I am very very interested as well as plenty of others about what November 3rd might bring us, but I wonder whether it will be as relevant as some expect.
The fact is that with the new 1Dx, the F3 and the Alexa, we already get all cameras needed for production at 3 different point levels (both acquisition and rental).


The 1Dx is the first DSLR engineered to perform on the video side and looks like it will adress the main DSLR culprits: moire, aliasing, skewing and video blotchiness.

The F3 WITH S-Log and an external recorder (even just a 422) is what the doctor oderdered, giving 13.5 stops -which migh increase another stop with the new upcoming firmware- and a lovely image with so much room at post.

The ALEXA with its impressive Dynamic Range, onboard HD 444 "shoot-to-edit", 3k (ARRIRAW), 120fps and RELIABILITY, has instantly become the king of the hill (and has replaced every single RED, at least in the EU), becoming all the camera broadcast drama and film productions need.


So what should Canon bring? If it's a regular S35 422 50Mbps videocamera it will fall behind the F3. To compete with the F3, Canon should bring Log curves which is nothing they have experience with unlike Sony and others. Without LOG the Canon should be well below the $10k mark as for just a few thousands more you can get an F3, which is upgreadable to SLog turning it into a completely different camera.

The other stuff Canon could feature the camera with are 60p and 4K. 4K is great on paper but producers don't care about it as it's for the future and they need to make the money NOW, plus it complicates and increases costs in Post. 60p would be the only thing left, but again we've seen it's LATITUDE what sets cameras apart and 60p@709 won't be as much a feature as it was 3 years ago.

So is it lower PRICE the only thing left to Canon? Or can they also bring an S35, LOG, 60p, 4K camera (a Sony F65 actually) ...for $15k?

To compete with the F3, just having the S35 422 50Mbps would give it an edge over the basic F3, the s-log etc are all extras on the F3. To go further, Canon would also need the option of recording RAW or log, which is a possibly given that there are a number of 3rd party manufacturers who do offer RAW recorders.

A price point of $ 7000 like there XL line with an S35 50mbit 422 10 bit codec with a technicolor cinestyle mode would already be very competitive. They could add the ALL-I intraframe codec at 360 mbit in the 1 DX and you would have a very serious competitor to the Sony/Pana/Red(scarlet) in these price point. They are showing what they can do in terms of image quality in the 1DX photo camera. They could also release a higher end camera to compete directly at the RED/Alexa?Sony cine camera.

A true video camera to replace the 5DII could come as early as this Wed. The rumor that there is more than camera makes sense, as it doesn't seem Canon would use the Hollywood announcement for a $3-4K camera.
At the other end, only announcing $15K PL/EOS mount cine camera would disappoint the legion of 5D/7D video shooters.
If there's a 'wow' from Canon, it will come in sensor quality. They aren't going to radically change the price/performance landscape of video. They did that accidentally with the 5D, and that's not necessarily good for Japan.
We all benefit from Red, even if we never own their product. The Japanese would dribble out small incremental improvements each year forever if given a choice. Let's hope Red doesn't stumble this month.

This market is very fragmented. Pricepoint is the only way to judge if a product is successful or not. We all know Alexa is great but I don't shoot for Showtime, so Alexa is not a camera I need for my workflow. So if Canon came out with an Alexa competitor I would not be affected.

The interesting angle that Canon brings to the table is their lenses. A lot of folks own still lenses and the L series is very good. So if it comes down to an F3 or FS-100 or a Canon, if you already own the L lenses the Canon looks like a great choice.

We are reaching that point where the image quality is there no matter which camera you choose for most anything outside of major theatre release. I think it will be tough to sell cameras beyond 2012 as they have become so good that the need for upgrading will be greatly diminished. When I look at the 1DX it looks like the last still camera I would ever need and it willprobably cover the video end just as well.

Perhaps a camera that records the scene depth in a separate channel? Like incorporating Kinect but at bettter resolution?

Again, I look at the XF100 price at $3 K, and wonder what is so difficult about adding larger sensor and adding one of Canon EOS lens designs. With the codec and technology there, the step into a $3 or $4 K full cinema camera is not that difficult to imagine.

Automatic rack focus would be a dream, but so would a camera that did not need add ons.

