LAKE SUCCESS, N.Y., October 18, 2011 – Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce a completely revolutionized EOS-1D series camera, the Canon EOS-1D X Digital SLR camera.* As the new leader in Canon’s arsenal of professional DSLRs, the EOS-1D X will be a high-speed multimedia juggernaut replacing both the EOS-1Ds Mark III and EOS-1D Mark IV models in Canon’s lineup. Enhancing the revolutionary image quality of the EOS-1Ds and speed capabilities of the EOS-1D series, the EOS-1D X DSLR features an 18-megapixel full-frame Canon CMOS sensor, Dual DIGIC 5+ Imaging Processors, 14-bit A/D data conversion and capable of shooting an incredible 12 frames-per-second (fps). Canon’s EOS DSLR cameras and accessories have a long-standing legacy of providing high-quality results to professionals in a wide range of markets, including sports, nature, cinematography, wedding and commercial studios. The addition of this new model will help take this tradition to a whole new level.

The EOS-1D X announcement comes on the heels of Canon’s recent manufacturing milestone with the
production of the Company’s 50-millionth EOS-series SLR camera in September of 2011. Furthermore, Canon will achieve yet another milestone at the end of this month producing the 70-millionth EF lens.

“The EOS-1D X represents the re-invention of the EOS-1Ds and EOS-1D series, combining new proprietary
Canon technologies with the culmination of customer feedback and requests from the field. We are proud to introduce this camera to the worldwide community of professional photographers and cinematographers with the features and capabilities they need to capture the great moments that display their talent,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

The Camera With Three Brains
The EOS-1D X features three DIGIC processors, including Dual DIGIC 5+ image processors capable of delivering approximately 17 times more processing speed than DIGIC 4, and a dedicated DIGIC 4 for
metering and AF control. In conjunction with the newly developed high-performance 18-megapixel full-
frame Canon CMOS image sensor, the Dual DIGIC 5+ processors provide high-speed continuous shooting,
lower noise, and a significant increase in data processing speed than previous EOS-1D models. This new
level of data processing speed allows the EOS-1D X to perform many functions including chromatic
aberration correction for various Canon EF lenses in-camera instead of through post-production software.
The DIGIC 4 processor utilizes a new 100,000-pixel RGB Metering Sensor for enhanced exposure accuracy
with color and face detection, and works together with the camera’s new EOS iTR (Intelligent Tracking and
Recognition) AF.

The EOS-1D X employs a completely new imaging sensor, producing the lowest noise of any EOS digital camera to date for stunning portraiture and studio work. The new 18-megapixel full-frame CMOS sensor utilizes large pixels – 1.25 microns larger than those in the EOS-1D Mark IV sensor and .55 microns larger than those in the EOS 5D Mark II sensor – together with gapless microlenses to achieve enhanced light gathering efficiency, higher sensitivity and less noise at the pixel level. The new sensor has improved on the already very high signal-to-noise ratio of sensor output of earlier EOS models for outstanding image quality, even in extremely low light. When combined with the Dual DIGIC 5+ imaging processors the results are stunning. The images produced with the EOS-1D X camera’s new sensor are so clean that files can easily be up-sized if necessary for even the most demanding high-resolution commercial applications. The EOS-1D X will also feature new Ultrasonic Wave Motion Cleaning (UWMC), Canon’s second generation self-cleaning sensor unit, which utilizes carrier wave technology to remove smaller dust particles from the sensor and it includes a new fluorine coating on the infrared absorption glass to help repel dust.

The low-light capability of the EOS-1D X is evident in its incredible ISO range and ability to photograph in extremely low-light conditions. Adjustable from ISO 100 to 51,200 within its standard range, the new model offers a low ISO 50 setting for studio and landscape photography and two high settings of 102,400 at H1 and 204,800 at H2, ideal for law enforcement, government or forensic field applications.

New 61-Point High Density Reticular AF
The EOS-1D X includes a brand new 61-Point High Density Reticular AF, the most sophisticated DSLR AF system Canon has ever released. The 21 focusing points in the central area are standard precision cross-type and effective with maximum apertures as small as f/5.6, depending on the lens in use. The center five points are also high-precision diagonal cross-type points for maximum apertures as small as f/2.8. All 61 points are sensitive to horizontal contrast with maximum apertures as small as f/5.6 and 20 of the outer focusing points function as cross-type points with maximum apertures as small as f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low light sensitivity, and greater low-contrast subject detection capability compared to earlier EOS AF systems.

All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

Similar to the AF point selection options offered in the EOS 7D Digital SLR camera, the EOS-1D X offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection.

EOS iTR AF: Intelligent Tracking and Recognition Enhances AF Performance
The Canon EOS-1D X features incredible new EOS iTR (Intelligent Tracking and Recognition) AF options ideal for wedding and event photography as well as sports and photojournalism. The default AF mode for the EOS-1D X uses phase detection AF information, while a new second option uses Face Detection technology to track recognized faces in addition to color information, ideal when shooting events such as tennis or dancing where facial recognition of the original subject will help keep that person in focus throughout the scene.

Exposure Control
For the first time in a Canon DSLR camera, a DIGIC processor is used exclusively with the metering sensor for fast, accurate exposure control. The Canon DIGIC 4 processor takes advantage of the EOS-1D X’s 100,000-pixel RGB Metering Sensor and utilizes 252 zones for general metering or 35 zones for low-light metering to help ensure accurate evaluative ambient or flash exposure. The new subject recognition capabilities enhance nearly all of the camera’s automatic functions, helping to adjust exposure, autofocus, Auto Lighting Optimizer and Automatic Picture Style to the scene being captured for enhanced image quality.

Multiple Exposure Modes
The EOS-1D X is the first EOS Digital SLR to feature Multiple Exposure capability. The camera can combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera’s LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS-1D X’s Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image.

Super High Speed Mode
The Canon EOS-1D X camera breaks new ground in the world of digital SLRs, offering a Super High Speed Mode which increases shooting speeds up to 14 fps at full 18-megapixel resolution in JPEG mode. The new camera is also capable of shooting RAW, JPEG, or RAW+JPEG at speeds up to 12 fps in One Shot AF or AI Servo AF for enhanced performance in sports photography and other applications requiring high-speed digital capture. This new level of performance is made possible by the combination of the EOS-1D X’s 16-channel readout CMOS sensor, Dual DIGIC 5+ image processors, and a completely new reflex mirror mechanism that has been engineered by Canon to combine high-performance with exceptional precision and reliability.

Enhanced EOS HD Video – New Compressions, Longer Recording
Centered around an all-new full-frame CMOS sensor with larger pixels than those found on the EOS 5D Mark II image sensor, the EOS-1D X utilizes new HD video formats to simplify and speed up post-production work. The two new compression formats offered on the EOS-1D X include intraframe (ALL-i ) compression for an editing-friendly format and interframe (IPB) compression for superior data compression, giving professionals the options they need for their ideal workflow. Answering the requests of cinematographers and filmmakers, the EOS-1D X includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing multiple cameras or separate sound recording to be synced together in post production.

