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 Friday, April 15, 2016
From Canon USA:
 
Canon to Enable Providing Viewers with Outstanding HDTV Picture Quality and Long-Zoom Image Detail
 
MELVILLE, N.Y., April 13, 2016 – NBC Olympics, a division of the NBC Sports Group, has selected Canon U.S.A., Inc., a leader in digital imaging solutions, to provide a wide variety of HDTV Field, Portable and Studio lenses for its production of the Games of the XXXI Olympiad, which take place in Rio de Janeiro, Brazil, from August 5 – August 21. The announcement was made today by David Mazza, CTO & SVP, NBC Sports & Olympics, and Yuichi Ishizuka, president and COO of Canon U.S.A., Inc.
 
Over 70 Canon broadcast lenses will be used during coverage including the DIGISUPER 95 TELE long-zoom field lens featuring a focal length of 1178mm (2356mm with 2x Extender); the DIGISUPER 27 studio lens providing crisp HD imagery in a studio environment; the HJ14ex4.3B wide-angle HD lens capturing a panoramic 96.3 degrees angle-of-view; and the HJ24ex7.5B HDTV field telephoto zoom lens, providing a remarkable 7.5-180mm zoom range in a compact, portable body.
 
“We are honored to once again be chosen as the lens provider for NBC,” stated Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.
 
“The lenses that Canon provides are an essential component to the visual system that captures the excitement and the emotion of the Games. Canon lenses are also light and robust, which our camera operators like,” stated Christopher Adams, Vice President Venue Engineering, Olympics Production Engineering, NBC Sports Group.
Posted to: Canon News
Category: Canon USA News
Post Date: 4/15/2016 5:48:27 AM CT   Posted By: Sean

 
From the Nikon Europe YouTube Channel:
 
Follow National Geographic Photographer, Keith Ladzinski, as he takes the Nikon D500 to 'Europe's Grand Canyon', Verdon Gorge, for an epic shoot of big wall climbing.
 
B&H has the Nikon D500 available for preorder.
Posted to: Nikon News
Post Date: 4/15/2016 5:29:36 AM CT   Posted By: Sean
From the Canon Digital Learning Center:
You probably have seen the option in your editing software or your printer driver to choose 16-bit color processing. In fact, you may have selected the option, although you weren’t quite sure what it meant, because more data should result in better prints, right?
 
This short article will unlock the mysteries of 16-bit printing and help you to take full advantage of this feature in your imaging workflow.
See the entire article on the Canon Digital Learning Center.
Posted to: Canon News
Post Date: 4/15/2016 5:05:56 AM CT   Posted By: Sean
 Thursday, April 14, 2016
When flying with camera gear, I always carry it on the plane with me. At least the most expensive and highest importance gear goes with me. But, just because I want to carry the gear onto the plane does not prevent the airline from forcing a gate check of a typically-large roller case, even if it falls within dimensional compliance. The scariness of this scenario was reinforced to me recently when I watched gate checked bags sliding down a very long tube, landing with significant force at ground level. So, I take precautions against being forced to turn over a camera case at the gate.
 
The first precaution I often take is using the airline's credit card to buy the flight tickets. This move typically results in priority boarding privileges. United Airlines and American Airlines (my two most-used airlines) charge an annual fee for their cards, but another benefit these cards provide is a certain number of free checked luggage bags on each flight. A flight or two a year generally equalizes the credit card's annual fee.
 
While there are generally a lot of people flying with priority boarding passes, getting in line early within this boarding group has always insured that I can stow my largest case in the overhead storage, avoiding a gate check requirement caused by lack of storage space.
 
Another key to avoid gate checking is knowing the size of the planes that you will be flying on. The smallest plane on your trip is going to be the limiting factor. If flying on a small plane such as a regional jet, this can be a problem (especially if it is the first leg of a multiple flight trip). The isle seat on the side of the plane with the most side-by-side seats may have the largest storage option – under the seat in front of you. In this case, know what size case fits here – a full-size hard or rigid case will often not fit.
 
With large-sized planes booked for all of my commercial airline flights and priority boarding passes in hand, I was comfortable taking a full-size roller bag as my carry-on to Alaska. My choice? The Think Tank Photo Airport Security V 2.0 Rolling Camera Bag. TTP sent me this case a long time ago, and I have used it with great frequency since, leaving many of my other cases to gather dust.
 
