http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=672507&modelNo=Content04022012054037684&surfModel=Content04022012054037684

Panasonic AG-HPX250 improvements

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=673004&modelNo=Content04022012052929413&surfModel=Content04022012052929413

HPX250 owners can take advantage of a free software upgrade that will enable Focus-in-Red and “Turbo One” One-Push Auto Focus functionality

MicroP2 memory SD cards

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=671502&modelNo=Content04022012052157415&surfModel=Content04022012052157415

Software upgrade for AG-AF100

http://www2.panasonic.com/webapp/wcs/stores/servlet/prModelDetail?storeId=11301&catalogId=13251&itemId=671505&modelNo=Content04022012052729863&surfModel=Content04022012052729863

Panasonic has introduced a software upgrade to augment the recording and shooting functions of its popular AG-AF100 Large Imager HD Cinema Camcorder. The upgrade (AG-SFU100) will enable acquisition in the 1080/60p and 1080/50p HD recording formats (in new 28Mbps PS mode), and will substitute the 2.39:1 aspect ratio marking for the current 2.35 marker.

Recording in the high-resolution 1080/60p and /50p master-quality formats is rapidly gaining popularity in broadcasting, sports and scientific analysis. The 2.39:1 marker in the AF100’s viewfinder/LCD monitor will be valuable for narrative and documentary shooters, as it is a standard aspect ratio for presenting films in movie theaters.

The AG-SFU100 software will be available in May at a suggested list price of $250.

So, this is all. Besides Jan Crittenden herself looks so upset with the things they introduced.

PR

Sony launches flagship FX9 camcorder with newly-developed Full-Frame¹ sensor, Fast Hybrid Auto Focus system and enhanced mobility features

Next generation camcorder offers content creators greater creative freedom, flexibility and custom features to help bring their artistic vision to life

Sony today unveils the PXW-FX9, its first XDCAM camcorder featuring an advanced 6K² Full-Frame sensor and Fast Hybrid Auto Focus (AF) system. The new flagship camcorder offers content creators greater creative capabilities to capture stunning images that truly resonate with audiences.

Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its colour science and Dual Base ISO 800/4000 from the VENICE digital motion picture camera and represents the ultimate tool of choice for documentaries, music videos, drama productions and all-round event shooting.

The FX9 was designed in close collaboration with the creative community and is another example of Sony continuously evolving its proposition to innovate with the customer and market needs. The camcorder benefits from the versatility, portability and performance expected of an FS7 series "Run & Gun" style camcorder, while also offering High Dynamic Range and Full Frame shooting features.

"Today's content creators require a camcorder that is agile, versatile and customizable to their specific creative needs, yet also offers superior performance and image quality. With the new FX9 we are striking the perfect balance between agility, ergonomics and powerful features, offering content creators the complete toolset to achieve their full artistic intention," explained Hany Bartella, Business Head -- Broadcast & Media ME, Sony Professional Solutions MEA. "At Sony, we consistently listen to our customers and every product, solution or service we unveil has always been developed with their specific needs in mind. Our latest flagship camcorder is no different and we are excited to see how it will help content creators to go make tomorrow."

Powerful features for creative content creators

The newly-developed 6K Full-Frame sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K 4:2:2 10bit. Oversampling by the Full-Frame 6K sensor allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity. This means that every scene captured looks true-to-life whether it's shot in broad day light or in the middle of the night. The camcorder can also capture content up to five times the slow-motion speed with FHD 120fps shooting.

With the same colour science and Dual Base ISO 800/4000 as the VENICE camera, the new sensor can also create softer and more alluring facial tones.

The enhanced Fast Hybrid AF system with customisable AF transition speeds and sensitivity settings also combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of imaging area, allowing consistently accurate, responsive AF tracking, even with fast-moving subjects while maintaining shallow depth of field.

Limitless creativity and flexibility

Inspired by the high mobility "Run & Gun" style approach from the FS7 series of camcorders, the FX9 offers content creators even greater flexibility thanks to Electronic Variable ND Filter. This allows more creative effects for content creators and instant exposure level changes depending on the filming environment -- even when it's moving from an inside space to outdoors or while filming in natural light conditions. By recording image stabilisation information and using it on the Catalyst Browse/Prepare⁴ option, content creators can capture incredibly stable visuals even in handheld mode. Sony is also working to encourage other third party none-linear editing tools to adopt this functionality.

The FX9 comes with a range of customizations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extension kit enabling 10bit S35 4K 120fps and 16bit RAW output⁵, compatibility with Sony BP-GL and BP-FL series batteries, D-Tap, RJ-45 interface and stable "Dual Link" streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcasting settings⁵. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for movie shooting and auto-control functions.

"Based on our ongoing conversations with customers, partners and the wider industry, we at Sony understand the needs of today's creative storytellers -- from the world's top cinematographers, to documentary film makers, music video directors or broadcasters. What they all need is a flexible camera that allows them to tell their own unique story, no matter the environment they operate in. Our next-generation FX9 not only captures stunning visuals with life-like image quality, but it also offers advanced AF features and customisation options. This makes it the ultimate creative tool for modern content creators," concludes Hany Bartella.

The FX9 will be available towards the end of 2019 and on display at the Sony stand (A10, Hall 13) at IBC 2019 from the 13th -- 17th September. For more information please visit www.pro.sony/ibc

• Initially supported recoding aspect is 16:9. 17:9 (active about 19M pixel) will be supported by future update.
• 6K Oversampling, not capable of 6K recording
• 3840×2160 recording is initially supported and 4096×2160 recording will be supported by future update.
• Planned to be supported by Ver.2019.2 in December 2019
• Raw output function and DWX compatibility will be supported by future update
• A future update will be scheduled sequentially for summer 2020. Further details will be announced.

