RSS
 

Posts Tagged ‘Canon’

5 Reasons Why the Canon 10-18mm is a Must-Have Wide-Angle Lens

18 Sep

The post 5 Reasons Why the Canon 10-18mm is a Must-Have Wide-Angle Lens appeared first on Digital Photography School. It was authored by Kunal Malhotra.

After buying a new camera we all start planning for our next lens, which can replace or complement the kit lens. This is when the real confusion starts, you have to choose one out of the so many options available in the market. If you are a Canon APS-C camera user and looking for a wide-angle lens, the Canon EF-S 10-18MM f/4.5-5.6 IS STM could be an ideal choice. I have been using this lens for almost a year now, so I thought of sharing my experience and views with you all. Let me share 5 reasons why I believe that Canon 10-18mm lens is a must-have wide-angle lens.

Canon-10-18mm-lens

1. Ultra-wide angle of view

If you are or have used the 18-55mm kit lens on your Canon APS-C body, there might have been situations when you wanted to go wider than 18mm. This is when having the Canon 10-18mm lens in your camera bag can help you click frames as wide as 10mm (P.S. do apply the crop factor).

Canon-10-18mm-lens

Imagine you are at a rock concert or an event and you wish to capture the entire stage in a frame. Or imagine yourself looking at a beautiful landscape with beautiful clouds and the sun is setting. This is when using the 10-18mm lens can help you capture ultra-wide angle shots even from a short distance.

2. Ideal for Vlogging

With companies such as Canon also focusing on video features, more and more people are adapting to the vlogging culture. Isn’t it fun to capture moments and experiences when you are traveling and at the same time show your surroundings in a single frame?

5 Reasons Why the Canon 10-18mm is a Must-Have Wide-Angle Lens

I have been personally using the Canon 10-18mm lens on my Canon M50 to record almost all my vlogs for the past year, and have never had a second thought about it. The only situation where this lens can struggle is in low light conditions as f/4.5 is the widest it can go, which might introduce noise. But then, at $ 300, you can hardly find such a wide focal length that matches your requirements.

3. Features Image Stabilization

There are very few lenses (as far as I am aware) that feature Image Stabilization, and are priced under $ 300. This lens is equipped with a 4-stop optical image stabilizer which comes in handy while clicking photos in low light conditions. In practical scenarios, I have managed to get a sharp and stable shot handheld at 1/2th sec using 10mm focal length. So even if it is an f/4.5-5.6 lens, you can let in more light using a slower shutter speed in low light situations.

5 Reasons Why the Canon 10-18mm is a Must-Have Wide-Angle Lens

But you must be careful while clicking images at such a slow shutter speed, especially when there are elements in motion in your frame. I usually use it while clicking photos of monuments/buildings or creative images like light trails.

4. Use it for close-up shots

You may be thinking, “why would I want to click macro shots using a 10-18mm focal length?”

Well, this is not the ideal focal length range for macro photography, but that is where the fun starts. If you wish to capture something different and with a unique perspective, you can get some amazing close-up shots.

Canon-10-18mm-lens

In the sample macro shot shared above, you can see that I was able to get close to the insect and at the same time capture wide frame with shallow depth of field. Isn’t that a unique perspective in itself?

5. Ideal for Street Photography

I believe there is no particular focal length that can be termed as perfect for street photography. Every photographer has their own way of capturing photos while traveling. Some may like ultra-wide, some may prefer a standard focal length, and some may go for a 50mm or 85mm lens.

Canon-10-18mm-lens

I tried clicking candid street photos while roaming in my city and to my interest, the 10-18mm focal length range impressed me for the sole reason that I could capture more elements in my frame. If I had shot this photo shared above at 24mm or 35mm focal length, I would either had to move a few steps back or capture only a part of this beautiful moment.

What are your views about the Canon EF-S 10-18MM f/4.5-5.6 IS STM lens? Feel free to comment below.

 

canon-10-18mm-lens

The post 5 Reasons Why the Canon 10-18mm is a Must-Have Wide-Angle Lens appeared first on Digital Photography School. It was authored by Kunal Malhotra.


