Meet the Canon EOS Cinema System

Find your next level with Canon’s world-class system of cinema cameras and lenses . No matter what type of films you’re making, from big features to TV production, events to documentaries, there’s something in the Canon range that will fulfil your needs. Here, we look at some of the standout cinema bodies and lenses, as well as reveal how you could win your very own Canon EOS C200, worth more than £6490!


Primed for production: EOS C700 Full Frame


Built to withstand the rigours of broadcast and film production, and deliver the ultimate quality demanded by the industry’s best cinematographers, the C700 FF is Canon’s flagship cinema camera. At its heart is a 5.9K full-frame sensor that can also be used in Super 35 and Super 16 modes, and provides an incredible 15 stops of dynamic range for exceptional tonality. Harnessing the new sensor’s power, footage can be recorded in industry-leading formats including Canon Cinema Raw, ProRes and XF-AVC, as well as three different Canon Log types for maximum grading flexibility. The C700’s Dual Pixel CMOS AF system allows unrivalled AF speed and accuracy, and it’s available in PL and EF mounts, allowing a massive range of Canon zoom and prime cine lenses to be used.

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A winner reborn: EOS C300 Mark II


In the EOS C300 Mark II, Canon took the best parts of its hugely successful C300 cinema camera and introduced new features that filmmakers were crying out for, like a more rugged build and greater shooting flexibility. Shooting in 3840x2160 or 4096x2160 resolutions, the Mark II’s dual DIGIC DV5 processors mean it can record 10-bit 4:2:2 files internally at up to 410MB/s in 4K and shoot 10/12-bit 4:4:4 files in 2K/Full HD. There’s also the scope to simultaneously record 4K internally and 4K Raw externally. The C300 Mark II’s 8.85MP Super 35 CMOS sensor offers an outstanding 15 stops of dynamic range and, combined with Canon Log2, this allows for unrivalled control in post-production.


Compact without compromise: EOS C200


The Canon EOS C200 packs pro-level features into a small, light and mobile body and, as it’s compatible with the full range of Canon EF and EF cinema lenses, it’s ready to open up all sorts of creative possibilities for your production. Harnessing its dual DIGIC DV6 processors, recording options are impressive with internal 4K recording at 10-bit 50p and 12-bit 25p using the Cinema Raw Light codec, which offers the flexibility of Cinema Raw, but at smaller file sizes. You can also shoot Full HD 120p without crop for dramatic slow motion and, combined with its wide built-in NDs, 100-102,400 ISO range and Dual Pixel CMOS AF, is ready for whatever you’re shooting.

Tiny but mighty: EOS C100 Mark II


The C100 Mark II lens is the entry-level model in Canon’s cinema range, but don’t let that fool you in terms of spec and handling. Using a Super 35 format 8.3-megapixel CMOS sensor and DIGIC DV 4 image processor, the C100 Mark II provides up to 1920x1080 footage at 60p, with the ability to output uncompressed video via HDMI, so it’s no slouch in terms of quality. And its handling style will make a huge difference to your projects. It’s designed to make one-person shooting far simpler, using features like Canon’s groundbreaking Dual Pixel CMOS AF technology for faster, more accurate focusing and adding timesavers like face detection, One Shot AF, Push Auto Iris to the mix. Compatible with the full range of Canon EF, EF-S and EF cinema lenses, and weighing only 1.95kg, it’s the perfect partner for a DSLR kit and a sensible choice for those small-scale films, events and documentaries.


Lens choices


Whether you’re using a Canon EF or PL mount, Canon boasts a complete range of cinema lenses, so whatever kind of filmmaker you are, there’s something to improve the way you shoot.

Find your vision: the stunning Sumire Prime series


Building on Canon’s vast experience in EF mount cinema lenses, the Sumire Prime range has arrived to take cinematic image quality and handling to a higher plane. Coming in a PL mount (though convertible to EF at any authorised service facility) the lenses’ large image circle makes them compatible with 35mm and Super 35 formats, including the Canon EOS C700 FF, Arri Alexa 65 and Red Monstro 8K. The range, which spans seven models across vital focal lengths, from 14mm to 135mm, boasts super-wide maximum apertures as fast as T1.3, combined with an 11-blade iris for perfectly smooth and round bokeh and stunning subject separation. It also inherits the subtle warm colour tone from the Canon cinema lens range, making it easy to change lenses without affecting colour balance. Manual focusing is super accurate and responsive thanks to a 300º rotation angle and significantly reduced focus breathing. And for vital consistency in handling, all the lenses use 105mm screw-on filters, have a 114mm diameter lens front and consistently positioned gears.


The prime contenders: CN-E EF prime for complete control


Canon’s CN-E EF prime range includes seven lenses and covers focal lengths all the way from 14 to 135mm, so all bases are covered for EF mount cinema bodies. Built to be compact and lightweight but still deliver outstanding 4K image quality for cinematographers, the lenses’ full-frame image circle means they can be used on the full suite of Canon cinema cameras. Apertures as fast as T1.3 allow perfect selective focus, making these lenses a great choice for low-light work, even shooting handheld.

Compact Cine Servo lenses: meet the CN-E18-80mm and CN-E70-200mm


Mount one of Canon’s purpose-built Compact Cine Servo lenses to discover the perfect mix of quality and versatility. These large format lenses bring super-smooth zoom control and whisper-quiet autofocus to cinematographers, but at an affordable price point. Combined, the pair offers a groundbreaking 11x zoom range in a streamlined kit, with a constant brightness of T4.4 and a rounded aperture for outstanding bokeh – all weighing just over 1.2kg. Focus breathing is greatly reduced and three image stabilisation modes on the CN-E18-80mm provide crisp, clear footage, no matter the situation.


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