CANON EOS C80 AND C400
On such compact camera bodies, there just isn’t room to have both a moving IBIS-style sensor as well as built-in ND filters. Screen test Both cameras have fully articulated screens packed with useful details. There are 13 assignable buttons on the C80 and 18 on the C400, while each model has a multi-functional handgrip and fan ventilation system to prevent overheating. This can be turned off when needed. The cameras come bundled with a top handle that bolts on securely, as well as XLR shotgun mic holders, but sadly there is no pass-through for the multi-interface shoe or even a second REC start button. The C80 has a screen that folds out to uncover the audio controls. These are plentiful and command the inputs, which come via mini XLR jacks. The screen is bright, but if you are outside on a sunny day it can be a bit hard to read. Said screen features waveforms, vectorscope, false colour warnings, adjustable zebras and focus peaking. You can exchange shutter speed for shutter angle and ISO for gain, and there’s also anamorphic de-squeeze support, albeit a limited range. Canon doesn’t make RF-fit anamorphic lenses and doesn’t allow third-party manufacturers to make full-frame RF lenses, so nothing will fit natively. But the C400 can be fit with a PL mount to accept a whole variety of cinema lenses, including many anamorphics. Just don’t expect a massive range of de-squeeze options when monitoring. The C400 monitor is a separate screen that connects via a USB-C cable clamped at the camera and monitor end, so it’s easy to take it off and fit to a gimbal handle. The screen bolts to a new articulating arm that connects to a 15mm rail. This is not a particularly ergonomic or sturdy system, “The C80 has a screen that folds out to uncover the audio controls – and these command the mini XLR jack inputs”
f/2.8 when used in a rig. It’s a totally unique lens, perfect for the new do-it-all Cinema EOS duo. Canon offers another standard zoom that can take advantage of the large mount: the big, beefy 28- 70mm f/2L USM, costing £3299/$2799 and weighing in at 1430g/3.15lb (above left). It’s rather hefty with a 95mm front filter thread and a 104mm/4.09in girth. Its 19 elements in 13 groups and the nine rounded aperture blades make it optically excellent and its amazingly fast f/2 maximum aperture lets you use it like any prime between 28 and 70mm. It’s certainly lighter and cheaper than hauling that lot around. Other truly exotic and unique optics utilising the RF mount include the £11,499/$9499 100-300mm f/2.8L IS USM fast zoom and the 85mm f/1.2L USM DS lens with adjustable Defocus Smoothing for portraits. Again it’s not cheap at £3499/$2899, but gives Canon users features they can’t get anywhere else.
and three aspherical ones that reduce chromatic and spherical aberrations. Canon’s Super Spectra, Air Sphere and Fluorine Coatings minimise any flare or ghosting caused by surface reflections on the lens. This complex design – including Dual Nano USM technology - helps minimise focus breathing and works very well. The lens has two function buttons and an aperture ring and costs £3439/$2999. There are two adapters that can turn it into a powerzoom lens. The PZ-E2 has a USB-C port and is only compatible with the 24-105mm f/2.8 currently, at £1149/$999. The PZ-E2B also offers a USB-C port, plus a 20-pin connection, for £1529/$1299. Power comes courtesy of the RF mount or USB-C and there’s a manual-to-servo switch on the side. The powerzoom control allows the lens to go wide or to telephoto with a button press. The new LH-E1 lens holder at £249/$199 also supports the 24-105mm
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