Rumored specs

• FX9 sensor
• 6K resolution
• XAVC-L
• Double SDXC slots
• Release around October 2020

Specs

• New Direct Touch Menu System
• Coordinated Electronic Image Stabilization
• Two built-in Mini XLR inputs
• Time-code input/output terminal
• Custom picture processing via import of 3D LUTs and recording to Look Files
• Dual-SD card slots
• Built-in stereo mic
• Support for optional Canon RC-V100 remote control
• $5499 at
  • https://www.adorama.com/cac70rf.html

• Same sensor as R5
• Exactly same LSI and similar motherboard
• Proper heatsinks and fan
• Larger body due to fan and exhausion
• Late 2021 announcement
• C-Log 2 and raw recording via Atomos
• Availability in early 2022
• Price around 45-50% more than R5
• Big marketing plan, lots of leading infuencers already contacted and signed NDA
• Around $2500 financing per infuencer (+lot of nice equipment, including camera and pair of expensive lenses), big one will get up to $10000

Blackmagic Design announced Blackmagic URSA Broadcast G2, a next generation professional broadcast camera with 6K digital film sensor that brings digital film quality to both traditional and online broadcasters. The advanced 6144 x 3456 digital film sensor provides exceptional low light performance with dual gain ISO of up to +36dB as well as 13 stops of dynamic range. Blackmagic URSA Broadcast G2 also includes H.265 and Blackmagic RAW file formats, Blackmagic generation 5 color science, as well as a USB-C expansion port for external disk recording, and more.

Blackmagic URSA Broadcast G2 is available immediately from Blackmagic Design resellers worldwide for $3,995.

The new Blackmagic URSA Broadcast G2 is an incredibly powerful camera designed for both traditional and online broadcasters. The 3 cameras in 1 design allows it to work as a 4K production camera, a 4K studio camera or a 6K digital film camera. It's a perfect solution for broadcasters because it uses the lenses and batteries customers already own. Customers can record to common SD cards, UHS-II cards, CFast 2.0 cards or external USB disks, using common file formats such as H.265, Apple ProRes and Blackmagic RAW. This means it's compatible with all video software and broadcast media management systems. Customers can even change the lens mount. No other broadcast camera is so flexible.

The large 6K sensor combined with Blackmagic generation 5 color science gives customers the same imaging technology used in digital film cameras. The 6K sensor features a resolution of 6144 x 3456 so it's flexible enough for broadcast and digital film work. When using B4 lenses, customers get a 4K window of the sensor for Ultra HD broadcast use. Then if customers change to a PL or EF lens mount, they can use the full 6K resolution of the sensor for digital film. With 13 stops of dynamic range, customers get darker blacks and brighter whites, so it's perfect for color correction. Using digital film in broadcast is a revolution in image quality.

The new URSA Broadcast features incredible low light performance so customers can shoot using ambient light or even under moonlight. The Blackmagic URSA Broadcast G2 features gain from -12dB (100 ISO) up to +36dB (25,600 ISO) so it's optimized to reduce grain and noise in images, while maintaining the full dynamic range of the sensor. The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol.

The URSA Broadcast G2 features a B4 broadcast lens mount that includes optics specifically designed to match the camera’s sensor. The B4 lens mount lets customers use modern Ultra HD lenses or lower cost HD lenses. Older HD lenses often feature resolutions well beyond HD, so customers get great quality at low cost. B4 lenses are fantastic because they are par-focal, so the image stays in focus as customers zoom in and out, so customers don't need to constantly chase focus as they shoot. Customers also get full electronic lens control to adjust focus, iris and zoom using the camera’s controls, or remotely. Plus if customers want to use alternative lenses, they can change the mount to PL, EF and more.

URSA Broadcast G2 features high quality neutral density (ND) filters that let customers quickly reduce the amount of light entering the camera. The 1/4, 1/16th and 1/64th stop filters have been specifically designed to match the image sensor and color science of URSA Broadcast G2, providing customers with additional latitude and better colorimetry. This lets customers use different combinations of aperture and shutter angle, in a wider range of situations. The IR filters have been designed to evenly filter both optical and IR wavelengths, eliminating IR contamination. Plus the filter status on the LCD can be displayed as a fraction, number, or stop reduction.

URSA Broadcast is designed to work with standard file formats that are used by all broadcast systems and editing software. Customers can record in ProRes 422 HQ and ProRes 422 into QuickTime files. The new Blackmagic URSA Broadcast G2 model can even record into H.265 for incredibly small files at 60:1 to 285:1 compression ratios, in 10-bit broadcast quality. Plus customers can record to Blackmagic RAW files, a revolutionary new format designed to capture and preserve the quality of the sensor data from the camera. That means customers get the perfect range of file formats designed for all types of workflows.

With dual CFast 2.0 recorders and dual SD/UHS-II card recorders, customers can choose the media that's best for them. Both types of media are standard, inexpensive and readily available at computer and camera stores. Plus with dual media slots, URSA Broadcast gives customers non stop recording. When a card is full, recording automatically continues onto the next card so customers can swap a full card while recording continues. Customers get enough speed to record high quality ProRes and H.265 video file formats, even when working in Ultra HD at high frame rates. That means URSA Broadcast G2 is easy to integrate into their existing broadcast systems. Customers can even record 12-bit Blackmagic RAW cinema files.

The Blackmagic URSA Broadcast G2 features a high speed USB-C expansion port on the rear of the camera that allows customers to record to external disks or connect to a wide range of accessories. If customers plug in a large and low cost external USB flash disk, customers can record ProRes, H.265 or even high quality 12-bit Blackmagic RAW files for later editing and color correction. That means customers can just move the disk to a computer to work, and don't need to waste time with file copying. Plus the USB port will power the disk that’s plugged in.

The Blackmagic URSA Broadcast G2 is not just a great Ultra HD camera, but it’s also an amazing HD camera too. The high resolution sensor and generation 5 color science creates amazing images with high dynamic range and wide color fidelity. But when customers need to do HD work, the camera will scale the image sensor down to 1080HD video standards. This helps customers get stories on air fast, in HD or Ultra HD video standard, anywhere in the world. Plus when working in HD, the high resolution sensor allows sub pixel image processing for superior anti-aliasing and sharp images. Blackmagic URSA Broadcast G2 is a future proof camera that's perfect for both HD and Ultra HD production.

