Canon Cinema EOS Cameras Coming in 2023 [CR3]

#3
Wow, swappable sensors. I hoped for something like that to come for many years. Now it has finally arrived. Just in a large cinema camera, but that is a beginning. How great would it be to be able to swap sensor in a photo camera one day!

Sadly the "smaller" cinema cameras by Canon still have SD cards. I do not like those flimsy SD cards at all, even if they are cheap.
 
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#8
Doesn't "global shutter" mean that the whole sensor is read out at the same time? If that technology exists, why are most sensors still read out line by line? For the Canon R10 for example that still takes 40ms, which is an eternity, when it comes to fast moving subjects. I think I will find the answer by googling. I will do that tomorrow.
 
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#11
EOS 4 Life said:
Canon really should add something to the firmware of the C300 Mark III if the C200 is going to have the same sensor and an RF mount.
Click to expand...
Absolutely. starting To feel a little burned by the lack of RF, lack of compressed RAW and lack of eye AF all in the C70… I’ll guess I’m not the only C300iii owner feeling this way.
 
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#12
Skyscraperfan said:
Doesn't "global shutter" mean that the whole sensor is read out at the same time? If that technology exists, why are most sensors still read out line by line? For the Canon R10 for example that still takes 40ms, which is an eternity, when it comes to fast moving subjects. I think I will find the answer by googling. I will do that tomorrow.
Click to expand...

The benefit of a rolling shutter is increased latitude and lowlight capabilities. I imagine the global shutter sensor will take a hit to its dynamic range and it's performance at higher ISOs, all in the name of smoother motion with no horizontal distortion during quick camera moves. Notice that it's also not listed as a DGO sensor like the 8K sensor is.
 
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#13
Skyscraperfan said:
Doesn't "global shutter" mean that the whole sensor is read out at the same time? If that technology exists, why are most sensors still read out line by line? For the Canon R10 for example that still takes 40ms, which is an eternity, when it comes to fast moving subjects. I think I will find the answer by googling. I will do that tomorrow.
Click to expand...
A global shutter means that the frame is all exposed at the same time - the read out is still done line by line. Global shutter sensors are often slower to readout than rolling shutter designs which limits the maximum frame rate possible. They are also much more expensive and generally have worse dynamic range than rolling shutter designs.
 
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#14
I don\'t feel Canon Cinema line needs a C200 markII. It\'s pretty much a C70 with a bigger body and will surely cost 2000$ more.

If Canon wants to sell (full frame) RF lenses, they need a full-frame cinema body. I\'m actually working on 2 R5C but I would be pleased to sell those for a full-frame version of the C70.
 
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#15
I'm still wondering what happened to the XC-20? I just want a reasonable 4k video, without rolling shutter that turns everything to soup if you pan left or right, on an ILC mount. RF preferably, so I don't have to buy 20 new lenses somewhere else...
 
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#16
Bob Howland said:
Will a FF 45MP global shutter sensor be difference between the R3 and the R1?
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About 3 years ago Canon published a patent for a sensor with two charge buckets per pixel that could be swapped between instanteously and read out individually.

This allows:

1) global shutter: just switch the sensor to the unused bucket and read out the full buckets. Loses about 1 stop DR.

2) HDR: flicker between the two sensors, but give the A sensor 1/1024 the time of the B sensor. A will be -10 stops exposure. Expose B for the dark things in a scene but get an extra 10 stops highlight detail. For instance expose a real estate shot but be able to fully recover the daylight scene out the window. The patent didn't describe the flicker amount but I cranked the numbers and it seemed that you could get a continuous trace from a pretty fast-moving car with this. Obviously there'd be some speed where the A sensor images would become a discontinuous line of dots, but for most shots it'd work great.

3) ND: just flicker whatever percentage you want.

I am half-expecting this to be in the R1. That would make it a real game-changer in a way that a mere 100MP wouldn't necessarily be.
 
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#17
hideto02 said:
I don\'t feel Canon Cinema line needs a C200 markII. It\'s pretty much a C70 with a bigger body and will surely cost 2000$ more.
Click to expand...

I agree. A C200 II at this stage feels kinda forced and clutters the cinema lineup. I'd much rather see RF mount upgrades to the C300 III and C500 II than another dedicated RF mount camera that sits below their two flagships. The C700 II is interesting, but let's see where that price lands and how power-hungry that system ends up being. The C500 II already eats those small BP batteries the same way the R5C eats the LP batteries.
 
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#19
It has been really interesting to see the partnership between Canon and RED:
  • At first, it seemed that the trade was: Canon got to internally record compressed raw video on their cameras and in exchange RED got to use the RF mount. (Perhaps with some money changing hands as well.)
  • But this idea of a REDCODE RAW recorder module for the C700 II is a really intriguing new development!
    • I was originally hoping that ProRes RAW would finally standardize raw video codecs between cameras brands, but it seems RED's successful patent suit put paid to that.
    • But if RED started offering recorder modules to other brands' cameras (C700 II, maybe Venice, etc), it could create a semi-standard that would leverage the wide software support for and industry familiarity with REDCODE RAW at what would hopefully be, although surely not cheap, perhaps a bit more affordable than the Codex recorders and media.
      • It would be interesting to see how much benefit there might be to REDCODE RAW vs Cinema RAW Light at equivalent data rates...
 
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