Canon U.S.A. Expands Their 4K Projector Lineup With The Robust And Versatile REALiS 4K501ST Pro AV LCOS Projector
REALiS 4K501ST Projector’s Impressive Combination of Outstanding Image Quality, Advanced Features and Enhanced Connectivity makes it Ideal for a Wide Range of Markets and Applications
MELVILLE, N.Y., July 19, 2016 –Canon U.S.A., Inc., a leader in digital imaging solutions, today unveiled the REALiS 4K501ST Pro AV LCOS Projector which incorporates all of the same features as Canon’s current award-winning REALiS 4K500ST, as well as an enhanced video interface that offers two HDMI version 2.0 inputs with HDCP 2.2 support. Other features include native 4K resolution of 4096 x 2400, up to 5000 lumens1 and Canon’s LCOS Technology with AISYS-enhancement for brilliant, high-brightness and detailed image reproduction. The REALiS 4K501ST also offers a Genuine Canon 4K lens and a robust collection of advanced image adjustment and professional install setting features, including Marginal Focus which helps ensure content projected on the peripheral portions of domed surfaces remains in focus. At only 39.6 pounds, this model also offers one of the most compact and lightweight form factors of a high brightness 4K projector.
A Canon EOS C300 Mark II made it to the summit of the Everest. It happened on May 19, 2016, when an Austrian expedition reached the summit of the highest mountain on earth. The EOS C300 Mark II was used for what is going to be the first 4K production of Mt. Everest. The expedition was organised by Furtenbach Adventures.
There is a long interview with the guys who did it, mainly about the mountaineering-challenges, and it is in German. However, you can get a pretty decent machine translation here (at least you’ll grasp what is said). An excerpt:
Using the latest camera technology, the team led by Tyrolean expedition organiser Lukas Furtenbach, filmed all the way to the summit.It’s the first full 4K production from Mount Everest.Overall, they spent more than 1.5 hours at the top to create footage with various camera systems (including 360 ° VR cameras) for two projects of a German private television station and a cinema project.
Shooting 4K on Mt. Everest
The Canon EOS C300 Mark II was sponsored by Canon Germany as part of a case study for the company. As Lukas Furtenbach told me via email, they were very happy with the EOS C300 Mark II and its performance, which all along the way to the summit never missed a hit. The EOS C300 Mark II was operated by German cameraman Philip Flaming. The two projects mentioned above are TV-documentaries. Hope there will soon be a “making of” of these productions.
Shooting 4K on Mt. Everest
Furtenbach Adventures, the company that organised the ascension to Mt. Everest send me a brief press statement that I translated for you.
After no one was on the summit of Mount Everest for almost two years, we were one of the first expeditions reaching the summit of Mount Everest from Nepal. On 19/05/2016 at 6:15am there were 5 of 6 participants and a camera crew at the top. And they wrote film history.
After decades there was again an expedition of a Tyrolean [Austria, editors note] organizer with special features:
We were the first commercial expedition ever which has acclimatised at home as cohesive team high in the mountains, six weeks before the start of the expedition. This gave us an almost twice as long acclimatization time compared to other teams and we were better prepared to do the summit, could climb faster, and head right back to the secure Camp 2 (usually after having done the summit, people descends only into the more exposed Camp 4). As successive events on Mt. Everest have shown in the following days, this was the key to a safe ascent and descent. There were six deaths and more than eighty people with severe frostbite. The time our expedition had to spent on spot was far below that of most other teams, thanks to our acclimatization efforts at home. For us this is the future of commercial high altitude mountaineering, as it increases security and chances of success.
We had connected two film projects. Using the latest camera technology we shot all the way to the top. It is the first full 4K production from Mount Everest. Overall, we spent more than 1.5 hours at the top, to use the various camera systems (including 360 ° VR cameras) for two projects of a German private TV station. Our expedition also hosted the mammoth 360 Project.
After having ridiculed each and any rumor we posted about Canon’s plans with 4K technology, some of the rumor sites now started to post one Canon 4K rumor after the other. Funny.
The latest bits suggest Canon will release a prosumer mirrorless camera with 4K on board. The rumor is a bit confusing since it refers to three different models, at least one featuring 4K. Canon might announce two mirrorless cameras with an APS-C sensor (already rumoured), and one with a full-frame sensor (leaked first here one CW; see here too). A Canon mirrorless camera with fixed lens is also rumoured (something like the Leica Q and Sony RX1 R).