This trip involved a mix of travel (including float planes, various boats and an SUV) and in-the-field use of camera gear. While the Airport Security is not my first choice for backpack-style carry, it provides this option and I carried it full of gear for many miles in the Katmai National Park back country on this trip. The straps work fine. Aside from having a large capacity, including the ability to hold a 600mm f/4 lens with a pro-sized camera body attached (snug fit), this case provides very solid protection for the contents and the build quality was something I had a lot of confidence in.
 
The lead image for this post shows most of the primary items I carried in this pack while traveling. I removed a 15" sleeved laptop and some other odds and ends (including some spare clothes) prior to taking this picture. The laptop fits in the outside pocket or, to save some dimensional space, inside in the shown load configuration.
 
In the case, starting at the top, is the Canon EF 600mm f/4L IS II USM Lens mounted to the Canon EOS 5Ds R with a Canon BG-E11 Battery Grip. I talk about my reasoning behind the camera and lens choices here:
 
My Wildlife Lens Selection for Katmai National Park, Alaska
 
My Camera Selection for Katmai National Park, Alaska
 
From left to right across the bottom of the case are the following:
 
The Canon EF 11-24mm f/4L USM Lens was along for my ultra-wide angle needs (didn't end up using it much). The Zeiss 15mm f/2.8 Lens earned its ticket to travel from its excellent image quality at a wide aperture. Night sky photography its primary intended purpose. The Canon EOS M3 with a Canon EF-M 18-55mm f/3.5-5.6 IS STM Lens mounted made the trip. With Canon EOS Rebel T6i-like image quality, this tiny camera with the 18-55 gave me a very compact general purpose kit to use when I could not (or did not want to) take a full size camera and also provided a backup under the same circumstances. The EOS M3 proved a convenient choice for photographing from commercial airplanes (you do this, right?), from float planes and for a part-day salmon fishing trip.
 
In Lowepro Lens Cases under and beside the M3 are Canon EF 1.4x and 2x III Extenders. While I have no regrets from bringing these, I did not use either on this trip. The 600mm lens was enough, but you never know when a unique situation calls for more reach.
 
An Arca-Swiss Z1 Ball Head is fit into the bottom right divided section of the Airport Security. This head was chosen because ... it is my current favorite – it works great and reliably so. While I don't usually have room for tripods in my carry-on cases, I usually include my primary ball head because of its dense weight. Keeping my checked bag under the 50 lbs. limit is usually a challenge.
 
Numerous circular polarizer and neutral density filters can be seen in the two backpack images shown.
 
My "personal item" carried onto the plane was a Think Tank Photo StreetWalker Pro. This pack is ideal for maximizing the camera gear carried onto the plane and great for lower volume needs on location.
 
Think Tank Photo StreetWalker Pro Packed
 
Shown in this pack are a pair of 5Ds R bodies, one mounted to the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens (amazing lens, again, see the lens selection link above) and one mounted to the Canon EF 24-70mm f/4L IS USM Lens, a great handheld landscape lens. The other two lenses shown in this pack are the Canon EF 16-35mm f/4L IS USM Lens and the Canon EF 24-70mm f/2.8L II USM Lens. Both are best-available for landscape and other needs.
 
Lots of additional accessories were along in the carry-on packs including well over 1TB of memory cards, many batteries, chargers, power supplies and including power supplies, charges, external hard drives. I always carry an empty water bottle through security and fill it from a water fountain before the flight, insuring adequate hydration for a long period of time.
 
Not seen in the two backpack images are a pair of tripods that were along for this trip. My favorite all-around tripod is the Gitzo GT3542LS. It is an extremely rigid, strong, lightweight, reliable tripod that is easily up to handling the 600mm lens kit. Nested inside the legs of the larger tripod was the Gitzo GT1542T Traveler Tripod with an Acratech GP-s Ball Head mounted (great little head). The second tripod served as backup, permitted use of two simultaneous tripod setups and offered an ultra-lightweight tripod for those times when the full-size option was too much. This little tripod could have handled the 600mm setup if necessary. A pair of empty Lowepro Toploader Pro cases were placed over both ends of the nested tripods with their open lids providing protection for most of the sides of the tripods. Clothing provided the balance of the protection necessary for the tripods.
 
Large lenses are far easier to use on a gimbal mount and the Wimberley Tripod Head II is my first choice. I packed this head in a padded case inside my checked bag.
 
Think Tank Photo Airport Security V 2.0 in the Field
 
The above image shows the Airport Security in action in coastal Katmai National Park. I like to keep my gear clean – The Airport Security can be seen here on The 1 Cheap Accessory that should be in All of Your Camera Bags. I always have these along.
 
