Designed for Film-Style Operation, Canon Cinema Prime Lenses Deliver 4K Imaging Performance

MELVILLE, N.Y., April 3, 2013 – Canon Inc., the parent company of Canon U.S.A., Inc., a leader in digital imaging solutions, has announced the development of a 35mm cinema prime lens for large-format single-sensor cameras employing Super 35mm, full-frame 35mm, and APS-C size imagers. The 35mm cinema prime lens will look to join Canon’s line of 14mm, 24mm, 50mm, 85mm, and 135mm EF-mount Cinema prime lenses. The 35mm cinema lens in development will look to become the sixth in the line, filling a strategic optical need between Canon’s 24mm and 50mm lens offerings. As with Canon’s precision-matched, competitively priced CN-E prime lenses, the 35mm lens under development will look to deliver 4K optical performance and inherit the professional operability of the existing CN-E prime lens line.

Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which also include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera, EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses. A development sample of the 35mm cinema lens will be on display in the Canon booth #C4325 during the 2013 NAB Show in Las Vegas, NV, April 8-11, 2013, and the lens itself is currently expected to officially launch sometime this year.

“Canon is committed to supporting cinematic culture and the continued advancement of tools for visual storytelling at all levels,” affirmed Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “During the past 18 months, Canon has brought our Cinema EOS product line to market, and in that time we have introduced HD, 2K, and 4K cameras, lenses and workflow solutions, as well as structured a comprehensive service and support network for professionals in the theatrical motion picture and television markets to enable customers to create and deliver exceptional imaging content and cinematic brilliance.”

Each current Canon Cinema lens is equipped with an 11-blade aperture diaphragm, which is ideally suited to help achieve creative depth-of-field manipulation and pleasing “bokeh” effects. The Canon line of Cinema prime lenses is precision-matched for consistent and solid optical performance throughout the line, and the inner focus mechanism helps minimize focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All Canon Cinema primes also deliver color tone and balance that matches Canon’s top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses deliver the operation and reliability required in professional film-style shooting environments.

All Canon Cinema prime lenses are fully compatible with the Canon EOS C500, EOS C300, EOS C100, and EOS-1D C digital cinema cameras. The EF-mount design of all Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the ƒ number in the electronic viewfinder, recording of focus/zoom position and f number, and, later this year, Peripheral Light Compensationⁱ.

Strategically integrated motion-picture style mechanical attributes (as opposed to those for still photography lenses) are also an important design feature of Canon’s series of Cinema prime lenses. These film-style characteristics include 300-degree rotation on the focus ring for precision focus control as well as large, highly visible engraved focus scales for convenient operation. These markings appear on the angled surfaces on both sides of the barrel, making them easy to read and to adjust the “stepless” focus and/or aperture settings of the lenses from behind or from either side of the camera for camera operators or focus pullers. Focus markings can be switched from standard labeling to metric, and control rings are engineered to maintain the proper amount of resistance with consistent operating torque and familiar tactile “feedback” for satisfying manual control. All of Canon’s current Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with a wide variety of matte boxes, follow focus gear, marking disks, and other third-party film-industry-standard accessories. Film crews can quickly change lenses without the need for accessory gear-position adjustments or other changes to the rig setup.

The versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canon’s Cinema Zoom lenses (the CN-E14.5-60mm T2.6 wide-angle and the CN-E30-300mm T2.95-3.7 telephoto) and Compact Cinema Zoom lenses (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four lenses are available in both EF- and PL-mount versions, and the mount can be switched at a Canon service facility in the United States for added flexibility. Almost all of Canon’s EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zoom, tilt-shift, and macro lenses.

Canon U.S.A., Inc. Delivers Its Latest Motion And Still Digital Imaging Solutions At The 2013 NAB Show

Highlights Include Live 4K Workflow Demonstrations in a Full On-Site DI (Digital Intermediate) Suite, Live 4K Broadcast Demonstrations for HD “Ultra-Zoom” Applications, and the Canon Theater

MELVILLE, N.Y., April 3, 2013 – At the 2013 NAB Show in Las Vegas, Canon U.S.A., Inc., a leader in digital imaging solutions, will showcase its full line of professional, high-definition imaging equipment for motion picture, television production, video content creation, and still photography at booths C3628 and C4325. Within this year’s booth, Canon will feature a live 4K Workflow Demonstration where visitors will have the opportunity to interact with industry-leading colorists and editors in a 4K DI (Digital Intermediate) suite. In a live color grading session of 4K footage from Canon’s groundbreaking C500 4K camera, on-site professionals will demonstrate the imaging possibilities of Canon’s 4K image capture technology and view the results on Canon’s prototype 4K reference displays, currently under development.

