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Found 8 results

  1. A list of cameras with PL Mount. Still WIP. List of Cameras with PL Mount by DesiCreative on Scribd
  2. The new flagship 4K Cinema EOS System: Canon launches the EOS C700 (EF/PL) and EOS C700 GS PL London, UK, 1 September 2016 – Canon today unveils two new flagship models in the esteemed Cinema EOS system – the EOS C700 (EF/PL) and EOS C700 GS PL. Both models are ready for the 4K generation, enabling high-end production houses and broadcasters to intuitively and easily shoot with a wide dynamic range, in supreme quality. The EOS C700 cameras capture creative slow motion 4K video footage internally with high frame rates of up to 59.94P/50P and 2K up to 200p/240p (sensor crop mode), or 4K RAW up to 100P/120P, to the optional dockable Codex¹ RAW recorder. Building on the Cinema EOS System range, the powerful video cameras are modular in design to adapt to all shooting requirements and include support for the Apple ProRes format for the first time. Designed for fast-moving subjects and action scenes, the EOS C700 GS PL is also the first Cinema EOS camera with a global shutter. Quality and versatility for every production Created with cinematographers and high-end broadcast production professionals in mind, both models deliver the versatility that the industry demands using a Canon Super 35mm CMOS sensor with a maximum pixel count of 4.5K (EOS C700 GS PL at 4.2K). 4K DCI or 4K UHD can be recorded up to an incredible 810Mbps. Combining the sensor with triple DIGIC DV5 processors, documentary makers can capture natural history and compelling stories in incredible detail, delivering spectacular high-resolution videos with low-noise and shallow depth of field. Together, with a high ISO of up to 102,400 and built-in ND filters, with up to 10-stops of control, both models offer enhanced flexibility and stunning cinematic detail, in even the most challenging of lighting conditions. The EOS C700 EF’s Dual Pixel CMOS AF is incredibly effective at locking onto and tracking a subject allowing the camera operator to concentrate on framing the shot, making it easier for news reporters to film accurately on the move. Operators on drama productions will appreciate the acclaimed Dual Pixel Focus Guide feature, which is ideal for greater control and accuracy. Supporting Canon Log 3, Log 2 and Log Gammas, the EOS C700 (EF/PL) is capable of recording up to an incredible 15-stops of Dynamic Range (14-stops with the EOS C700 GS PL), where footage can be graded with greater confidence and flexibility in HDR post-production workflows. Professional workflow integration The EOS C700 (EF/PL) provides a wide range of colour space options, including the Canon Cinema Gamut, BT.2020, and DCI-P3, as well as support for ACES 1.0 workflow. The camera also supports HDR monitoring with SMPTE ST.2084. For a truly integrated, efficient and reliable HDR workflow, all versions of the EOS C700 can connect directly to the new DP-V2420, Canon’s 4K high luminance reference monitor that is able to support the new ITU-R BT.2100 standard for HDR output. Offering universal appeal for high-resolution production, the EOS C700 is capable of recording high bitrate 4K files internally to dual CFast 2.0™, supporting both XF-AVC and ProRes formats, while simultaneously recording 4K RAW files to an external recorder. Equipped with an Ethernet (RJ45) terminal, the EOS C700 allows broadcasters to live stream Full HD footage via the internet, and also can be connected to a wireless network using the optional wireless file transmitter (WFT-E6B/WFT-E8). To complement this powerful new camera, Canon has worked with Codex to provide a fully-integrated recording and workflow solution. The combination of the dockable Codex RAW recorder (CDX-36150) with the Canon EOS C700 allows for high-speed 4K RAW recording at up to 120 frames per second (fps). Future firmware upgrades² will include 4.5K RAW recording at up to 100 fps, 4K Apple ProRes at up to 60 fps, and Apple 2K ProRes at up to120 fps. Codex’s production-proven recording media - Codex Capture Drives - are