Digital Photography School

 
Comments Off on 5 Reasons Why the Canon 10-18mm is a Must-Have Wide-Angle Lens

Posted in Photography

 

Canon patent application sheds more light on its upcoming IBIS technology

17 Sep

Rumors about Canon’s much-anticipated in-body stabilization (IBIS) are a dime a dozen, but a recent patent application from Canon dives into more detail than we’ve seen before, further lending credence to the rumors the technology could make it into Canon’s next R-series camera body.

First discovered by Canon News, Japan patent application 2019-152785 details how in-body stabilization technology can be improved by more accurately moving and positioning the sensor along its axes. According to the patent, Canon plans to do this through the use of a magnetic circuit known as the Halbach array.

An illustration from the patent showing how in-lens stabilization would work alongside the in-body stabilization to achieve optimal results.

The Halbach array, believed to have first been discovered by John C. Mallinson in 1973, is a collection of magnets that is particularly arranged so that one side of the magnetic field is magnified while the opposite side is effectively canceled out. Halbach arrays have multiple uses ranging from something as simple as a refrigerator magnet to something as intricate as a particle accelerator (where it’s used to focus particle accelerator beams).

Canon’s implementation, however, would use Halbach arrays to ensure that when a correction is applied to one axis, it won’t negatively affect another axis. Particularly, Canon’s patent application details how it would use a Halbach array on the vertical (y-axis) stabilization unit to ensure that the horizontal correction (x-axis) isn’t skewed when applying y-axis corrections.

A pair of illustrations from the patent showing how the Halbach array would be positioned.

The patent application also explains how the IBIS would work hand-in-hand with in-lens stabilization units to create the most effective stabilization possible. Specifically, the patent says the in-lens stabilization would account for corrections on the XY planes (2-axis stabilization) while the in-body stabilization would be able to account for shake on XY-theta planes (3-axis stabilization with vertical, horizontal and roll compensation). Similarly, gyro units within both the lens and camera would work alongside one another to account for angular corrections so the image stabilization element in the lens could be adjusted in coordination with the image sensor to most accurately correct the optical axis.

Below is a brief illustration of XY-theta alignment at work:

It’s unknown, of course, if this particular patent application will be used down the road in a future IBIS arrangement, but it is one of the more detailed patents we’ve come across from Canon regarding the technology. Based on this particular patent application, it would be a 5-axis IBIS unit, similar to those found in Sony and Nikon mirrorless cameras.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon patent application sheds more light on its upcoming IBIS technology

Posted in Uncategorized

 

Canon to Produce an 80-Megapixel Mirrorless Camera

17 Sep

The post Canon to Produce an 80-Megapixel Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

 

canon-80mp-cameraIf you’ve been hoping Canon will produce a high-resolution professional mirrorless camera, then you’re in luck.

Rumors that Canon has been working on a 70 or 80-megapixel mirrorless camera have been swirling for months, but several new pieces of information make it more likely than ever.

First, Canon has filed a patent for an 83-megapixel sensor, which may be at the heart of a new mirrorless camera body.

Second, someone claiming to have a prototype of the new camera has just revealed specs, including:

  • An 80-megapixel full-frame sensor
  • A larger viewfinder than the Canon EOS R
  • Dual SD card slots
  • A new joystick
  • A larger size than the Canon EOS R

If these details are accurate, then the new camera (dubbed the Canon EOS RS by Canon Rumors) will likely be a mirrorless replacement to the Canon 5DS/5DS R duo. The two DSLR cameras debuted in February of 2015, and Canon has failed to update them in the years since. Most notable about the two cameras are their sensors: 50.6 megapixels – the largest full-frame sensors in existence at the time.

The dual card slots will be a particularly welcome addition to the Canon EOS RS. Many professional photographers passed over the EOS R based on its single card slot, and it seems Canon got the message. So for photographers who require redundancy in their work, the Canon EOS RS will be a good choice.

And if the Canon EOS RS is truly 80+ megapixels, commercial photographers will appreciate the opportunity to push resolution to its limits.

Such a high-resolution sensor has its drawbacks, however. The larger the files, the faster you’ll fill up space. Plus, a sensor with 80 megapixels will have high pixel density, leading to small pixels. This can be a problem with regard to noise production: the smaller pixels are more likely to produce noise at high ISOs.

Let’s just hope that Canon puts out a high-quality sensor to complement the megapixel count! If you’re a Canon fan looking to make the change to mirrorless, then keep an eye out for news on the Canon EOS RS, which will likely be announced at the start of 2020.

Would you purchase the Canon EOS RS for its 80+ megapixels? Share your thoughts with us in the comments.

The post Canon to Produce an 80-Megapixel Mirrorless Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on Canon to Produce an 80-Megapixel Mirrorless Camera

Posted in Photography

 

Canon EOS M6 Mark II sample gallery (DPReview TV)

14 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2004444276″,”galleryId”:”2004444276″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

A new gallery from the Canon EOS M6 II, shot by Chris and Jordan while filming this week’s episode of DPReview TV. As usual, it comes complete with reflected images in puddles.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon EOS M6 Mark II sample gallery (DPReview TV)

Posted in Uncategorized

 

DPReview TV: Canon EOS M6 Mark II review

14 Sep

This week Chris and Jordan review the new Canon EOS M6 II mirrorless camera. Even if you’re not interested in the camera, you should probably watch just to see Jordan sing a Dire Straits cover.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Design
  • Sensor
  • Burst speeds
  • Custom settings
  • USB charging challenges
  • Buffer
  • Rolling shutter
  • Video capabilities
  • Wrap-up

Sample gallery from this week’s episode

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2004444276″,”galleryId”:”2004444276″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DPReview TV: Canon EOS M6 Mark II review

Posted in Uncategorized

 

Canon RF 85mm F1.2L USM sample gallery updated

13 Sep

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7457721205″,”galleryId”:”7457721205″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Canon RF 85mm F1.2L USM is one of the most impressive lenses released for the nascent RF system. Sharp at all apertures and capable of excellent rendering – especially for portraiture – it’s quickly becoming one of our favorite lenses for any system. We’ve taken the opportunity this summer to update our original sample gallery with new images, converted from Raw. Take a look.

See our Canon RF 85mm F1.2L USM
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon RF 85mm F1.2L USM sample gallery updated

Posted in Uncategorized

 

Canon PowerShot G5 X Mark II review

12 Sep

Introduction

$ (document).ready(function() { SampleGalleryStripV2({“galleryId”:”1147209775″,”isMobile”:false}) })

Sample photoSample photoSample photoSample photoSample photo
Silver Award

82%
Overall score

Canon’s PowerShot G5 X Mark II is a high-end compact camera with a versatile lens, great controls and a modern 1″-type sensor. For a small camera, we find the grip to be generous and secure, and the updated processor combines with the new sensor for some seriously responsive performance. The pop-up electronic viewfinder is a nice touch and the camera also comes with fast burst shooting as well as good-quality 4K video.

In creating the G5 X Mark II, Canon has clearly taken more design inspiration from the G7 X lineup than the original G5 X. Gone from the old camera is the centrally mounted viewfinder and fully articulating screen, but the new camera is more svelte and pocketable as a result. Plus, Canon has extended the lens’ zoom reach while maintaining a fast aperture range, which is a nice bonus. On the not-so-good side of things, for some reason Canon has decided that 24p video recording is unnecessary, there’s no microphone jack, some customization options are limited, and the small battery means you’ll likely want to carry a spare if you’re a heavy shooter.

Key specifications:

  • 20MP 1″-type stacked CMOS sensor
  • 24-120mm equiv. F1.8-2.8 lens
  • Pop-up electronic viewfinder and flash
  • Touchscreen tilts up 180° and down 90°
  • 8fps burst shooting with autofocus, 30fps Raw burst mode
  • 4K/30p, 1080/60p video recording with IS (no 24p options)
  • 1080/120p slow motion video with no audio or autofocus
  • Wi-Fi + Bluetooth wireless connectivity
  • USB 3.1 (with USB-C connector) for data transfer and charging
  • 230-shot battery life (180 using the EVF) per CIPA standard
Out-of-camera JPEG
ISO 125 | 1/1000 sec | F4
Photo by Jeff Keller

The G5 X Mark II looks, in many ways, to be a near-ideal travel or family camera for enthusiast photographers that like having a dedicated camera with them at all times – does it live up to this promise? Time to dig in and find out in our full review.


What’s new and how it compares

The G5 X II looks a lot like a cross between Canon’s own G7 X III and Sony’s RX100-series – here’s how it compares inside and out.

Read more

Body, controls and handling

On the G5 X II, Canon’s fitted one of the nicest grips we’ve ever used on such a small camera – but there’s more to it.

Read more

Image quality

Take a deep-dive into the G5 X II’s image quality, including how its lens performs.

Read more

Autofocus, Raw burst and video performance

Autofocus and video performance from the G5 X II are pretty good – but are they enough to stand out among strong competition?

Read more

Conclusion

Canon’s PowerShot G5 X Mark II earns a solid silver award – here’s the full story.

Read more

Sample gallery

From camping to cats and the occasional dog, we’ve got a full sample gallery from the G5 X II for your perusal.

See the gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon PowerShot G5 X Mark II review

Posted in Uncategorized

 

Irix announces an 11mm T4.3 cine lens for Canon EF, Sony E, MFT and Arri PL mounts

12 Sep

Lens manufacturer Irix has launched a new 11mm T4.3 lens for Canon EF, Sony E, MFT and Arri PL camera systems.

The lens, which appears to be a cine version of its 11mm F/4 lens, is constructed with a magnesium housing with various rubber seals for weather resistance. It’s comprised of 16 elements including four high-refractive index (HR) elements, three aspherical elements and two low-dispersion (ED) elements.

The lens weighs 1.1kg (2.43lbs) and features Irix’s Magnetic Mount System, which makes it easy to attach compatible accessories, including the lens hood. Irix has also added its new Multi Start Thread focusing mechanism, which ‘allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures.’

Other features include a 95mm diameter front flange and Mod 0.8 standard geared rings.

The 11mm T4.3 cine lens will be offered in Arri PL, Canon EF, MFT and Sony E mounts. Pricing and availability has not yet been announced, but ‘will be available shortly.’ For more information, keep up to date on the Irix website.

Irix Cine 11mm T4.3

IRIX, known for high mechanical and optical quality, pleasantly presents the 11mm T4.3 – the second full-frame lens from its new cinematography line. Enjoy the new perspective of super panoramic film shots made with Irix Cine lens!

Irix 11mm T4.3 is the second unique lens from the new Cine line. Its extremely short focal length, rectilinear image projection and the large image circle of 43.3mm (covering the full-frame format) make it one of the most outstanding cine lenses on the market. Depending on the diagonal of the sensor, the lens can provide a moderately wide angle of view for classic wide-angle shots or super-panoramic 123-degree viewing angle in a 2.39:1 widescreen format. Irix 11mm T4.3 thanks to its unique parameters, provides a perspective not available in film optics, thus releasing creativity in creating dynamic shots.SAR

The same, but different optics
The lens optical system is based on the new optical formula, developed especially for cinematic purpose. It consists of 16 optical elements, which four are made with high refractive index (HR) glass, three other have aspherical surfaces and the last two are made with low-dispersion glass (ED). The use of the large front lens and other special glass elements provides crisp cinematic shots in a resolution up to 8K while keeping the focus “breathing” effect at the lowest level. The lens offers a large maximum T number of 4.3 which can be reduced to T22, thanks to the rounded shape of iris blades.

Functional and highly innovative
When designing the lens mechanical system of 11mm T4.3, we used newly developed technical solutions that have been successfully implemented in the Irix Cine 150mm T3.0 lens. The new Multi Start Thread focusing mechanism allows quiet and precise focusing even under adverse weather conditions such as rain, humidity or extreme temperatures. The focusing geared ring rotates 180 degrees and depending on the lens version, has a focusing scale with metric or imperial units.

Thanks to another innovative solution like the adaptive ring, the Irix Cine 11mm T4.3 ensures great ergonomics of operation both by hand and with follow focus mechanism. Moreover, despite the very short optical system layout, geared rings of focus and aperture were placed at the same height as in other Irix Cine lenses – all for better ergonomics and more intuitive use.

The exceptional functionality is a distinctive feature of all Irix products. The same applies to the Irix Cine 11mm T4.3, whose extremely compact design (weights 1,1 kg) has been also equipped with an innovative Magnetic Mount System for accessories. The MMS system allows quick and easy attachment of a variety of dedicated accessories. The lens hood included in the kit with the lens is the first element of the MMS system. The system will be expanded with further accessories in the future.