Canon’s all new full-frame CMOS sensor ensures that video footage captured on the EOS-1D X will exhibit less moiré than any previous Canon model, resulting in a significant improvement in HD video quality. A desired feature for many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file capacity and the EOS-1D X is the answer. The new camera features automatic splitting of movie files when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to 29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be seamlessly connected in post production, providing filmmakers the recording time they want in the same convenient DSLR form factor. The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards.

The Canon EOS-1D X also includes manual audio level control, adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input.

Enhanced Ergonomics & Optimized Design
Photographers familiar with Canon’s EOS 1D-series of cameras will notice the control configuration of the EOS-1D X takes a different approach to button placement. The re-designed exterior and ergonomic button configuration feels comfortable in your right hand, allowing seamless navigation through menu options. The Live View Button has been conveniently placed near the user’s thumb for one-touch switching between Live View and Viewfinder shooting. The Quick Control Button and menu navigation controls will allow users to change camera settings using only their right hand, for fast, simple one-handed control using their thumb on the scroll wheel. The new multi-controller is positioned by the right hand thumb when the camera is held for vertical shooting and enables the same level of control to camera operators when shooting vertically as they have when shooting horizontally. On the front of the camera are four user assignable function buttons, two for vertical shooting and two for horizontal shooting, allowing customizable button control when shooting in either position. The camera also features a level of weather resistance equivalent to earlier professional models such as the EOS-1D Mark IV.

Canon has answered the request of many professional EOS photographers and incorporated Dual Card Slots into the new EOS-1D X DSLR camera. The dual CF card slots will allow photographers to carry only one memory card format and still achieve instant image back-ups and enhanced storage capacity.

This camera also features a new shutter design with even greater durability and precision. Rated to 400,000 cycles, the new carbon fiber shutter blades are more lightweight and durable, allowing the EOS-1D X to achieve over 100,000 cycles more than the shutter of the EOS-1D Mark IV. A new shutter motion and new motor help further reduce vibration in the camera. The EOS-1D X also features an electronic first curtain, new to the EOS-1D series DSLRs, for minimal in-camera vibration during image capture.

Connectivity
For professional photographers who prefer a wired workflow and transfer system, Canon has included a built-in LAN connection in the EOS-1D X DSLR. The built-in LAN connection features a gigabit Ethernet Jack capable of 1000BASE-T transmission speeds, offering photographers a stable wired connection for ultra-fast data transmission. If the network were to go down, the camera will attempt to resend images until the files are sent. The EOS-1D X also features a direct image transfer function whereby images can be selected for transfer, and only sent once a LAN or USB connection is established.

Accessories
Designed exclusively for the EOS-1D X, the new Canon WFT-E6A Wireless File Transmitter* features wireless LAN support for 802.11n network transfer rates providing users with increased communication speed when compared to previous models. With this new dust and weather resistant model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS-1D X also offers an optional Canon GP-E1 GPS Receiver*, which can be easily integrated into the camera’s body. Powered by the camera, this GPS receiver provides the same weatherproof resistance as the EOS-1D X, even at the connector. With an electronic compass on-board, the GP-E1 will log movement – latitude, longitude, elevation, and the Universal Time Code – and allow viewing of camera movement on a PC after shooting. The receiver will also record camera direction when shooting, even when shooting vertically.

Pricing and Availability
The Canon EOS-1D X Digital SLR camera is scheduled for March 2012 availability and will be sold in a body-only configuration at an estimated retail price of $6,800.00. The compact, lightweight WFT-E6A Wireless File Transmitter is scheduled to be available in March 2012 and have an estimated retail price of $600. Availability for the GP-E1 GPS receiver is expected in April 2012 with an estimated retail price of $300.

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked fourth overall in the U.S. in 2010†, with global revenues of more than US $45 billion and is listed as number five in the computer industry on Fortune Magazine’s World’s Most Admired Companies 2011 list. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. At Canon, we care because caring is essential to living together in harmony. Founded upon a corporate philosophy of Kyosei – “all people, regardless of race, religion or culture, harmoniously living and working together into the future” – Canon U.S.A. supports a number of social, youth, educational and other programs, including environmental and recycling initiatives. Additional information about these programs can be found at www.usa.canon.com/kyosei.

###

* This device has not been authorized as required by the rules of the Federal Communications
Commission. This device is not, and may not be offered for sale or lease, or sold or leased, until
authorization is obtained.

† Based on weekly patent counts issued by United States Patent and Trademark Office.

Specifications, price and availability are subject to change without notice.

All referenced product names, and other marks, are trademarks of their respective owners.

The PMW-F3 is
equipped with the newly developed
Exmor™ Super 35 CMOS image sensor,
PL lens mount, and SxS card for 1920 x
1080 full- HD recording.The PMW-F 3
features future expandability, including
RGB 4:4 :4 baseband output with S-
LOG gamma for external recording
which means it can be used in an
HDCAM- SR™ workflow. It also offers a
3D -LINK option, which allows two
camcorders to be controlled
simultaneously for 3D stereoscopic
shooting.
Highlights:
The PMW-F 3 is equipped with a
newly developed Exmor Super 35
CMOS image sensor which offers
creative shallow depth of field,
similar to that of a film camera. This
sensor has an extremely high
sensitivity of F11 (ISO800 ) with a
very low noise level (an S/ N ratio of
63 dB). This is a significant
advantage especially when shooting
in low- light conditions or at night
using only ambient light.
The PMW-F 3 employs a PL lens
mount that is standard for film
cameras, allowing use of a virtually
unlimited number of prime and
zoom lenses for 35-mm film
cameras. This greatly broadens the
choice of lenses for a wider
spectrum of creative expression. A
PL lens mount adapter comes with
the camera as standard. The PMW-
F3 supports the Cooke/i Technology
protocol, which enables the
camcorder to communicate with the
lens to obtain lens metadata such
as focus and iris position. The ARRI
LDS interface will be supported as
well. This improves post- production
workflow as lens metadata can be
recorded onto an SxS card and
brought into the post- production
process.
The recording format and recording
media are identical to the existing
PMW-EX1 R and PMW-EX3 , and
proven, high-speed, intuitive XDCAM
EX workflow can be used with high
reliability. This workflow offers
seamless integration with leading
nonlinear editing software.
The PMW-F 3 has a small, compact
body with a very modest footprint,
and weighs just 2.4 kg (5 lb 4 oz). It
offers mobility, flexibility, and cost
efficiency. In addition, the
camcorder’ s power consumption is
only 24 W, and about three hours’
recording can be achieved with only
one BP-U 60 battery.
The PMW-F 3 has an HD-SDI Dual-
link output connector which offers
4:2 :2 1080 50/59 .94p uncompressed
signal output as standard. By using
external recording devices such as
HDCAM- SR recorders, users can
achieve x 2. 5 natural slow-motion
playback in 1080/ 24p mode.
The PMW-F 3 delivers a scalable
external recording solution. When
the RGB and S-LOG output option is
added, RGB 4:4 :4 baseband signal
output is available for external
recording devices such as HDCAM -
SR recorders. A LUT (Look Up Table)
function is also provided for
monitoring purposes when S-LOG
output is activated. The same option
includes 3G- SDI output
functionality. It enables users to
select Dual-link HD- SDI or 3G- SDI
depending on the connecting
devices.
Another new feature of the PMW-F 3
is the 3D- LINK option which is
especially convenient for 3D
stereoscopic shooting. Two PMW- F3
cameras can be controlled by one
camera remote controller at the
same time. The two cameras are
connected with a special 10-pin
cable that includes genlock,
timecode in/out , and control line.
Simultaneous control of the Iris and
Focus functions of two cameras is
extremely useful .

