Canon’s EOS C400 is an advanced cinema camera for filmmaking

Canon decided to go all out and announce a handful of new offerings all at once, providing a little something new for most people. The bulk of the release focused on cinema gear, with the new EOS C400 cinema camera, an RF version of the popular CINE-SERVO 17-120mm lens, and firmware updates for a range of Canon’s cinema cameras. However, still shooters weren’t totally left out, as Canon also announced the RF 35mm f/1.4 lens for hybrid shooters and a new entry-level Speedlight.

Canon EOS C400 and CINE-SERVO 17-120mm lens details

A camera meant for filmmakers and live productions

Canon

Amidst all the new gear, the star of the show is the EOS C400. Canon’s latest cinema camera features a 6K full-frame back-illuminated CMOS sensor that offers a triple-base ISO with base ISOs of 800, 3,200, and 12,800 to maximize dynamic range and work in a wider variety of lighting conditions. The updated sensor “also empowers faster readout speed, as well as better 4K image quality from 6K oversampling,” says Canon.

In addition to improving image quality and dynamic range, the sensor also supports Canon’s next-generation Dual Pixel CMOS Autofocus, aptly named Dual Pixel AF II. The sensor design increases the active area to 100% of the frame, and Canon also added a body tracking mode, which is a first for an EOS camera.

The EOS C400 offers plenty of recording options, including the ability to record in 6K full frame up to 60p in 12-bit Cinema RAW Light. With a change to the sensor mode, you can use 4K RAW up to 120fps and 2K RAW up to 180fps. All of those options are recorded in the latest version of Canon’s Cinema RAW Light, which offers three recording modes to choose from based on your file size and workflow preferences.

Should you want even more recording option, you can use the Canon-developed XF-AVC codec for 10-bit 4:2:2 with oversampling from the 6K sensor, resulting in richly detailed footage at frame rates up to 120p without any cropping. Plus, Canon introduced two new recording codecs with the EOS C400: XF-AVC S and XF-HEVC S. These both offer an easy-to-manage naming system and folder structure in a familiar MP4 format with preserved metadata.

The EOS C400 features a CFexpress slot with sub-recording and proxy options available with the SD card slot, making simultaneous recording possible even when shooting RAW.

Adding to the versatility of the EOS C400 is a “dedicated 12-pin lens terminal for broadcast and cine-servo lenses, a variety of output and input interfaces including mini-XLR audio inputs, DIN connectors for time code, genlock and return video, 12G-SDI and 3G-SDI monitor outputs, a full-size HDMI output, built-in Wi-Fi connectivity, Ethernet and much more.” It’s a very feature-rich camera that works well for both serious filmmaking and live productions.

Along with the camera is the RF version of the versatile CINE-SERVO 17-120mm lens, which is available in PL and RF mounts. No adaptors are necessary, and distortion control is available through the camera. The new e-Xs V servo drive unit allows for focus breathing correction and faster autofocus.

The Canon EOS C400 will be available in September for $8,000 while the CINE-SERVO 17-120mm will be available in October for $23,850.

Canon RF 35mm f/1.4 L VCM lens details

A high-quality but approachable offering

Canon

The other lens that Canon announced is much more accessible to your average photographer and videographer. “The new RF35mm lens is the first in a series of fixed focal length RF lenses with hybrid video and still design,” says Canon. This lens is an updated version of its EF 35mm lens, though it features an entirely new design compared to the EF version. It’s ideal for a wide range of individuals, including still shooters and videographers. The focal length is ideal for documentary-style work, low-light situations that don’t call for telephoto lenses, photojournalism, and street photography.

It’s a compact lens, weighing just 1.2 pounds, making it one of the lightest 35mm lenses. It features 11 aperture blades, as opposed to the nine blades found in the EF version. It is dust- and weather-resistant, has a custom button on the side, and a manual iris ring on the barrel. It uses Canon’s typically excellent L-series optical design for excellent image quality.

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The RF 35mm f/1.4 also features a rear filter hold, a first for Canon. It’s removable but allows you to use front filters with a 67mm thread as well as rear gel filters when you want to double up. The lens also uses a Voice Coil Motor, which is a new type of motor. The VCM enables a very high-power AF drive and is virtually silent with limited focus breathing. There is also a floating element that is driven by its own Nano USM motor. The company warned that when the power is off, the elements in the lens are free to move. There is cushioning to keep things safe, but you will hear and feel things rattling and shouldn’t be worried.

The RF 35mm f/1.4 L VCM lens will be available in June for $1,499.