Anything is possible, but November 3 is Scarlet day. Epic-S was conspicuously absent from Red's latest roadmap. When pressed about it, Jim Jannard replied, "The camera you want is at the end of the year." That tells me that the Epic-S as previously specced no longer exists, at least by that name.
Actually, November 3rd is Canon Day......which Red has managed to weasel in on, including their event which is taking place across the street from Canon's at Paramount. Now I suspect that Red felt that they could use Canon's draw to funnel people to their event since people were close by.......Anyway, in the words of Yoda..."interesting day, it will be young Skywalker"

Jim Martin
Filmtools.com

If there's a 'wow' from Canon, it will come in sensor quality. They aren't going to radically change the price/performance landscape of video. They did that accidentally with the 5D, and that's not necessarily good for Japan.
We all benefit from Red, even if we never own their product. The Japanese would dribble out small incremental improvements each year forever if given a choice. Let's hope Red doesn't stumble this month.
I find this viewpoint is quite interesting.

RED was sort of disruptive technology at the time when Sony and Panavision digital cameras cost a small fortune. Canon's 5D2 did about the same on a lower segment, though unintenntionally, as the video was just an afterthought. But how often has Canon wowed with breaktrough products? It has just released incremental improvements, one after another, whether in video or DSLR land.

Everything has changed now though. There's been the RED, Sony's EX1, the 5D2, ARRI's Alexa, the F3+S-Log and now the Sony F65. All breaktrough products for some reason or another, at unprecedent price points. Is now Canon ready to change its DNA and release a revolutionary product?


By targeting Hollywood, as they've done it, it would be pretty silly to release anything below F3 (with raw/log) specs. But they could also release more than one product. For instance:

-ADVANCED: S35 422 10bit 50Mbps 30fps (60p @ 720) videocam with EOS mount at $6-8k. This would be the natural step up for all the 5D2 people and would improve on Sony's FS100 (8bit) specs.

-PRO: S35 444 10bit SDI Raw/Log 1080HD60p EOS/PL mount camera at around $15-20k.This betters the F3 (60p) and it's the camera targeted at indie Hollywood


I don't think they'll go beyond HD/2K or step into Alexa/F65 territory.

..... But how often has Canon wowed with breaktrough products? It has just released incremental improvements, one after another, whether in video or DSLR land.



Leading innovation in DSLR:
Use of CMOS instead of CCD - D30
High performance CCD - 1D
Very high res - 1Ds
Low cost high res - 5D
Also 5DII still video, although it's not clear they knew what they had.

Canon has never made a large cmos based video camera. What will that be like? We can be pretty sure that form factor and codecs will resemble their current products. But we don't have much with which to guess on the IQ of the new camera(s).

What they should be providing to us 5DII/7D groupies is a video specific EF lens 1080p camera with extremely good low light performance and very little rolling shutter for less than $3-4K. The worst case is if they consider the 1Dx as part of the video product line, with video specific form factors beginning above that price point.

If Canon are making a large sensor camera intended for the F3 market, I hope they've worked out their ergonomics. The camera on Nov 3rd may not becoming from the stills camera division, so they could be doing something different to the DSLR cameras, specially if they're planning to use PL mount cine lenses, which are heavier than still lenses.

Modular design seems to be the current trend on a number of the new cameras, although the Alexa layout is liked by many people and this camera is even being used on documentaries. The F3 seems to be getting quite a lot of 3rd party mods and speaking to a Sony rep, it seems they're are listening, so the layout on the next model could be different.

I doubt that canon is up to taking the risk of designing a significant modular system. Plus they're used to being volume sellers. If that continues it means not producing equipment at a high price going primarily to the rental market.
There can't be much incentive financially for them to sell low volume cameras that can make big screen movies.
Yet they're announcing in Hollywood.
My fear is them screwing up the good thing they started with the 5DII........ May have something to do with the ~25 EF mount lenses in my closet........

I have nightmares about accumulating Red Scarlet mini primes.

The price I heard from a probable major broadcaster source for one model of a Canon camera was in the F3 range, however, if that's accurate remains to be seen. He could be just quoting another rumour. Although, Sony has been doing rather well with these cameras.

Wouldn't surprise me, why would you try and be too cheap. $13k for the base F3 I think is a good price point for Canon. If records to at least 50mbps, has an S35 sensor and EOS mount it would be a winner.

Right about at this time in 10 days, we'll know whats cookin' with Canon.....!!!

Jim Martin
Filmtools.com

We wont get an F65 for 15K but we definetely getting something better than F3. Maybe with a future upgrade towards high end.
More than anything I wish EOS Mount video lenses. That can change the game in favor of Canon in many ways.