used for both RAW and higher-speed ProRes recording. Along with the images, frame-accurate metadata such as lens information can also be captured, streamlining production and post-production processes and delivering time and money savings. Build the camera your own way The camera can be adapted to suit the needs of the individual as well as for each filming scene. For full customisation, there is an extensive range of optional accessories including a new 0.7’’OLED viewfinder system, the EVF-V70, which offers Full HD resolution (1920 x 1080) with a wide colour gamut. The optional Remote Operational Unit OU-700 can also be used to control the camera when shooting with a multi-member team. For newsgatherers and high-end documentary makers, a bespoke Shoulder Support Unit, the SU-15, and new Shoulder Style Grip Unit, the SG-1, will be available for on-the-move shooting. For complete creative freedom and choice, anamorphic lenses are supported, along with a huge range of EF and PL lenses, plus the ability to use compatible Canon broadcast lenses with the optional B4 mount adapters (in Full HD mode). The EOS C700 with EF mount with Cinema Lock and EOS C700 PL with Cook/i support can even swap mounts by Canon service, if user requirements change. EOS C700 key features: 4K (4,096 x 2,160) video recording at up to 810Mbps Internal 10/12-bit XF-AVC or ProRes recording 4K recording at up 59.94P/50P internally or 100P/120P with optional Codex recorder Up to 15 stops dynamic range Dual Pixel CMOS AF (EOS C700 only) or Global Shutter model options ¹ Developed in collaboration with Canon, the optional dedicated and dockable Codex RAW recorder CDX-36150 ² Firmware updates planned to be released March 2017
  3. Canon Company invites you for their digital cinematography workshop of their EOS C-500 4K at Whistling Woods on 21st Sept, 2013 - 11am to 7pm.
  4. File Format MPEG-4 AVC / H.264 Variable (averaged) bit rate File Size Recording Sizes: 1920 x 1080 (Full HD), 1280 x 720 and 640 x 480 Frame Rates [1920 x 1080]: 30 fps / 25 fps / 24 fps [1280 x 720]: 60 fps / 50 fps [640 x 480]: 30 fps / 25 fps Continuous Shooting Time Based on 8GB Card: [1920 x 1080] 30 fps ALL-I: 11 min. (685 MB/min.) / IPB: 32 min (235 MB/min.) 25 fps ALL-I: 11 min (685 MB/min.) / IPB: 32 min. (235 MB/min.) 24 fps ALL-I: 11 min. (685 MB/min.) / IPB: 32 min. (235 MB/min.) [1280 x 720] 60 fps ALL-I: 12 min. (610 MB/min.) / IPB: 37 min. (205 MB/min.) 50 fps ALL-I: 12 min. (610 MB/min.) / IPB: 37 min. (205 MB/min.) [640 x 480] 30 fps IPB: 97 min. (78 MB/min.) 25 fps IPB: 97 min. (78 MB/min.) * If the recording time reaches 29 min. 59 sec., the movie shooting stops automatically. * Movie shooting does not stop when the file size reaches 4GB. Focusing Same as focusing with Live View shooting * During movie shooting or if movie cropping has been set, the image cannot be magnified for manual focusing. Range ISO Range ·P, Av, and Bulb: Automatically set within ISO 100 - 12800, expandable to H (equivalent to ISO 25600) ·A+ and Tv: Automatically set within ISO 100 - 12800 ·M: Auto ISO (automatically set within ISO 100 - 12800), ISO 100 - 12800 set manually (in 1/3- or whole-stop increments), expandable to H (equivalent to ISO 16000/20000/25600) * If Highlight tone priority is set to enable, the settable ISO speed range will be ISO 200 - 12800. Exposure Control (1) Program AE for movie shooting * For shooting modes other than manual exposure and bulb. * Shutter speed (1/30 - 1/4000 sec., signal accumulation time), aperture, and ISO speed automatically set. (2) Manual exposure * For manual exposure. * Shutter speed (signal accumulation time), aperture, and ISO speed (auto/manual) manually set. The shutter speed (signal accumulation time) is limited to 1/4000 sec. at the maximum and to 1/30 sec. at the minimum for 24/25/30 fps or 1/60 sec. or higher for 50/60 fps. Exposure Compensation Up to ±3 stops in 1/3-stop increments * For movies, even if exposure compensation has been set beyond ±3 stops, exposure compensation up to only ±3 stops will be applied. * For still photos, exposure compensation up to ±5 stops can be applied.