Building off the recent successes of the Canon Cinema EOS C500 4K digital camera’s broadcast capabilities, the Company will be exhibiting a live demonstration of 4K Remote Broadcast, highlighting how spectacular HD broadcast footage can be captured, digitally rendered and cropped for live-action broadcast applications using Canon’s Cinema EOS equipment. Visitors to this demonstration will see, in real-time, the results and stunning coverage that can be used in multiple high-speed productions, including live-action sports.

Exhibiting some of the recent artistry and award-winning footage shot on Canon Cinema EOS equipment, show attendees are welcome to enter a 90-seat Canon Theater to view spectacular footage and testimonials that illustrate HD, 2K and 4K projects including behind-the-scenes footage on how each project was captured. Demonstrating the full breadth of Canon capabilities from image capture through output, the Canon Theater will take visitors beyond capture and feature additional 4K reference display prototypes currently under development.

The Company has also announced and will showcase the new Cinema EOS C100 EF 24-105 Lens Kit, a cost-effective solution to assist cinematographers, including single-person and small cinematography crews, with the ability to purchase and produce high-quality pieces at an affordable price-point.

In addition, visitors to the Canon booth will have the opportunity to touch-and-try a full range of Canon equipment on display throughout the week. Canon products, such as the EOS-1D C Digital Cinema SLR, EF Cinema zoom lenses and various other cameras and accessories will be available to demo.

Professional cinematographers in need of a fast, easy way to print images for scene continuity or to preserve highlights of a recently completed project can appreciate the convenience and versatility of Canon’s photo-quality printers. On-hand in the Canon booth will be the 24-inch imagePROGRAF iPF6450, and the 44-inch imagePROGRAF iPF8400, 12-color large-format printers. Both are equipped with LUCIA EX pigment ink set, an enhanced multi-sensor and advanced printing technologies to help achieve extraordinary quality and enhanced color range in large format printed output. Also being shown are the PIXMA PRO series of desktop inkjet printers. The PIXMA PRO-1 printer, the flagship model in Canon’s professional inkjet printer lineup, features a 12-color LUCIA Pigment ink system that expands the color gamut with improved saturation of colors and darker, deeper blacks, over previous models. The PIXMA PRO-10 printer, with its 10-color pigment ink system, and the PIXMA PRO-100 printer, with its 8-color dye-based ink system provide photographers with a number of options to help satisfy their printing needs. The SELPHY CP900 compact photo printer will be on display allowing professionals to see first-hand the convenience and high-image quality of this compact photo printer.

In the BCTV Shooting Gallery, booth visitors will have the opportunity to experience the performance and capabilities of Canon’s Broadcast HDTV lenses through various simulated shooting situations.

Throughout the 2013 NAB Show, Canon will host a series of unique live-learning stage demonstrations with renowned cinematographers, broadcast specialists, and filmmakers at the Canon booth. These industry professionals will provide insight into the ever-changing field of optical and imaging technology and showcase their projects and works that were shot on Canon equipment, as well as share best practices and real-world applications for Canon technology.

Additionally, Canon is hosting a special, three-hour learning session focusing on the intricacies of the Canon Cinema EOS C500 4K digital camera. Led by Los Angeles-based Director of Photography, Suny Behar, the “Canon Cinema EOS C500 4K digital camera Workflow: 2K/4K from Set-Up to Shoot” session will explore camera set-up choices from System Priority, Recording Mode and Resolutions to file output options. Behar will also demonstrate a step-by-step configuration of the Cinema EOS C500 4K digital camera with external recorders. “The Cinema EOS C500 4K digital camera Workflow: 2K/4K From Set-Up to Shoot” will take place on Tuesday, April 9^th in rooms N239 and N241with two convenient sessions – the first from 9:30am to 12:30pm and the second from 2:00pm to 5:00pm. NAB attendees with the Conference Flex Pass, the Exhibits-Only (Open to All), the Post|Production World and the SMART Pass are eligible to attend.

For the first time at NAB, Canon’s Professional Services (CPS) is proud to host the CPS Hospitality Suite. Providing service and support to the professional imaging industry and its high demands, the CPS Hospitality Suite is open to all NAB Tradeshow attendees and CPS Members. Located just off of the tradeshow floor visitors to the suite can see Canon’s latest products and take advantage of touch-and-try counters in a private setting.