Prepared for all weather conditions
The ultra-wide field of view of the Irix 11mm T4.3 means that its natural work environment is outdoor. It’s durable magnesium housing and numerous rubber seals guarantee the safety of both the optical system and the camera sensor in every weather conditions.

Designed to work in accordance with film industry standards
The 11mm T4.3 is another lens of the Irix Cine line that proves the newest technical solutions can perfectly harmonize with well-established film industry standards. The lens has a front flange with a diameter of 95mm and geared rings in the Mod 0.8 standard, which ensures its compatibility with most cine gear accessories. Attention to maintaining the standard also applies to the family of Irix cine lenses whose geared rings are in the same position and have unified rotation angle.

Irix Cinematic
The new line of Irix Cine Lenses is created in close cooperation with professional filmmakers; their ideas and suggestions were an important factor in the design process. The designers earlier experience in the field of photography led us to create new and better solutions for Irix Cine products.

Available camera mounts
The new Irix Cine 11mm T4.3 will be offered in following lens mounts: Canon EF, Sony E, MFT and Arri PL.

Price and availability
The price and availability of the Irix Cine 11mm T4.3 lens will be announced shortly.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Irix announces an 11mm T4.3 cine lens for Canon EF, Sony E, MFT and Arri PL mounts

Posted in Uncategorized

 

DPReview TV: Canon G5 X Mark II vs. G7 X Mark III

07 Sep

Canon’s newest compact cameras, the G5 X II and G7 X III, have a lot in common, but with some very important differences. This week, Chris and Jordan do a side-by-side comparison to help you choose the one that’s right for you.

Also, subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Picture-in-picture commentary
  • Design and handling
  • ND filter
  • Displays
  • Lenses
  • USB power
  • Autofocus
  • Sensor
  • Video performance
  • Live streaming (G7 X III)
  • Video autofocus
  • Which should you buy?

G5 X Mark II sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6009098889″,”galleryId”:”6009098889″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

G7 X Mark III sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_6393635016″,”galleryId”:”6393635016″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DPReview TV: Canon G5 X Mark II vs. G7 X Mark III

Posted in Uncategorized

 

Canon announces C500 Mark II camera with 5.9K Cinema RAW Light recording

06 Sep

More than seven years after releasing the EOS C500, Canon has released its next-generation Cinema EOS System camera, the EOS C500 Mark II. The new camera builds upon its predecessors with an extensive list of new and improved features and technology.

At the heart of the EOS C500 Mark II is the same sensor found inside Canon’s EOS C700 camera, a5.9K full-frame 17:9 sensor, which Canon says offers more than 15 stops of dynamic range. Powered by Canon’s new Digic DV7 processor, the EOS C500 Mark II offers 5.9K internal Cinema RAW Light and 4K 4:2:2 10-bit XF-AVC recording. In addition to shooting 60 frames per second (fps) at 5.9K and 4K resolution, the EOS C500 Mark II can shoot up to 120 fps when dropped down to a cropped 2K resolution.

The EOS C500 Mark II also features Canon’s Dual Pixel autofocus technology, which covers roughly 80-percent of the image area on the sensors, and features user-changeable lens mounts with options for EF, PL and Cine EF mount. By unscrewing four hex screws located on the outside of the lens mount, it’s now possible to (comparatively quickly) switch from one mount to another without the need to send it in or make it a massive operation.

The camera, which weighs in at 1750g (3.86lbs), features built-in motorized ND filters at two, four and six-stop measurements that can be combined to achieve eight and ten stop levels as well. Media can be recorded to the two CFExpress card slots as well as an SD card slot for proxy media. Also new to a Canon EOS Cinema camera is a five-axis electronic image stabilizer.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1978318530″,”galleryId”:”1978318530″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The EOS C500 Mark II comes with the LCD LM-V2, a 4.3in touchscreen, as well as a user-removable 0.46in 1.77-megapixel OLED electronic viewfinder (EVF). Canon is also offering two extension units that add additional connections and ports for added versatility.

In addition to its new full-frame cinema camera, Canon also announced the DP-V3120, a 4K HDR reference monitor. The massive machine delivers 2000-nit HDR output and 0.001-nit full-screen black levels with a 2,000,000:1 contrast ratio. It features four 12G-SDI inputs for both 4K and 8K workflows and features a 17:9 aspect ratio, matching that of the EOS C500 Mark II.