Canon,Canon t3i,Canon 600D,camera,photo,lens latest canon product,HD,DSLR,EOS,Rebel t3i,entry level EOS

Quoted from http://www.dpreview.com/news/1102/11020720canoneos600d.asp:

Canon Rebel T3i / EOS 600D announced and previewed: Digital Photography Review

CP+ 2011: Canon has unveiled the Rebel T3i (EOS 600D) upper entry-level DSLR. It continues to use the 18MP CMOS sensor seen in the Rebel T2i (550D) but gains a tilt and swivel 1,040k dot LCD monitor like the one offered on the more expensive 60D. It also gains the ability to remotely control flashguns using its internal flash, a feature previously only featured on higher-end models. Alongside the camera, Canon is also launching the 18-55mm F3.5-5.6 IS II, a cosmetically revised version of its optically stabilized kit lens. We’ve had a chance to use pre-production versions of both and have prepared a Hands-On Preview of the EOS 600D including beta samples gallery.

Click here to read our Hands-On Preview of the Canon EOS 600D

Jump to:

• Hands-On Preview and samples
• Press Release
• Additional images

Press Release:

Capture every moment of your adventure with the new EOS 600D

London, UK, 7th February 2011 – Canon today announces the launch of the EOS 600D – a compact, lightweight Digital SLR (DSLR) that makes capturing exciting, fun and creative images easier than ever. The perfect choice for aspiring photographers looking for a combination of outstanding image quality and ease-of-use, the EOS 600D sits at the top of Canon’s entry-level EOS line-up, above the existing EOS 550D and the new EOS 1100D.

Capturing stunning images and Full HD video has never been easier, thanks to a range of automatic shooting modes that beginners can use to instantly express their creativity. A Feature Guide has been added to the user interface to help you learn about the camera as you use it, helping to develop your photography skills. With an unrivalled range of EF lenses, Speedlites and other accessories to enhance your shooting, the EOS system holds the key to the perfect shot – wherever your journey takes you, and whatever the scene before you.

First-class image quality
The EOS 600D provides all the tools to capture beautiful stills and HD movies. Amazing picture detail is provided by a high-resolution 18 Megapixel (MP) APS-C CMOS sensor, which combines with 14-bit DIGIC 4 processing so you can capture the wonder of a beautiful blue sky and enjoy exceptionally smooth gradients between colours. The camera’s low light shooting capability enables you to achieve clear, natural images in darker conditions, with an ISO range of 100-6400 that can be further expanded to 12800.

Great for shooting pets, children or wildlife, the EOS 600D allows high-speed shooting at 3.7 frames per second (fps), enabling you to capture fast-moving action. Each shot will be captured in sharp detail thanks to the 9-point Auto Focus system, which can track subjects using the auto focus points across the frame. Even more accurate focusing is providing by an extra-sensitive central AF Sensor, while the iFCL Metering system from the semi-professional EOS 7D features a 63-zone Dual-layer metering sensor, helping you to ensure your shot is correctly exposed, even in difficult lighting conditions.

Easy shooting, amazing results
New fully-automatic Scene Intelligent Auto mode makes it easy for you to capture outstanding quality shots with almost no effort. Allowing you to focus exclusively on framing your picture, Scene Intelligent Auto analyses the scene for you and automatically picks the best settings to capture it. Your images will look better than ever thanks to a new ‘Auto’ Picture Style, which automatically makes fine adjustments to colours while you focus on capturing the scene you want.

The EOS 600D also makes it easy for you to instantly add creativity to your pictures. Change the atmosphere of a scene with Basic+, which allows you to pick the mood you want to achieve from one of eight options, including ‘Warm’, ‘Cool’ or ‘Intense’. Whether you’re shooting landscapes, portraits, or close-up macro shots, Basic+ makes it easy to capture the perfect image.

Simple, flexible, artistic
Ideal for beginners, a Feature Guide has been added to the EOS 600D’s menu system, offering a brief description of each key setting and its effect, helping you learn more about the camera as you use it.

You can also shoot overhead, at ground level or around corners with the EOS 600D’s
Vari-angle 7.7cm 3:2 ratio ClearView LCD. Rich on-screen detail is provided in 1.04 million-dot resolution, and the side-mounted hinge allows users to comfortably and creatively shoot from a range of unusual angles, or when using a tripod. A smudge-resistant fluorine coating and three anti-reflection coatings also ensure you can see the LCD in clear detail, wherever you are.

Allowing you to apply your own stamp to your shots, the EOS 600D is perfect for experimenting with different Creative Filters. Fish-eye-Effect creates a barrel-shaped distortion similar to a fish-eye lens, and you can instantly turn a scene into a small-scale model with Miniature Effect. Toy Camera Effect, Grainy B/W and Soft Focus offer additional options, allowing you to experiment with your images in a number of different ways.

Capture stunning detail with EOS movie
Capture your memories in superb clarity with Full HD (1080p) movie mode, while a dedicated movie shooting mode means you can switch between stills and HD video instantly. You can also reach distant subjects using new Movie Digital Zoom function, which crops the centre of the sensor from 3x to 10x while still maintaining Full HD quality – great for capturing wildlife on a safari holiday.

Enabling you to capture more engaging videos, Video Snapshot mode shoots video in two, four, or eight second segments, creating clips that are short, easy to edit and of similar lengths to clips used in most TV programmes. As they are recorded, the clips are saved to a Video Snapshot Album and combined into one movie. A soundtrack can be added by choosing from tracks uploaded to the camera and the result viewed on the camera’s LCD, or on an HDTV via the built-in mini HDMI connection.

The EOS system – unrestricted creativity
As your skills develop, the EOS 600D grows with you. As part of Canon’s EOS range, the camera is compatible with the unrivalled selection of EF lenses and a range of accessories, so you can add to your kitbag as your ability and style develops. Over 60 lenses provide you with unlimited creative possibilities: wide-angle lenses capture sweeping landscapes, macro lenses capture the most intricate beauty of the tiniest creatures, and telephoto lenses make distant scenes appear as if they are right in front of you.

Using Canon’s range of Speedlite flashes and the EOS 600D’s Integrated
Speedlite Transmitter, you can also experiment with different lighting techniques, or use your flash off-camera, to give your subject or scene a completely different look and feel. With the Easy Wireless function, the camera will also take care of the complicated settings whilst you focus on framing and lighting your scene as you wish.

