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Is Canon Introducing a New Cinema Camera Priced Between the C100 and C300 at NAB?

While the internet seems to be looking for a specific camera from Canon that they haven’t quite delivered yet, their digital cinema cameras — specifically the C300 — fly off the shelves and are consistently the most rented (if you don’t believe me, ask anyone who runs a rental house). That, of course, won’t stop the company from releasing new models, and it seems we may see a brand new camera along with some new cinema lenses at the yearly NAB show in April. Click through for more details and analysis.

Here is what Canon Rumors is saying:


Canon will be announcing new cinema lenses and a new cinema camera for NAB 2013 we are told.

The camera will sit somewhere between the EOS C100 and EOS C300, but will not be a direct replacement for the EOS C100. It will have both a PL and EF mount option. At present, no specifications for the camera have been given. Canon may also show a prototype that would come above the C500, but apparently that has yet to be decided internally.

It’s not clear how accurate this is, but it’s not listed as a rumor. CR also mentioned that there will be a zoom and a prime cinema lens announced at the show, and they both may be lower quality or slower versions similar to Leica’s new cine lenses. Finally, they mentioned that no DSLRs would be announced at the show, which is not terribly surprising (unless the new cinema camera is a DSLR form factor).

So could this be that perfect blend of specs and price that people have been looking for? Well, historically Canon has built one sensor and then made a number of camera bodies around that same sensor. They did this with the Canon 7D 18MP sensor and the C300 4K sensor, which also finds itself in the C100 and the C500. So what’s coming, and why should we care? I think that’s a great question because it’s unlikely they would create a camera better than the C300 (currently at $16,000) when it would retail for less.

One easy way this could be differentiated from the other two would be for them to create a 1D C type DSLR camera without 4K. The Super 35mm 1080p mode on that camera is pretty good, and while it’s not quite as good as the C300, it’s still much sharper than any of the current Canon DSLRs at 1080p. I think that should actually be their budget cinema camera (under $5,000), but it wouldn’t surprise me to see them release something like that in the $8,000 range.

So how else could a new camera fit in? They could do what Sony did, and create a similar model to the FS700, except it would retail for around $10-$12K. Sony already had the FS100 and F3 as their budget and low-end professional cine cameras, and the FS700 fit right in the middle with its onboard 8-bit AVC codec. The big addition was super slow motion options. The only real slow motion cameras Canon offers are the C500 and the 1D C, otherwise it’s mostly a compromise — 720p 60fps is all you get (though you can create slow motion from 1080i 60, but it’s just not quite the same).

Sony also introduced its new 4K sensor with this model, and so that is very likely something Canon could be working on. They could introduce the next generation sensor with high-speed modes in a model between the C100 and C300, and keep the onboard recording to 24/28 mbps. Since Canon Rumors also mentioned that there could be a cinema camera above the C500, I don’t see why that new camera would still use the same sensor, which must be 4 years old at least since they began designing it. To me a slow motion camera is the only thing that makes sense and fits into the price range without destroying sales for either the C100 or the C300 — that is, unless they are planning on phasing out the C300 and this new camera would actually be the replacement.

I think what would make the least sense is if they made it a “better” C100 with CF cards and HD-SDI but the same recording format. Sure, they could add 720p 60fps, but are all of those things really worth a few more thousand? If that’s the case, a C300 is probably the better deal, with its 50mbps 4:2:2 internal codec. A souped up C100 would not look like a better deal to me than a C100 with an external recorder. In any case, I would expect a new camera to still be 8-bit, unless they’ve developed a new sensor or a new codec.

The lens situation is also a little puzzling, and I honestly don’t know what the point would be of introducing just two lenses if they are going to be a part of a new budget line of cinema glass. A budget zoom in a Canon mount could make sense (as they are currently $20K or more per lens), but their lineup of prime lenses is already filled up with most focal lengths anyone would need (14mm, 24mm, 35mm, 50mm, 85mm, and 135mm — Update: Einar mentioned below that they don’t have a 35mm cine lens yet, that makes sense as a possible announcement). If they are developing budget primes, they would need to start off with at least three lenses, so you could have a matched set while shooting. I for one would love to see some budget Canon primes that would retail for at least half the price. Give the same quality optics with maybe a stop slower (T/2.0) for $2,000 a lens and they will sell like crazy. Lenses will outlive the camera, but the only true budget cinema lenses that exist right now are the Samyang/Rokinon cine lenses. I think Canon is in a perfect position to challenge that lineup.

What would you like to see in a camera priced between the C100 ($6,500) and the C300 ($16,000)? Would this camera even interest you? What if it was a DSLR with a clean Super 35mm mode? As far as lenses, would you pick up a set of three Canon T/2.0 primes for $2,000 a piece? Let us know what you think below.

Link: New Cinema Camera & Lenses for NAB 2013 — Canon Rumors

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  • Another camera??? They’re gonna finish all letters and numbers…

  • john jeffreys on 02.12.13 @ 5:11PM

    NO WE WANT A CAMERA UNDER THE C100, A C50. something that can do everything the bmc does but without the thumbnail size sensor

    • Exactly! All most people need is an affordable FF cinema camera!

    • The C100 image doesn’t look half as good as the BMCC as it stands now. How would a C50 compete in terms of anything but ergonomics? And why would anyone buy a C50 since Canon would cripple it significantly so that it wouldn’t cannibalize their higher end cameras? Also, why all the hate for the BMC sensor size? If it produces great images, you can learn to work around the tighter field of view and wider depth of field.

      • Raphael Wood on 02.12.13 @ 5:53PM

        Allow me answer that last question dear Robert, he’s a troll.

      • The C50 exists! You didn’t hear? They’re calling it the Canon 5dmarkIII. It’s pretty amazing. Full frame!

        As someone who shoots with the BMCC often – I enjoy it’s image FAR more than even the c300 – ProRes alone. Nevermind RAW.

      • john jeffreys on 02.12.13 @ 6:28PM

        because it would be a super 35 2k res ergonomic camera that shoots straight to prores for 3k? thats what the market needs

        • I agree, that camera would be great. But why is it so important for it to be a s35 camera? Are people incapable of making quality films otherwise? I’m sure the gh2 crowd would love to hear why s35 sensors are so necessary.

          And while I also agree that the BMCC is a logistical nightmare, I would argue that it’s no more logistically crippling than DSLRs were a few years ago.

  • Another canon camera, Come on! They are all over priced for what they are. They need to take a page out of RED’s book and start making cameras that are upgradeable and moduler. Tech moves too fast now these days for companies too keep coming out with different camera bodies every 6 months.

  • And this is why Canon will fail….

  • I shot a short this weekend with the C100 and a Pix 240 Recorder recording DNxHD 220 8-bit. It’s a very pretty image for the price. Same price at rental for the C300 alone and that much more gradable than the 50Mbs internal. I was quite happy with what we were getting.

    I’m curious to see what exactly the put between the two. High speed would be interesting but i’m sure the aren’t going to let it do something that the C300 doesn’t do unless they plan on phasing that out, which I doubt since it’s such a big seller. I’m sure it took them so long to get to the 5D mk III because the mk II was selling so well.

    I’m sure it will cost more than it should, but hey, like I said. I am very happy with the images I got from the 100.

    Here’s the link to our Funding Campaign. http://www.indiegogo.com/FumesShortFilm
    I’ll get stills up on that site soon.

  • Mher Hakobyan on 02.12.13 @ 5:40PM

    maybe not realy wishes in near future, but CANON will be BEST SELLER camera, when
    1. FULL FRAME 35mm or 70mm Sensor
    2. 6K-10K 6000×3000 or 10.000x 5000 resolution
    3. 1-1000 fps at 4k 14-16 bit RAW, minimum resolution Full HD 1920×1080
    4. 24-36 bit RAW at 23.98, 24, 25, 29.97, 30, 50, 60, 120, 250 fps, 4:4:4
    5. 100-500Mbit – compressed, 1 Gbit – uncompressed fotages
    6. 32 bit audio, 192 kHz
    7. 100 TB internal Memory, or Tera Hard Disc Cards – THDC
    8. ++++++many super specifications
    9. price Range for body 10.000$ – 15.000$, maximum 20.000$

  • I’m just not seeing a gap in Canon’s product line between the C100 and C300. Sure, everybody wishes that the pricing would be a bit lower — but with rental houses moving tons of C300s, Canon has very little reason to muck with their line up.

    The C100 is proving itself, too, with a remarkable image — as long as you aren’t pushing up against it’s somewhat crippled codec. It’s form-factor is fantastic for documentary shooters.

    Canon risks hurting either side of the market by adding another cinema camera. Sure, the C300/C100 are going to improve over time — 10/12bit, 4k, slow-motion, etc.

    But right now — I’d be really surprised to see Canon dump another camera into an otherwise very solid line-up for a new camera system.

    • Chris Lambert on 02.12.13 @ 7:02PM

      Totally agree anything they do at this point will only piss people off $2000 more for a CF slot? + Slow mo = why buy a C300

      $2000 for an sdi out + slow mo would be insane as well. It’s hard too see how they merge those lines without looking idiots.unless as Joe alludes too it’s a Cinema DSLR would be the only thing that makes sense

  • Raphael Wood on 02.12.13 @ 5:59PM

    Canon never learns…or do they? Their cameras still get bought and still get rented, fashionably so. From a business viewpoint it makes sense, why change something that sells well? As for those who think they are a waste of time, myself included, I’m sure Canon has a message in their mind for us: “Up yours, we still kicking ass.”

  • Joe. Can I bet you $5 that this is going to be a 5D-C. If might be the only thing that makes sense. To be above the C100.

    • A 5D-C could be an interesting camera, and I’m sure it would strike up a lot of interest. But if it were to cost more than the C100, I would likely lose all faith in Canon. There is absolutely no reason for that camera to cost a cent over 5k.

    • Could be, but I agree with Robert, I feel like that camera should be their budget cinema camera for under $5,000.

  • Why stop with just one camera between the C100 and C300? Just look at Canon’s compact camera line-up (which is a dying market) for where we are heading. From their US website:
    PowerShot A-Series: A810 $100, A1300 $120, A140 $110, A2300 $140, A2400IS $150, A2500 $130, A2600 $150, A2400IS $160, A4000IS $180. Digital ELPH series: 100HS $180, 110HS $230, 115IS $170, 130IS $200, 320HS $250, 330HS $230, 520HS $280, 530HS $330. N-Series: PowerShot N $300. D-Series: D20 $350. Advanced series: SX150IS $250, SX160IS $230, SX260HS $300, SX500IS $300, SX40HS $430, SX50HS $450, S100 $430, S110 $450, G12 $500, G15 $500, G1X $700.

  • Considering the current line up, it pretty much given that a new camera in the middle or the top just won’t be especially exiting, either on specs or price.

  • “…But their lineup of prime lenses is already filled up with most focal lengths anyone would need (14mm, 24mm, 35mm, 50mm, 85mm, and 135mm)…”

    Not true; the Canon Cinema Prime lens line-up is, very noticeably, missing a 35mm lens (presumably a T1.5, as they are all based off of their still-lens equivalents). I think a 35mm is the front runner for this announcement.

    The middling camera is bound to be underwhelming, but something above the C500 might be interesting, as that would be tech they wouldn’t need (or couldn’t afford) to cripple at all. Not that it would have any direct relevance for most of us here…

    • That’s right, 35mm doesn’t exist yet. Was thinking of Samyang’s lineup, which does have the 35, but is currently missing the 50, and doesn’t yet have a 135.

  • I think you’re all going to be disappointed. Its pretty much what Joe put up above as the worst case scenario. There will be much more interesting cameras at NAB. C300 nowhere near the end of its lifecycle.

  • Just imagine starting work for Canon, thinking you are going to be working on next generation camera technology. Instead you are given the C500 spec list and told what you will be developing: cross one item off this list, that is the C480; cross two items off the list, that is the C460 etc etc etc

    • I think its actually the other way around, imagine working at canon and you have developed a sensor that has the same dynamic range distribution at 850 ISO and 20,000 ISO, amazing skin tones in every color matrix, a 12 bit supersample in color, a fantastic log gamma curve that give you the most flexibility with the least amount of grading all packaged in the smallest file size possible that still maintains the excellent range for grading and effects, and then you get no credit for these awesome achievements, because novices cannot get past 8bit.

      • Well put!

        • True. Last week we shot a doc for a european client on C100 in canon log, using Ninja2 for the recorder. We were able to do some rather awesome stuff, I was pretty impressed with the dynamic range that little camera gives. Plus it’s VERY easy to do run-and-gun with it.

  • I’m extremely interested in this if it has a chance of driving down the price of the C100. I’m not really sure who would be interested in something in between the C100 and C300, though.

  • I agree, I don’t see room in the current line up of the C100/300/500. I own a C300 and have heard strong rumors of a big firmware update within the coming months. I’d imagine this new mystery camera is a Cine-7D that will mimic the 1D-C’s clean 1080 or maybe a 2k mode.

  • What Canon does really well (better than Sony and BM) is low light. The second best thing they do is sell lenses. Most people walking around with a Canon camera have Canon lenses. They want to release something that is great in low light and affordable, like a 7D-C. That will get customers hooked on the L series glass. Then when it’s time to upgrade you are more likely to get a C300 than switch to Sony.

    I think a C200 might actually be geared more toward docs and multicam tv shoots (where the EX3 is still in regular use). Low light and ease of use would be the dominate characteristics. The C300 took a small bit of this market, but cost too much. The C100 didn’t work for this market because of the lack of a broadcast codec. It sounds like a bit of a wild guess but there are a lot of aging cameras out there that Canon may be angling to replace. Narrative features are not the majority of video production.

    If they were going to release budget cinema lenses I would expect them the guts to be L series lenses but with cinema features. Engineering-wise that would be way cheaper than downgrading their existing cinema lenses.

  • C100 with 60FPS would be ideal, capturing the bulk of the price point.

  • I want a camera that shoots 4k raw @ variable fps (2/1200 would be nice) with a super35 sensor and a universal lens mount fitted into a gopro sized body (and with a nespresso nozzle on the side)

    • Fernando, if it comes in at under $5K, I’m in ! ( It will also need a flip out 24″ monitor ).

  • Anthony Marino on 02.12.13 @ 9:19PM

    My guess is sdi out, high speed (higher somewhat crippled) 10 bit 4:2:2 (internal recording)

  • Like others have said, it is extremely hard to get excited about a new cinema camera given the C300 and C100 are already incredibly under featured for their price points. Proposing a new camera less featured than the already barely featured C300 does not have my on the edge of my seat, but it will be interesting to see what they do. I do not see anything really fitting in between the C100 and C300 unless it is of the DSLR persuasion.

  • I think the Canon cinema cameras have horrible ergonomics. EVERY time I see one in use there are a TON of add-on products! Worse offender is the add-on VIEWFINDER!!!! Think of it, you pay thousands for a camera and you can’t use the built-in viewfinder because it is stuck in a horrible position at the rear end of the camera! It’s like they commitee who designed the camera couldn’t decide what they were making: a true cinema camera for real-world use or a hybrid SLR design.

    • Every camera you can’t immediately put on your shoulder is technically not good ergonomically. I’ll give it to Canon that the C300/C100 cameras are better designed in that way than the FS100/FS700/F3. Except Sony finally figured it out with the F5/F55 and now they have a modular design that makes it easy to turn a small camera into a native shoulder cam.

  • “create a 1D C type DSLR camera without 4K. The Super 35mm 1080p mode on that camera is pretty good, and while it’s not quite as good as the C300, it’s still much sharper than any of the current Canon DSLRs at 1080p. I think that should actually be their budget cinema camera (under $5,000)”

    Why not at least add a 2k option while you’re at it? For something around $4000-$5000, it wouldn’t need c100 features such as peaking, zebras, ND filters and XLR inputs (assuming it DOES have 4:2:2 out though). It would be a perfect place to overshadow the BMCC as well as it being the most affordable cinema line without compromising the c100 and still being quite profitable by a sizable margin. It’s still not a reasonable price, but it’s still low enough to at least open it up to a lot more potential buyers and renters.

    Knowing Canon however, either way it’s doubtful. Even with such a profit, they don’t take the words of others let alone grasp the “opportunity”. The c300 doesn’t seem to be slowing down as much in the markets and the c100 is in a more desirable situation for purchase. Canon is still getting a good share of sales. Damn. At the very least, c100 is somewhat in the right direction for indie/budget market.

  • Bah. Here we go again. How are they gonna cripple this one? Wish everyone would just boycott Canon until they AT LEAST give us 1080P@ 60FPS and 10bit. AT LEAST. Tight ass bastards.

  • What I would like so from canon is a camera under 5k with nd filters, xlr inputs and decent ergonomics. Basic stuff for a lot live event shooting and doco work.

    I find it hard to figure out what would fit in between c100 and c300. I expect it may be a 4k camera that records onto a lesses codec than the c300 and doesn’t have as good low light ability.

  • canon v don’t need another camera.. Just give us better pricing & spec(4k raw) Like BMCC..

  • Does anything that’s not shooting to (at least) prores actually interest anybody still? Seriously, with options like Scarlet/Epic, Black Magic Cam, and even GH3… why are people still even looking at canon for anything? The codecs and specs in the C100/300 are absolute jokes… these are recording formats from 2006. Nothing besides maybe a 2k RAW-like codec with at least 60fps for $3500, could get me interested in canon again.

  • I don’t really care about yet another camera. I really like the Idea of challenging Rokinon in the budget cinema prime market. A set of workable T 2.0 lenses with Canon-quality glass for 500 bucks apiece would be awesome. They don´t need to be rental house quality, just workable.

    • Canon would never do this. But you will see a few new Asian companies have product out this year. And SLR Magic will have their new lenses in EF mount.

  • Why are so many people complaining about, I NEED RAW, you don’t, in fact if you aren’t a colorist RAW is a waste of time. If you don’t know what a power window, secondary, limiter or mixer node is then then the benefits of RAW are lost. John Brawley himself has said if you aren’t going to take the time to learn davinci then c100 is a better cam for you than the BMC. If a camera is not 16 bit RAW 2k 60p then its a waste of money, some of you guys are crazy. Its just plain spoiled, I cannot believe that anybody that had to put together a letus adaptor rig, or log and captured DV TAPES (yea thats right! People used to shoot on TAPE) would be complaining like the children are now.

    • Don’t let the trolls get you down, man. Most of them don’t actually use cameras, anyway.

    • Well put :-)

    • what is this… ‘tape’… business you speak of….

    • Well, RAW isn’t all that complicated, I think. Up until now I have only worked with RAW in still photography, but I wouldn’t shoot stills in jpeg anymore unless I really have to. You have so many possibilities in highlight recovery, white balance, color and noise reduction with RAW that are just lost with a compressed format.

      And it’s really not that hard to work with RAW – I learned working with Lightroom in a month or two, it’s not that complicated. As far as I have seen, RAW converters like the one from RED work similar to Lightroom, so it’s not like it’s rocket science.

      As I said – I shot my first few RAW stills, loaded them in a demo version of Lightroom and was totally convinced after 5 minutes that I was never going to shoot jpeg stills again.
      If you have the time to grade your shots, RAW is just amazing. If you need to work fast, like for tv news, of course you won’t shoot RAW…

    • Daniel Mimura on 02.21.13 @ 7:34PM

      Ryan, have you used RAW? I have a RAW camera now and I’ll never go back. I’m a DP and don’t know much about post at all…but I know enough to know that no matter how perfectly I may attempt to light something, no matter how meticulously I meter and flag things…I still like the option of doing more in post (especially on low budget shoots and docs where I might not have the time or option to light it completely perfectly…). It’s the equivalent of shooting reversal and suddenly discovering what you can do, what control you have, shooting with negative. There is a new world in front of you.

  • I’m so tired of people talking about BMCC like its god sent. Don’t get me wrong it’s an incredible camera for the money, but that camera is more suited towards independent films. Me personally I do mostly commercials, web videos, and run and gun docs. The BMCC isn’t suited towards the work I do so a c100 or c300 is more suited towards my work. It’s funny, in my area (Boston) the BMCC is looked at as more of a toy camera for indies I don’t know maybe my perception is off.

    • Well put.

    • I shoot a lot of tv and web documentary pieces too, and I am probably going to buy a Sony PMW-350K with an additional 6-84mm lens this year. It’s a 2/3″ 1080i/p camcorder and it’s perfect for documentary work in my opinion.
      What would I be doing with a BMCC? I couldn’t do 98% of my work with that camera.

      But of course the BMCC it is a really nice camera for scenic films, commercials and so on.

    • You guys are such haters. The bmc is making all this noise because it is “special” and more importantly “revolutionary”, like so many great products that forced or nudged entire industries in a slightly different direction. While c300 and c100 are great cameras, revolutionary… they are not. Don’t get me wrong, I’m actually leaning toward buying the c100 for filmmaking (yes, I think it’s good enough for Indy features or shorts) because I think for someone starting out its a good all around camera and excellent introduction to multiple areas of filmmaking (docs, music videos…etc). And canceling the bmc I have on preorder because it taking so long to arrive, but bmc, was my first choice. Cheers

    • Toy?! Yes Caleb… Your perception is off.

  • No what would be interesting is if canon made an external recorder suited towards their cameras especially with the 5d mark III getting the firmware update next month. Maybe it offers xlr inputs and syncs the clean HDMI out video.

    • seriously ….. good call on that one caleb. i’m already schlepping a juicedlink pre-amp around when i roll, and as much as i want to see this clean hdmi out on my mkiii, it’s yet another peripheral with more batteries to charge, more cables to connect etc …. the piece you described would be entirely useful, so we’ll never see it. third party anyone ?

  • Price drops. That would be an awesome announcement.

    • (Laughing),

    • Yeah

    • Actually, that’s not so far-fetched. I’ve been thinking the same myself. I’ve notice that Canon have recently slashed the price of their XF300 and XF305 video cameras (previously $7,999 for the X305, now $5,995 on B&H), which *may* be a precursor to cutting prices on the C- range.

      Here in Hong Kong, I’m a Canon CPS member, and I can now buy the C300 for around $11,300, and the C100 for around $5,500 – a good 20% or so below list prices – so maybe some price cuts, now that the volume is there, is a real possibility. We’ll see.

  • 7D mk 2 I reckon.

  • If I was doco guy, i’d be excited about Canon’s offerings in this day and age.

  • Ah! another shitty low codec camera which will be utter overpriced and can’t do 1080p60!
    just what we need!