My Alaska trip itinerary, in brief, involved a flight to Anchorage, SUV rental, driving to Seward and then Homer and float plane flight to coastal Katmai National Park where I stayed on boats for 4 nights. After flying back to home, a 1/2-day side trip to fish the Kenai River was in order and then on to Denali National Park for a few days. There is very little I'd change in my packs if I were to do this trip again.
 
Have any questions? Ask them in the comments section below!
 
Get your Think Tank Photo Airport Security at B&H or direct from Think Tank Photo.
Posted to: Canon News,
Post Date: 4/14/2016 12:04:13 PM CT   Posted By: Bryan
B&H has the newly announced Canon ME200S-SH Multi-Purpose Camera and Canon CN-E 18-80mm T4.4 COMPACT-SERVO Cinema Zoom Lens available for preorder.
 
Canon ME200S-SH Multi-Purpose Camera Highlights
 
  • Super 35mm CMOS Sensor
  • Canon Cinema Lock EF Lens Mount
  • 12-Stop Dynamic Range
  • ISO Up to 204,800
  • 1920 x 1080 / 1280 x 720, Up to 60 FPS
  • Dual Pixel AF
  • Motorized ND and IR Cut Filters
  • 2x, 4x, 8x Digital Teleconverter
  • HD/3G-SDI & HDMI Connectors
  • RS-422 Remote Control Terminal

Canon CN-E 18-80mm T4.4 COMPACT-SERVO Cinema Zoom Lens Highlights
 
  • Covers Super 35 & APS-C Formats
  • EF Mount
  • T4.4 Constant Maximum Aperture
  • 9-Blade Iris
  • Parfocal with Minimized Focus Breathing
  • Compatible with Servo Lens Controllers
  • Optional Control Grip
  • Image Stabilization & Auto Focus Support
  • 180° Rotation for Focus
  • Lightweight at only 2.65 lb
Posted to: Canon News
Category: Preorders
Post Date: 4/14/2016 11:17:39 AM CT   Posted By: Sean
If you've ever wondered how image stabilization works in Canon lenses, you're in luck! The Canon Professional Network has published an Infobank article on Image Stabilization.
 
From the Canon Professional Network:
Camera shake is the thief of sharpness. If you are hand-holding a camera and lens, they will move as you press the shutter release. Movement during exposure blurs the image.
 
Much of the time, you will not notice the effects of camera shake. If you are shooting with a fast shutter speed or a wide-angle lens, the blurring may not be significant- but it will still be there, and might appear if you have a big enlargement made from the image.
 
The only way to overcome camera shake is to eliminate the movement of the camera and lens during the exposure. The obvious way to do this is by taking the camera out of your hands and fixing it to something that will not move, such as a photographic tripod. However a tripod is only effective if it is sturdy, which usually means heavy.
 
Fortunately, Canon offers another method of reducing, if not eliminating, the effects of camera shake. Image stabilised lenses, first seen in 1995, approach the problem laterally. Rather than trying to stop the movement of a hand-held camera, they seek to introduce an opposing movement within the lens. The aim is to keep the image static on the sensor or film, despite the movement of the camera.
Check out the entire article on the Canon Professional Network.
Posted to: Canon News
Post Date: 4/14/2016 10:42:39 AM CT   Posted By: Sean
B&H has the newly introduced Glidecam XR-PRO Handheld Camera Stabilizer in stock with free shipping.
 
Product Highlights
 
  • Designed for film and video cameras weighing up to 10lb
  • Dynamic camera balance platform
  • Precision 3-axis gimbal with adjustable convergence
  • No-tools telescoping central post
  • Adjustable inertial-control base platform
  • Foam-padded handle grip
  • Precision bearings at all vital points
  • Precision aluminum construction
  • Anodized studio black
  • Laser etched labeling
  • Allows unrestricted booming and 360° panning
  • Rubber feet under base platform
  • Made in the USA
Posted to: Canon News,
Post Date: 4/14/2016 10:40:39 AM CT   Posted By: Sean
From Canon USA:
 
Using Canon Cameras and Lenses, Teams Shooting from the International Space Station Capture Breathtaking Images of Our Planet from a Vantage Point Few Get to See
 
MELVILLE, N.Y., April 14, 2016 – The future of 4K filmmaking is looking up — in fact, all the way to space. A Beautiful Planet, the latest 3D space documentary from acclaimed filmmaker Toni Myers and IMAX Entertainment, made in cooperation with NASA, will premiere in IMAX in New York on April 16 and was shot primarily in space using Canon cameras and lenses. The film will be shown to the public exclusively in IMAX and IMAX 3D theaters beginning April 29.
 