Introducing the new EF-S 18-55mm f/3.5-5.6 IS II
Launching with the EOS 600D is the EF-S 18-55mm f/3.5-5.6 IS II – a new kit lens that provides excellent performance for beginners. A lightweight construction makes it easy to carry, and Canon’s acclaimed optical Image Stabilization also minimises the risk of blur, allowing photographers to use shutter speeds 4 stops slower while still maintaining a blur-free shot. The EF-S 18-55mm f/3.5-5.6 IS II will succeed the existing EF-S 18-55mm f/3.5-5.6 IS in Canon’s lens line-up.

EOS 600D – key features:

• 18-megapixel CMOS sensor
• Scene Intelligent Auto mode
• Full-HD EOS Movie
• On-screen Feature Guide
• 3.7fps continuous shooting
• Wide-area 9-point AF
• 1,040k-dot vari-angle 7.7cm (3.0”) screen
• Basic+ and Creative Filters
• Built-in wireless flash control

Technologies explained

Canon CMOS sensor
Exclusively designed and manufactured by Canon to work in combination with its own DIGIC processors, Canon’s CMOS technology integrates advanced noise reduction circuitry at each pixel site, delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life.

Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting the signal to the image processor. Noise is reduced, power consumption is limited and faster frame rate potential is increased.

DIGIC 4
Image data captured by the CMOS sensor is processed by Canon’s purpose-built
DIGIC 4 image processors before being written to memory card. DIGIC technology uses advanced image processing algorithms to ensure precise, natural colours, tonal gradation, accurate white balance, and advanced noise reduction. Ultra-fast processing speeds result in highly responsive camera operation and near-instant start-up times.

DIGIC chips work with a high speed image buffer, reading, processing, compressing and writing image data fast enough to keep the buffer clear during long continuous shooting bursts. In addition, because DIGIC 4 integrates all key processing functions, power consumption is kept to a minimum.

iFCL metering system with 63-zone Dual-layer Metering sensor
The iFCL system uses focus, colour and luminance information to determine consistently exposed shots. All focus points provide distance information to the metering system to determine the location of the subject and allow the algorithm to weight the exposure accordingly.

Both the EOS 600D and EOS 1100D models feature a metering sensor with 63 zones, compatible with all nine AF points. Typically, metering sensors are more sensitive to red subjects which can lead to overexposure. The EOS 600D and EOS 1100D counter this with the dual layer sensor, which has one layer sensitive to red and green light and one that is sensitive to blue and green light. The metering algorithm then compares the level of the two layers and adjusts the meter reading accordingly.

EOS Integrated Cleaning System
The new EOS 600D features the EOS Integrated Cleaning System, used to combat sensor dust in three important ways: Reduce, Repel and Remove.

• Reduce – Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself
• Repel – Anti-static technologies, including a magnesium fluoride coating, are applied to the low-pass filter covering the front of the sensor so as not to attract dust
• Remove – A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each start up. For instant shooting after power up, this feature is disabled immediately as the shutter release is depressed

The front surface of the EOS 1100D’s low-pass filter features a fluorine coating to minimize dust adhesion to the sensor. Both the EOS 600D and the EOS 1100D feature an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software.

Vari-Angle Clear View LCD (EOS 600D only)
The EOS 600D features a 7.7cm (3.0”) 3:2 Vari-Angle Clear View LCD screen offering approximately 1.04 million dot resolution – allowing high-quality viewing of images, and focus checks, in playback. With a wide 160º angle of view, images on the Clear View LCD can be easily reviewed in a vast range of environments with reduced ghosting and reflections, thanks to three anti-reflection coatings and a smudge-resistant fluorine coating. Marks on the screen are prevented and colours on the monitor appear natural and close to the sRGB colour space. The vari-angle screen has been designed to open sideways, enabling photographers to shoot from unusual angles, even while the EOS 600D is attached to a tripod or battery grip. The screen flips out 175° and can then rotate 90° forwards or 180° backwards, allowing the photographer to view the screen from low or high angles, and even from in front of the camera.

EOS Movie
EOS Movie allows users to record Full HD (1920x1080p) movies on the EOS 600D and HD (1280x720p) movies on the EOS 1100D. The EOS 600D offers full manual control of exposure and frame rates of 30, 25 and 24 fps at full resolution, with 60 and 50 fps available at 720p resolution. The EOS 1100D has a choice of 30 and 25 fps frame rates.

When filming Full HD footage with the EOS 600D, Movie Digital Zoom can be used to magnify the centre of the sensor by 3-10x while maintaining Full HD quality.

EOS Scene Detection Technology (EOS 600D only)
EOS Scene Detection Technology automatically analyses faces, brightness, movement, contrast and distance in the scene, with information provided as feedback to the Scene Intelligent Auto mode.

Scene Intelligent Auto (EOS 600D only)
Scene Intelligent Auto takes the information gathered by the
EOS Scene Detection System and determines the best settings to capture the scene. For example, when shooting portraits, the settings are adjusted to make the skin appear more natural.

Picture Styles
Picture Style presets can be likened to different film types – each one offering a different colour response. Within each selectable preset, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s Standard Picture Style is designed to deliver immediately-usable JPEG images without need for additional processing. When shooting RAW images Picture Styles can be revised with Canon’s Digital Photo Professional software.

The presets available with both the EOS 600D and EOS 1100D are:

• Standard: For crisp, vivid images that don’t require post-processing.
• Portrait: Optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones.
• Landscape: For punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines.
• Neutral: Ideal for post-processing.
• Faithful: Adjusts colour to match the subject colour when shot under a colour temperature of 5200K.
• Monochrome: For black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green.

A new Picture Style has been added to the EOS 600D – Picture Style Auto. This new Picture Style makes fine adjustments, based on the EOS Scene Detection System’s analysis, to create a Picture Style for the particular image. Three User Defined Picture Styles can be used to store customised pre-sets created using the supplied Picture Style Editor, or any of the pre-sets available for download from Canon’s web site: www.canon.co.jp/Imaging/picturestyle/file/index.htm

Basic+
Basic+ is a creative imaging function that was first introduced in the EOS 60D, which makes it easier to create the desired image effects when shooting a scene. With Basic+, photographers have the option to apply a creative intent to their images whilst using the scene-based modes.

• Shoot by ambience: exposure compensation and white balance are adjusted according to preset styles to create ambience or tone in the image
• Shoot by lighting or scene type: a simplified form of white balance, which allows new digital photographers to change the white balance settings according to more understandable terms such as “Daylight”, “Shade”, “Cloudy”, “Sunset”, “Tungsten light” and “Fluorescent light”

Auto Lighting Optimizer (ALO)
Auto Lighting Optimiser analyses the image and selectively adjusts the brightness to achieve a more even result. For example, when a person is backlit, ALO detects the face and increases its brightness to ensure a more pleasing image.

Lens peripheral illumination correction
The lens peripheral illumination correction function uses the power of the DIGIC 4 image processor to improve image quality by maintaining evenness of illumination from corner to corner, even when shooting wide open with a zoom lens. When shooting in RAW this correction can be further adjusted using
Digital Photo Professional.