What I don't understand is why so many people are obsessed with EOS lenses and expect the camera to be priced under $6k.
EOS lenses are useless for video. They're unsuitable for rack focus, breathe like mad, don't have consistent T stops (just compare an F2.8 Lens to another focal F2.8 Lens), are of different lenght and diameter and they move as they focus, etc etc. It's nice to have them for an occasional shot with fixed focus, specially at the long end, but that's it.

As for the price, with the 1Dx at $7k you can't expect an S35 videocam to cost less. They might release, sooner or later, a 5D3 for $2-4k, but not a videocam for that amount.

If anything the 5D2 has teached to those less experienced with video, it that the entire shooting rig is EXPENSIVE. Regardless the camera body you'll need: a decent set of lenses, as Zeiss ZFs on the lower end at the very least; Baseplate with rods, Mattebox, FF, good ND filters set and a shoulder mount; an EVF and a bigger monitor with waveform and vectorscope; a tripod with a good head costs no less than $5k; a SoundDevices recorder with a 416, Schoeps, lavalier and radio transmitters; plenty of batteries of all sorts; some basic grip set and slider and dolly; a basic set of lights with both Arrilites, Fresnels, Kinos and Dedos (not to mention HMI for daylight); etc, etc.

This means at the most basic intro level we're talking at no less than $30k besides the camera. To this you have to add the Post suite, which is another matter onto itself.

If you just have $2-6K for a camera body, you're still $50k short for everything else you'll definetely require. Film-style shooting -the kind all 5D2 people do- is not like ENG.

As for the price, with the 1Dx at $7k you can't expect an S35 videocam to cost less. They might release, sooner or later, a 5D3 for $2-4k, but not a videocam for that amount.
Why not? The Sony VG20 costs about $2K. The difference between the VG20 and the FS100 is $4K. I suspect that most of that can be accounted for by marketing rather than differences in technology or manufacturing costs. The FS100 doesn't even have a filter wheel or HD-SDI, and it's only 8-bit.

If you just have $2-6K for a camera body, you're still $50k short for everything else you'll definetely require. Film-style shooting -the kind all 5D2 people do- is not like ENG.

I think you've missed one of the main lessons of the DSLR video "revolution" entirely. It allows talented people to trade time for money and NOT spend $50K while achieving a cinematic look.
A regular working pro valuing his time is foolish to not make a significant investent, either directly or rental. But vast numbers of talented people can not make that investment in their own work.

I think you've missed one of the main lessons of the DSLR video "revolution" entirely. It allows talented people to trade time for money and NOT spend $50K while achieving a cinematic look.
That is if your target is YouTube for your school mates.

But if you want to produce a basic but decent, sellable product (even if it's just once every 6 months to a local corporation/school..), are you going to depend on available light only? Won't you have a RAID5 for production and a RAID1 for backup? Won't you have a pro monitor+WF to check whether you're clipping 709 levels? Won't you get a decent head for drift-free pans? etc, etc.

Many top pros don't own any camera gear, they're hired because of their skills or they just hire in the gear themselves because there just are too many different formats these days.. Of course, other's do own gear, it really depends on their market.

You could have a filter wheel inside the FS 100, but the difference would a larger camera, which mightn't suit those people who have got used to a DSLR shooting style.

I'm not sure if the marketing costs for the FS100 are any different to the VG20, they could even be less, although it's possible the profit margin might be a bit higher because they believe there's a smaller market, but it's more demanding, so the support costs are higher.

Many top pros don't own any camera gear.
Exactly, and they don't even have to be top pros to rent.

One of the things that the 5D2 did, due to its very low cost, is to make people think you had to OWN everything to produce a video, and that's never been the case, except for independent ENG guys.

That's why I keep saying Canon's announcement 'might' not be that important, once we got cameras like the F3 with S-Log at such a low price (price being Canon's main weapon).

The F3 costs 250/day to rent, times three for a week. A fully equipped F3 (with S-Log, KiPro, CP.2s set, ARRI MateBox+FF, Sachtler 18, EVF, 17" Panasonic), costs no more than 700-750/day (x3 for a week).
Given that pretty much all First-Class Commercials, Music videos and many corporate videos are shot in a single day, $/€750 is all you need to rent the equipment required for a full Film-Style HD Broadcast shooting nowadays (!). Add another 250 for a grip set with some Kinos and ARRIlites and you get ALL the required tools for just 1k(!).

