My long history with Canon Cinema EOS cameras & the new EOS C500 MkII

With the new release of the Canon Cinema EOS C500 MkII, I wanted to give a long-time Canon Cinema EOS user’s perspective on the impressive new release. Canon has done something I haven’t seen from them in a long time with this camera and it’s exciting. It all started September 17th, 2008 with the 5D … Continued

The post My long history with Canon Cinema EOS cameras & the new EOS C500 MkII appeared first on Newsshooter.

Stocking Up, Part 1

I recently wrote about coming across stock footage where the clip metadata didn’t align with the actual clip. In particular, a file may say it was shot at 23.98 frames per second, but in reality, it was shot at a different frame rate and then conformed to 23.98fps.

There are other times when the metadata lines up properly but things still go wrong. Well, maybe “wrong” is a little harsh. What I mean is that the footage doesn’t look as good as it could.

Let’s take an example of a project that runs at 29.97fps, which I’ll round up to 30 fps to make things easier to read. You have shot some scenes at 60 fps for a nice slo-mo montage.

After the first cut, you realize that you’re missing a waterfall scene that you desperately need. You don’t have time to go out and shoot, so you opt to search stock libraries to find a scene that will work. You locate a shot and download a low-res watermarked trial clip. You can tell it was shot at high speed since the slo-mo looks natural—no created frames. You buy it and download it.

Now that you have the full resolution clip, you take a closer look at it and can confirm that the metadata matches the clip. You insert it into your sequence, then move on and finish the project. Everything is great.

However, after you watch playback a few times, you notice that the stock shot jumps a bit. You look at the original file again and it looks fine. Then you notice that the clip’s codec is MJPEG (Motion JPEG) and you wonder if your workstation isn’t up to playing that back.

So you take the downloaded clip and transcode it to ProRes or DNxHD or whatever codec the rest of your footage uses. You replace the clip with the transcoded file and try again—same problem.

It’s not a codec problem, it is a frame rate mismatch problem. Although you confirmed the metadata is correct on the stock clip, that metadata tells you the clip is at 24 fps. When you place that clip on your timeline, the software “interprets” the footage to make it fit into the 30 fps sequence.

This interpretation is where the problem is. To make the clip fit, the edit software repeats a frame every 5 frames, causing the stutter that you notice.

Now the stock shot you thought would mesh perfectly with your footage doesn’t, and you’ve already purchased it.

Next time, I’ll explain how to make the shot work.

The post Stocking Up, Part 1 appeared first on HD Video Pro.

What are the World’s Favorite TV Shows (According to IMDB)

Television unites the entire world in entertainment, but what is everyone watching?

At No Film School, we have readers from all over the world. It warms my heart to think any of our links and articles help you all finish your projects and learn without spending a ton of money. One thing I tend to forget is that entertainment travels as well. Movies are highly dependent on the international market, but TV is a beast of its own.

While TV travels all over the world, every country produces its own programs that also get watched by its citizens.

But what are people watching?

Lucky for us, a company called Rave Reviews used IMDb User Ratings and decided to find out what the most popular shows are in each country around the world.

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Sony a6600 and E 70-350mm f/4.5-6.3 G OSS First Impressions From a Bird Photographer

Sony a6600 and E 70-350mm f/4.5-6.3 G OSS First Impressions From a Bird Photographer

Last week, Sony announced two APS-C cameras and two more G-series lenses for their crop-sensor system. In this first-look review, I share my thoughts after photographing birds with the new a6600 and E 70-350mm f/4.5-6.3 G OSS.

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Brightin star 55mm f/1.8 FE lens announced and in Stock on Amazon

The Chinese company Brightin star released this $99 55mm f/1.8 Full Frame lens you can buy now on Amazon US, AmazonDE, Amazon UK, Amazon FR. Someone on Weibo posted these unboxing pics and image samples:

The post Brightin star 55mm f/1.8 FE lens announced and in Stock on Amazon appeared first on sonyalpharumors.

An Intro to Continuity Editing

An Intro to Continuity Editing

If you watch any narrative movie or television show you are witnessing continuity editing. Continuity editing, also called three-dimensional continuity, is the way a film is put together that grounds the viewer in time and space. It is seamless and intended to be invisible. In order to understand, it might help to know that scenes in movies are often shot by shooting the scene several times, getting the dialog and action from different angles. It’s the Editor’s job to take these pieces and tell the story by stringing these shots into one continuous piece – hence the term “continuity.”