URSA Broadcast G2 features an interchangeable lens mount so customers can easily swap the included B4 lens mount for an EF, PL or even F mount. URSA Broadcast G2 comes with a B4 mount already installed, plus a spare EF mount is included. That means if users are starting out customers can change the mount and use low cost photographic lenses. Photographic lenses are incredible quality because they're designed for high resolution photography. Customers can also purchase optional PL and F mounts separately. If users are shooting for digital film, the PL mount is best as it's the most common lens mount for cinema lenses. With URSA Broadcast G2, customers get a single camera that works with virtually all modern lenses.

Featuring the same generation 5 color science as the high end URSA Mini Pro 12K, the new URSA Broadcast G2 delivers an even greater advancement in image quality with stunning, accurate skin tones and faithful color in every shot. Customers get a new dynamic 12-bit gamma curve designed to capture more color data in the highlights and shadows, for better looking images. The color science also handles some of the complex Blackmagic RAW image processing, so color and dynamic range data from the sensor is preserved via metadata which customers can use in post production.

The optional zoom and focus demands allow customers to use photography lenses for live production. The focus and zoom demands have USB-C connections so they control the lens via the camera’s electronic lens control. Each zoom and focus demand has 2 USB-C ports, so customers can daisy chain them then connect to the camera with a single USB connection. The design has an incredibly precise feel so customers get very fine lens control, and customers can frame and adjust the lens without taking their hands off the tripod handles.

There's a wide range of accessories that are specifically designed to work perfectly with URSA Broadcast G2. However, a shoulder mount kit, V-Lock battery plate and top handle are included so customers don't need to purchase anything extra. Plus customers get a spare EF lens mount if they don't own a B4 lens and would like to start out using a photography lens. Customers can add the optional Blackmagic URSA Viewfinder, or for live production, customers can add a Blackmagic URSA Studio Viewfinder. There's also an optional fiber converter that can power the camera from 2 km away via the single SMPTE fiber. For long duration recording, URSA Mini Recorder gives the option to record to external SSDs.

"Customers love the flexibility of the original URSA Broadcast and have been asking for a camera that also delivered the quality of digital film quality for broadcast use," said Grant Petty, Blackmagic Design CEO. "We’ve listened and the new URSA Broadcast G2 means that customers now don’t have to choose between a broadcast focused camera design or digital film images. With URSA Broadcast G2, they get both! URSA Broadcast G2 can be used as a production camera, a studio camera or a digital film camera, so it’s really 3 cameras in 1. We think both traditional and online broadcast customers are going to really enjoy the creativity of being able to shoot Hollywood quality digital film!"

Blackmagic URSA Broadcast G2 Features

• Native 6K sensor with 13 stops of dynamic range.
• Up to +36dB ISO for incredible low light performance.
• USB-C port allows recording directly to external disks.
• Includes Blackmagic generation 5 color science.
• Features incredible quality Blackmagic RAW recording.
• Optional focus and zoom demands for lens control.
• Compatible with new Blackmagic URSA Mini Recorder.
• Includes full DaVinci Resolve Studio for post production.

Availability and Price

Blackmagic URSA Broadcast G2 is available now for $3,995, excluding local duties and taxes, from Blackmagic Design resellers worldwide.

DJI Ronin 4D offers a completely unique design. Crafted with carbon fiber and aluminum magnesium, its solid body integrates the imaging, stabilization, and focusing systems, as well as wireless transmission and control. This avoids time-consuming setup and enables quicker shooting.

Ronin 4D is equipped with Zenmuse X9, DJI’s flagship full-frame camera. It also features DJI’s latest image processing system, CineCore 3.0. This system uses DJI’s proprietary chip to provide advanced processor architecture, offering extremely high-performance computing power in a compact cinema camera. CineCore 3.0 allows Ronin 4D to support internal recording of Apple ProRes RAW, ProRes 422 HQ, and H.264 video. It also supports up to 8K/75fps and 4K/120fps video recording, delivering multiple options for professional-level creation.

• 8K model has 8K/75fps recording, 14+ Stops Dynamic Range, 800/4000 Native ISO
• 6K model has 6K/60fps 4K/120fps recording, 14+ Stops Dynamic Range, 800/5000 Native ISO

DCI 8K (8192×4320)/60fps video retains every little detail, from rich foliage to inspiring architecture, skin texture to strands of hair, all with flawless quality. For those who need to output in 4K, recording in 8K offers unprecedented creative options with more flexibility for cropping, re-composing, and stabilizing videos in post.

Zenmuse X9 supports dual native ISO (X9-8K: 800/4000; X9-6K: 800/5000), which records images with exquisite detail and minimal noise, even when filming an evening cityscape or beach, or a scene lit by dim candlelight.

With 14+ stops of dynamic range, Zenmuse X9 delivers natural transitions of highlights and shadows in complex lighting conditions such as backlit scenes and direct sunlight. These traditionally difficult scenes can now be captured easily and with confidence.

With the DJI Cinema Color System (DCCS) and robust computing power provided by CineCore 3.0, Zenmuse X9 is able to give images a cinematic look by retaining authentic and accurate colors. It also supports the industry-standard ACES workflow for effortless compatibility with the color tones of other cinema cameras.

X9 has 9-stop built-in high-quality ND filters (ND 2 to ND 512, or ND 0.3 to ND 2.7) that can be quickly and easily switched thanks to an internal motorized system. These filters were also designed to match and compliment the color science of Ronin 4D.

X9’s standard DL mount supports three compact full-frame prime lenses. The housings are made of lightweight, monocoque carbon fiber, so each lens weighs just 180 g. More DJI lenses will be available in the future.