To have a cheaper camera to own will only be of advantage for docus, where you get a simple crew of 2 guys running around all over the place/planet for a month or two. That's where owning might make more sense than renting.

If a camera is coming, its time to guess the name! Back when the XF100 &105 were announced, we posters here at DVinfo started guessing the name of the next camera.....we had the XF300/305 then the 100/105 and I think some people thought that there might be a XF200 or 205 coming....I went the other way and said XF500....some said if it was a "cinema style" camera, maybe it would be a XF35.....but I thought that was too close to the Sony F35....so, lets start this up again! Anyone care to guess? If the rumors are true in regards to 2 cameras, I'm gonna go with XF500EF & XF505PL.....

Jim Martin
Filmtools.com

If a camera is coming, its time to guess the name! [...] If the rumors are true in regards to 2 cameras, I'm gonna go with XF500EF & XF505PL.....

If it's the next generation of 5D2, I'm guessing it will be called 5DX.
If it's a high-end (fullframe) video camera, I'm going with something like FFX-55PL & FFX-55EF.

-- peer

Right about at this time in 10 days, we'll know whats cookin' with Canon.....!!!

Jim Martin
Filmtools.com

I'm going to swing by the lot that weekend and visit the exhibit. Looking forward to seeing you there.

Henry,

In my opinion expensive cameras should be rented. Cheap cameras should be acquired. If for nothing else, ownership gives you the time to learn the camera adequately and fully utilize its potential. And in my opinion F3 is not an expensive camera. Especially if you can recoup your investment with 60 days of shooting. That can be attained in less than a year and definitely within the 3 year lifespan of today's gear.

Also not all people need to spend 15-20K for extras. All you need is a good tripod. Back in NYU I was shooting B/W reversal on arri with a turret, a tripod and a light meter. Today's HD gear makes no difference. I have learn to trust my DP and my self. Just like the old A/B roll editing motto: "Tough guys don't preview". I never understood all these Frankenstein cameras people are parading in the forum. It defeats the purpose of compactness and speed. That's why I wish the new Canon have a decent compression and a good viewfinder, more than anything else.

If a camera is coming, its time to guess the name!.....

Jim Martin
Filmtools.com

Introducing (drum roll).... the Canovision Canoflex 35
(with all the most desirable features like rackover, 4 lens turret, 1000 ft coaxial mags, TTL metering, and a mere 200 lbs total weight.)
I'm reaching for my credit card now!

Ken

I'm going to swing by the lot that weekend and visit the exhibit. Looking forward to seeing you there.
It will good to see you again!.....

If a camera is coming, its time to guess the name! Back when the XF100 &105 were announced, we posters here at DVinfo started guessing the name of the next camera.....we had the XF300/305 then the 100/105 and I think some people thought that there might be a XF200 or 205 coming....I went the other way and said XF500....some said if it was a "cinema style" camera, maybe it would be a XF35.....but I thought that was too close to the Sony F35....so, lets start this up again! Anyone care to guess? If the rumors are true in regards to 2 cameras, I'm gonna go with XF500EF & XF505PL.....

Jim Martin
Filmtools.com

Naming schemes are NOT Canon's strong suit. ;) XF is probably dedicated to their prosumer line. If they're making a line of cameras outside that target, then they'll probably develop a brand new nomenclature. Without knowing any particulars wrt the cameras, it's hard to predict.

If it is a full frame camera then maybe the use of a "C" to denote "cinema"....

C35-EF and C35-PL
or
C35 and C35A

The pro line is the XFs....and "any future cameras from the professional line will utilize the XF codec" to quote Canon last year.
As for your model #s.....great suggestion although I think its going to have XF in there.

Anyone else?

Jim Martin
Filmtools.com

Well...

Jannard uses color. Apple uses cat names. So I actually think the Canon folks will fall under the spell of some new age marketing "genius" and will henceforth wise up and start a new marketing trend that's more closely related to their core brand nomenclature.

On my short list? The Howitzer Canon?, the Gettysburg Canon, the Pachelbel Canon or perhaps even the Dyan Canon?

Just thinking out loud here.

Bring back the Scoopic (http://www.canonscoopic.com/Scoopic/summary.html), I say.