Highlight Tone Priority
With Highlight Tone Priority the dynamic range of the highlight tones is extended. The gradation between 18% greys (standard exposure) and the highlights are improved, reducing loss of detail in highlights. This enables a picture with a large proportion of highlights, such as a brightly-lit bride in her wedding gown, to show greater detail in the white and grey areas of the photo, making the image more attractive and natural.

Feature Guide
The Feature Guide acts as an on-board guide by displaying a simple description of each mode and the functions on the Quick Control Screen.

Creative Filters (EOS 600D only)
EOS 600D provides a range of creative effect filters which can be applied to RAW images and all JPEG images. Since the filter can be applied after the shot is taken, users can apply different filters to the same image and see the effects:

• Fish-eye effect: Creates a barrel-shaped distortion similar to a fish-eye lens. The effect can be adjusted, and, depending on the level of distortion, the image periphery may be cropped.
• Grainy B/W: Creates a grainy, black-and-white image. The effect can be emphasized by adjusting the contrast.
• Soft focus: Produces a soft result. This can be increased by adjusting the blur.
• Toy camera effect: Provides colour cast typical of toy cameras. The four corners are also darkened. The image looks soft with a subtle grainy look. The colour cast can be changed to cool or warm colours.
• Miniature effect: Can be set by the user to make part of the image look sharp. The orientation (vertical or horizontal) of the area can be changed by pressing the INFO button.

Video Snapshot (EOS 600D only)
The Video Snapshot feature enables the user to capture short video clips of 2, 4 or 8 seconds in length. These short snapshots are then stitched together into one file as a Video Snapshot Album, creating a dynamic, fast-paced movie sequence. Once video clip duration has been selected, every time the Movie shooting button is pressed a video clip of that length will be captured. For example, if a 4 second Video Snapshot is selected, the Video Snapshot Album will be created consisting of 4-second movie clips. This creates a much more engaging movie and encourages the user to think about the shots they take.

When playing a Movie, Video Snapshot Album or Slideshow, background music (BGM) can be applied, whether on the camera’s screen, or on a larger HDTV using the camera’s HDMI connection. To do this, users must convert audio files*1 to the supported .WAV format, before using EOS Utility software to upload the files to the camera’s SD card ready for selection during playback. A choice of five music tracks supplied with the camera can also be used.

Digital Photo Professional Software
Digital Photo Professional (DPP) software provides high speed, high quality processing of lossless RAW images. Processing with Digital Photo Professional allows real-time display and immediate application of image adjustments, giving control over RAW image variables such as white balance, dynamic range, exposure compensation, noise reduction and colour tone – plus the ability to view Auto Focus points on an image and apply un-sharp mask sharpening. The Lens Aberration correction tool allows precise correction of different types of distortion caused by certain lenses. Newly added is a set of distortion corrections for use with the EF 8-15mm f/4L USM Fisheye. These corrections allow you to produce fisheye images for different uses.

• Emphasize Linearity: Converts the image to a ‘Central Projection’ style image. This creates a full frame image from a circular fisheye image.
• Emphasize Distance: This converts the image into an ‘Equidistant Projection’ image. This method preserves distance relationships between objects, but removes much of the distortion. It is particularly useful for creating star maps and solar path diagrams.
• Emphasize Periphery: This converts the image into a ‘Stereographic Projection’ image. This allows positional relationships on a spherical surface to be displayed correctly, such as an image of a globe.
• Emphasize Centre: This converts the image to an ‘Orthogonal Projection’ image, enlarging the centre of the image. This is useful for city planners to measure the luminance of an area by the sky to ensure adequate lighting.

Images can be recorded in camera with sRGB or Adobe RGB colour space. Images can also be rotated and trimmed allowing photographers to correct framing and horizons as part of the RAW processing. Digital Photo Professional also provides full support for the rating system within the EOS 600D and EOS 1100D allowing star ratings to be added or edited for easier sorting.

Digital Photo Professional supports sRGB, Adobe RGB, ColorMatch RGB, Apple RGB and
Wide Gamut RGB colour spaces. ICC (International Colour Consortium) profiles can be attached to TIFF or JPEG images when converted from RAW. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. For improved efficiency, a set of image adjustments can be saved as a recipe and applied.

EOS Utility
The latest version of EOS Utility provides essential support for Live View remote shooting (with the ability to overlay an image to assist with alignment of subsequent shots during product photography), camera configuration and image transfers. Tightly integrated with Digital Photo Professional, EOS Utility can be configured to monitor ‘hot’ folders, automatically renaming and moving incoming images to a structured file system. Images can also be tagged with EXIF data, including copyright information. Newly added is the ability to register background music, with users now able to add or remove .WAV format files from the playlist used by the camera*1.

Picture Style Editor
Picture Style Editor allows photographers to create individual Picture Styles that meet their personal requirements. Each Picture Style contains detailed information on how specific colours should be represented within an image. Once new Picture Styles have been created, they can be uploaded directly into the camera and applied to JPEG or RAW images. When working with RAW files in DPP, both personal Picture Styles and predetermined Picture Styles can be adjusted.

ZoomBrowser EX (PC)/ImageBrowser (MAC)
ZoomBrowser EX/ImageBrowser is designed to give photographers a quick and easy way of managing their images. Basic JPEG editing functionality enables users to adjust image brightness and colour balance, with an in-software connection to DPP for RAW image editing. Users can select, rename and resize multiple images at once, set star ratings and organise images by shooting date, making it simple to manage large image libraries. Photographers can also select, add comments and then print images via a range of simplified printing options, and direct uploads to
CANON iMAGE GATEWAY enables image sharing via personal online photo albums.

ZoomBrowser EX/ImageBrowser also offers support for video editing, including a new Video Snapshot Edit Task that makes it easy for users to manage, edit and share Video Snapshot Albums.

Video Snapshot Edit Task
This feature allows Video Snapshot Albums to be edited using a computer. Individual snapshots can be removed or reordered, and a background music track can also be added*1. The resulting file can be uploaded to YouTube™ quickly and easily using a new YouTube™ upload task.

*3Copyright laws in your country may prohibit the use of your recorded images or copyrighted music and images with music in the memory card for anything but private enjoyment.

Additional images

The XF105 and XF100 use a single full raster sensor to shoot 1920×1080 HD which is recorded at up to 50Mb/s 4:2:2 using Mpeg2. These cameras are sure to be very popular, assuming the image quality is up to Canon’s usual high standards.

They have a 10x zoom lens and all the usual features you would expect of this size and type of camcorder plus some additional features to make them easier to use on 3D rigs. You can use the cameras optical image stabilisation system to compensate for errors in the zoom lens. You can program in an offset, store this in the cameras memory and thenwhen you zoom the offset gets applied to minimise errors between the two cameras. This is really clever stuff and will make the XF105 very attractive to 3D shooters. In addition the 105 has genlock and HDSDi out, so there won’t be any problems syncing them together. In fact to save money you should be able to use an XF105 slaved to an XF105.

While the OIS lens shift is great for 3D the cameras are still too wide (120mm) side by side use in many (most?) 3D applications so you are still going to need a beam splitter rig. But the light weight nature of the cameras will mean a very much reduced rig weight.