The Canon EOS C500 4K Digital Cinema Camera and EOS-1D C 4K cameras were transported from Earth to the International Space Station (ISS) in November 2014 via an unmanned supply ship, and were received by NASA astronaut Terry Virts, astronaut Samantha Cristoforetti from the European Space Agency and Cosmonaut Anton Shkaplerov. This was the first time that 4K cameras were brought aboard the space station for a commercial film project. During a six-month mission at the ISS, Virts, Cristoforetti and Shkaplerov worked closely with NASA astronauts Kjell Lindgren, Butch Wilmore, Scott Kelly, and Kimiya Yui of the Japan Aerospace Exploration Agency (JAXA) to take turns using Canon’s advanced digital cameras and lenses to film footage of lightning storms, the continents, volcanoes, coral reefs and bright city lights on Earth for the film. One of the film’s greatest and most dramatic highlights, the striking imagery of the Northern Lights--or the aurora borealis-- was captured by NASA astronaut Kjell Lindgren. These awe-inspiring images were previously unattainable in such stunning resolution.
 
The Canon EOS C500 4K (4096 x 2160-pixel) Digital Cinema Camera is capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. It features a Super 35mm, 8.85-megapixel CMOS image sensor, DIGIC DV III Image Processor and an expansive range of recording and output options specifically for 4K and 2K image acquisition. The compact, lightweight Canon EOS-1D C Digital SLR camera delivers outstanding video performance and provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications.
 
‘A Beautiful Planet’ joins Canon at NAB
A gallery of still images taken on the ISS with the Canon EOS-1D C camera and Canon lenses during the shooting of the film will be shown at the Canon booth # C4325 at the National Association of Broadcasters (NAB) trade show, April 18-21, 2016 in Las Vegas, NV. During NAB, the film’s Director of Photography, James Neihouse, ASC, will speak at Canon’s stage on the challenges and benefits of shooting in space. Joining him will be Marsha Ivins, a consultant on the film, former NASA astronaut, and a veteran of five space shuttle missions. Neihouse has worked on more than 30 IMAX films including Space Station 3D and Hubble 3D and trained more than 25 shuttle and space-station crews on the intricacies of large-format filmmaking.
 
The documentary, A Beautiful Planet was produced, written, and directed by Toni Myers, and is narrated by Academy Award-winning actress Jennifer Lawrence.
 
About A Beautiful Planet
A Beautiful Planet is a breathtaking portrait of Earth from space, providing a unique perspective and increased understanding of our planet and galaxy as never seen before. Made in cooperation with the National Aeronautics and Space Administration (NASA), the film features stunning footage of our magnificent blue planet — and the effects humanity has had on it over time — captured by the astronauts aboard the International Space Station (ISS). From space, Earth blazes at night with the electric intensity of human expansion — a direct visualization of our changing world. But it is within our power to protect the planet. As we continue to explore and gain knowledge of our galaxy, we also develop a deeper connection to the place we all call home. From IMAX Entertainment and Toni Myers — the acclaimed filmmaker behind celebrated IMAX documentaries Hubble 3D, and Space Station 3D — A Beautiful Planet presents an awe-inspiring glimpse of Earth and a hopeful look into the future of humanity.
 
B&H carries the Canon EOS C500 Cinema Camera.
Posted to: Canon News
Category: Canon USA News
Post Date: 4/14/2016 10:05:47 AM CT   Posted By: Sean
From Tenba:
 
Tenba Launches New Cineluxe Collection for Filmmakers
 
North White Plains, NY – April 13, 2016 – Tenba today announced a sneak peek of the new Cineluxe video camera bag collection at the National Association of Broadcasters (NAB) Show the week of April 18-21, 2016. The first to bring the “doctor bag” style opening to backpacks and rolling cases, Tenba’s new collection gives uncompromising filmmakers the quickest possible access to their gear when shooting.
 
Flex-Core Dividers
New Flex-Core dividers are unique in their combination of stiffness and flexibility, providing a secure separation between cameras and lenses. They are both rigid and bendable, allowing for quick, on-the-fly tweaks to the interior layout to fit changing camera systems.
 
Protective Wraps and Pouches
Cineluxe bags include a selection of protective padded wraps and pouches that allow sensitive equipment to be safely stored alongside larger cameras and rigs, offering more versatility than traditional Velcro dividers.
 
“Doctor Bag” Opening
The “doctor bag” style opening is crafted from anodized aluminum bars that give unobstructed access to the interior while also increasing the bag’s rigidity and camera protection. To meet the needs of traveling filmmakers, the “doctor bag” functionality has been fitted to a carry-on compatible rolling case and two backpacks.
 