This Nov. 3rd announcement sounds much larger than a camera announcement. Canon just announced the newest version of their flagship camera, a super power still camera that apparently is also aimed to be their prime option for DSLR moviemaking, through a simple press release. Why think they would have a large announcement for an FS100- or F3-type camera, or any camera for that matter? This is so much bigger, and the new Canon tech and training center in Hollywood is a large hint of what's to come: Canon taking on the Hollywood scene in some form or fashion. A premier high-end digital cinema camera might also be thrown in the mix of it all, but if it is, it's likely to be something along the lines of Alexa, Epic, F23, or F35...something for the big filmmakers of Hollywood, not anything geared toward consumers or prosumers.

This is what's got Red so spooked, as they've focused a lot of their efforts in the last few years in getting their products into the hands of Hollywood filmmakers. But Red's banking on the success of their much-anticipated Scarlet--Hollywood specs, in a smaller, more "affordable" package.

Bring back the Scoopic (http://www.canonscoopic.com/Scoopic/summary.html), I say.

In some respects the Scarlet fixed zoom has its roots in the Scoopic.

On the prosumer market, Canon was the last one to release its first HDV camcorder, the XLH1, but it was better that its competitors. Same thing happened with its first camcorder that record on cards, the XF300 which offer a much better codec than XDCAM EX or AVCHD, and less exepensive that P2.
So it seems that Canon is a follower which release more mature products than its competitors (on the prosumer market).
That's why I think a F3 or FS100-like camcorder with XMF codec would fit with the historical Canon's strategy. Especially because Sony and Panasonic have made the mistake of to equip their FS 100 and AG-AF101 with a cheap codec. Canon can correct this easily and may think that's enough.
Of course the ability to record 4K would be a very pleasant surprise, but I don't dare to hope it.

Since we are waiting for Nov 3rd to arrive I have some questions. I have little/no knowledge of the big screen industry so I am just asking.

4k cinema ?? If Star Wars was shot on the F900, why do theatres need 4k ???

With the F900R being such a cinematic camera, why do we need CMOS ??



HDW F900R specs

Product Highlights
2/3" 2.2MP FIT CCD
1920 x 1080 Active Pixels
3.5" LCD Color Viewfinder
Tripod Adapter
24P, 25P, 29.97P, 50/59.94Hz Interlace
4:2:2 RGB Color Space
Cinema-Quality Imagery
320 ISO Equivalent

If Star Wars was shot on the F900, why do theatres need 4k ???

Because... Star Wars was shot on the F900.

Please excuse the Anglophile analogy, but it was a 'courageous decision' to film on the F900. Best technology at the time. Mostly greenscreen, so DoF not an issue. But even in PAL, you can see the pips squeak.

Having seen 4K projected in good conditions a few times now, it is a worthy thing to behold. Even 2K done right is pretty darn good, but 4K is that 'window onto reality'. If one wanted to shoot pictures now and still have them sell with reasonable prices in 20 years time, shoot 4k. 10 years time, 2k. IMHO.

4k would really depend on the market you're aiming at, very few films have a theatrical life of 20 years, but 4k could make sense as an option for a current theatrical release. If you're going to blur the background with an extremely shallow DOF you may also have to ask why you're shooting in 4K, because you're throwing away the detail.

If you're shooting for TV you'd have to factor the extra cost of post for the 4k in your budget, which may not make worthwhile.given how much tighter the budgets are becoming..

Bring back the Scoopic (http://www.canonscoopic.com/Scoopic/summary.html), I say.

Hey, I used to own that cam! Man oh man, that takes me back....

And haven't regretted for a minute selling off all my film cameras for a Canon XL-1 since.

Come to think of it, even the XL-1 seems like an antique now.

With all this speculation concerning Canon's new (alleged) supersonic, zillion mbs 4:4:4, camera going on, can i remind everyone of my favourite Hitchcock quote:

"To make a great film you need three things - the script, the script and the script."

Sorry, i realise there is a techy orgy going on at the mere mention of a press release - and yes i'm interested too - but lets keep things in focus. We're already more fortunate than we've ever been, and it's hard to imagine this press release - and whatever follows - will make the slightest difference.

Rant over. Let's see what Nov 3 brings.

.................

This is what's got Red so spooked, as they've focused a lot of their efforts in the last few years in getting their products into the hands of Hollywood filmmakers. But Red's banking on the success of their much-anticipated Scarlet--Hollywood specs, in a smaller, more "affordable" package.