You can read the full press release from Canon here.http://www.usa.canon.com/cusa/professional/products/camcorders/hd_video_cameras/xf105#Overview

Hi all. Well I have got a Canon XF305E for the afternoon. Wish it was longer, but they are like hens teeth. I’m going to be writing and updating this as I go, so please keep coming back for the latest updates and post a comment if there is anything you want me to specifically look at.

                                                                                                               XF305 Top and EX1R Bottom
Out of the box, first impressions are that it is big. 20% bigger than an EX1. The body is dominated by the very large lens which also has a sensor of some kind to the left of the lens barrel. I assume this is to do with the autofocus system. I hope so as it would make Matte Box use very difficult.

Overall it feels very well made although there are a few bits that could be better. It’s possible to put a battery in the battery compartment incorrectly so that the camera will work unless you knock it and bump it, then the battery connection is lost. You really need to have the camera down on a flat surface to be sure the battery goes in right. In addition there is a pair of really heath robinson looking springs at the back of the battery compartment. Considering this is about the most expensive camcorder in it’s class you don’t expect cheap and nasty springs like the ones fitted in the battery compartment.

Cheap springs on XF305
They look like an after thought.

                                                                                                                                   Incorrectly inserted Battery
The flap that covers the battery feels cheap and plasticky compared to the rest of the camera body and I would be worried about this breaking off at some point. However if it does break there is a separate battery catch that holds the battery in place.

Looking at the lens my first point of confusion came when I pressed the zoom rocker and nothing happened. I turned the calibrated zoom ring on the lens and the lens zoomed in and out, but the rocker did nothing. So I looked for the zoom servo switch. I didn’t find one but did find the “Zoom – Rocker – Ring” switch. Switched it from ring to rocker, pressed the rocker and the zoom works…….. but….. now the zoom ring does not turn or move, so you can have one or the other but not both. The iris ring has no markings and is of the round and round servo variety so you need to look at the (very nice) LCD screen to see where the iris is set, the same for the zoom when set to rocker.

LCD screen with waveform monitor
The focus system is not that dissimilar to an EX with both calibrated manual and non calibrated manual/auto operation. On an EX you slide the focus ring forwards and backwards to switch from full manual to servo control. On the XF305 you have to take your hand off the focus ring to operate a small push button that allows you to rotate the lens body to switch between manual and servo. It’s not quite as convenient as the EX but is easy enough to do. There is a problem with this however. If you set the manual focus ring at say infinity, then switch to the servo/manual/auto focus and use that, when you switch back to full manual the lens will return to the last position you set the focus to. OK, fine, that’s the same as an EX1R, BUT on the XF305 you can’t see the focus scale in the focus window when you are set to servo/auto so you have no idea what the focus is going to do when you switch modes unless you can remember where you last set the manual focus.

Just like an EX1 when you hand hold the camera it’s bulk puts a fair bit of strain on the wrist as it want’s to fall forwards and to the left. There is no adjustable hand grip rotation and the record start stop button is a little low down for my thumb. The hand grip is also quite small and angular. I think the EX1R is a lot more comfortable to hold.

Small single thread tripod plate
If your using the XF305 on a tripod there is only a single 1/4″ threaded hole in a small plate on the bottom of the camera, much like the original EX1, so don’t overload it or you may end up breaking the plate. Perhaps Curtis at Juiced Designs will do a strengthening plate for the XF305. Do camera designers not read forums and look at what happens to cameras when used in the field?

Behind the hand grip there is an array of BNC connectors for SDi, video out, Genlock and timcode. Full marks for using proper BNC connectors here. Behind these are a whole bunch of floppy cheap plastic covers over HDMI, USB, headphone, AV, remote and mini component connectors.

So here’s the footage: http://www.xdcam-user.com/samples/xf305-ex1r.zip it’s a 300 Mb zip file containing a Sony BPAV folder with 3 clips and the matching Clips folder from the XF305 with 3 MXF clips shot at the same time. They are the raw clips straight from the cameras.

If you decide to download the clips I would appreciate a small donation to cover the hosting and bandwidth costs. It’s not a requirement, but would help keep the site running and make me more likely to put up big files in the future. If you click on any of the frame grabs below you will be able to view a full resolution frame grab.

LCD on the left
In use the large LCD screen is clear and easy to see. It flips out from under the handle on both sides of the camera which is really neat.                     

                                                                                                                                                                                              LCD on the right

The multi-coloured graphics all over the screen do make it a little cluttered but these can be easily turned off. The XF305 can also display waveform monitor and vectorscope plus a 3 zone waveform monitor all of which are very useful tools to have (LCD screen only, not rear VF). While looking at the LCD I realised that just like the EX1 the microphone and in this case the LCD as well, stick out beyond the end of the lens. Why do camera manufacturers do this? It makes fitting and using a Matte Box so difficult. Doh! Having the LCD screen so far forwards could present problems for Matte Box users.

XF305 Default settings
Where the EX1 and EX3 have picture profiles the XF305 like most pro Canon cameras has a number of “Custom Picture” memories. There are 6 preset memories for you to dial in your own looks plus “Video C”, “Cine V” and “Cine F” setups. The Cine V setup was really soft and Cine F just had a quite flat look, however I didnt really have time to explore these fully. I did try Alan Roberts recommended settings and these are very nice and I would recommend them as a good starting point for really making the XF305 sing. Within the CP settings you can choose from 4 standard gamma curves and 2 cine style gamma curves. The Matrix is fully adjustable so it should be easy to roll your own custom looks. Another setting tucked away in the CP menu is the noise reduction. The XF305 has some very clever noise reduction that is clearly doing a good job of controlling the noise that is normally be associated with a small sensor camera. You can choose between Automatic nose reduction and 8 steps of reduction. If set to 8 however the noise reduction is very hard and the resolution drops way down.

EX1R Default settings
The pictures from the XF305 are very good. At 0db they are quite similar overall to those from an EX1. They do have a different colorimetry to Sony’s camera’s (which I always find a little yellow) and are pleasing to look at. Clearly the lens is very good, CA is well controlled but there is some quite obvious barrel distortion between fully wide and 6mm, but it’s no worse than an EX1R and really to be expected from a camera at this price point.

                                                                                                Barrel Distortion and Corner Softening
I also found some noticeable softening in the corners fully wide which appears to be worse on the left side of the image than the right.

