Canon's Upcoming RF cinema camera rumored specs

morgan_moore said:
I meant just flip it - which it does. (thanks everyone!) This means an image without it sticking out the side.

Im sure it doesnt tilt until swung out.

S
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Then you lose the audio controls.


That is why putting audio controls behind a screen is one of the dumbest places.
 
I dont think that is that bad :)

Im gonna use audio with it in some form of interview mode flipped out screen.

On the Movi or a car rig you want the camera compact (and robust) and are probably picture monitoring somewhere else and doing audio some other way.
 
morgan_moore said:
I dont think that is that bad :)

Im gonna use audio with it in some form of interview mode flipped out screen.

On the Movi or a car rig you want the camera compact (and robust) and are probably picture monitoring somewhere else and doing audio some other way.
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Well, obviously having audio controls is better than not having them.
 
At the highest bitrate it should be 3gb a minute. So that should be 42 and a half minutes per 128gb card. But Canon has not issued a detailed recording format chart. Once they do we should be able to have more exact calculations.
 
Preordered. And after much thought, the focal reducer too. The EF 24-105mm f/4 IS is transformed into a ~16-70mm f/2.8 IS. Not sure that will ever come off of the camera.
 
QuickHitRecord said:
Preordered. And after much thought, the focal reducer too. The EF 24-105mm f/4 IS is transformed into a ~16-70mm f/2.8 IS. Not sure that will ever come off of the camera.
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Agreed! That is kind of the dream documentary/run & gun lens! And most Canon shooters have a 24-105mm f/4.0 IS or IS II laying around it seems like. Smart move Canon, although it doesn't sell new lenses.
 
QuickHitRecord said:
Preordered. And after much thought, the focal reducer too. The EF 24-105mm f/4 IS is transformed into a ~16-70mm f/2.8 IS. Not sure that will ever come off of the camera.
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Its more like 17-75 f/2,8 I believe, but yeah, I preordered the C70 too. (Already have the Metabones speedbooster, I hope it will work as fine) (And regarding the set-up: I used to film with that 24-105 speedbooster-set up with a sony A7rii- worked fine except for unreliable AF)
 
ahalpert said:
Wait but the canon is 5500 not 3999 (is that the UK price?) So I guess the Sony might be a tick cheaper. But we dont even know the price yet.

I think Sony actually makes pretty nice stills lenses in their GM and G lines. I just think there's a reason the 28-135 is so much cheaper than the 18-80. But canon doesn't even make a FF servo zoom. Yet

I think Sony is coming out with more FF cine zooms (but a holy trinity and not a superzoom?)

It'd be nice to see tamron and sigma get in the ENG lens game
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Nikon actually used to build true broadcast ENG lenses, but exited that market in the late 90’s. I doubt you’ll see a true ENG lens from Tamron or Sigma. Too far removed from what they do. Canon and Fuji(non) have been doing it for DECADES.
 
Run&Gun said:
Nikon actually used to build true broadcast ENG lenses, but exited that market in the late 90’s. I doubt you’ll see a true ENG lens from Tamron or Sigma. Too far removed from what they do. Canon and Fuji(non) have been doing it for DECADES.
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Small niche market too with two established giants. I think anyone else entering that space would bomb unless it was another optics standard bearer like Zeiss, Leica or Cooke.
 
Run&Gun said:
Nikon actually used to build true broadcast ENG lenses, but exited that market in the late 90’s. I doubt you’ll see a true ENG lens from Tamron or Sigma. Too far removed from what they do. Canon and Fuji(non) have been doing it for DECADES.
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Maybe. Sigma and Tokina have started making cine lenses though. Add a servo...

Part of the reason I'm keen on the idea is that Tamron makes the best stills superzooms out there, seemingly way better than Canon and sony. After all - it's a niche they've tried to dominate and have produced the most generations and models. An ENG lens with Tamron optics and pricing would make me jump for joy.

I'm not talking about pro 2/3 lenses. Just FF/S35/M43 designs, where I feel like the market is still low on options.
 
puredrifting said:
Small niche market too with two established giants. I think anyone else entering that space would bomb unless it was another optics standard bearer like Zeiss, Leica or Cooke.
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Yes. I almost put that the cine market used to be niche, but now the “broadcast”/ENG market is (more) niche and everyone does “cine”, today.