X9 supports interchangeable lens mounts, including DJI’s proprietary DL mount as well as third-party mounts like Leica M. Ultra-wide, f/0.95 large-aperture, electronic zoom, macro, and anamorphic lenses [5] that are compatible with traditional cinema cameras also work on X9, [6] providing flexible lens options.

Whether you’re using manual or autofocus lenses, dedicated modules mounted to X9 can achieve wireless lens control and even autofocusing.

DJI Ronin 4D adds a Z-Axis to the traditional 3-axis gimbal, which effectively decreases vertical camera shake and offers stabilization performance on par with a dolly. The four axes work together with a downward ToF sensor, forward and downward dual-visual sensors, a built-in IMU and barometer, and an advanced new algorithm to bring the overall stabilization to a whole new level.

Ronin 4D integrates the imaging and stabilization systems while keeping only the sensor and necessary optical components in the gimbal camera. The tilt axis of the gimbal uses dual symmetric motors, whereas both the pan axis and the roll axis are designed with an additional stiffness buffer.

DJI’s proprietary computer vision, deep learning technology, and the robust computing power of CineCore 3.0 combine in ActiveTrack Pro, which enables cinema-standard tracking shots, even in just one take. This technology also allows subjects to be tracked from longer distances and features composition adjustment with continuous autofocusing to keep subjects in focus during tracking shots.

• 4K Full Frame sensor
• 4K/240p in Fast Mode, 4K/180p in WDR Mode
• BSI Stacked 9.6um 4K WDR Sensor
• 20+ Stops Dynamic Range in WDR Mode
• 5ms Readout in 4K WDR Mode
• Dual DIGIC DV 8 Image Processor

• 8K Full Frame Sensor
• 8K/60p, 4K/120p video modes
• BSI Stacked 4.65um 8K DGO Sensor
• Dual Pixel Autofocus
• 17+ Stops Dynamic Range in DGO Mode
• 10ms Readout in 8K DGO Mode
• Dual DIGIC DV 8 Image Processor

• 8K Super 35mm sensor
• 8K/60p, 4K/120p video modes
• BSI Stacked 3.2um 8K DGO Sensor
• Dual Pixel Autofocus
• 16 Stops Dynamic Range in DGO Mode
• 10ms Readout in 8K DGO Mode
• Dual DIGIC DV 8 Image Processor

Sony’s FX9 II will using a new developed 8.7μm pixel size DCI 4K HDR BSI sensor to replace the IMX410. It can output multi based iso together for a ARRI Alexa look picture and up to DCI 4K 120p X-OCN recording by a new external recorder.

Sony’s 8K cine camera only comes for “VENICE II” now.

http://www.usa.canon.com/cusa/professional/products/professional_cameras/cinema_eos_cameras/eos_c100_mark_ii

PR

Canon U.S.A. Announces the Second-Generation EOS C100 Mark II Digital Video Camera Features MP4 and AVCHD 1080/60p Recording, Dual Pixel CMOS AF, Face-Detection Autofocus (AF), Redesigned Viewfinder and OLED Panel, Built-In Canon Log Look-Up Table, and Wireless File Transfer

MELVILLE, N.Y., October 21, 2014 - Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the Canon EOS C100 Mark II Digital Video Camera, the latest edition to the Canon Cinema EOS line of professional Super 35mm 8.3 megapixel CMOS cameras and the second-generation version of the popular Canon EOS C100 Digital Video Camera.

Designed for economical film and video productions such as documentary and remote broadcast crews, wedding and event coverage, indie film productions, as well as film schools and business and government users, the new EOS C100 Mark II Digital Video Camera, features advanced image processing, AVCHD and MP4 1920x1080/60p recording, uncompressed YCbCr output from HDMI, and many other new and enhanced capabilities for improved picture quality, operability, and convenient handling. Delivering a cinematic look with shallow depth of field and high sensitivity in low-light environments, the new EOS C100 Mark II camera weighs just 2.5 lbs. and is compatible with over 103 Canon EF Series lenses, including STM models which can deliver smooth and silent autofocus during filmmaking.

"Canon's commitment to the advancement of tools for visual expression takes another major step forward with the introduction of the EOS C100 Mark II Digital Video Camera," said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. "Drawing on input from Canon's global community of Cinema EOS camera users and from digital filmmakers using Canon EF lenses - 100 million of which have now been produced worldwidei - the Company has added new capabilities to the EOS C100 Mark II from its predecessor that powerfully leverage our considerable expertise in optics, imaging, and digital signal processing. The result is an improved, affordable Super 35mm CMOS digital camera that is designed to provide outstanding HD image quality, operational performance, ergonomics, and workflow convenience." Design Enhancements

Optimized for one-person operation, the new EOS C100 Mark II camera has a mobile core design enabling users to choose their preferred style of shooting. The existing design has been enhanced to include a large-size detachable eyecup for the camera's large 68-degree tilting 0.45-inch 1.23 megapixel color EVF (electronic viewfinder). Clearly marked red trigger buttons on the camera body, top handle, grip, and a built-in mono microphone on the camera body — for times when the top handle is not attached — can be used to capture basic sound for audio notation or as an aid to audio syncing during post.

Another major redesign of the new EOS C100 Mark II over its predecessor is an innovatively hinged 3.5-inch 1.23 megapixel OLED display panel, delivering 100 percent field-of-view coverage, wide color range support, and improved viewing even in bright sunshine. The new hinge design — which folds the panel shut when stowed, protecting the OLED surface — opens 180 degrees to reveal function keys and a joystick. The panel can open even further to 270 degrees to deploy against the side of the camera to provide monitoring for directors and other production personnel. Additional design improvements on the camera body include 17 assignable recessed function buttons, dual SD card slots with a transparent cover, and a simplified battery insertion and removal release. Visual Expression

Previously available only as an optional upgrade for earlier Cinema EOS models, Dual Pixel CMOS AF is a standard feature on the new EOS C100 Mark II, providing enhanced autofocusing capability. The Dual Pixel CMOS AF technology helps provide smooth and consistent autofocus, so that focus transitions are natural looking and subjects can remain in focus even as they move off center. In addition, the compatibility of Dual Pixel CMOS AF with Canon EF autofocus lenses combines outstanding optical tools with a wide range of creative options. It's ideal for shooting sports, weddings and many more productions where focus pulling by a single operator is not feasible, such as when the video camera is attached to steadicams or drones. The EOS C100 Mark II Digital Video Camera also includes Face-Detection AFii, a first in the Cinema EOS camera line, which utilizes contrast detection AF to maintain focus across most of the image plane, an advantage in one-person electronic news gathering (ENG) situations. Imaging and Recording

Central to many of the new features of the new EOS C100 Mark II Digital Video Camera is its advanced Canon DIGIC DV4 image processor. The Canon DIGIC DV4 image processor separates the RGB output from the camera's 8.3 Megapixel CMOS imager into three individual 8 megapixel signals (as opposed to 2MB in the EOS C100) for noticeably improved image quality. The Canon DIGIC DV4 processor also includes a new debayering algorithm to help minimize moir‚ and reduce video noise even at high ISO speeds. (high-sensitivity recording on the camera ranges from ISO 320 to 80,000).

Another important benefit of the Canon DIGIC DV4 processor is Full HD recording in both the high-quality professional format AVCHD or the popular web-friendly MP4 format at a variety of bit rates (up to 28 Mbps and 35 Mbps, respectively), resolutions, and frame rates (up to the smooth look of 59.94p) to suit practically any production need.iii For special-effect requirements, slow and fast motion MP4 recording at up to 1920x1080/60p can also be performed.

Users can choose from multiple formats that support MP4 or AVCHD to suit a wide variety of production, post, and output needs. The EOS C100 Mark II camera's dual SD card slots can record in one or both formats simultaneouslyiv for back-up, or convert AVCHD and MP4 files into smaller MP4 files for web upload.v Extended clip times can be achieved by recording continuously from one card to the other without a break. In addition, a Data Import Utility application is included that can seamlessly join divided files to help reduce work during editing and to import video file data from an SD card inside the camera or a card reader.

As with the other cameras in Canon's Cinema EOS line, the new EOS C100 Mark II Digital Video Camera includes Canon Log as a recording choice, providing maximum dynamic range for post-production color grading. New, however, is the addition of a built-in LUT (look-up table), enabling users to view the camera's live video signal in Wide DR (dynamic range) or the BT.709 (TV standard) color space on the OLED or any external monitor connected to the camera's locking HDMI® output (this feature can be turned off in the menu). Uncompressed video output (with time code data and 2:3 pull-down markers superimposed) can be output via HDMI to an external recorder. Connectivity Innovations

The addition of wireless file-transfer capabilities further expands the versatility of the new EOS C100 Mark II camera for multiple production applications, including transferring time-critical news video or backing-up files. Utilizing dual 5 GHz and 2.4 GHz frequencies, the camera can transfer video files via FTP server for instant relay, or send MP4 video to the web browsers of laptops or tablets for viewing and storage (even on PC's lacking playback software). Remote control of the camera is also enabled via a compatible smartphone, tablet, or laptop. The new EOS C100 Mark II Digital Video Camera also includes compatibility with the optional multi-functional Canon RC-V100 Remote Controller, which can be used to adjust image quality and other important operations from a distance, a handy feature for shooting from a jib arm, drone, or other inaccessible location.

In addition, the optional Canon GP-E2 EOS GPS Receiver can be connected to the EOS C100 Mark II Digital Video Camera using a USB cable to record location and time information during shooting, a helpful feature for editing and archiving. Pricing and Availability

The Canon EOS C100 Mark II Digital Video Camera is scheduled to be available at the end of December 2014 for an estimated retail price of $5,499.00.

Specs

• 1″ CMOS Sensor, 4:2:2 10-Bit
• H.265/H.264 MP4 Format, XF-AVC
• UHD 4K up to 60 fps, 1080p to 120 fps
• iOS App | 15x Optical/30x Digital Zoom
• Dual-Pixel CMOS Autofocus Feature
• HDR Recording, Canon Log 3, Wide DR
• 12G-SDI & HDMI Outputs
• Optical & Digital Stabilization
• Four XLR Inputs, 4-Channel LPCM Audio
• Discrete Focus, Iris, Zoom Lens Ring
• $4500 at
  • https://www.bhphotovideo.com/c/product/1659385-REG/canon_xf605_4k_pro_camcorder.html
  • https://www.adorama.com/caxf605.html

The XF605 is a powerful new camcorder designed for ENG applications and for a wide range of live and recorded productions, including sports, events, documentaries, streaming, and more. It offers a new level of performance and control to videographers who work solo. With 15x optical zoom, professional connectivity, and advanced autofocus, including eye-detection AF and intelligent head-detection technology for the first time in the XF series, this is a versatile camera that is perfectly suited to studio work or in the field.

Compact in size but equipped with a full range of controls and connections, the XF605 integrates seamlessly into live production and studio environments. The large 1 “CMOS sensor and DIGIC DV7 processor deliver professional 4K UHD 60P / 50P shooting in XF-AVC and 10-bit 4: 2: 2 MP4 for exceptional image quality and maximum flexibility in post-production.

The XF605 is the first professional camcorder to feature eye-detection AF technology and EOS ITR AF X, an intelligent head-detection technology that enables videographers to achieve optimal results even in the toughest conditions.

Broadcast quality video

The 1 “CMOS sensor and DIGIC DV7 processor work in harmony to deliver 4K UHD 60P / 50P in XF-AVC and MP4 4: 2: 2 10-bit, as well as FHD 120P HFR for exceptional picture quality and flexibility during post-production.

Professional optics and control

Capture the finest details with the L-series 4K lens with 15x optical zoom and independent rings for zoom, focus, and aperture control. There are also three image stabilization modes, plus built-in ND and infrared filters, for added control.