When I was looking at the lens distortion I was zooming in and out using the zoom rocker, then I went to turn the zoom ring just to tweak the zoom and of course nothing happened. This zoom rocker or zoom ring, but not both way of operation really sucks.. am I missing something here? While on the subject of the zoom rocker I was asked about how it was with slow creeping zooms. Well it’s very good. I did find that you have to press the rocker a long way past the center point before anything happens, but once the zoom starts to operate you can get a slow creeping zoom. But to then go from the creeping zoom smoothly to a faster zoom is tricky as a tiny bit more pressure on the rocker leads to a rapid increase in zoom speed. It seems that there is a very large dead area where the zoom rocker does nothing and then all the action takes place in the last few millimeters of its travel. It almost feels like the zoom speed is in steps, not entirely variable. I’m sure it’s not and with practice perhaps I could master it, but it’s a little touchy. The EX1R isn’t perfect either. The zoom rocker can be a bit twitchy when trying to do a creeping zoom, but in this case I prefer the EX1R zoom over the Canon. If you do choose to use the zoom ring to control the zoom there is some serious lag between turning the zoom ring and the zoom happening. For slow zooms this may not be an issue, but crash zooms are very difficult to execute. The iris ring also as some lag which makes fine tweaking of exposure a little harder than it should be. The last couple of years I have become so used to the EX1 and EX3 lens with its great feel and proper zoom and iris rings that this is a real let down. Overall I think that optically the Canon lens as a small edge over the EX lens, there is less CA and a greater zoom range. But ergonomically I much prefer the EX1R lens.

                                                                                                                                                                                                                       XF305 Alan Roberts CP
Latitude is very similar at 0db between both cameras, I couldn’t really see much of a difference either way. UPDATE There are some differences in image sharpness and noise however. Please see this clip (Vimeo or YouTube) for some examples, generally Vimeo is better quality.

If anything the Canon 305 at first glance appears a little sharper than the EX1R, but looking closer and examining the footage as well as resolution chart results shows very similar resolution from both cameras. However the XF305 pictures contain a lot of quite visible, very fine noise that’s constantly buzzing around at all brightness levels. This very fine noise is easily mistaken for extra picture detail, which it is not.

It’s really interesting to look at side by side comparisons of the EX and XF footage. With the same clip, trees and foliage from the XF appear to be more detailed, but step through the footage frame by frame and you see the XF foliage is actually full of this fine noise compared to the EX foliage, this makes it appear sharper as it adds a fake “texture” to the foliage. But I can’t actually see any extra real detail in the XF foliage. Taking the same clip and looking at the parked car, again the XF shows a lot of noise, but in this case you can clearly see the car is a little softer in the XF footage than the EX. These differences are not so much down to resolution differences, but down to noise and noise reduction working in slightly different ways in the two cameras plus differences in the detail settings.

XF305 and EX1R at +12db
Turn up the gain on both cameras to +12db and the difference is even more striking. Click on the image to the left to view it full frame or look at the clip I have prepared (Vimeo or YouTube). I find the fine, busy, noise from the XF305 a lot more objectionable than the more blocky noise that the EX1R generates. The XF305 also shows some black speckles similar to those found on the Panasonic HPX301. Given that the XF305 is using small 1/3″ sensors this kind of performance is not really unexpected. The XF305 probably has the best front end of any 1/3″ camera currently on the market, but controlling noise on small sensors is harder to do than with large sensors and IMHO it still doesn’t perform as well as the EX’s with their larger sensors.

In addition the EX1R’s larger sensor helps it capture more light making it 1.5 stops more sensitive than the XF305. So in low light you will tend to use more gain with the 305 than with an EX. It has been pointed out that the XF305 lens is about half a stop faster than the EX lens which does help the 305 little, but if low light performance is important to you do choose wisely. You can increase the noise reduction on the XF305 to combat the noise but this also softens the picture, especially when used at the higher settings. If you download the raw footage you can zoom in and see the differences for yourself.

305 Left, EX1 Right Default settings

305 Left, EX1 Right. Both modified CP/PP

EX1R AC-Neutral Picture Profile
The differences are small, but they are there. The Canon is noisier looking while the Sony appears a little softer, but I’m not convinced that it is, I thinks it the XF’s noise giving the impression of a sharper image by adding texture to many surfaces. I personally would take the cleaner image as you can do more with this in post production.

I also shot some clips with the XF305 and a NanoFlash as well as the EX1R and a NanoFlash. At 50Mb/s it was very hard to tell any difference between the XF305 and 305/NanoFlash recording, which is what you would expect. If anything the NanoFlash footage may be just a tiny bit less blocky. Comparing the XF305 at 50Mb/s and EX1R/NanoFlash at 50Mb/s the EX footage was quite a bit cleaner with less mosquito noise and macro blocking. If you click on the side by side image on the right you can view it full screen. Look at how much cleaner the EX footage is, but also look carefully at the brickwork. I can tell you that in the moving video clip the bushes in the XF305 clip are full of fine noise, on the frame grab this looks like fine detail, but it’s not.

                                                                                                                                                                                                      XF305 and EX1R/NanoFlash at 50Mb/s
The EX footage recorded on to the NanoFlash at 50Mb/s is cleaner with less macro blocking and mosquito noise, this is probably due to the very fine noise from the 305 stressing the codec harder than the low frequency noise from the EX. At 100Mb/s the EX1R looked really good indeed. The test footage was shot at 25P and even though the XF305 is recording at 50Mb/s 4:2:2 against the EX1R’s 35Mb/s 4:2:0 the visible difference in the rushes is negligible.

The rear viewfinder on the XF305 is a bit better than the rear finder on the EX1R. It’s bigger and I found it very nice to use, however I could not get the waveform monitors etc to appear in the rear finder, only the LCD screen. The menus are logically laid out, I didn’t find them as straight forward to use as the EX menu’s but then I have been using EX’s for some years now so it could just be a case of them being different to what I’m used to.
CONCLUSIONS
So what do I think? Well the XF305 is a very good camcorder. It produces very pleasing images recorded at 50Mb/s 4:2:2. Is it better than an EX1R? Well I don’t think that overall it is. Is the EX1R better then? On it’s own, no, but with a NanoFlash, yes. There are bits of both cameras that I like and dislike. The EX1R is nicer to hold and more compact, it has a better zoom rocker and record switch. The XF305 has a better zoom range and less CA (Chromatic aberration) but I would not enjoy the way you have to choose between the zoom rocker OR zoom ring and can’t have both. The 305′s zoom and iris rings are a little sluggish to respond and the iris has no calibrated markings so you have to rely on the viewfinder or LCD. The 305′s LCD is really very good and I like the way you can flip it out either side. The EX1R’s rear finder, while perfectly useable is not as good as the one on the XF305. The picture quality from both cameras is very good. Different…. but good. The 305 has a slight edge on it’s out of the box look but it is visibly more noisy than the EX1R and it’s easy to confuse the very busy fine noise that appears across the whole image as fine detail. The EX can be dialled in to give great pictures too. As a side note with the EX going in to the Picture Profiles and increasing frequency to +40 helps sharpen up the foliage in the EX pictures. Both cameras have some noise in the images, at 0db I think the EX has the visual edge and looks cleaner, at higher gain levels above +6db the XF305 noise becomes more and more objectionable compared to the EX1R. At 0db the XF305′s fine noise is stressing the codec a little. An EX1R recording to a NanoFlash at 50Mb/s produces a much cleaner image with less mosquito noise and macro blocking.
If your thinking of buying either it’s a tough choice. The XF305 has genlock and timecode in, which the EX1R does not have. For that you need to get an EX3 which is more expensive, but then you can also change the lens. I certainly don’t see any reason to swap my EX’s for 305′s and the similarly priced EX1/NanoFlash combo is an extremely powerful tool offering the benefits of dual record, HD and SD recording as well as higher bit rates. In addition NanoFlash 50Mb/s files are compatible with the XDCAM HD optical disc system, which the Canon files are not. The XF305 has smaller sensors than the EX1 so controlling depth of field will be a little harder, also you will get image softening due to diffraction effects about a stop sooner with the 305 but this may or may not be important to you.
In Summary:
Optics: Canon
Ergonomics: Sony
Pictures: Sony (cleaner, less noise)
Workflow: Sony (Because it’s faster (with SxS) more mature and you have backwards compatibility with Optical Disc XDCAM HD)
Canon XF305 and Sony EX1R side by side tests from Ingenious TV on Vimeo.