Continuity editing is not a style or technique. That would be like saying that a technique in photography is “focus photography.” Continuity editing is a part of filmmaking and editorial grammar; and just like any other grammatical rules, they can be thrown out the window. A Director or an Editor may want to break the rules for artistic intent and sometimes an Editor has to make a choice between a good performance and perfect continuity. But let’s just say, if people notice the editing, they may not be paying attention to the story. So, Editors pay attention to continuity!

Maintaining continuity in editing requires understanding several things, most of which are intended to orient the viewer, but sometimes can be used to distract the viewer so they don’t notice an error in continuity:

  1. Eye line
  2. Eye trace
  3. Matching action
  4. Continuity of objects, etc.
  5. 180 Rule – two dimensional plane of space

Eye Line

The eye line has to do with where the Actors are looking and must guide the audience’s eyes so they know either what the Actor is looking at or to create the illusion that two Actors are looking at each other during their singles (close-ups, etc.) Because singles are usually shot with the Actor speaking to a camera, Actors must know where to look – to the right or left of the camera – so it appears as though the two Actors are looking at each other. Imagine if they both looked to the right of the camera? How would it appear? Also, when an Editor is cutting between an Actor and what an Actor is looking at, the Editor must make sure that the eye line matches the object so the viewer’s eyes will know where to focus in the next shot.

Eye Trace

This brings us to eye trace. An Editor must make sure that the eyes of the viewer are guided to the important information on screen. After all, most of what we see in a movie is visual storytelling. For example, if a character comes into the scene and sits down at the bottom right of the screen, and in the next shot there is important information on the upper left side of the screen, the Editor has to bring attention to this and allot enough time for the viewer’s eyes to catch up. How does she do that? Well, hopefully, the Director thought this through, but an Editor must see where these points take place.

If you look at cuts in a movie, you might start to notice that a car door that slams shut in one shot, and the streetlamp we are supposed to see in the next shot, land exactly in the same part of the screen. If the Editor cuts in or out too soon or too late, she might not guide the audience’s eyes properly and they might miss this critical piece of information.

Fun Fact: There are over 250 continuity errors in Star Wars.

Matching Action

This is the most obvious of all the technical skills of an Editor. If a character reaches for a glass of water in one shot, it is natural to cut into the following shot at the same point you left the last shot. The term is often interchanged with cutting on action, but the two aren’t necessarily the same. Generally, you are always matching the action of the characters in a scene. If an Actor has her hands on her head in one shot, and if in the next shot her hands are on her hips, you are not matching the action and it’s jarring. Cutting on action, on the other hand, is a technique that helps the two shots flow together. This technique would involve cutting out of the shot as she moves her hands from her head and picking up the next shot mid-action as they land on her hips. Alternatively, you can have her bring her hands down in one shot and it will match the next shot in which her hands are on her hips. But the former, cutting on action, is an effective technique that simply makes things flow better. It can also mask if the Actor’s moves don’t match well.

Continuity of Objects, Etc.

An Editor must also pay attention to the objects in a scene. If in one shot someone is drinking from a glass that is full, but in the next shot the glass is almost empty, the audience might notice and could be taken out of the moment — and again, miss vital information. Usually there is a Script Supervisor on set to watch out for these things, making sure that hair and clothing matches from take to take, or to make sure that props are put back in place when they reset a scene, but by the time the footage makes it to the cutting room, there is always something that has been missed.

Fun Fact: Notice the cigarette in the infamous Basic Instinct scene? Notice it disappear? If you missed it like so many of us, I bet it had to do with your eye trace.

180 Rule

The 180 Rule is what helps the viewer know where the Actors are in the two-dimensional space of the screen. It helps clarify where the Actors are in relation to each other. Though the Editor must pay attention to this, it really needs to be shot this way. I’ve seen many people struggle with this concept but it’s less complicated than it seems. Let’s take a scene in which two Actors are facing each other. Imagine that a camera is placed at their profile so that each Actor takes either the right or the left of the screen in a two-shot. When it is put together, the scene might cut between the two Actors’ close-ups and maybe a medium or wide shot. If you move the camera to the exact opposite side of the Actors, in which their position appears to be switched, it could be disorienting to the viewer. However, that might be exactly what the Director wants to do.

How Important Is Continuity?