Advanced autofocus

Achieve sharp focus of your subjects’ eyes with eye-detection AF technology and intelligent head-detection technology via EOS ITR AF X, an innovative “deep learning” technology to detect a subject’s head, even when it is not facing the camera.

Connectivity and professional streaming

The XF605 integrates seamlessly into live and studio environments, with 12G-SDI, Wi-Fi, and Ethernet for IP streaming. The Content Transfer Mobile app allows you to edit news ML-G2 compliant metadata, transfer footage to your iPhone, and upload directly to FTP servers. Intuitive controls and customization Stay in control and customize the XF605 to your needs with independent controls and 11 assignable buttons.

An improved touch screen interface allows you to quickly and intuitively control on-screen settings, menu navigation, and playback control. A new multi-function slide hitch opens the doors for additional accessories with larger capacities.

Versatile recording options

Capture wide dynamic range in Canon Log 3 for greater flexibility in post-production or shoot directly in broadcast-quality PQ or HLG HDR formats. Simultaneous recording to two SD cards in different formats offers maximum flexibility for production needs.

Shared color science

The XF605 supports the same color matrices as Canon’s EOS R system and Cinema EOS gamut, reducing the time required during post-production to ensure color match between camera shots of different gamuts.

• 9.84Mp APS-C sensor with Dual Pixel CMOS AF (up to 8.85Mp actually used)
• 15 stops DR
• 2 x Digic DV5
• 4K at 4:2:2, 10bit, , but only up to 30fps
• FullHD at 4:4:4 up to 225Mbps, 120fps
• Canon Log2
• Can shoot in ITU-R BT.2020 colour gamut
• Price around $11300
• Available in 3rd or 4th quarter of 2015
• 1880g
• $16000
• EF - http://www.bhphotovideo.com/c/product/1134579-REG/canon_0635c002_eos_c300_mark_ii.html
• PL - http://www.bhphotovideo.com/c/product/1134580-REG/canon_0635c009_c300_markii_cinema_eos.html

PR

Canon has unveiled the EOS C300 Mark II, a new 4K Digital Cinema Camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail.

Building on the unprecedented success of the acclaimed EOS C300, the more rugged EOS C300 Mark II features an advanced imaging engine with Dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date.

SUPREME 4K IMAGE QUALITY AND VERSATILITY

With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.

The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™* media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process.

The EOS C300 Mark II features an all-new Super35mm CMOS sensor, designed by Canon, with a stunning ISO range of up to ISO 102,400. The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality.

To meet the requirements of a diverse range of shooting applications and lighting situations, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as a variety of automatic modes. These include enhanced Dual Pixel CMOS AF (now covering approximately 80% vertical x 80% horizontal of the image display), Auto White Balance and Face Detection AF, all of which make it easier than ever before for independent news gatherers and documentary filmmakers to shoot on the go without having to worry about settings.

INSTANT INTEGRATION INTO PROFESSIONAL WORKFLOWS

Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD.

The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16- or 24-bit and 48 kHz

DESIGNED FOR VERSATILITY

The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations.

A new modular body allows users to connect the EOS C300 Mark II to a host of professional accessories.
The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.

Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option.**

The BOSMA G1 8K features a Micro Four Thirds (MFT)-sized image sensor and is capable of recording in 8K/30p and 4K/60p resolutions.

https://ymcinema.com/2021/04/24/bosma-g1-8k-camera-released-mft-sensor-that-shoots-8k-30p/

“8K high-resolution video streaming can be implemented in a wide range of fields such as live video distribution and aerial videography”, the company said. The Micro Four Thirds form factor enables a the BOSMA G1 8K to have a compact form factor.

• 7680 x 4320 pixel resolution (approximately 33 million) (4/3 CMOS image sensor, 18.84 mm x 10.60 mm);
• 8K/30p real-time streaming over HDMI 2.1 output;
• RTSP and SRT video transmission protocol support;
• CFast 2.0;
• long recording time capability via connection to an external SSD and remote control functionality.

The camera encodes video in H.265 HEVC Main 10 Profile and High Profile H.264/AVC. Sound/voice codecs are handled as AAC/PCM, and video file containers include MOV/MP4. Recording bit rates are 200M for 8K/30p and 100M for 4K/60p. Color tone is 10 and 8 bits, while sound is either 24 or 16 bits with sample rates of 48 kHz and 44.1 kHz.

• Bit rate control methods are VBR and CBR, and available frame rates for 8K include 30/25/24 fps and for 4K 60/50/30/25/24 fps.
• Using color gamuts of SDR BT.709 and HDR BT.2020, and will dynamic range as SDR8, SD10, and HDR10.
• The included single HDMI output handles a maximum of 8K/30p.
• The camera will record normal and time-lapse speeds.
• The camera is supplied with single 3.5mm audio input and outputs; a 5-pin LECO (XLR 2ch) terminal, and include built-in stereo mic.
• Has both an ethernet port and IEEE 802.11b/g/n/a/ac (2.4GHz and 5GHz).
• Uses CFast2.0 card slot (exFAT compatible) for storage.