  5. Hosted by Marco Solorio of OneRiver Media, this video compares the Blackmagic Design Cinema Camera and the Canon 5D Mark III in several tests. This includes dynamic range, sharpness, pushing levels, banding, artifacts, rolling shutter, chromakeying, wide/telephoto lengths, DOF (depth of field), low light, macro blocking, contrast, and more. Going a step closer with the Cinema Camera, Marco Solorio of OneRiver Media focuses on how 12-bit RAW compares in relation to 8-bit alternatives, including many camera solutions costing much more. The difference between “perceived dynamic range” and “available dynamic range” is explored in detail. Also covered is day-for-night, detail versus sharpness, and much more. Some questions have arisen as to why a LOG curve wasn't used (or if it would help) for the 8-bit source (amongst others),OneRiverMedia created a blog post on the topic to answer any questions that might be regarding.
  6. Found thsi on the net. Some very good results.
  7. 1. Use Canon EOS Utility to transfer/backup files. 2. In Sorenson Sequeeze, setup 2 presets - one for Avid DNx36 and another for DNx220. 3. Adjust the Destination folder. Adjust the naming scheme so it will not append the name (thus exact same file name as original). Compress for DNx36. 4. Create my offline files. Since I have a multi core and Sorenson can utilize multi core to compress multiple files, I at least double the speed of the compression. If you have a dual core dual cpu you could quadruple or more your speed since it will compress more files simultaneously. 5. Fast import the low res files. 6. Edit 7. Decompose. Create a file list for 2nd compression but using DNx220 profile. 8. Batch import point at DNx220 version of relevent files only. 9. Conform and grade. 10. Output
  8. EOS Movie Plugin-E1 for Final Cut Pro: Key Features & Sample Workflow Complete article from here on Canon's site. One reason for the video image quality of Canon’s EOS digital SLRs is their use of the sophisticated H.264/MPEG-4 compression method for recording video files to the camera’s memory card. This is an ideal file type for video capture in an SLR camera, delivering relatively compact file sizes with image quality noticeably superior to alternate video compressions (such as Motion JPEG). However, the H.264 compression format requires that files be transcoded into a format better suited to editing, effects, and color grading; this would usually be Apple ProRes. The transcoding to ProRes can be a fairly time- and processor-heavy intermediary step that pays off later with superior speed once the post production process begins. (H.264 is NOT an editing codec. Its processor intensive. Its better to transcode your files to Apple Pro Res for post workflow) That’s where EOS Movie Plugin-E1 comes in: It doesn’t eliminate the need for transcoding, but it includes several improvements in functionality and interface, making the experience of editing EOS HD Video footage with Final Cut Pro as fast and seamless as possible. EOS Movie Plugin-E1 for Final Cut Pro Key Features: In February, 2010, Canon Inc. announced the launch of a new, completely free plug-in to be used with Apple’s Final Cut Pro (FCP) software. Once this plug-in is installed in a Mac computer system, it works in tandem with FCP software and can be called-up directly from the editing program's menu system. Simply stated, this new plug-in turns the editing process with video files from EOS digital SLRs to a much smoother and highly automated process. Among the benefits of the new Canon EOS Movie Plugin-E1: - Smooth, intuitive ingestion of original EOS video files, using FCP’s Log and Transfer function. - Time Code is added to each clip (based on the camera’s date/time stamp), as well as user-given reel names embedded in the ProRes files, which can then be viewed from FCP throughout the editing process. - Transcoding speed 2x - 3x faster than previously possible with EOS movie files using Compressor, or similar (performance tested on a 2.8GHz Quad-Core Mac Pro). - With the Log and Transfer function, users can set in and out points to transcode and import only the portion of the clip needed for the project, greatly improving speed and productivity. - Create a disk image (DMG file) of the memory card that may be mounted and used for Log and Transfer operations in place of the physical card – archiving all your footage, and freeing up your CF cards for immediate re-use. - Automatic transcoding of clips from H.264 to various Apple codecs. For example: ProRes 422, which combines