Very. However, you would be surprised at how many continuity errors are missed because the viewer is engaged in the story. In Walter Murch’s book In the Blink of an Eye (highly recommended reading for anyone who is interested in the craft of editing) he breaks down an Editor’s approach to making a cut into what he calls the “Rule of Six.” The “Rule of Six” prioritizes the things an Editor should consider when making a cut, and everything I mentioned above is toward the bottom of the list. Why? Because editing is about storytelling. It’s about engaging the audience and making them feel something, so his top two motivators for making a cut are emotion and story. If your audience is emotionally involved, I assure you that they will not notice minor continuity errors. But what distinguishes major versus minor? Take a look at the fun facts in this article and you judge!

Fun Fact: The next time you watch It’s a Wonderful Life, see if you can find the missing wreath. It’s quite obvious, but we are so emotionally invested by this point that we don’t even notice.

Breaking Continuity Rules

If the above examples are continuity editing, what is discontinuity editing? There are ways in which Directors and Editors break the rules and never lose the attention of their audience, the most popular being the montage and the jump cut.

A montage is a way to get story points across without worrying about seamless continuity. For example, a woman gets dressed for a party — we see her swipe lipstick across her lips, we see her zip up a sparkly dress and we see her slip on her glittery shoes. Each image tells a piece of the story, but none are a direct match. A montage can also take us over a period of time, like the famous Rocky montage, in which we see our hero train for his big fight.

The other technique is the jump cut. A jump cut is usually an edit within the same take (or same camera angle). Let’s use our gal getting ready for a party as an example. The camera catches her in one take at the mirror. The camera doesn’t move and runs while she combs her hair, ties it up, puts on a hat, etc. Rather than let the footage run in real-time, an Editor can use a jump cut – that is, cut out pieces in between each of these actions – to highlight the things we should pay attention to or create an emotion.

A movie is nothing more than an illusion and Editors are magicians. Continuity errors are unavoidable, so the job of the Editor is to get the viewer engrossed in the story so they aren’t bored enough to spot the errors. If an audience is emotionally engaged, they won’t even notice. It truly is sleight of hand.

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How One Man Photographed His Own Transplant Team 17 Years Before They Saved His Life

When Australian documentary photographer Andrew Chapman was invited to Austin Hospital in Melbourne to photograph open heart surgery for TIME magazine, the transplant team in the operating theatre next door invited him to come photograph them as well. Little did he know, this same surgical team would be saving his life 17 years later.

Chapman’s incredible story is the subject of the poignant short doc above by filmmaker Chris Franklin. The 14-minute documentary covers Chapman’s entire journey—from photographing a liver transplant team 17 years before they would be performing a transplant on him; to his own successful transplant; to his photo exhibition “Giving Life,” which follows the same surgical team as they saved two more lives.

The story is truly stranger than fiction, and it’s beautifully told through Franklin’s lens. If you have a moment to marvel at the power of photography today, watch the full short documentary above.

Is Sony About to Announce the a9 II?

Is Sony About to Announce the a9 II?

With so much speculation, bookmakers would be delighted over the ever-shifting odds regarding what Sony is going to announce next: will it be the much-delayed a7S III, or the greatly-anticipated a9 II? With the rumor mills in fine fettle after a short summer break, we may have an answer: in the next month, Sony will announce the a9 II. Allegedly.

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An Essential Back-to-School Shopping List for Filmmakers

Heading back to school? Here are some items that you’ll find extremely useful when you’re planning and shooting projects on campus.

Class is back in session for a lot of you out there, which means two things: 1.) you’re filling your brain with lots of (hopefully) great and wonderful things, and 2.) you have significantly less time to run around with a camera shooting stuff.

That’s okay because even if you’re only able to write a couple of pages of your script or shoot a few subjects as you wait for your next class to start, these items will help you save time and keep you light on your feet as you do so.

In this video, Armando Ferreira and film student Nick Jansen name a few really cool gadgets, apps, and other products that might help you get some work done more effectively while on campus. I’ll also throw some of my favorites in the mix after the jump.

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USB4 Officially Announced, Will Offer 40Gbps, Power, and Display Support

Earlier this week, the USB Implementation Forum (USB-IF) finally revealed the specifications for USB4, and it looks like USB will catch up to Thunderbolt 3 in every respect. With dual-lane 40Gbps transfer rates, power delivery, and continued support for display protocols, single-cable computing will soon become the standard.