• Replacement for the XF205
• Same 1″ sensor as the XF705
• 12G-SDI output and SD cards
• An integrated zoom lens with 15x zoom
• BP-A batteries

• 1” 4K CMOS sensor
• 20x zoom lens (F2.8 ～ F4.5、 20x zoom)
• 3-ring control (iris, focus, zoom)
• 4K 50/60p
• 10-bit ProRes 422 support
• H.264 and MPEG-2 options - 4K(150Mbps):UHS-I U3,4K(70Mbps)/HD (50Mbps)
• BT709, BT2020, BT2100 HLG color spaces
• live streaming (up to 1080p50/60)
• remote control
• HC550 only - Wireless LAN antennas, graphics overlays, Zixi protocol support
• NDs -OFF, 1/4, 1/16, 1/64
• 3G-SDI (BNC × 1)、HDMI × 1、AV (Φ3.5mm) XLR × 2(MIC、+48V/LINE), φ3.5mm
• RCA × 1
• USB（3.0）
• Ethernet RJ-45 ×1
• LAN 2.4GHz/5GHz MIMO
• SSD
• ship in early 2019

Rumored specs

• 8K 3.2μm Super 35mm imaging sensor
• High-Speed 3D
• Dual Gain Output
• Dual Pixel AF II
• Dual Native ISO
• DIGIC DV X (Faster AF, Faster I/O, Faster UI)
• DCI 8K 60fps 12b RAW
• 4K RGB (2-Green-pixel binning on sensor) 90fps 12b RAW Output

Info via canowatch

• 2.26Mp CMOS sensor
• ISO 4000000 option
• Canon Log and Wide DR modes
• EF mound
• Built-in ND
• Lots of ports
• $20,000 at http://www.bhphotovideo.com/c/product/1187825-REG/canon_1002c002_me20f_sh_multi_purpose_camera.html

Info:

PRICE IS INDEED SUB 10k in fact is SUB 8,6K with lenses

Available at:

• http://www.bhphotovideo.com/c/product/853273-REG/Sony_NEX_FS700_4K_Ready_High_Speed.html
• http://www.bhphotovideo.com/c/product/853660-REG/Sony_NEX_FS700UK_NEX_FS700UK_Super35_Camcorder_with.html

Specs and related things

• http://www.pro.sony.eu/biz/lang/en/eu/product/nxcamcorders/nex-fs700e/features
• http://www.dpreview.com/news/2012/04/02/Sony-4k-ready-NEX-FS700-FS700E-camcorder#press
• http://www.denlennie.com/2012/04/sony-nex-fs700-on-location.html
• http://blog.domisljije.si/2012/04/02/stress-testing-the-fs700/
• http://www.bhphotovideo.com/indepth/sony/announcements/two-new-sony-nex-camcorders-announced

Specs:

4K-ready

The first 4K-ready Super35mm camcorder in its class – providing an assured upgrade path to 4K acquisition and delivery - with full HD 1080p for today.The camcorder will also have the capability to produce 4K RAW 3G-SDI output via a future upgrade.

Super slow motion at 10x at full HD or 40x at lower resolutions

Incredible super slow motion capability of up to 10x slow motion at full HD resolution or up to 40x slow motion at a reduced resolution, giving you creative options that were once only available with specialist high-end equipment.

E-mount interchangeable lenses offer a wide choice of lenses

The E-mount interchangeable lens system utilises an extremely short flange back distance allowing you to use a huge array of lenses via a range of adaptors giving you almost unlimited creative options.

Built-in ND filters

The NEX-FS700E features built-in, ultra-thin ND filters, offering exceptional shallow depth-of-field on highlights. It also means less accessories to manage as no external ND filters are required.

3G-SDI interface and HDMI

A 3G-SDI output enables easy integration with highest quality recording formats.

Exceptional ergonomics

The NEX-FS700E has a refined ergonomic design with a robust detachable handle and grip.

Switchable 50 Hz and 60 Hz shooting

The NEX-FS700E is switchable between 50 Hz and 60Hz to allow 24p shooting in PAL areas and no PAL/NTSC limitations.

Selectable magnification and positioning of expanded focus

Expanded focus improvement allowing 4x and 8x magnification and a moveable area of expansion for easy focusing with shallow depth of field.

Camera profile settings storage on memory card

Up to 99 camera profile settings can be stored, allowing rapid adaptation to multiple shooting environments without time wasted adjusting parameters. Settings are also easily shared in multi-camera productions

• EF mount
• S35mm sensor
• magnesium body
• 2 XLR audio inputs
• 24/25/30p and 50/60i (yep, no 50/60p)
• ND filters
• ISO 320 – 20.000
• Canon Cinema Log Gamma
• AVCHD only small bitrate codec
• 2 slots for SD-/SDHC-/SDXC- cards
• AF function is completely absent, could be added via FW in 2013
• Price $7,999

Available at:

• http://www.bhphotovideo.com/c/product/889545-REG/Canon_EOS_C100_EF_Cinema.html

PR

Canon U.S.A., Inc., a leader in digital imaging solutions, continues its commitment to the advancement of tools for visual expression and expand its contribution to cinematic culture with the introduction of the new EOS C500 4K Digital Cinema Camera* and the EOS C100 Digital Video Camera*. The C500 will take its place as the flagship camera model in Canon's Cinema EOS System while the C100 provides another option for beginning filmmakers working on a budget. The C500 is Canon's high-end professional 4K (4096 x 2160-pixel) cinema camera capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. The C100 digital video camera is a compact, affordable entry-level model delivering full 1920x1080 HD video and integrating the popular AVCHD codec for universal compatibility with laptop and desktop editing systems. The C500 will be available in both EF- and PL-mount versions; while the C100 will be offered in EF mount only and will be compatible with the more than 70 zoom and prime lenses in Canon's EF, EF-S and EF Cinema lens lineups. All products in the Canon Cinema EOS line are engineered to provide exceptional image creation capabilities for professionals in the motion picture, television, and other diverse high-resolution digital production industries.

"We developed the Cinema EOS C500 digital cinema camera to deliver the benefits of full 4K motion capture to Hollywood's premier filmmakers, while the C100 is designed for economical productions that need sophisticated HD capabilities and optical lens diversity. As we said in November of 2011, the C300 was just the beginning to our Cinema EOS system and we now offer a more complete system of imaging solutions with a range of cameras for every level of production," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A., Inc.