Professional Features
Cineluxe bags deliver on Tenba’s reputation for durability, with a water-repellent exterior of 840-denier junior ballistic nylon with YKK zippers, a waterproof “Body Armor” bottom panel, and an equipment-friendly interior of ripstop nylon and soft, brushed tricot. Each bag includes a WeatherWrap rain cover and trolley straps to piggyback onto larger rolling cases.
 
The Cineluxe collection includes two carry-on compatible backpacks with Tenba’s comfortable Pivot-Fit Airflow harness and waist belt, a carry-on compatible rolling case with specially developed shock absorbing wheels, and three shoulder bags that range from 15 to 22 inches in interior length. Cineluxe bags will be available July 2016.
Posted to: Canon News,
Category: Tenba News
Post Date: 4/14/2016 6:09:57 AM CT   Posted By: Sean
 Wednesday, April 13, 2016
Just posted: Tokina 14-20mm f/2 AT-X Pro DX Lens Review.
 
Want f/2 at a focal length wider than 18mm? Surprising is that a zoom lens is your only option.
 
B&H has the Tokina 14-20mm f/2 AT-X Pro DX Lens in stock.
Posted to: Canon News,
Post Date: 4/13/2016 8:33:27 AM CT   Posted By: Bryan
From Canon:
 
New Updates Include Canon Log3 for the EOS C300 Mark II Camera and Support of ARRI Log C and Metadata for Canon’s DP-V2410 4K Reference Display
 
MELVILLE, N.Y., April 13, 2016 - Canon U.S.A., Inc., a leader in digital imaging solutions, today announced firmware updates to several products being showcased at NAB 2016. These firmware updates support a number of feature updates for users including improvement of workflow, ease of use, focusing and lens corrections, color space, and creative flexibility for products in the Cinema EOS, HD Video, and 4K Reference Display lines.
 
Firmware updates are as follows:
 
  • The EOS C300 Mark II Digital Cinema Camera updates will allow various functions such as shooting in new Canon Log3, viewfinder magnification during recording, focus guide with EF Cinema Prime lenses, Push Auto Iris and Zoom function on the grip joystick with New COMPACT-SERVO and CINE-SERVO series lenses, Canon Dual Pixel CMOS AF (DAF) with COMPACT-SERVO 18-80mm and CINE-SERVO 17-120mm lenses, ACES 1.0 output, peripheral illumination correction updates and overall image improvements such as noise level reduction in low-light for Canon Log2.
  • The EOS C100 Mark II Digital Cinema Camera update will allow various functions such as Push Auto Iris and Zoom function on the grip joystick with the new COMPACT-SERVO and CINE-SERVO series lenses, Canon DAF with COMPACT-SERVO 18-80mm and CINE-SERVO 17-120mm lenses, and peripheral illumination correction updates and selectable disabling of the microphone.
  • The DP-V2410 4K Reference Display firmware will be updated to support ARRI Log C and ARRI metadata; improve display contrast and dynamic range; add support for Canon Log3 and Hybrid Log Gamma; and display of SMPTE 2084 input signal on the waveform monitor.
  • The DP-V3010 4K Reference Display firmware will be updated to improve display contrast and dynamic range; add support for Canon Log3 and Hybrid Log Gamma; and display of SMPTE 2084 input signal on the waveform monitor.
  • The CINE-SERVO 17-120mm Lens will be updated to be compatible with Canon’s DAF function in the EOS C300 Mark II and EOS C100 Mark II Cameras.
  • The update for the ME20F-SH Camera will include lens support for an additional 19 EF and CINE lenses allowing for more creative choices in a wider variety of shooting applications including television and film production.
  • The XA35 and XA30 Professional Camcorders and VIXIA HF G40 Camcorder updates include a new file format making it easier to integrate into third party software systems that are used for athletic coaching applications.
  • The firmware updates for the XF305 and XF300 Professional Camcorders include new shooting modes allowing for greater creative flexibility, Wide DR Gamma (600 percent) Mode, Highlight Priority Mode, and Signal/Noise priority mode.
  • The XC10 4K Camcorder firmware will be updated to include a new file format MP4 in HD mode (35 Mbps only), improved AF speed, and shutter speed options for flicker reduction.
To see these products mentioned above at NAB 2016, visit Canon U.S.A., Inc. in the Central Hall, Booth C4325. Follow Canon throughout the show on Instagram at @CanonUSA and Twitter at @CanonUSApro. To learn more about the firmware updates and their availability, please visit www.usa.canon.com/internet/portal/us/home/explore/firmware-updates.
 