According to the official technical specifications, USB4 will use the same USB Type-C connection we’ve all grown (at times begrudgingly) accustomed to while offering twice the speed of the current standard. USB4 is based on Intel’s Thunderbolt protocol, and will offer up to 40Gbps (5,000MB/s) bandwidth when using compatible USB-C cables.

This means that you’ll no longer have to figure out if the port on your PC is USB or Thunderbolt, a confusing state of events since USB 3.2 is only half as fast. Once USB4 comes to market—and we expect the first devices to appear sometime in 2020—there will truly be one universal connection that offers the best combination of speed and versatility. And since USB4 will be backwards compatible with Thunderbolt 3, USB 3.2, and USB 2.0, you’ll still be able to connect all of your older peripherals.

The sometimes confusing transition to USB 3.2 and USB Type-C connections hasn’t always been the easiest, and the superiority of Thunderbolt 3 has been frustrating for users who didn’t want to pay for the more expensive computers that feature the connection. The arrival of USB4 promises to level that playing field, delivering the same high level of performance to all consumers.

(via Engadget)

Nikon Announces New D6, Calls It ‘Most Advanced DSLR to Date’

Nikon Announces New D6, Calls It 'Most Advanced DSLR to Date'

Following a premature leak via the company’s social media accounts, Nikon has made the official announcement for their new Nikon D6 DSLR. It is being hailed by the Japanese manufacturer as its “most advanced DSLR to date.”

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Video: Cinema5D goes hands-on with the Canon EOS C500 Mark II

We’ve already shared the basic specs and details of Canon’s new EOS C500 Mark II cinema camera, but our friends over at Cinema5D have gotten their hands on a unit and shared a ten-minute overview of the new full-frame cinema system.

Throughout the 11-minute video, Cinema5D takes a look at the overall unit, as well as the extension units, which make the camera even more modular and capable without the need for third-party solutions. Other details not given in Canon’s original press release are also mentioned and we even get a closer look at how the user-changeable mount system works.

ASUS ProArt StudioBook One: the world’s most powerful laptop

ASUS ProArt StudioBook One: the world’s most powerful laptop

Now you can quickly render animations or edit 8K videos in real time wherever you are, all with the new ASUS ProArt StudioBook One, revealed at IFA Berlin as the world’s most powerful laptop.

With more than 200 milion PC-based creators worldwide, according to Intel research (Intel GIA Creator research Q2 2019 | Creators vs non-creators vs non-Gamers), the demand for powerful computers is growing, as the content-creator market is expanding at a rapid pace, and ASUS is committed to meet he specific needs of a whole new generation of professional content creators, a task the company took on its shoulders as early as 2011, with the launch of first ProArt display.

Now the company took to IFA Berlin to show its complete new line-up of ProArt StudioBooks, a family that takes advantage of NVIDIA GeForce RTX GPU capabilities, including real‑time ray tracing and AI acceleration, catering to the needs of content creators and meeting the stringent requirements of the NVIDIA RTX Studio program. RTX Studio laptops are precision crafted to deliver dramatic improvements in productivity and performance across everyday creative apps. In addition to the flagship ProArt StudioBook One and ProArt StudioBook Pro X, the series also includes ProArt StudioBook Pro 17/15 and ProArt StudioBook 17/15 with both Quadro and GeForce GPU options and all featuring Windows 10.

ASUS ProArt StudioBook One: the world’s most powerful laptop

The star of the ProArt StudioBook family

The star of the show, though, is the new ASUS ProArt StudioBook One, presented as the the most powerful StudioBook ever. Carrying the RTX Studio badge, the first laptop to feature NVIDIA Quadro RTX 6000 graphics is powered by the latest 9th Gen Intel Core i9 processors, which deliver single and multi-threaded performance that enables creatives to tackle compute-intensive tasks and do the most with the software crucial to their workflows. NVIDIA Quadro RTX graphics provides users with more CUDA, RT, and Tensor cores, enabling rendering of animations, 8K video editing and data calculations to be handled more smoothly and efficiently.

ProArt StudioBook One has a powerful cooling system featuring a lightweight aerospace grade titanium alloy thermal module designed to optimize inlet and exhaust flow. When the lid is opened, the hinge tilts the chassis by 4.57° to maximize the inflow of cool air into the chassis. Heat-generating components, including the CPU, GPU, and thermal systems are placed behind the display to ensure comfortable use, even when placed on the user’s lap.