The EOS C500 4K digital cinema camera and EOS C100 digital video camera join Canon's Cinema EOS System which includes two other camera models, the EOS C300 digital cinema camera for mainstream HD production and the EOS-1D C 4K Digital SLR cinema camera for 4K and HD filmmakers favoring the SLR form factor. The Cinema EOS System also offers filmmakers optical diversity with seven EF Cinema lens models: the compact and lightweight CN-E15.5-47mm T2.8 L wide-angle cinema zoom and the CN-E30-105mm T2.8 L telephoto cinema zoom (available in EF and PL versions); the CN-E14.5-60mm T2.6 L wide-angle zoom and CN-E30-300mm T2.95-3.7 L telephoto zoom (also available in EF and PL versions); and the CN-E24mm T1.5 L, CN-E50mm T1.3 L, and CN-E85mm T1.3 L prime lenses for EF-mount cameras, in addition to the more than 60 lenses in Canon's EF and EF-S lens lines (which include macro, fisheye, telephoto, and tilt-shift models).

4K, 2K, and Full HD Image Quality

The Canon EOS C500 and C500 PL digital cinema cameras are designed to provide a versatile high-quality 4K imaging solution to high-end productions. High-quality 4K resolution imaging has become the new standard for advanced effects and is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The C500 and C500 PL cameras output 4K resolution to external recorders as a 10-bit uncompressed RAW data stream, as well as offering the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards. All 4K formats can be selected to operate from one to 60 frames per second. When shooting in 2K, the C500 and C500 PL cameras employ a 12-bit RGB 4:4:4 signal format from one to 60 frames-per-second (fps) as well. For high-speed shooting and slow motion capture the cameras can be set to a 10-bit YCrCb 4:2:2 mode, and can output 4K or 2K video up to 120 fps.

While outputting 4K or 2K video to an external recorder, the Canon EOS C500 and C500 PL digital cinema cameras simultaneously record a 50 Mbps Full HD video file in-camera to the user's choice of one or two CF cards. The 8-bit 4:2:2 in-camera recordings can be used as a proxy for offline editing of 4K projects, and they are also suitable for various projects that do not require 4K resolution. Equipped with Canon's exceptional Super 35mm 8.85-megapixel CMOS sensor, both C500 camera models are compatible with a wide range of interchangeable Canon lenses – the C500 is compatible with EF, EF-S and EF Cinema lenses for Canon SLR cameras, while the C500 PL is compatible with PL-mount EF Cinema lenses and other PL-mount lenses. Highly mobile and compact, the C500 digital cinema camera provides the same ergonomic features as the C300 model, with the exception of a fixed hand grip that incorporates a pair of 3G-SDI ports for 4K video output and another pair of video ports for monitoring purposes. Canon is working with several independent manufacturers of external video recorders to support smooth workflow options, and these recorders are expected to be available by the time the EOS C500 and C500 PL 4K digital cinema cameras ship to authorized dealers later this year.

One-Person Full HD With Automatic Functions

A cost-effective camera solution for a wide range of everyday users, the EOS C100 digital video camera is ideal for many full HD applications such as:

Low-budget television production and independent moviemaking Museums, galleries, and film schools that utilize Full HD video Wedding, corporate and event videography

The EOS C100 digital video camera is approximately 85% of the size of the EOS C300 model, for maximum mobility. Designed for professional operability, the C100 includes a push auto iris function, one-shot auto focus (or full manual focus and exposure control), a multi-angle 3.5-inch LCD control panel, a high-resolution electronic viewfinder (EVF), built-in ND filters, dual XLR inputs, and a locking HDMI output. These features combine with such advanced technologies as reduced rolling shutter artifacts in 60i mode, enhanced gamma modes (including Wide Dynamic Range (DR) Gamma and Canon Log Gamma), cinematic depth of field characteristics, and excellent low-light performance. The C100 records to dual SD cards contributing to the camera's reduced size and convenience.

Like its C300 sibling, the EOS C100 employs Canon's uniquely designed Super 35mm 16:9 CMOS sensor that captures individual R, G, and B channels for each full HD 1920 x 1080 frame. This high-sensitivity CMOS sensor provides creative depth of field capabilities for an excellent "bokeh" effect, and provides an ISO range of from 320 to 20,000, enabling the capture of images in low light with minimal picture noise. The Canon DIGIC DV III image processor in the C100 helps ensure high color fidelity and smooth color gradations. The camera's AVCHD codec utilizes MPEG-4 AVC/H.264 compression similar to the codec used in Canon's XA10 professional HD camcorder. AVCHD features a maximum recording bit rate of 24Mbps in full HD 1920 x 1080 and 4:2:0 color space for sharp, vivid images. Multiple recording modes, resolutions, and frame rates (including 24p) make the C100 creatively flexible for many production environments. The C100 also offers enhanced gamma modes (including Wide DR Gamma and Canon Log Gamma) for a peak dynamic range of 800% and the wide exposure latitude needed for creative post-production image processing, color correction, and contrast manipulation.

Designed for extensive operational versatility, the Canon EOS C100 digital video camera features a mobile core configuration that allows users to flexibly add accessory parts to the main camera body according to their production needs. A removable side-mounted rotating grip with start/stop button and miniature "joystick" menu control provides traditional SLR camera-style operation. A detachable handle unit connects to the top of the C100 and includes dual XLR connectors, a built-in stereo microphone, a bracket for an external microphone, audio-input level adjustments, and a tally light. The C100 records linear PCM two-channel audio or Dolby digital two-channel audio.

In addition to its ability to record to both SD cards simultaneously, or relay-record from one card to the other, the Canon C100 Cinema EOS camera can also output uncompressed digital HD to an external recording device via its locking HDMI connector. This HDMI output includes superimposed time code and 2:3 pull-down marker information. Additional outputs include a USB connector and stereo headphone jack.

Pricing and Availability

The Canon EOS C500 and C500 PL 4K Digital Cinema Cameras are scheduled to be available in October for an estimated list price of $30,000.

The Canon EOS C100 Digital Video Camera is scheduled to be available in November 2012 for an estimated list price of $7,999

PMWF3K/RGB, PMWF3L/RGB will have all features of CBK-RGB01 as standard without increase in price. SLog 422, RGB444, 3G, LUT's, etc

Via: https://twitter.com/#!/CineAltaNews