Angenieux also used to make ENG lenses. They were never very popular here in the US. I would see one out in the wild, every once in a while. I’d say I probably saw one Angenieux ENG lens for every 200 Canon or Fuji’s. I never used one, but some people I talked to, said they were kind of ‘budget” ENG lenses compared to Fuji and Canon broadcast lenses.

ahalpert said:
Maybe. Sigma and Tokina have started making cine lenses though. Add a servo...

Part of the reason I'm keen on the idea is that Tamron makes the best stills superzooms out there, seemingly way better than Canon and sony. After all - it's a niche they've tried to dominate and have produced the most generations and models. An ENG lens with Tamron optics and pricing would make me jump for joy.

I'm not talking about pro 2/3 lenses. Just FF/S35/M43 designs, where I feel like the market is still low on options.
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That’s an entirely different animal...
 
It is worth considering that lenses can talk to cameras (if the protocol is there) and at the extreme edges of lens design (value, range, speed) the lens can be corrected (for barrel and pin) or 'parfocalised' - I think this is a big help to the sony lens hitting its price point.

I dont consider this to be bad.

Hasselblad about 15 years ago when they made viable cameras moved from physical lens corrections to post lens corrections as they had decided that that would deliver finer performance.
 
Hi, great discussion here!

I just would like to ask for some inputs from everyone in this forum.
I actually just purchased C200, used. I knew something new was coming and the moment I saw C70 being announced, I actually almost fell for it and preorder one.

Then I had to rethink just a bit after reading so many feedbacks for C70 announcement on the internet, including this thread.

Do you think the value of C200 will rapidly go down because of C70?

I think C200 is still superior over C70 in certain area.

1. It has internal Raw recording capability
2. Built in EVF
3. Fullsize XLR as opposed to the mini XLR and awkward audio control dial position of C70
4. Bigger and more professional looking body as opposed to mirrorles style body of C70
5. According to Newsshooter, DGO sensor capability is valid only if you are using frame rates under 30P
6. Intra codec only until 30P. Over 30P, it can only record long GOP format.

And, I read on the article below that C70 and C300 MK III are unlikely to get RAW output updates for they use the same DGO sensor and outputting RAW output is very complicated on the DGO sensor.

https://www.diyphotography.net/this...in-output-works-on-the-new-eos-c70-4k-camera/

Any insight into whether I should sell C200 to get C70 would be much appreciated.

Thanks in advance!
 
I think it all depends on how important RAW recording is to you. To me, that's by far the biggest advantage the C200 has over the C70. Honestly, everything else seems to be better on the C70 (for my needs, anyway) as I value good face-tracking auto focus more than RAW recording, and a smaller body is easier to carry. The ability to use a focal-reducer to get full frame lens coverage is also great, and the built-in monitor means no cables dangling, which I appreciate.

But those things may not be important to you, so you have to decide which features you prioritize the most and go from there.
 
morgan_moore said:
It is worth considering that lenses can talk to cameras (if the protocol is there) and at the extreme edges of lens design (value, range, speed) the lens can be corrected (for barrel and pin) or 'parfocalised' - I think this is a big help to the sony lens hitting its price point.

I dont consider this to be bad.

Hasselblad about 15 years ago when they made viable cameras moved from physical lens corrections to post lens corrections as they had decided that that would deliver finer performance.
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I woke up thinking this same thing. If you're willing to cheat and use computer corrections, then distortion can be corrected in-camera. AF could keep focus or the camera could even readjust the focus position to keep it constant if you're focusing manually. Exposure ramping can be gained up and down automatically. Perhaps even breathing can be adjusted by minorly cropping in and out. It would take a tremendous amount of pressure off the lens design, which then just needs to worry about smooth zoom and focus mechanics.

Obviously there would be noise and resolution penalties for all of the above, but if it could more or less do the job and do it cheaply, I'd be interested. Some of this stuff is already happening with the sony pz 28-135
 
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