superb imaging with no perceptible degradation from the original H.264 files. Selectable formats include: Final Cut Pro 7: ProRes 4444 ProRes 422 (HQ) ProRes 422 ProRes 422 (LT) ProRes 422 (Proxy) Apple Intermediate Codec Final Cut Pro 6: ProRes 422 (HQ) ProRes 422 New for 2011: Version 1.2 of the EOS Movie Plug-in Beginning in late April, 2011, Canon’s EOS Movie Plug-in E1 gets an important update. With the new version 1.2 of the plug-in software, EOS HD video files can now be imported directly into Final Cut Pro, no matter where they are on your hard drive, and regardless of the folder/file structure where they’re stored. Previously, the plug-in required a folder structure identical to the camera’s memory card. Compatibility When upgraded to version 1.2, Canon’s plug-in software will only work with Final Cut Pro software versions 6.0.6, or versions 7.0.3 and later. It will not function with previous versions of Final Cut Pro with lower version numbers than 6.0.6 (the initial version of EOS Movie Plug-in works with versions of Final Cut Pro as old as 6.0.3). Remember, this software is Macintosh-only, as of 2011; there is no Windows version of Apple’s Final Cut Pro video editing software (Please note: While Canon is aware that many video enthusiasts and professionals may use earlier versions of Final Cut, or other NLE programs entirely, as of August 2010 EOS Movie Plugin-E1 is exclusively compatible with the versions of FCP listed above). Mac OS X 10.6.4 or later is also required. EOS video files from the following cameras will be supported by the initial version of this plug-in software: - EOS-1D Mark IV - EOS 5D Mark II - EOS 7D - EOS 60D Please note: as of April, 2011, Canon’s EOS Movie Plug-in E1 (version 1.2) does not offer support for HD video files from any version of the EOS Rebel cameras. Sample Workflow with the EOS Movie Plugin-E1: Once your CF or SD memory card is placed into a reader connected to your computer, follow the steps below to import footage using EOS Movie Plugin-E1: 1) In FCP, select File > Log and Transfer. The Log and Transfer window should pop up, showing thumbnails of all the media on the CF card in the left-hand column. 2) In the Log and Transfer window, select Preferences from the Action menu (the gear-shaped icon near the top of the window). 3) In the Import Preferences window, select 'Canon DSLR' as your Source, and then select the Transcode to format of your choice (such as ProRes 422). 4) Once your preference is selected, hit OK to go back to the Log and Transfer window. 5) Select the thumbnails to view clip(s) in the right-hand preview window and set in and out points, as needed. 6) Add reel names/numbers, scene data, and other notes in the Logging Area, as needed. 7) Drag-and-drop the clip(s), or press the Add Selection to Queue button or the Add Clip to Queue button (below the preview window) to move your media to the Transfer Queue area at the bottom-left. 8) From the Transfer Queue, all media is automatically imported and transcoded. The transcoded files will appear in the browser area of your project window, ready to go directly into the timeline. Availability: Canon’s plug-in software for Final Cut Pro is available for FREE download on Canon web sites around the world. Please follow this link to go directly to the Drivers and Downloads area for one of our EOS HD-DSLR cameras to download the plug-in. Be sure to select your operating system from the dropdown list (for example, Mac OS X) otherwise you may not see the full list of downloadable drivers, software, and firmware options. Click on the Software link, which will expand the list of available software downloads for that product. Lastly, find the file labeled: EOS MOVIE Plugin-E1 for Final Cut Pro Ver1.2 (File Name: ce1120x.dmg.zip), and click to download. Summary: In a short period of time, Canon’s engineers have shown a remarkable appreciation for the needs of critical video shooters and production people working with files from EOS digital SLRs. With the development (and subsequent upgrade) of EOS Movie Plug-in E1, customers who use Apple’s Final Cut Pro software, one of the world’s most dominant video-editing software applications, will have a streamlined path for selecting and editing files from EOS digital SLRs. The new plug-in will work seamlessly within Final Cut Pro, speeding workflow significantly and encouraging users who are shooting on deadlines to take advantage of the spectacular video quality of their EOS digital SLRs.
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