B&H carries the following:
 
Posted to: Canon News
Category: Canon USA News
Post Date: 4/13/2016 8:46:54 AM CT   Posted By: Sean
From Canon:
 
Featuring Canon’s Dual Pixel Autofocus and ISO Ranges up to 204,800, this Modular Affordable Camera is Compatible with Canon’s EF, EF-S and CINE-SERVO lenses
 
MELVILLE, N.Y., April 13, 2016 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the latest addition to the Company’s line of multi-purpose modular cameras, the new ME200S-SH. Compact and versatile, the camera supports a broad range of uses, including cinema, television production, live sports, law enforcement, house of worship and special uses, such as weather monitoring, night shooting, event installs and point of view applications. This 8.2 megapixel Super 35mm compact box camera features both high sensitivity and a cinema look for high-quality image capture. Canon’s Dual Pixel CMOS autofocus (DAF) technology provides ME200S-SH camera users with a range of focusing options when using compatible Canon EF lenses and CINE-SERVO lenses.
 
“Much like the ME20F-SH multi-purpose camera that Canon launched in 2015, the new ME200S-SH multi-purpose camera is so small and compact it can easily fit into tight spaces,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “As indicated in the name, we anticipate users will implement this camera in an extensive variety of ways, from uniquely angled shots for HD sports broadcasting or traffic and weather reporting, to cinematic production or surveillance of public spaces, even applications we haven’t yet thought of. We are very excited to see how the capabilities of this camera inspire image creators.”
 
Canon’s new multi-purpose ME200S-SH camera’s compact, modular body design allows for easy custom configurations for diverse usage scenarios such as:
 
  • Live HD - 1920x1080 / 60p, 50p output, Dual Pixel CMOS AF and Remote (RC-V100) enable HD Live use for HD studios as well as sporting events. Thanks to its compact size, this camera can be placed in unique creative spaces such as the top of a basketball hoop. Genlock functionality is standard for this multi-purpose camera use.
  • Production - Remote manual control of focus, iris, auto exposure (AE) and ND filters is available with the optional Canon RC-V100 controller, benefitting a range of users from meteorologists looking to get distinctive images of severe weather conditions to concert venues looking to add creative low-light imagery or cinematic shallow depth of field to their offerings.
  • Security Surveillance - Infrared shooting and ISO 204,800 allow for surveillance of buildings, borders, airports, and harbors. Remote control capability and Auto Exposure allow the ME200S-SH camera to be easily incorporated into these constantly evolving and potentially unmanned environments.
The ME200S-SH camera includes both Canon Log and Wide DR Gamma providing users the high- dynamic range and the ability to choose their post-production strategy. Users can experience high-quality imagery whether they are doing a full post-production grade or making quick onsite corrections.
 
In addition, the ME200S-SH camera employs Canon’s EF Mount (Cinema Lock Type) providing shooters with the ability to use a diverse array of compatible Canon EF interchangeable lens, CINE-SERVO lenses, newly announced COMPACT-SERVO lens and a select Canon Broadcast HD lenses by utilizing a third party mount converter. The Cine Lock feature allows users to easily mount the lens without having to rotate it into the mount.
 
The ME200S-SH camera features 3G/HD-SDI and HDMI output terminals that enable users to output video via a single cable to a variety of peripheral equipment, including external recorders and monitors. A 12-pin lens jack is provided to enable communication with the drive unit of select CINE-SERVO and broadcast lenses. Equipped with a f2.5mm stereo mini-jack and a round eight-pin jack for RS-422, the multi-purpose camera is capable of connecting with Canon’s optional RC-V100 Remote Controller. Furthermore, a 3.5mm stereo mini-jack allows the camera to connect to a microphone or other external audio equipment.
 
Pricing and Availability
 
The ME200S-SH multi-purpose camera is scheduled to be available in August 2016 for a suggested list price of $5,999. In addition, optional accessories which include the RC-V100 Remote Control, RS-422 eight-pin remote cables and TB-1 Tripod Base are currently available for a suggested list price of $2999, $249 (10m cable) or $999 (100m cable) and $35 respectively.
Posted to: Canon News
Category: Canon USA News
Post Date: 4/13/2016 8:39:22 AM CT   Posted By: Sean
From Canon:
 
New Lens Features 4K Optical Performance, Enhanced Servo Drive Unit, Image Stabilization* and Autofocus* Functions- Ideal for ENG, Documentary, and Budding Filmmakers
 