After months of speculation, Canon has finally announced a line of tapeless professional camcorders—the XF305 and XF300. The two camcorders will use a file-based MPEG-2 compression system that saves video clips in an MXF wrapper. Both camcorders will be on display at NAB later this week in Las Vegas and they should be hitting the shelves by late June of this year.

It has been a long time coming for Canon to get on board with a tapeless professional camcorder. Sony, JVC, and Panasonic have each released various non-tape models in the past few years, and it is definitely the direction in which the industry is heading.

In a somewhat surprising move, the Canon XF305 and XF300 both include dual Compact Flash (CF) memory card slots, which will be the primary recording media for both devices. CF cards are definitely a whole lot cheaper than professional recording media (like SxS or P2 cards), but they generally don’t have as fast transfer speeds. There are some new CF cards, however, that offer similar transfer rates to P2 and SxS. The camcorders also have an SD card slot for storing custom preset data.

Both the XF305 and XF300 can record a full HD image at 50Mbps with MPEG-2 4:2:2 compression. These camcorders are utilizing Canon’s new MPEG-2 codec that was already announced last February (read more about this codec by clicking here). In addition to Full HD 1080/60i recording, the two camcorders also have 30p and 24p options (there is no 1080/60p record mode). There is also a 35Mbps 4:2:0 recording option, a 25Mbps 4:2:0 option.

720p recording can be done at frame rates of 60p, 30p, or 24p, and the camcorder also has a variable frame rate recording feature. In both 1080i and 720p, the camcorder can be set to record at various frame rate intervals between 12fps and 30fps. In 720p mode you can choose variable frame rates all the way up to 60fps.

Neither of the camcorders offer a removable lens system, which means they are fairly compact, hand-held models. The camcorders come with an 18x zoom lens and include a three 1/3-inch CMOS sensors. The lens itself has a built-in optical image stabilization system that offers 3 stabilization modes (standard, dynamic, and powered).

The only difference between the XF305 and the XF300 is a collection of professional connectivity features. THe XF305 includes an HD-SDI output, GENLOCK terminal, and a TC connection. Other than this jack pack, the two camcorders appear to be identical. Both include dual XLR ports, headphone jacks, and the basic connectivity features found on prosumer models.

The new camcorders feature both an electronic viewfinder and a 4-inch LCD. The viewfinder is 0.52-inches in size and has a 1.55-megapixel resolution. The large LCD has a 1.23-megapixel resolution and can be positioned on the left or right side of the camcorder. THe LCD does not use a touchscreen interface, with the camcorders instead employing a rotating dial for navigating menus and making selections (just like on Canon’s tape-based pro camcorders).

The two models should have similar manual control features that were found on Canon’s pro HDV line (like the XH A1S). In addition to the variety of manual controls, the camcorders also feature face detection and have built-in vectorscopes and waveform monitors.

The two camcorders will be available in late June of this year with the XF305 retailing for $7999 and the XF300 at $6799.

We’re not sure where Panasonic gets off calling its AG-AF100 a “professional” digital video camera. It’s certainly not in the same class as RED or ARRI Alexa. It is, however, a very interesting video rig for shooting flicks on a budget with its Micro Four Thirds sensor and collection of micro 4/3 lenses, filters, and adapters. The AF100 records native 1080/24p using the AVC/ H.264 Hi Profile AVCHD codec to a pair of SD slots supporting both SDHC and newer SDXC removable media. The AVCCAM HD camcorder features a pair of XLR inputs, 48-kHz/16-bit two-channel digital audio recording, and supports LPCM/Dolby-AC3; it also packs USB 2.0, HD-SDI out, HDMI, a built-in stereo mic, and time code recording. So yeah, it won’t record the next Hollywood blockbuster but it’ll probably do fine by indie filmmakers without breaking the film school budget. Perhaps we’ll better understand all this professional talk when Panny reveals its price in time for a year-end launch.

* Premier AVCCAM Video Camera Combines 4/3” Sensor with Superior Video Quality, Professional Audio Inputs, Variable Frame Rates, SDXC Card Technology *

LAS VEGAS, NV (April 11, 2010) – Panasonic Solutions Company today announced a game-changing AVCCAM HD camcorder, the AG-AF100, the first professional micro 4/3-inch video camcorder optimized for high-definition video recording. Scheduled to ship by the end of 2010, the AG-AF100 will set a new benchmark for digital cinematography.

Targeted at the video and film production communities, the Panasonic AF100 delivers the shallow depth of field and wider field of view of a large imager, with the flexibility and cost advantages of use with a growing line of professional quality, industry standard micro 4/3-inch lenses, filters, and adapters. The full 1080 and 720 production camera offers superior video handling, native 1080/24p recording, variable frame rates, professional audio capabilities, and compatibility with SDHC and SDXC media.

The design of the AF100’s micro 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie cameras in a less expensive camera body. Equipped with an interchangeable lens mount, the AF100 can utilize an array of low-cost, widely-available still camera lenses as well as film-style lenses with fixed focal lengths and primes.

“Designed in consultation with the filmmaking community, the AF100 eclipses the video performance of other cameras in this price range,” said Joe Facchini, Vice President of Sales & Product Management, Media & Production Services, Panasonic Solutions Company. “Ideal for film schools and independent filmmakers, this affordable, digital cinematography camera employs an advanced professional AVC/ H.264 Hi Profile AVCHD codec compatible with a wide range of editing tools and affordable players.”

The AF100 incorporates a 4/3-inch, 16:9 MOS imager. The camcorder records 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p, 50p, 30p, 25p and 24p (native) in AVCHD’s highest-quality PH mode (maximum 24Mbps). Ready for global production standards, the camcorder is 60Hz and 50Hz switchable.

The AF100 maximizes the potential of its high-resolution imager with built-in ND filtering and dramatically reduced video aliasing. Standard professional interfaces include HD-SDI out, HDMI, time code recording, built-in stereo microphone and USB 2.0. The AF100 features two XLR inputs with +48V Phantom Power capability, 48-kHz/16-bit two-channel digital audio recording and supports LPCM/Dolby-AC3.

This newest Panasonic AVCCAM camcorder is the first to enjoy the benefits of advanced SDXC media card compatibility in addition to existing SDHC card support. (SDXC is the newest SD memory card specification that supports memory capacities above 32GB up to 2TB). With two SD slots, the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode.