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Cameras

Canon's robust line of Cinema EOS cameras has something for every level of production. The robust and versatile form factor of Canon's full frame and Super 35mm cameras enable operation in a myriad of conditions, from run-and-gun documentary shooting to fully built up in a major motion picture. With broad dynamic range, accurate skin tones, and Canon-exclusive features such as Dual Pixel AF and Focus Guide, the Cinema EOS series is an owner/operator's dream.

NETFLIX APPROVED NETFLIX APPROVED NETFLIX APPROVED NETFLIX APPROVED NETFLIX APPROVED
NETFLIX APPROVED Pending N/A Approved Approved Approved
Sensor Sensor Sensor Sensor Sensor
Sensor Super 35mm
(4096 x 2160 effective)
Super 35mm
(4096 x 2160 effective)
Super 35mm
(4096 x 2160 effective)
Super 35mm
(4096 x 2160 effective)
Super 35mm
(4512 x 2376 effective)
4K - 26.2 x 13.8 mm
4.5K RAW - 28.9 x 15.2 mm
Internal Recording Formats Internal Recording Formats Internal Recording Formats Internal Recording Formats Internal Recording Formats
Internal Recording Formats XF-AVC, MP4 Cinema RAW Light, MP4, XF-AVC (2K proxy, MXF File Format) Cinema RAW Light, XF-AVC (MXF File Format, 2K and 4K) XF-AVC (MXF File Format) ProRes 4444 (2K), ProRes 422 HQ (4K), XF-AVC (MXF File Format, 2K and 4K)
RESOLUTION RESOLUTION RESOLUTION RESOLUTION RESOLUTION
RESOLUTION XF-AVC 4K DCI (4096 x 2160), UHD (3840 x 2160), 2K (2048 x 1080), HD (1920 x 1080) 4K DCI (4096 x 2160) as Cinema Raw Light only 4K UHD (3840 x 2160) as MP4 only 2K DCI (2048 x 1080) as proxy only FULL HD (1920 x 1080) Cinema RAW Light 4K DCI (4096 x 2160) 2K DCI (2048 x 1080) XF-AVC 4K DCI, 4K UHD (3840 x 2160) 2K DCI, FULL HD (1920 x 1080) HD (1280 x 720) 4K DCI (4096 x 2160) 4K UHD (3840 x 2160) 2K DCI (2048 x 1080) FULL HD (1920 x 1080) 4.5K Raw in 10 & 12-bit, 4K in XF- AVC 10-bit YCbCr 4:2:2 at 810 Mbps
Maximum Bit Rate & Maximum Bit Depths Maximum Bit Rate & Maximum Bit Depths Maximum Bit Rate & Maximum Bit Depths Maximum Bit Rate & Maximum Bit Depths Maximum Bit Rate & Maximum Bit Depths
Maximum Bit Rate & Maximum Bit Depths 4K DCI (4096 x 2160) 4:2:2 10 bit 410 Mbps 4K DCI 12-bit Cinema RAW Light at 1Gbps, 4K UHD 8-bit 4:2:0 MP4 at 150 Mbps 4K DCI 12-bit Cinema RAW Light at 1Gbps, 4K UHD 8-bit 4:2:0 MP4 at 150 Mbps 4K DCI 12-bit Cinema RAW Light at 1Gbps and 4K DCI 4:2:2 10-bit in XF-AVC at 810 Mbps 4.5K Raw in 10 & 12-bit, 4K in XF- AVC 10-bit YCbCr 4:2:2 at 810 Mbps
CODEX CDX-36150 RECORDER CODEX CDX-36150 RECORDER CODEX CDX-36150 RECORDER CODEX CDX-36150 RECORDER CODEX CDX-36150 RECORDER
CODEX CDX-36150 RECORDER Not Available Not Available Not Available Not Available CANON CINEMA RAW:
100fps 4.5K (10-bit)
120fps 4K (10-bit)
ProRes 422 HQ:
60fps 4K
120fps 2K
Maximum Internal Frame Rates Maximum Internal Frame Rates Maximum Internal Frame Rates Maximum Internal Frame Rates Maximum Internal Frame Rates
Maximum Internal Frame Rates 4K 120fps, HD 180fps 4K 60fps, Full HD 120fps 4K 120fps, 2K 180fps 4K 30fps, 2K 120fps (with sensor crop) 4K 60fps 2K 240fps (with sensor crop)
LENS MOUNT LENS MOUNT LENS MOUNT LENS MOUNT LENS MOUNT
LENS MOUNT RF EF or PL
(and switchable through Canon Factory Service)
Camera ships EF from Canon. User swappable PL and locking EF mount available as additional accessory EF or PL
(Mount switchable through Canon Factory Service including Locking EF)
LOCKING EF or PL
PL supports Cooke /i
(Mount switchable through Canon Factory Service)
MEDIA CARD SLOTS MEDIA CARD SLOTS MEDIA CARD SLOTS MEDIA CARD SLOTS MEDIA CARD SLOTS
MEDIA CARD SLOTS 2x SD 2x SD (MP4, XF-AVC),
1x CFast (Cinema RAW Light)
2x CFexpress, 1x SD 2x CFast, 1x SD 2x CFast, 1x SD
Video Output Video Output Video Output Video Output Video Output
Video Output HDMI SDI, HDMI EVF-V50, EU-V1, EU-V2 3G-SDI, HDMI 4x SDI, HDMI
Output Specifications Output Specifications Output Specifications Output Specifications Output Specifications
Output Specifications 4K 10-bit 4:2:2 SDI
1920 x 1080 10-bit 4:2:2
HDMI
3840 x 2160 8-bit, 4:2:2
4K 10-bit 4:2:2 from SDI OUT 2K 10-bit 4:2:2 from MON. OUT 4K 10-bit 4:2:2 from HDMI terminal 3G-SDI
4K Canon RAW (24/30fps)
HDMI
1920x1080 (8-bit, 4:2:2)
4K Cinema RAW 60fps over 2x SDI Terminal,
4K RAW 30fps over a single SDI Terminal
AUTOFOCUS SYSTEM AUTOFOCUS SYSTEM AUTOFOCUS SYSTEM AUTOFOCUS SYSTEM AUTOFOCUS SYSTEM
AUTOFOCUS SYSTEM Dual Pixel CMOS AF??with??EOSxITR?? Dual Pixel CMOS AF with Touch Screen Dual Pixel CMOS AF with Touch Screen Dual Pixel CMOS AF with Touch Screen if purchased with the Canon LM-V1 LCD Monitor Dual Pixel CMOS AF
WEIGHT (body only) WEIGHT (body only) WEIGHT (body only) WEIGHT (body only) WEIGHT (body only)
WEIGHT (body only) ~2.6 lbs ~3.2 lbs ~3.9 lbs ~3.9 lbs EF ~7.6 lbs
PL ~7.9 lbs
NETFLIX APPROVED NETFLIX APPROVED
NETFLIX APPROVED Approved Approved
Sensor Sensor
Sensor Full Frame
(5952 x 3140 effective)
38.1 x 20.1 mm
Full Frame
(5952 x 3140 effective)
38.1 x 20.1 mm
Internal Recording Formats Internal Recording Formats
Internal Recording Formats Cinema RAW Light, XF-AVC (MXF File Format, 2K and 4K) ProRes 4444 (2K), ProRes 422 HQ (4K), XF-AVC (MXF File Format, 2K and 4K)
RESOLUTION RESOLUTION
RESOLUTION 5.9K Raw in 10 and 12-bit 2.1 Gbps (5.9K 60fps), 4K in XF-AVC 4:2:2 10-bit at 810 Mbps (4K 60fps) RAW to Codex CDX-36150 5.9K (5952 x 3140) To Internal CFast in Full Frame & Super 35 mode: 4K DCI (4096 x 2160) 4K UHD (3840 x 2160) 2K DCI (2048 x 1080) FULL HD (1920 x 1080)
Maximum Bit Rate & Maximum Bit Depths Maximum Bit Rate & Maximum Bit Depths
Maximum Bit Rate & Maximum Bit Depths 5.9K Raw in 10 and 12-bit 2.1 Gbps (5.9K 60fps), 4K in XF-AVC 4:2:2 10-bit at 810 Mbps (4K 60fps) 5.9K Raw in 10 & 12-bit, 4K in XF- AVC 10-bit YCbCr 4:2:2 at 810 Mbps
CODEX CDX-36150 RECORDER CODEX CDX-36150 RECORDER
CODEX CDX-36150 RECORDER Not Available CANON CINEMA RAW: 60fps 5.9K & 4K (10-bit)
168fps Super-16 Crop in 2K
ProRes 422 HQ:
60fps Full Frame in 4K
60fps Super-35 in 4K
Maximum Internal Frame Rates Maximum Internal Frame Rates
Maximum Internal Frame Rates 5.9K 60fps 4K 60fps 2K/HD 120fps 4K 60 fps,2K 168fps
LENS MOUNT LENS MOUNT
LENS MOUNT Camera ships EF from Canon. User swappable PL and locking EF mount available as additional accessory LOCKING EF or PL
PL supports Cooke /i
(Mount switchable through Canon Factory Service)
MEDIA CARD SLOTS MEDIA CARD SLOTS
MEDIA CARD SLOTS 2x CFexpress, 1x SD 2x CFast, 1x SD
Video Output Video Output
Video Output 12G-SDI, 3G-SDI, HDMI 4x SDI, HDMI
EXPANSION OPTIONS EXPANSION OPTIONS
EXPANSION OPTIONS EU-V1, EU-V2 None
Output Specifications Output Specifications
Output Specifications 4K 12G SDI from SDI terminal, 4K 4:2:2 10 bit from MON and HDMI terminal 4K Cinema RAW 60fps over 2x SDI Terminal,
4K RAW 30fps over a single SDI Terminal
AUTOFOCUS SYSTEM AUTOFOCUS SYSTEM
AUTOFOCUS SYSTEM Dual Pixel CMOS AF Dual Pixel CMOS AF
WEIGHT (body only) WEIGHT (body only)
WEIGHT (body only) ~3.9 lbs EF ~7.6 lbs
PL ~7.9 lbs
Filmmakers and Cinematographers Who Use Canon
Interview with Martin Scorsese Interview with Martin Scorsese
Interview with John Pope Interview with John Pope
Interview with Lauren Greenfield Interview with Lauren Greenfield
Interview with Max Joseph Interview with Max Joseph
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Lenses

  • RF
  • Prime
  • Zoom
  • Sumire
Canon RF Lenses

Designed to take advantage of everything the RF mount has to offer, RF lenses represent a new frontier in lens design for mirrorless cameras. With a large 54mm lens mount, large diameter elements to match and placement closer to the image plane, RF lenses provide brilliant image quality edge-to-edge with minimal light fallout, enabling new possibilities for enhanced optics and compact designs. A supercharged 12 pin communication system optimizes data transfer between camera and lens for sharp, stable and responsive performance in a wide variety of applications.

Canon Prime Lenses

Spanning the range of 14 to 135mm, these six prime lenses comprise a comprehensive shooting package that covers full-frame and Super 35mm production. Each lens is designed with optics for 4K capture and focus and iris gears that share the same position from lens to lens. The wide-angle lenses feature minimal edge distortion for a sharp images corner-to-corner, while the longer lenses in the set maintain a fast maximum aperture for shallow depth of field or low-light shooting.

Canon Zoom Lenses

Designed to support 4K resolution in Super 35 sensors, these CN-E lenses collectively cover from 14.5 to 300mm in either short or long zoom ranges. Available in either PL or Canon EF mount, the lenses incorporate an 11-blade iris that produces a natural looking bokeh and share focus and zoom gear positions for rapid lens changes without having to adjust your lens accessories. The CINE-SERVO 50-1000mm features a removable ENG-style zoom drive and incorporates a 1.5x extender that increases its range to 75 to 1500mm.

Canon Sumire Lenses

Canon's line of PL-mount cinema prime lenses is named Sumire Prime (pronounced "Soo-mee-ray")—inspired by the beauty of unfurling flower petals. Sumire lenses' unique optical design creates a nuanced look as the lens aperture approaches its maximum setting, subtly modifying the textural renderings of the human face, close up. Designed to fulfill contemporary 4K production standards, they feature a full-frame imaging circle in a lightweight, compact design. These phenomenal lenses are also perfect for any number of applications. Their 11-blade aperture diaphragm also creates beautiful background blur and innovative glass construction that counteracts barrel expansion and contraction to avoid temperature-induced marking discrepancies.

Reference Displays

Canon's line of professional reference displays provide the highest level of image quality and versatility for demanding professionals in the cinema and broadcast industries. Drawing on its 80 years of imaging expertise, optical technology and color science, Canon has produced a display system with core technologies that deliver high accuracy, broad support for industry standards and smooth workflow. Canon Reference Displays feature the built-in HDR Toolkit, which was awarded the Hollywood Professional Association's 2018 Engineering Excellence Award. These tools help to ensure a finished product that delivers beautiful and vivid HDR imagery.

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Captured with Canon

The Pollinators

The Pollinators is a cinematic journey around the United States following migratory beekeepers and their truckloads of honey bees as they pollinate the flowers that become the fruits, nuts and vegetables we all eat.

Watch Behind the Scenes
Free Solo

Try not to hold your breath as filmmaker Jimmy Chin chronicles Alex Honnold's attempt to become the first person to ever scale El Capitan in Yosemite National Park—an "impossible" 3,000 foot cliff face—without ropes or safety gear.

Watch Behind the Scenes
Murder in the Bayou

This five-part docu-series investigates the unsolved murders of eight women in and around Jennings, Louisiana.

Watch Behind the Scenes
The Drive

Take a peek behind the scenes at this up-close and personal chronicle of the on- and off-field stories of the 12 college football teams that make up The Pac-12 Conference, filmed by Matt Wilcox and Taylor Kavanaugh using the cinematic look and mobility of Canon's EOS C300 Mark II Cinema Cameras.

