor/Recorders. Ninja 2 at USD$395 is a steal, it is our original flagship product and our most successful, Ninja Blade and Samurai blade have the 5” SuperAtom IPS 325PPI monitor, calibration, WFM, Apple ProRes and Avid DNxHD and are bare bones for USD$795. Atomos expect Atomos Shogun Bare Bones to be available from resellers in May 2015. Shogun has 7 new hardware features available over the coming months which are free to both new and existing registered users. Shogun users will receive 7 significant hardware enhancements, in addition to the 4 OS feature improvements, all of which have been announced at NAB 2015. Available via free download over the coming months, Shogun users will gain the following: Anamorphic de-squeeze 2x, 1.5x and 1.3x. With a free firmware update due at the end of May 2015, Shogun users will be able to de-squeeze monitored anamorphic content to their true 2.39:1 ratio. In addition to 2.39:1 anamorphic, Shogun will also de-squeeze the Panasonic 8:3 format. These translate into commonly used terms of supporting 2x 1.5x 1.3x anamorphic lenses. RAW recording to ProRes, DNxHR and Cinema DNG Some cameras on the market only output their 4K content in RAW data format over SDI, these include Sony FS700, FS7, Canon C300MkII and C500). On the post production side, some people request to keep the RAW format for grading while others would prefer to encode to a more edit friendly format like ProRes or DNxHR with 3D LUT’s applied. The Shogun is flexible with the ability to take the RAW data from the camera and record direct to RAW (wrapped as Cinema DNG) or to edit friendly Apple ProRes or Avid DNxHR codecs in 4K, UHD, 2K or HD. Expanded RAW compatibility to include Sony, Canon, Arri and AJA Available for free with the Shogun aand recordable to reliable off the shelf SSD from brands like Sandisk, Transcend, Intel etc. With RAW options available for Sony FS series, Canon C500, Arri Alexa and AJA CION. Sony FS RAW will be available from mid June, while Canon C500/ Arri Alexa / AJA CION RAW will be available from the end of June 2015. 3D LUTs on output and in recording Another free update made recently for Shogun users was the addition of 3D LUTs, covering both standard LUTs (C-Log, S-Log 2/3, V-LUT) as well as user defined LUTs in the standard “.cube” format. Up to 8 can be stored on the Shogun which can be accessed via a simple monitor button at the bottom right of screen. LUTs on the output available via free firmware update end May Cinema 4K and 2K DCI support Shogun will be updated to accept and record Cinema 4K and 2K DCI (4096 x 2160p) in addition to the 4K UHD and HD it already is capable of receiving (3840 x 2160p). Available via free update mid June 2015. Uncompressed 4:2:2 HD v210 support A small percentage of customers have requested uncompressed support in the Shogun, especially for green screen and specific post-production tasks. We are happy to offer this group their request free of charge. Available via free firmware update end June. Genlock The Genlock connection on the back of the Shogun will be activated via free firmware end of May 2015 to allow synchronous playback across multiple video devices. Placing the Shogun as the ultimate portable 4K play-out deck for any broadcaster or event production house. Atomos announce a schedule of OS changes that bring with them exciting new features In the space of only 4 months, more than 15,000 Shoguns have rolled off the production line. At NAB 2015, Atomos have announced even more features for new and existing Shogun users, releasing details of upcoming enhancements for AtomOS6. Available via free download over the coming months, Shogun users will gain the following: Custom meta data tagging Now users can create their own custom meta data tags, storing up to “10” tags on the Shogun which are completely customisable. Imagine the ability to mark “Directors pick”, “Out takes”, “Over exposed”, “Audio Pop” and more, all the time slicing through the time taken for the main edit in post production. 
Pre-roll Recording Shogun will continually buffer content internally allowing the user to record the previous 8s of HD recording or 2s of 4K the moment you hit the record button. 
Time lapse video By allowing both the duration of recording in number of frames or length of time and the interval be altered depending on the director’s intent and even multi stage recording is possible, altering the time and duration throughout the period of the shoot. Essentially we have made time lapse keyframeable and flexible in the video arena. 
Playlist generation The new playlist function allows users to not only tag sections within a clip for play-out but also tag entire clips and have them all replayed as a playlist. Convenient when pulling together the best takes of the day or in commercial situations where 4K play-back for immediate storyline review is needed. Shogun is now the world’s first fully portable play-out server. Atomos Power Station. Delivering continuous power for up to 5 devices as well as fast battery charging in a compact design.