The 4K UHD PANTONE Validated display on ProArt StudioBook One is, says ASUS, “truly amazing, boasting a superfast 120Hz refresh rate and edge to edge glass that sits flush with the bezels. Its 84% screen-to-body ratio provides immersive visuals, while the display’s wide 100% Adobe RGB gamut and Delta-E < 1 rating ensure exceptional color reproduction and accuracy.”

From 3D animations to 8K video

The Quadro RTX 6000 at the heart of the ProArt StudioBook One enables creatives and other innovators to tap into the power of a high-end deskside workstation without being chained to their desks. Wherever their work takes them, professionals can harness the RTX Studio-based system to handle massive datasets and accelerate compute-intensive workflows, such as creating 3D animations, rendering photoreal product designs, editing 8K video, visualizing volumetric geophysical datasets and conducting walk-throughs of photoreal building designs in VR.

RTX Studio systems, which integrate NVIDIA Quadro RTX or GeForce RTX GPUs, deliver advanced features like real-time ray tracing, AI and 8K RED video acceleration to millions of creative and technical professionals.

“RTX Studio mobile workstations deliver cutting-edge features that provide powerhouse performance in a thin, portable format,” said Bob Pette, vice president of Professional Visualization at NVIDIA. “Creatives and other pros using mobile platforms powered by the Quadro RTX 6000 can harness the advanced features and performance of RTX to work on their most demanding projects from anywhere they choose.”

A total of 39 RTX Studio Systems

The ASUS ProArt StudioBook One provides the perfect combination of performance and portability with the power of Quadro RTX 6000 and the new groundbreaking NVIDIA “ACE” reference design system features, including:

  • 24GB of ultra-fast GPU memory to tackle large scenes, models, datasets and complex multi-app workflows.
  • NVIDIA Turing™ architecture RT Cores and Tensor Cores to deliver real-time ray tracing, advanced shading and AI-enhanced tools to accelerate professional workflows.
  • Advanced thermal cooling solution featuring ultra-thin titanium vapor chambers.
  • Enhanced NVIDIA Optimus technology for seamless switching between the discrete and integrated graphics based on application use with no need to restart applications or reboot the system.
  • Slim 300W high-density, high-efficiency power adapter provides charging and power at half the size of traditional 300W power adapters.
  • Professional 4K 120Hz PANTONE validated display with 100% Adobe RGB color coverage, unprecedented color accuracy, and factory calibration for stunning visuals out-of-the-box.

“The ASUS ProArt StudioBook One is the first laptop to offer the NVIDIA Quadro RTX 6000 in a mobile solution, delivering the world’s fastest performance so users can run complex workloads wherever they go,” said Samson Hu, co-CEO at ASUS. “Our customers can quickly render animations, edit 8K videos in real time or run data analytics more smoothly and efficiently than before.”

NVIDIA and ASUS announced that the new ASUS ProArt StudioBook One with the Quadro RTX 6000 GPU inside, joins 11 other new RTX Studio Systems, from Acer, ASUS, HP, MSI, launched in time for IFA, and brings the total number of RTX Studio systems to 39.

The post ASUS ProArt StudioBook One: the world’s most powerful laptop appeared first on ProVideo Coalition.

How to Edit Your Images Faster: 6 RAW Processing Tips

When you’re editing thousands of photos for clients every single week, time is quite literally money. This helpful video offers a few key tips that may help you speed up your workflow and save precious minutes every time you sit down to process your RAW files.

The tips were put together by Pye at SLR Lounge, and all but one apply whether you’re using a keyboard and mouse, or trying out an editing console like the Loupedeck, which Pye uses throughout his demonstration.

Here’s a list so you can see all six tips at-a-glance:

  1. Shoot in Manual – This allows you to keep exposure consistent for every scene, making batch processing much easier.
  2. Batch Process By Scene Or Lighting – Basic tip, but important: there’s no need to edit each photo individually when you can batch scenes or lighting conditions together.
  3. Create Presets Based On Common Lighting – Depending on your genre, chances are you run into similar lighting conditions regularly. Create presets for each of these to speed up your workflow.
  4. Assign Shortcuts to Frequently Used Presets – Only applicable if you have an editing console, but hopefully Adobe adds this to Lightroom soon.
  5. Don’t Rely on Your Mouse – The more you can rely on keyboard shortcuts, the faster you’ll work.
  6. Create Presets from Local Adjustments – If you use certain local adjustments a lot, try popping them into a preset so you can drop them in (and adjust accordingly) at the click of a button.