Is Red spooked? It seems at this point Scarlet may sit in it's own niche. Panasonic, Sony, and Canon are likely competing for the same under $15K customer.
It seems to me that Canon as the new kid in the pro space needs to be better than the F3. Why buy Canon if the new camera is an F3 equivalent at a couple thousand dollar discount? Something needs to be better than Sony to win converts.
The market for 3-4K true cinema cameras seems small and crowded. I can only see Canon wading into that competition as part of a larger pro video strategy. Does Arri even sell 100 Alexa's a month?
The "for sure" demand is for a DSLR video replacement - a new camera without the operating inconveniences and imagining artifacts. I'm not sure Canon can produce that replacement for those buyers while resisting the temptation to artificially cripple the new product.
I'm sure the sales figures for the AF100 (whatever those are) influence Canon's new product choice.

If a camera is coming, its time to guess the name! Back when the XF100 &105 were announced, we posters here at DVinfo started guessing the name of the next camera.....we had the XF300/305 then the 100/105 and I think some people thought that there might be a XF200 or 205 coming....I went the other way and said XF500....some said if it was a "cinema style" camera, maybe it would be a XF35.....but I thought that was too close to the Sony F35....so, lets start this up again! Anyone care to guess? If the rumors are true in regards to 2 cameras, I'm gonna go with XF500EF & XF505PL.....

Jim Martin
Filmtools.com

If Canon releases a semi-shoulder mount in the old dependable XL style then it will probably be called the XL-F1, or perhaps the XL-35. It seems unlikely at this point though, as the trend these days is for smaller modular designs like the AF100, FS100 etc.

End of an era?

Canon won't cripple their product for two reasons....1) in the past, they did hold back because they were selling all those lenses to Panasonic & Sony. At last year's NAB(2010), Sony got very upset with Canon for putting out the XF300/305, priced to compete with the EXs but on a higher, broadcast codec at that same price point($7500). With both Panasonic & Sony, if you want the higher codec, you have to spend more money.....they don't want to sacrifice their higher end sales. 2) since Canon doesn't have those higher end cameras, they don't have to worry about it....the current XFs, and anything that might get announced on Nov. 3rd, are their high end cameras, so, at this point, I don't see Canon holding back any more........which means we all win!

Jim Martin
Filmtools.com

PS - Chris, You're brilliant!

Red is also competing with that sub-$15,000 demographic. The line of Scarlet cams and "low-end" Epic(s) look to take on all cams up to the F3 ($4,000-$20,000 range), with the promise of 4K+, variable frame rates, and modularity. It's likely their intention to take over the whole gamut of videographer, from the prosumer to the Hollywood pro.

Canon will likely be wading themselves into the competition, but definitely on a larger scale...the Hollywood scale. Not sure they'll be concerning themselves with the prosumer demographic with this Nov. 3rd announcement. As far as "we're" concerned, they probably feel they've addressed us in terms of DSLR cinema (for the time being, at least) with the 1DX announcement. I wonder if a 5D Mark III or low-end cinema camera a la the F3 is even in the near future.

Canon's gonna attack Red's stomping grounds--Hollywood--and likely look to establish themselves as the goto high-end digital product carrier for the cinema world as they've done for years now in the photography world. Bold.

This is IMO the state of play regarding 4K:


-Producer: Will you do this next movie?
-Director (Gearheaded-Director): Yes, and I'll do it with this new digital camera in 4K!
-Producer: Great. What's 4K?
-Director: It's a new technology, it's 4 times more resolution than HD or 2K!!
-Producer: will the movie sell better if it's shot in 4K?
-Director: mmm..., well, I don't know. Of course it will be more expensive to do it, and post-production costs will double due to the high resolution. The good news is that you'll be able to re-release it in 10-15 years at the original 4K resolution, if a new TV/Broadcast technology emerges.
-Producer: (silence)
-Producer (more silence)
-Director: Ok, I'll shoot it with the Alexa and its simpler and cheaper workflow.



Wouldn't you love a 4K Canon camera?

I reread the invitation. I can't remember anything - even remotely similar - phrased in that way from Canon. From Red every other week but from Canon, Never.

If the number of post at this thread is any indication, they better come with something historic... or they will become history's laughing stock!!!

So how should Canon ideally handle lenses?
Lets say they have both an AF100 and an F3 competitor.

EF mount and PL mount. A good idea was mentioned 2 pages prior...

Full IS/Aperture control on EF mount...

Low end model, EF mount, and no option for PL
High end model, PL mount, with EF option/adapter

Any info yet as to what Canon was announcing in New York City tonight? I've been looking at all the usual canon rumor and fanboy sites, but nothing yet. Anyone else heard anything?