In a footprint not much larger than 2 batteries, Atomos Power Station delivers power for up to 5 devices using our patent pending Continuous Power dual battery system, allowing users to hot swap batteries on the fly without interrupting power to their devices. At its core, Power Station consists of 2 batteries mounted side by side that operate together using a continuous circular power system. When one battery gets low it can be removed and charged while the system switches across to the second battery uninterrupted. This patented design by Atomos is used to power up to 3 DC streams (for cameras, monitors, recorders or lighting) as well as 2 USB products such as smartphones or tablets. With a DC input as well, it doubles as a super-fast charger for your batteries – up to 3 times the rate of conventional chargers. Connections and features at a glance: • 2 DC out and included splitter cable to give connection for up to 3 DC devices. • 2 USB terminals to power 1A and 2A USB devices for fast charging of USB cameras or to power any USB device. • DC input with fast charging capability to charge the connected batteries and provide continual AC power for connected devices. • Independent left and right LED front display to give a quick 5 step visual guide on the power remaining for each battery from 100% down to 10%. • Dummy batteries are available to power popular cameras including Sony A7s, Sony FS Series, Panasonic GH4, Nikon D810 and Canon 5DMKIII. • Total power capability up to 5A (DC plus USB), with maximum 3A for USB connections. Blackmagic Design Announces Micro Studio Camera 4K and Micro Cinema Camera
Blackmagic Design today announced both the Blackmagic Micro Studio Camera 4K andthe Blackmagic Micro Cinema Camera. Both to be available in July 2015.
The Micro Studio Camera 4k is an incredibly tiny Ultra HD and HD studio camera for live production. Small enough to fit in the palm of your hand and features a broadcast grade Ultra HD sensor.The new Blackmagic Micro Studio Camera 4K can be used for both HD and Ultra HD production and features a built in color corrector, talkback, tally indicator, PTZ control output, B4 lens control output, and an extremely flexible MFT lens mount that is easily converted to other lens mounts via third party adapters. The small size of the Blackmagic Micro Studio Camera 4K makes it perfect for live multi camera production of reality TV shows, news magazines, sporting events, concerts and more. It’s virtually invisible and can be hidden just about anywhere on set. They can be hidden on stage to get incredible shots of live performances or, because they’re so small, safely flown overhead during sporting events. The Blackmagic Micro Studio Camera 4K is engineered with a super tough magnesium alloy core in a body that’s not much larger than the lens mount itself. It’s compatible with affordable, high performance MFT lenses, or customers can add a B4 adapter to work with traditional broadcast lenses. The camera also features 6G-SDI output and a program return input that allows it to be controlled remotely from a switcher using Blackmagic’s SDI control protocol. This lets customers change camera settings, color balance, black levels, gamma, lens focus, iris, zoom and much more from any ATEM switcher. There’s also a flexible, new expansion port that makes the Blackmagic Micro Studio Camera 4K perfect for remote use. The expansion port features multiple control connections such as a PTZ serial output connection that can be used with motorized heads and a B4 data link output for controlling broadcast lenses. “The Micro Studio Camera 4K is the world’s smallest and most expandable professional studio camera,” said Grant Petty, CEO, Blackmagic Design. “We’re excited to see how customers are going to use it to create better looking, more compelling programs with more angles than ever before because they’ve now got an affordable studio camera that they can fit anywhere and that rivals much larger and more expensive cameras.” Blackmagic Micro Studio Camera 4K Key Features
- Operates up to 2160p30 when operated in Ultra HD or up to 1080p60 when operated in HD.
- Supports SDI camera control protocol allowing full remote control vis single SDI connection.
- Compatible with high quality Micro Four Thirds lenses. Compatible with other mounts via common third party adapters such as B4 broadcast lens mount.
- Includes built in buttons along the front for quick access to menu navigation and settings.
- Includes a 12V power input or users can add an LP-E6 compatible battery for backup power.
- Includes an expansion port with a DB-HD15 connector for power, reference, PTZ and B4 connections.
- Expansion port supports multiple control connections such as PTZ serial output, B4 lens data link output and S.Bus input allowing customers to build customized camera control solutions.
- Built in, two way digital quality talkback connector using iPhone compatible headsets.
- Compatible with ATEM range of live production switchers for full SDI control of cameras.
Blackmagic Micro Cinema Camera Key Features
- High resolution 1080 HD, 13 stops of dynamic range.
- Switchable 60 fps rolling shutter or 30 fps global shutter.
- Features built in 12-bit RAW and ProRes recording and captures true digital film quality images.
- Features an active Micro Four Thirds lens mount. Easily adaptable to other lens mounts.
- Includes built in buttons along the front to quickly and easily change settings.
- Includes an expansion port with a DB-HD15 connector and breakout cable.
- Includes remote camera management, using the expansion port remotely start and stop recording, adjust focus, change the iris and also connect to video transmitters to monitor recording status, battery life and audio levels.
- Includes a HDMI connector for monitoring video output on any monitor or TV.
- Includes SD card slot for recording to high speed and low cost SD card media.
- Includes 3.5mm stereo input for connecting external microphones or to other line level devices.
Canon announces EOS C300 MKII - 4K quality, creativity and versatility
Canon Australia today unveils the EOS C300 Mark II, a new 4K video camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail. Building on the unprecedented success of the acclaimed EOS C300, the next generation camera features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date. EOS C300 Mark II key benefits: • Seamlessly integrate with professional workflows • Automatic features make independent shooting easy • High bitrate internal 4K recording with external RAW • High dynamic range files, ideal for post production • Shoot with confidence in low light with low noise Supreme 4K image quality and versatility With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions. The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™ media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process. The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality. To meet the requirements of a diverse range of shooting applications, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include, enhanced Dual Pixel CMOS AF (now covering approx. 80% of the frame vertically and 80% horizontally), auto white balance and Face Detection AF, all making it easier for independent news gatherers and documentary filmmakers to shoot on the go. Instant integration into professional workflows Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD. The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bit and 48 kHz. Designed for versatility The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations. The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences. Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option2.#NAB2014 Blackmagic Lowers Cost Of Entry To Cinema And Broadcast Production
by Michael Curwood
Canon updates Cinema EOS cameras and unveils a new 35mm EF Cinema prime lens
Canon, announced a host of feature updates to its range of Cinema EOS cameras, as well as the launch of a new 35mm EF Cinema prime lens. “We‟ve developed these feature upgrades in response to market feedback, specifically to meet the evolving creative requirements of modern video professionals,” said Paul Stewart, Manager – Professional Motion Imaging, Canon Australia. “With the significant and rapidly growing footprint of Cinema EOS in Australia, the updates will offer greater creative flexibility and enhanced operability, and clearly demonstrate Canon‟s commitment to the needs of professional video community now and into the future.” Unrivalled low light flexibility with ISO 80000Canon‟s heritage in camera and sensor development led to the creation of a brand new Super 35mm sensor for the Cinema EOS system, offering outstanding performance in extremely challenging low light situations. Now Canon is further enhancing the maximum ISO setting on the EOS C500, EOS C300 and EOS C100, from the current maximum of ISO 20000, to ISO 80000. Unrivalled in the industry, the new maximum setting will allow creative content makers, such as documentary, news and feature crews, to shoot in even more extreme low light conditions, capturing detailed, colourful images. Users will be able to shoot in 1-stop or 1/3 stop increments from ISO 320 right through to ISO 80000, providing incredible creative freedom.Additional enhancements to the Canon EOS C500 A number of additional feature enhancements will be applied to the EOS C500 following user feedback, particularly with regard to cinematic and drama productions. The new firmware updates will offer professionals using the EOS C500 the ability to shoot using wider colour gamuts. In addition to the existing BT.709 gamut, new DCI-P3+ and Cinema Gamut options will be added. DCI-P3 is an established colour space for digital cinema projection, and DCI-P3+ will allow the EOS C500 to fit seamlessly into workflows designed for such a delivery system. DCI-P3+ captures a wider range of colours but cannot account for all of the colours that current sensor technology can capture, so the new Cinema Gamut will provide an even wider colour space. In addition, it will be possible to apply a BT.709, Wide DR or DCI-P3+ LUT to the outputs from the MON.1/2 terminals, increasing monitoring options on-set. High speed options in the EOS C500 will also be expanded, further increasing the flexibility of the camera. A new 4K1K RAW mode will be added, providing the option to shoot at up to 120fps. Unlike the existing 4K2K HRAW mode, in which additive processing is used to create a final image of 4096x2160 pixels when recording at frame rates above 60P, the new 4K1K mode will utilise a cropped portion of the image sensor. Capturing a more cinematic aspect ratio of 4096x1080 pixels, this new option will reduce the risk of aliasing, or „jaggies‟, in the recorded image. 4K2K HRAW will remain as a shooting option. The firmware updates will also provide further support for use of the EOS C500 in productions that utilise an ACES workflow. Aiding on-set monitoring, it will be possible to output a 2K signal from the MON.2 terminal which conforms to ACESProxy10 gamma and the ACES colour space. When combined with suitable monitoring equipment it will become possible to monitor an image in ACES colour on-set. To counter heat generated when filming for long periods of time, especially in 4K or 2K, the EOS C500 has an effective fan-based cooling system. To reduce the possibility of intrusive fan noise during shoots, the Automatic cooling mode has been updated so that the system will stop running during recording. It will automatically start to regulate the camera temperature whenever recording stops, providing more sustained, continuous cooling to reduce the chance of fan activation during a take. Automatic activation during recording may still occur if required to prevent a camera dangerously over-heating. Additional enhancements to the Canon EOS C300 Building on the ease-of-use upgrades announced earlier in 2013 for the EOS C300, Canon is introducing a range of further updates which will enhance camera functionality for solo shooters, including the addition of Wide DR gamma. First introduced in the EOS C100, Wide DR offers the 12 stops of dynamic range available when shooting in Canon Log gamma, but produces a less „flat‟ image which does not necessarily require post-processing or colour grading. This is particularly useful for film makers working on tight schedules or with limited financial resources. The updated EOS C300 will also offer support for the EF-S18-135mm f/3.5-5.6 IS STM lens, complete with continuous autofocus function, and enhanced AE options. Additional enhancements to the Canon EOS-1D CA self-contained 4K camera, the EOS-1D C will also benefit from feature upgrades in 2013, further enhancing the performance and versatility of this unique device. Utilising Canon‟s EF lens mount, it will become possible to display current aperture (f-number) when shooting with Canon EF Cinema lenses, and to store lens metadata. Furthermore, EF Cinema lenses will be supported by the Peripheral Illumination and Chromatic Aberration Correction functions, improving overall image quality. In response to user requests, audio has also been enhanced. Currently audio recording is limited to a mic input, but the forthcoming update will permit selection of Line or Mic, allowing use of an external audio source if required. Enhanced flexibility and operability across the rangeCanon will also improve the operability of the EOS C500, EOS C300 and EOS C100 in a variety of ways. For example, the Magnify function, designed to aid manual focusing, will be enhanced to enable magnified viewing of 25 different segments of the image in view, rather than just the centre portion. A new option will allow users to lock all camera functions, including the REC button, when the Power switch is in LOCK mode, and it will be possible to assign either ISO or IRIS control to the main body and hand grip control dials on the EOS C500 and EOS C300. Enhancements to the Wi-Fi remote control for the EOS C500 and EOS C300 will mean that two users can access a camera at the same time – allowing one to control the shot while the other inputs metadata, improving post production workflow. In addition, the EOS C300/C300 PL and XF300 and XF305 will gain GPS support via Canon‟s GPS Receiver GP-E1, allowing GPS information to be automatically recorded with video footage. Peripheral Illumination Correction will also be expanded in the EOS C500, EOS C300 and EOS C100, with a range of additional EF-mount lenses being supported. This function can help to ensure maximum image quality by reducing shading that may occur in the corners of images. An update to the XF300-series will also see the availability of a new lens hood with built-in lens barrier and the addition of a digital tele-converter function. Canon EF Cinema prime CN-E35mm T1.5 L F lensThe launch of the new EF CN-E35mm T1.5 L F lens enhances Canon‟s existing range of EF Cinema primes to a total of six lenses. The lens has been designed following strong demand from Cinema EOS users, and features a compact design that combines Canon‟s acclaimed optics with fast performance – making it ideal for shooting in challenging low-light conditions. Ensuring consistency when shooting across a number of different Cinema prime lenses, the new 35mm lens provides colour reproduction that matches others in the range, as well as featuring the same form factor and uniform markings, making it easy to switch between lenses when on a shoot.AvailabilityThe Canon EF Cinema prime CM-E35mm T1.5 L F lens is expected to be available from December 2013. The firmware updates for Cinema EOS cameras are expected to be available in Q4 2013, with XF-series updates arriving in Q1 2014.