MELVILLE, N.Y., April 13, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce today the new Compact-Servo 18-80mm Zoom Lens (model name CN-E18-80mm T4.4L IS KAS S), a compact and lightweight 4K-ready lens constructed for optimal mobility. A bridge between traditional Canon EF photography lenses and CN-E cinema lenses, the COMPACT-SERVO 18-80mm can be ideal for filmmakers and documentary shooters who want the control and quality of cinema optics with the lightweight, compact design and features of photography lenses. The first in a new class of Canon lenses, the COMPACT-SERVO 18-80mm Zoom Lens is a cinema-style lens that includes a newly developed servo drive unit as a standard feature. Additionally, the lens incorporates Image Stabilization* and Autofocus* functionality, two extremely useful features not commonly found in cinema lenses, but which are ubiquitous in photography lenses. The lens also provides high image quality that supports 4K image productions and was designed to be able to be utilized in a variety of shooting styles including, hand-held, shoulder mounted, and tripod mounted.
 
“The new COMPACT-SERVO 18-80mm Zoom Lens ushers in a new class of optics for Canon. Featuring the outstanding build-quality and excellent optical performance professionals have come to expect from Canon, this new lens provides videographers with an affordable and versatile option when stepping up from EF lenses,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “We are excited about the new form factor this lens takes on and can’t wait to see how the imaging community utilizes it.”
 
Covering the commonly used focal length range of 18mm to 80mm, this new Zoom Lens combines the functionality of Canon EF lenses with the precision and cinematic look of Canon Cinema lenses. The new COMPACT-SERVO 18-80mm Zoom Lens is 4K-ready and features auto focus and optical image stabilization with compatible camera models only, resulting in high-resolution imagery, with the ability to assist filmmakers in capturing the shot they envisioned. Compatible with EF- mount Super 35mm large-format cameras, the lens maintains brightness across the entire focal range at T4.4 (equal to F4.0). For added convenience, videographers can control many of the features of the lens in a variety of ways through the EF-mount communication, including Dual Pixel CMOS AF, push auto iris, record start and stop and remote lens control via the camera with an optional remote control, compensation for chromatic aberration (when paired with the EOS C300 Mark II Cinema Camera), metadata acquisition, and selection of T-number display. The COMPACT-SERVO 18-80mm Zoom Lens features a nine-blade iris aperture diaphragm to help give footage a truly artistic and beautiful look and feel, providing the much desired “bokeh” effect in the out-of-focus areas. For improved operability, focus breathing has been greatly reduced due to the three group inner focusing system.
 
The lens comes equipped with a newly developed Servo Drive Unit, which provides seamless switching between servo and manual modes, allowing videographers motorized control of focus, zoom, and iris settings. The Servo Drive Unit is compatible with broadcast style industry-standard lens controllers including Canon’s ZSD-300D or FPD-400D. To further enhance ease-of-use for ENG and “run-and-gun” style shooters, Canon has developed an optional grip accessory specifically designed for the new lens, the ZSG-C10. The grip accessory connects to the camera through a 20-pin cable, allowing a variety of lens functions to be controlled from the grip, including zooming via a zoom rocker switch, one-shot AF and the starting and stopping of a recording. When the lens and grip are being used with the EOS C100 Mark II or EOS C300 Mark II Cinema Cameras, users will also have the ability to control the zoom and iris from the camera’s grip unit.
 
The Canon COMPACT-SERVO 18-80mm Zoom Lens and ZSG-C10 accessory grip are scheduled to be available later in 2016 for an estimated retail price of $5,500 and $499 respectively.**
Posted to: Canon News
Category: Canon USA News
Post Date: 4/13/2016 8:27:16 AM CT   Posted By: Sean
From Adobe:
 
Virtual Reality, Character Animation, Sound Innovation Comes To Creative Cloud
 
SAN JOSE, Calif. — April 13, 2016 — The way consumers access and view content has undergone sweeping changes. Media and entertainment companies, along with creative professionals, are under increasing pressure to find new ways to create, deliver and monetize content. They must also adapt to rapidly evolving technology advancements, including high-resolution capture, new delivery formats and virtual reality to name a few. Also, enterprises are dealing with an explosion of content demands from constituencies and need to integrate high-impact content types, like video, into their communications strategies.
 
Ahead of the National Association of Broadcasters (NAB) Show next week, Adobe (Nasdaq:ADBE) has revealed new features across its Creative Cloud tools for video editing, motion graphics, audio and collaboration. Media and entertainment companies are combining these advanced content creation capabilities with Adobe Primetime to help deliver TV and video content across screens. With Adobe’s digital marketing tools TV networks and pay-TV providers can drive viewer acquisition, engagement and monetization as audiences embrace “over the top” (OTT) content via connected devices such as Apple TV, Sony PlayStation, Roku and Microsoft Xbox. At NAB, Adobe will demonstrate the updated tools and new workflows at booth #SL3910, South Hall (lower) in the Las Vegas Convention Center and at over 120 partner booths from April 18-21.
 
