Description image

Canon C500 4K Camera Gets Price and Release Date, New Cinema EOS Lenses Announced

08.29.12 @ 2:24PM Tags : , , , ,

The lower-cost and somewhat less featured version of the C300, the C100, was not the only announcement from Canon today. We’ve also got a list price and release date for the new 4K shooting C500: $30,000 and October. While the actual price could be lower — much like the higher initial list prices of the C300 and C100 — this camera is more than likely going to be a rental for a lot of people. Canon also announced new EOS Cinema lenses, a 14mm T/3.1 and 135mm T/2.2, and (re)announced two cinema zoom lenses, a 15.5-47mm T2.8 and 30-105mm T2.8.

Here is a little bit from the press release on the cinema prime lenses:

As part of the Cinema EOS System, the lenses will be compatible with standard sensor sizes including Super 35mm, the standard format in the motion picture industry, as well as HD-compatible EOS Digital SLR cameras using 35mm full frame, APS-H and APS-C image sensors. The 14mm T3.1 and 135mm T2.2 EF cinema prime lenses are expected to be available in the first half of 2013, and will be showcased from September 6 – 11, 2012 at IBC2012 in Amsterdam.

The C500′s price is to be expected (especially coming from Canon), but since most projects will be renting the camera rather than buying it, it’s not as big of a concern. It’s a little strange that Canon did not develop their own 4K recorder (though from an R&D perspective it makes sense), but either way users will have to rely on third part products like the AJA Ki Pro Quad (which will be released in December) to actually record in 4K. Image quality will be superb with the C500, and even though it’s not resolving a true 4K (because of debayering), it looked fantastic when I saw it on the big screen in 4K at NAB. This camera will excel in a professional shooting environment, and the price tag reflects that.

As far as lenses go, the new EOS Cinema lenses are very interesting, and although they don’t have an interchangeable mount, they are as fast or faster compared to Zeiss’s CP.2s. The 14mm T/3.1 would go very nicely with a Blackmagic Cinema Camera, except it will cost more than the camera body itself! The 135mm T/2.2 is also a nice addition to the lineup of full-frame lenses (meaning they cover the 36mm x 24mm frame size of the Canon 5D Mark III) that already includes a 24mm T/1.5, 50mm T/1.3, and 85mm T/1.3. No word on availability or price yet (probably somewhere around $5,000 each), but I wouldn’t expect these for a while considering the other cinema lenses have taken almost a year to be released.

Canon is also introducing two new cinema zoom lenses that will certainly be out of the price range of most people Here is Canon on those lenses:

The Canon CN-E 15.5-47mm T2.8 L S/SP wide-angle cinema zoom lens is expected to be available in November 2012 and the CN-E 30-105mm T2.8 L S/SP telephoto cinema zoom lens is expected to be available in January 2013, both for an estimated list price of $24,500 each.

If you’re looking at cinema lenses, Canon is definitely an intriguing option, but it would have been nice to see them offer the prime lenses in a PL mount as well.

What do you guys think of the list price of the C500 and these new lenses?

[via Cinescopophilia & The Verge]


We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 24 COMMENTS

  • Interesting. Ok where were we before this rude interruption, BMCC?

  • The lack of interchangeable mounts is a deal breaker for me. I would want to be able to rent to as large a market as possible. That is what really sets the CP.2′s apart.

    • how many lenses have interchangeable mounts other than the CP.2, With the BMC, 5d, 7d, 1d x and c, c100, c300, c500, Scarlet, Epic, Fs100, fs700, all having ef mounts or for the sony’s extremely easy to adapt a non electronic mount, which you dont need with manual iris anyway, there plenty of cameras to rent ef cine glass to. Higher end cams won’t opt for cp.2s anyway really. EF is going to become a cinema standard along side PL in the years to come. Its creeping into higher end cams.

      • Um, Scarlet/Epic have interchangeable mounts.

      • And the nice thing about the EF standard over PL (apart from electronic features that will prove helpful as they are developed out, even though the “true cinema professional” type dismisses them now) is that it supports full frame 135/Vista-vision sensors.

        Which I would like to see more of (bigger is better when it comes to sensors, unless you are going for a specific “look”). And the good news is, Sony’s mirrorless E mount can just fit a full frame 135 sensor, and they are readying one now. I don’t know if Canon’s mirrorless M mount can fit a full frame sensor, but 80 million lesnes in, they want to keep selling EF glass anyway. So Sony who is strong in sensors and weak in lenses will be the blood type that can accept anybody’s lenses, and Canon will be the blood type everyone else has to accept.

      • I’d much rather have a lens that i can change the mount on than having to adapt the camera mount… Plus I like that the CP.2′s can native mount on anything from a GH2 or 5D all the way up to an Alexa

  • I’m very excited about this camera. I’m a GH2 guy, but I started the DSLR revolution on the 5d2. I’d love to make my first feature on something like this. On the flipside, though, I’m less than enthused abou the C100/300. For the price point and what you get out of it, I’d rather stick with my hacked GH2.

  • C500 for 30k + external recorder = Canon stop the madness.

    • I don’t disagree, but unless you’re someone who can afford a RED EPIC, this is a rental only camera, and for that purpose, the actual retail price is kind of irrelevant.

      • Or for 20k you can get an upgradable Scarlet with interchangeable mounts and similar specs, not even considering the dragon sensor yet. Anyway for me is hard to understand Canon’s price tag but I’m sure they know what they are doing.

        • john jeffreys on 08.29.12 @ 5:38PM

          the dragon sensor is another 6 grand.

          • For EPIC, the SCARLET upgrade pricing/plan has not been announced.

          • As I understood, if you haven’t bought the Epic yet, you won’t pay more for the new sensor when you buy the camera, I don’t know how the policy will apply for the Scarlet, it’s why I said I’m not considering the dragon sensor yet to compare the price tags and features.

  • Neill Jones on 08.29.12 @ 6:09PM

    Horses for courses.

  • Canon seems to be placed similar to Lexus in auto industry. It just doesn’t have the same status power as Mercedes, Jaguar or BMW. Similar features, but you aren’t as cool or successful as someone with a Mercedes. The Lexus is kinda just…there.

    Thats what Canon seems like IMO. At this point they just exist. If you show up with a RED its like ” wow he has RED” ,”shot on RED” “wow, that little GH2/3 can do that?!”… Canon…”oh…”

  • The C500 is another model which is in the league of RED Epic. Clearly one has to see if this camera is required for the present job. Adding a 5k USD recorder to record Canon Raw in 4K is not everybody’s cup of tea. Not many people will buy it. If you need it for a project then rent it. If you want to future proof your work, then rent this and use it. As a wildlife filmmaker, I will not use these lenses. However, after a decent project funding, one can always consider this camera.