Check out the full video to hear more about these tips, find out how to set some of these presets up, and see the tips in action. And if you have more RAW processing tips that have helped speed up your workflow, share the min the comments below.

Lightroom Import and Export Tips and Tricks

Lightroom Import and Export Tips and Tricks

Lightroom is undoubtedly a great tool for Digital Asset Management (DAM). Some people use it for Digital Asset Management and Editing while others use it just for Digital Asset Management and do all of their editing in Photoshop or some other external application.

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The Best Filmmaking Deals of the Week (9.5.19)

Canon cuts the price of a bunch of its gear, including two of its zoom lenses and one of its full-frame mirrorless cameras, to headline our Deals of the Week.

This week in filmmaking deals: Though we didn’t see humongous price drops on filmmaking gear, we did see small rollbacks on a wider variety of gear and tools from some of the most trusted names in film. Save a few hundred bucks on Canon gear, including the RF 24-105mm f/4 and RF 28-70mm f/2 zoom lenses, as well as the EOS RP full-frame mirrorless camera. Apple has dropped a not-too-shabby $200 off of the 12.9″ 512GB Apple iPad Pro, and Highland 2 is offering its Pro upgrade for 30% off right now. Last but not least, Adorama can help you save on an Angelbird AV Pro 128GB SD card.

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Facebook expands Face Recognition photo scanning, makes feature opt-in for new users

Facebook will no longer scan uploaded images for users’ faces by default, according to The Verge. The change will apply to new users who receive the Face Recognition setting as Facebook rolls it out globally over the next several weeks. The Face Recognition feature, which was first introduced in late 2017, will not be turned on unless the user chooses to enable it.

The facial recognition feature works by scanning images for users’ faces and alerting them about these images even if they’re not tagged in them. Users who receive one of these alerts can choose to tag themselves in the image, ignore it, or report the image when applicable.

In an update on the technology following the outcome of its federal appeal in August, Facebook has revealed that the facial recognition feature is rolling out to all users, but that they’ll need to manually enable it if they want the platform to scan other users’ images for their face. A notice in the user’s News Feed will alert that user when the feature becomes available on their account.

Users will be able to find the Face Recognition feature in their account’s Settings menu. Facebook users who currently have Face Recognition on their accounts can find instructions on disabling it here.

Canon Unveils Full-Frame C500 Mark II with 5.9K/60p and Swappable Mount

Earlier today, Canon revealed their latest Cinema EOS camera: the full-frame EOS C500 Mark II. The camera may not be of much interest to photographers, but its 5.9K full-frame sensor with dual-pixel AF, user-swappable mounts, 5-axis electronic stabilization, and dual CFExpress slots might give us a glimpse at some of what’s possible in future EOS R cameras.

The C500 Mark II marks the first time Canon has put a full-frame sensor into the more “classic” Cinema EOS style body, packing the same 5.9K full-frame CMOS sensor from the C700 FF into a smaller, modular body that costs just $16,000 (the full-frame C700 costs $33,000).

Here’s a short overview of some of the key features coming to the Canon EOS C500 Mark II:

To find out more about the C500 Mark II, head over to Canon USA where you can dive more deeply into the specs. What intrigues us, however, is how these specs might trickle down to, or inform, the specs we can expect from future EOS R cameras.

Bringing a full-frame sensor to a cinema camera in this price range is an exciting move from Canon, and gives some hint at the capabilities they could potentially provide in a Sony a7S or Panasonic S1H competitor … assuming they’ll ever be willing to cannibalize sales of their Super 35mm cinema cameras.

The modular design is an interesting move, user-swappable mounts prove they listen to their users (even if we’ll never see that in the stills world), and it looks like Canon is embracing CFExpress by integrating not one but two CFE slots into the C500 Mark II.

Finally, the C500 Mark II is also Canon’s first ever cinema camera with “5-axis stabilization”, but don’t get too excited: it’s electronic. If Canon is working on IBIS sensor stabilization, it looks like it will see its debut in the EOS R system.

For us stills shooters—especially in the age of hybrid full-frame mirrorless cameras—every Cinema EOS release sends a mixed message. On the one hand, it shows the kind of features that Canon is capable of putting into a high-end full-frame camera; on the other, it reveals the video features they’ll be trying not to cannibalize when they do release their next EOS R.

(via Newsshooter)