Adobe Creative Cloud video tools are becoming the go-to source for film editors of both award-winning Hollywood and indie films. The most recent example is Deadpool, the 20th Century FOX blockbuster which shattered box office records. The post-production team from Deadpool will discuss their state-of-the-art workflows and why they chose Adobe Premiere Pro CC in a Creative Master Series panel at NAB on April 19 from 4:15–5 p.m. PT.
 
Upcoming productions using Premiere Pro CC include Mindhunter, David Fincher’s new series for Netflix, and 6 Below directed by Scott Waugh and starring Josh Hartnett, which is currently shooting in 6K RED and will be edited natively in Premiere Pro.
 
Creative Cloud video tools are also powering a new generation of content delivered via social channels like YouTube, Facebook and Instagram.
 
"The videos we make at RocketJump are pure entertainment,” said Freddie Wong, Founder of RocketJump, the hybrid studio/production company behind the popular RocketJump YouTube channel with nearly 8 million subscribers and 1.3 billion views. “We've been users of Adobe's Creative Cloud for years and love the new features coming soon. In addition to editing native footage in Premiere Pro and creating awesome visual effects in After Effects, we use Photoshop for graphics, Audition to sweeten audio, Media Encoder to export content, and now Creative Cloud Libraries to share assets.”
 
Immerse Yourself In Creativity
 
Adobe continues to deliver technology that opens unimagined creative opportunities for video and film production, and now, immersive experiences. In the next release of Creative Cloud – available in early summer – Premiere Pro CC will add new virtual reality capabilities, including “field of view” mode for spherical stitched media. In addition, thanks to Adobe Stock integration into CC apps, customers are already experiencing productivity increases of 10 times, when adding stock content into creative projects, including video*. In the upcoming release, Adobe Stock will have enhanced connections with CC apps and new workflows will enable Adobe Bridge and Lightroom users to contribute to the Adobe Stock marketplace directly from within the application.
 
Other feature highlights coming soon to Creative Cloud include:
 
  • Edit immediately during ingest allows Premiere Pro CC users to get straight to work, while importing their video and audio files in the background.
  • Powerful proxy workflows in Premiere Pro CC and Adobe Media Encoder CC enable users to easily work with heavy 8K, HDR and HFR media, so editors can switch between native and proxy formats freely – even on lightweight machines.
  • Enhanced Lumetri Color tools within Premiere Pro CC adds HSL Secondaries to expand the editor’s toolkit for making color correction and adjustment easier for all filmmakers.
  • New video and audio preview engine in After Effects CC delivers superior playback of cached frames for a smooth experience.
  • Easier and more efficient Character Animator includes a simplified puppet creation process that enables users to easily tag puppet layers easily and record multiple takes of a character’s movement. Users can animate puppets to respond to motion and trigger animation accordingly.
  • New Essential Sound panel in Audition CC enables anyone to mix audio content for professional results.
  • Quickly find Adobe Stock assets with new filtered search in Creative Cloud Libraries. Licensed assets in your library are now badged for easy identification, videos are displayed with duration and format information, and saved videos are linked to video previews on the Adobe Stock site.
“There’s rapid change happening in the digital landscape with video now the fastest growing media type across social media platforms and OTT shaking up broadcast and film,” said Bryan Lamkin, executive vice president and general manager, Digital Media at Adobe. “Adobe is transforming the industry with Creative Cloud and Primetime by helping customers create beautiful content to engage viewers and technologies that monetize content that audiences care about.”
 
Pricing and Availability
 
At NAB, Adobe is previewing the next major updates to Creative Cloud. These updates are expected to ship in the coming months. The company is offering Adobe Creative Cloud for U.S. $49.99 a month.
Posted to: Canon News,
Category: Adobe News
Post Date: 4/13/2016 7:57:50 AM CT   Posted By: Sean

 
From the B&H YouTube Channel:
 
Legendary photographer Vincent Laforet sits down with us to share his thoughts on aerial photography, and what he's learned along the way. Through the years, Laforet has been at the forefront of commercial photography, and his daring aerial work is the subject of his new book, AIR.
Posted to: Canon News,
Post Date: 4/13/2016 6:25:58 AM CT   Posted By: Sean
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