    Give us more plastic skintones, awesome lineskipping and amazing highlight rolloffs, and don’t forget some 420 (and a 10k + price tag)

  • Pavel Roytberg on 02.14.13 @ 6:02PM

    “set of three Canon T/2.0 primes for $2,000 a piece” – if the performance would be better then still lenses – yes.
    Right now 85/T lens is crearly better then 85/1.2L … but price is too steep for me :(

  • People are going to be embarrassed when the first sub $1000 4k cameras come out soon, for offering such over priced 2k cameras. Indeed, gopro has 4k for half the price already, and doubling the frame rate is not doubling the price, so we could be looking at 4k p30 at below $500 this year. They should get real and scrap most of those canons, and lower to a more realistic price, so the consumer level 2k/fullhd is at consumer prices, and 4k is parked this side of $10k starting this side of $4k. Red and Bmcc are going start eating at them. Both are moving to better cameras.

    • Yeah 4K for under 1000$ – that will be just as amazing as a FullHD camcorder for 300$ or a 15MP stills camera for 200$

      There’s a reason there are professional 1080p camcorders for 15K$ and up – because these are real 1080p.
      The ones for 300-600$ are not really 1080p, they just put out a picture that has as many pixels as a real 1080 picture, but neither the lenses nor the sensors are able to really bring that resolution.

      Same with “4K”. Soon we are going to see cellphone cameras with “4K” resolution. These are of course not nearly the same as Red Epic 4K…

    • By your logic, the new GoPro is two times better than an Arri Alexa, right? 4K for 500 bucks versus 2K for 50K bucks…

  • So what happened to the new C200 or Mid c100/c300 announcement ?

  • I just tested the c300 for documentary.
    There is no perfect zoom 15 to 85mm 2,8 for this cam.
    The c300 should get 10:2:2 output.
    The c200 should be a c300 without this output and eng lens so perfect for docus

  • All I want is a C100 with 120fps, 4:2:2, SDI out and a decent EVF + LCD. Is that too much to ask? Just call it a C200 and charge $8-10K… Perfect.

  • It really is a crime that NONE of the Canon DSLRs (except Canon EOS-1D C) do proper 1080 60p.
    There are numerous Sony, Nikon and even Fuji cameras that do 1080 60p.
    While 30 and 24 are good enough, 60 frame is not just for slow mo.
    I’ve never evaluated the C100 or C300 because they are just out of my price range.
    But seriously, only 60i? Even the C300 can only do 59.94i?
    If the Digic processor doesn’t have the DSP, then get a better Digic processor already.
    Folks will only put up with Canon “for the lenses” for so long.

  • C200 wish list: it would be embarrassing not to offer a cinema 4k option – 1080p @ 96fps – 4:2:2 internal – dual pixel AF multi point focus – touch screen to operate dual pixel focusing while shooting as per 70D – no need for external recorder with new generation dual flash slots and with a quality EVF. Happy to pay 10k for that.

    Technology is moving so fast that they will need to make previous cinema Eos models redundant. Technology offered by competitors at lower price points suggests so.

  • Paul Russell on 03.28.14 @ 1:34PM

    Why a new sensor? The sensor is already 4k and already blows the socks off anything else apart from an alexa.

    A c200 with 4k hdmi out would be just great thanks. All the benefits of the c100, but with a bit of future proofing (I would add 4K to the same list as RAW, that is ‘things most folk don’t really need (just now)’

    APR LT is a godsend for me. APR Regular if being transcoded to MPEG2 for broadcast, APR HQ where there is extreme bokeh or I need to apply a touch more garbage matter gaussian blur over textures.

    Smallish files. Fast rendering. Where are all these masterpieces shot on RAW and graded with DaVinci being shown? For the most part I would suspect to a circle of 10 friends on Vimeo.

    Working film-makers value quality, but also value speed, economy (cost and resources i.e. disk space, render time) and guys doing bigger stuff probably aren’t using C cameras in any case.

  • Paulo Emilio on 03.29.14 @ 5:45PM

    What I want from a new Canon camera :

    PRORES HQ 422 + 444 + LT 2k and 1080
    3D LUTS
    48 • 72 • 96 • 120fps

    All inside the camera, I hate the external record sh*.

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