Canon technical representatives will be on-hand to provide consultations for cinema, video and DSLR users and CPS Gold and Platinum members can receive free onsite Clean & Checks for current professional equipment*. Suite visitors will also be able to chat with Canon experts about Canon’s exciting developments in cinema, video and DSLR technology as well as sign up for Canon CPS membership. Product serial numbers for qualifying CPS equipment will be needed in order to process on-site membership applications.

The Canon CPS Hospitality Suite will be open April 8^th through April 10^th from 9:00 a.m. to 6:00 p.m. and April 11^th from 9:00 a.m. to 2:00 p.m.

Canon U.S.A. Announces Free Firmware And Application Software Upgrades For Select Cinema EOS System Cameras

New Upgrades, Including Support for Industry-Standard ACES, Look to Help Deliver Greater Production Workflow Efficiency

MELVILLE, N.Y., April 3, 2013 – Canon U.S.A., Inc. a leader in digital imaging solutions, announced today new firmware and application software upgrades for the Company’s Cinema EOS System lineup of cameras. New ACES compatibility software for the Cinema EOS C500 and Cinema EOS C500 PL Digital Cameras will be available as a free download expected in June 2013. Additional Cinema EOS firmware upgrades, including a new 1,440 x 1,080 pixel recording mode at 35Mbps for the Cinema EOS C300 and Cinema EOS C300 PL Digital Cameras, are expected to be available as free downloads starting in October 2013, all from thewww.usa.canon.com.

In response to strong demand from professionals working in the fields of motion picture, commercial and television production, the firmware and application software upgrades will offer enhanced color management efficiency and camera functionality, contributing to improved video production workflow efficiency.

Cinema EOS C500 and Cinema EOS C500 PL camera users will be able to download a new version of Canon’s Cinema RAW Development Software for working with 4K RAW data. The new version provides support for the Academy Color Encoding System (ACES) color management standard, as defined by the Academy of Motion Picture Arts and Sciences (AMPAS) and standardized by the Society of Motion Picture & Television Engineers (SMPTE). Compatibility with ACES helps make efficient workflows possible, enabling color management using a uniform color space – even when handling video captured using multiple cameras with different color characteristics.

A new firmware upgrade for the Cinema EOS C300 Digital Camera adds Push Auto Iris and One-Shot Autofocus (AF), two outstanding automatic functions incorporated in the Cinema EOS C100 Digital Camera (released in November 2012). These functions enable users to automatically adjust lens aperture and focusing through a simple one-touch operation, which can be particularly useful for cinematographers and videographers shooting without the support of an assistant.

In addition, a firmware upgrade for the Cinema EOS C300 and Cinema EOS C300 PL Digital Cameras adds a 1,440 x 1,080 pixel recording mode at 35Mbps, a resolution widely used in terrestrial digital television broadcasting. This new mode will expand the versatility of the XF codec and can be a useful addition for broadcast applications where the reduced bandwidth requires less transmission time while still maintaining a high level of image quality.

Firmware upgrades for the EOS C500 and EOS C500 PL, EOS C300, EOS C300 PL, and EOS C100 Digital Camera models enable the Magnified Focus Assist function’s magnified view area within the viewfinder and LCD monitor to be shifted to locations other than the center of the screen, allowing users to confirm focus across the entire display area.

Professionals in the cinema, television and other high-quality digital production industries commonly make use of multiple cameras when shooting video. As these cameras employ different sensors, each offers varying color characteristics. In addition, users can select from a diverse range of camera settings during image capture, such as aperture, focus position, frame rate and recording format, and because of this, images shot for a single scene can produce different results in terms of olor and gradation, depending on the camera used.

Furthermore, when inputting, editing and outputting video, professionals may use various displays, each with its own color space, resulting in differences in how colors appear depending on the device used, even when viewing the same footage. For example, the viewfinder of a camera used during filming, the PC display used to edit the images, and the projector or television for viewing the video each offer varying color characteristics, causing the colors in the video to appear differently.

Therefore, color management takes a great deal of time and effort to correct for camera- and display monitor-related color differences.

ACES is a color management architecture developed by AMPAS, and standardized by SMPTE, that aims to improve efficiency among complex color management workflows by delivering uniform color expression through a standardized color space used during the video production workflow. Through compatibility with ACES, video captured using different cameras and settings can be aligned with the ACES color space, which offers a wide color range and high dynamic range. ACES provides an archive-ready file format, and also delivers high workflow efficiency by allowing users to confirm images with the same appearance even when using display devices with varying color characteristics during input and output.

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