The Canon EOS C500 Mark II is scheduled to be avaialble in December 2019 for an estimated retail price of $ 15,999. The DP-V3120 is scheduled to be available in November 2019 for a wallet-busting price of $ 39,000. You can find out more information on both products by visiting Canon’s EOS Cinema site.

OWN, OPERATE, DOMINATE: EOS C500 MARK II 5.9K FULL FRAME CINEMA CAMERA DELIVERS VERSATILE, AFFORDABLE SOLUTIONS

New Cinema EOS Camera Features a User-Changeable Mount, Internal Cinema RAW Light Recording and the Newly Developed DIGIC DV 7 Image Processor

MELVILLE, N.Y., Sept. 5, 2019 – Contrary to popular belief, sometimes a sequel is better than the original. That is the case with the all-new Canon EOS C500 Mark II cinema camera today announced by Canon U.S.A. Inc., a leader in digital imaging solutions. With its modular design, competitive price point and new features such as a 5.9K Full Frame CMOS sensor, user-changeable lens mounts, electronic image stabilization, internal cinema RAW light recordingand the new DIGIC DV 7 Image Processor, the EOS C500 Mark II represents a bold leap forward for Canon’s Cinema EOS system line. The variety of assembly and lensing options help to make this camera ideal for a broad range of applications, from run-and-gun documentary shooting to live television broadcasts and big-budget films.

“As Canon’s position in the production industry has grown, we have sought to deliver new solutions that can perform at an elite level, while also maintaining competitive pricing to help continue to remove the barriers of great content creation,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “The EOS C500 Mark II encompasses the latest Canon technologies and, when teamed with the recently announced Sumire Prime Cinema Lenses and DP-V3120 4K Reference Display, forms an incredible input-to-output solution.”

The EOS C500 Mark II features a 5.9K full-frame sensor with 60p recording 5.9K and 4K (2K recording at 120p) and 15 stops of dynamic range. In addition, the newly introduced DIGIC DV 7 image processor allows for more fluid and efficient recording of 4K and HDR. Cinema Raw Light, first introduced in the popular EOS C200 cinema camera, helps to cut data size to about one-third to one-fifth of a Cinema RAW file, without losing grading flexibility.

For the first time ever with a Canon camera, users are able to change the lens mount themselves without the assistance from a Canon service center. Customers can purchase the EOS C500 Mark II with a standard EF mount and then have the option to purchase either EF-lock or PL mounts. This feature provides users with the creative freedom to pair the camera with the lenses that will provide the desired look for each project they work on.

In addition to the changeable mounts, the new camera’s body is quite modular. Included are 13 accessories, such as a 4.3-inch LCD monitor and the GR-V1 grip, and users can choose from a wide range of additional accessories that allow them to configure the EOS C500 Mark II to their preferences. Optional accessories include the EVF-V70 electronic viewfinder, SU-15 shoulder support unit and EU-V1 and EU-V2 expansion units. The EU-V1 expansion unit allows for gen-lock, sync out, remote use and ethernet connection, while EU-V2 expansion unit features those functions plus a V-mount battery connection, two analog XLR audio ports and 24v DC Out.

Additional features of the Canon EOS C500 Mark II include:

  • 4K and 2K 4:2:2 10-bit XF-AVC recording and 5.9k oversampling for 4K
  • 2 CFexpress media card slots
  • Compatibility with EF and PL lenses as well as anamorphic and spherical lenses
  • Dual Pixel CMOS AF with the ability for Touch and Face detection AF
  • First Canon cinema camera with 5-axis electronic image stabilization, which can be utilized even without the use of lens with IS functionally
  • Support for Canon Log 2 and 3 Gamma
  • 4 channel recording that supports 4 XLR inputs with the use of the EU-V2 expansion unit
  • User LUT allowing users to upload and apply custom LUTs

Pricing and Availability

The Canon Cinema EOS C500 Mark II is scheduled to be available in December 2019 for an estimated retail price of $ 15,999.00*. For more information, including accessory prices and availability, please visit, cinemaeos.usa.canon.com.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon announces C500 Mark II camera with 5.9K Cinema RAW Light recording

Posted in Uncategorized