Canon Watch’s take: with Canon already investing in 8K technology, and given the ubiquity of 4K from smartphones to cameras, it is a safe bet to assume that a Canon full-frame mirrorless camera to be announced in 2016 will indeed have 4K on board. Canon itself talked about their mirrorless plans in a recent interview, and then in another interview.
Canon EOS M3 – will we see more Canon mirrorless cameras in 2016?
[via Canon Rumors]
Among all the discussion about 4K, EOSHD’s Andrew Reid posted an interesting article where he compares the Canon EOS-1D C with the Nikon D5. The EOS-1D C was released 4 years ago, the Nikon D5 a few weeks ago.
Well, It appears the EOS-1D C does 4K better than the Nikon D5. Writes Reid:
This time it’s a win for Canon. Although it was released nearly 4 years ago in 2012 the Canon 1D C remains superior to the current Nikon D5 flagship for 4K, which I find puzzling because technology goes a very long way in 4 years. Read the review…
I always said that Canon knows how to implement 4K on a DSLR, and that they did it right. Sony does also, but you have to deal with overheating and consequent sudden shutdowns of the camera. I didn’t expect Nikon to implement 4K worse than Canon did 4 years ago. 4 years are a long time in technology.
I expect the EOS-1D X Mark II to feature 4K, as well as the EOS 5D Mark IV (or whatever it will be named). I think it is now no more a matter of rumors but just a matter of common sense. Both the EOS-1D X Mark II and the EOS 5D Mark IV simply can’t go to market without having 4K. As conservative as Canon may be, they can no longer afford to release both cameras without 4K. Don’t forget that it was here on Canon Watch where it first leaked that the EOS 5D Mark IV may feature 4K.
I got another hint (thanks) that the upcoming Canon EOS 5D Mark IV will feature 4K. And also one more suggestion that the EOS 5D Mark III might be very different from what we all think. Some sort of revamping of the line-up, I’ve been told.
The possibility of 4K being featured on the EOS 5D Mark IV surfaced in the past and was first reported here on Canon Watch. While in the last months I’ve become a bit sceptical about this, I am now pretty sure there is a real possibility to see 4K on the EOS 5D Mark IV. However, we have to wait a few more months to know for sure.
What changed my mind is that 4K is going to be ubiquitous. It’s on smartphones, action cameras etc. The EOS 5D Mark II and EOS 5D Mark III have been milestones for videographers, and changed the rules. Can the EOS 5D Mark IV (if it will have this name) really go to market without 4K? I don’t think.
Canon unveils the CJ20ex7.8B – a 2/3” portable zoom lens for 4K broadcast cameras
London, UK, 10 November 2015 – Canon today introduces the CJ20ex7.8B, a 2/3” portable 4K zoom lens for professional broadcast, offering a 20x zoom ratio and focal-length range from 7.8mm to 156mm.
First shown as a prototype at IBC 2015 in Amsterdam, the new lens enables the creation of high-resolution, high-impact 4K video content for a variety of applications, including sporting events and news coverage, as well as documentaries and indoor and outdoor location shooting for serial dramas. Strengthening Canon’s 4K broadcast lens range for cameras employing 2/3” sensors, the versatile new lens will join the CJ12ex4.3B, a 2/3” portable 4K zoom lens with the world’s widest focal length.
Remarkable 4K optical performance
Drawing on Canon’s heritage of advanced optical technologies, the new CJ20ex7.8B achieves a high level of performance, making it an ideal lens for use with 4K broadcast cameras.
Through optimal lens positioning and precise component assembly, the CJ20ex7.8B achieves high-quality 4K resolution images from the centre to the peripheral areas of the image field. Delivering superior colour reproduction, the lens allows professionals to create compelling ultra-high resolution video.
The new includes a built-in 2x extender, which even when shooting at the 312mm telephoto-end focal length, delivers superior optical performance to support use with 4K broadcast cameras.
Portable and flexible – meeting the needs of the broadcast industry
Featuring a compact, lightweight body design, the lens delivers exceptional mobility in response to the needs of the broadcast industry, facilitating shoulder-mounted shooting and convenient transport.
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