Watch Behind the Scenes

Videos

  • All
  • Movies
  • Behind the Scenes
  • Learning
  • Interviews
  • C500 4k
  • C300 MARK II
  • C100
  • OTHER
Bart Bart The classic story of "Boy-Meets-Girl," except that the "Boy," in this case the titular protagonist, Bart, walks around with an arrow in his chest. Shot with the Canon EOS C100 camera.
Battle of the Ages Battle of the Ages Shot on the XC10 4K camcorder, it is an action-packed comedy from YouTube filmmaker Scott Winn. Riffing on the 1980s crime drama trope, two young thugs learn the hard way that appearances can be deceiving.
Pulse Pulse Can a camera detect a user's heart rate and generate custom music? BioBeats created a world where our devices adapt to the way we feel. Pulse was shot with the Canon EOS C100 camera.
Trick Shot Trick ShotA classic con movie with a twist, Trick Shot is a film about a family of con artists who travel across the country to pay off their son's gambling debt and get more than they bargain for.
Bart Behind the Scenes Bart Behind the Scenes Director, Rich Landes and Cinematographer, Peter Simonite discuss their short film, Bart, that was shot entirely on the Canon EOS C100 camera. They share how they were able to run and gun 90 set-ups in two days.
Battle of the Ages Behind the Scenes Battle of the Ages Behind the Scenes Go behind the scenes with YouTube filmmaker Scott Winn (ScottDW) on his shoot for "Battle of the Ages," shot in 4K on Canon's XC10 camcorder.
Need for Speed Behind the Scenes Need for Speed Behind the Scenes Cinematographer Shane Hurlbut takes you on an adrenaline-pumping ride of the blockbuster Need for Speed. Shane relied on the C500 4K, the Cinema EOS-1DC, and Canon lenses to capture the racing action.
Pulse Behind The Scenes Pulse Behind The Scenes How do you shoot a documentary in 3 countries in just over a week? With the Canon EOS C100 camera, which allowed still motion to work in a run-and-gun situation, while maximizing the story they were telling.
Trick Shot Behind the Scenes Trick Shot Behind the Scenes A behind the scenes look at the making of Trick Shot. Director Evan Kaufmann and Director of Photography Gale Tattersall share their impressions of working with Canon's EOS C300 Mark II camera.
Canon EOS C300 Mark II Canon EOS C300 Mark II Join Canon Technical Advisor Brent Ramsey as he goes over the EOS C300 Mark II. This camera is an evolutionary CINEMA EOS System model, redesigned and re-engineered with the input of thousands of users.
Canon EOS C500 and the 4K Workflow Canon EOS C500 and the 4K WorkflowJoin Oscar nominee and Director of Photography for Saturday Night Live Alex Buono on his "The Art of Visual Storytelling Tour" where he teaches cinematographers how to create dynamic and impactful films.
Canon XC-10 Canon XC-10The XC-10 is a compact designed camera that records in UHD 4K at broadcast ready frame rates. It features a 1" sensor coupled to a 10x zoom lens and a 3-inch.
Canon Cine-Servo Lens 50-1000mm Canon Cine-Servo Lens 50-1000mmJoin Canon U.S.A.'s Larry Thorpe as he discusses the features and benefits of the Canon cine-servo 50-1000mm lens.
Canon The Science Behind 4K Optics Canon The Science Behind 4K Optics Real 4K technology goes far beyond the label. Canon 4K optics are born from decades of research and design, creating brilliant, vivid, rich images. And it all begins with the lens.
Interview with Martin Scorsese Interview with Martin Scorsese Martin Scorsese opens up about the art of filmmaking, storytelling through pictures and how the Canon EOS can be an invaluable tool when capturing down-and-dirty footage on cramped, ???mean street' environments.
IInterview with John Pope Interview with John Pope about non-fiction production John Pope talks to us about "Blood Brother," and how the small form factor of the EOS 5D Mark II and EOS 7D helped him capture some of his most moving scenes without being intrusive.'
Interview with Lauren Greenfield Interview with Lauren Greenfield Interview with Lauren Greenfield Photographer and filmmaker Lauren Greenfield has been a Canon shooter since 2007. Find out why.
Interview with Lauren Greenfield Interview with Max Joseph about non-fiction production Cinematographer Max Joseph, of MTV's "Catfish," explains how the XF105, XA25 and the PowerShot S100 help him quickly capture his moments with his subjects.
The Calling 4K The Calling 4K Cinematographer Russell Carpenter, ASC and Canon Explorer Of Light Tyler Stableford team up for the first U.S. based EOS C700 shoot which shows off the versatility and low light capabilities of Canon's new EOS C700.
The Making of IMAX A Beautiful Planet The Making of IMAX A Beautiful Planet Learn about how IMAX shot A Beautiful Planet from space from Director Toni Myers, DP James Neihouse and Astronaut Marsha Ivins.
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