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Canon U.S.A. Introduces Its First Full HD IP Security Cameras

LAKE SUCCESS, N.Y., September 5, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, has introduced its first-ever line of Full HD IP Security cameras. Integrating sophisticated technologies derived from Canon’s world-famous digital cameras and HD lenses, the four new products include:
• VB-H41 pan/tilt/zoom IP camera with a 20x wide-angle zoom lens
• VB-H610VE fixed vandal-resistant IP 66-rated IP dome camera
• VB-H610D fixed indoor IP dome camera
• VB-H710F “box” style fixed IP camera

All feature class-leading low-light performance, a Genuine Canon aspherical wide-angle zoom lens with optimal lens coating technology, a 2.1 Megapixel 16:9 aspect ratio widescreen CMOS image sensor, and a pair of proprietary Canon DIGIC processors: the powerful Canon DIGIC DV III image processor for exceptional picture quality with lifelike colors and tonal accuracy, reduced noise, and low power consumption; and the second-generation Canon DIGIC NET II network video processor, a powerful, highly efficient compression, encryption, and transmission engine for full 1920 x 1080 HD up to 30 fps simultaneously in both H.264 and M-JPEG.

Advanced Canon technology built into these four IP security cameras includes sophisticated analytic capabilities as well as ONVIF (Open Network Video Interface Forum) Profile S conformance for improved compatibility with other ONVIF-compliant third-party security products.

“Canon leadership in HD imaging technologies enables the Company to leverage its vast expertise in developing IP security cameras with exceptional picture detail and advanced digital features,” noted Yuichi Ishizuka, executive vice president and general manager of the Imaging Technologies and Communications Group, Canon U.S.A. “These new cameras provide outstanding imaging performance and sophisticated user benefits to address the needs of security professionals in a diverse range of applications and environments.”

High Definition, High Functionality
All four of Canon’s Full HD IP Security cameras are designed to capture high-resolution detail and color vital for obtaining crucial visual information for security purposes. Markets for these cameras include financial institutions, industrial plants and utilities, military and government agencies, airports and transportation centers, schools, retail establishments, and casinos. The advanced Canon DIGIC DV III image processor built into these IP security cameras optimizes image quality, providing Auto Gain Control, which limits the amount of gain added to the image to reduce “noise.” The new DIGIC NET II network video processor includes a multi-codec function for the simultaneous transmission of video in both H.264 and M-JPEG up to 30 frames per second. The Canon DIGIC NET II’s H.264 codec features an adjustable i-frame interval to optimize bandwidth and video-storage space. M-JPEG and H.264 can be output in multiple resolutions: 1920 x 1080, 960 x 540, and 480 x 270. M-JPEG can also be output at 320 x 240 QVGA resolution. The DIGIC NET II network video processor is also utilized for the cameras’ Smart Shade Control feature, which selectively brightens dark areas while maintaining accurate exposure of bright areas in high contrast scenes.

Each of the Full HD IP Security cameras also features built-in Video Analytics to assist in identifying potentially crucial details including moving, removed, and abandoned object detection as well as passing (or “tripwire”) detection. User-adjustable in terms of detection characteristics such as sensitivity, area and duration, Video Analytics can engage configured alarms and notification functions. Passing detection can, for example, issue an alert if a person or object moves past a user-preset line or polygon in the camera image, such as a doorway, window, driveway, or other boundary. All four cameras also feature Camera Analytics, which include detection of camera tampering and sound-level detection in the vicinity of the camera that may indicate vandalism or sabotage.

Additional features shared by the Canon VB-H41, VB-H610VE, VB-H610D, and VB-H710F Full HD IP Security cameras include a Privacy Mask function to block sensitive locations (such as ATM keypads or computer monitors) from the cameras’ view while still allowing for a full range of motion. The cameras also feature two-way audio connectors for bi-directional sound communication, built-in Management Tools, and a Web Viewer function for remote video monitoring by authorized users on supported web browsers such as 32-bit versions of Microsoft’s Internet Explorer 7, 8 and 9. The cameras ship with RM-Lite 2.0, Canon’s free network video and recording software for up to four cameras. A built-in SD Memory Card slot (supporting SD, SDHC, and SDXC cards) allows users to record still images or H.264 video during network outages, scheduled event triggers, or manually through Admin viewer (VB Admin Tools are resident on each camera’s web server). An Auto IP feature can automatically assign each camera a private IP address, allowing for connectivity without configuring each cameras network setting.

A valuable new feature shared by all four new models is Viewer PTZ, which allows a computer operator to magnify video from the camera for an even closer look at specific image details. Due to the high quality of Full HD video, video quality remains usable even when magnified. In addition to Viewer PTZ, the VB-H610VE, VB-H610D, and VB-H710F models are equipped with Digital PTZ, which uses the camera to trim or crop sections of the Full HD video image. The cameras can then digitally encode and transmit just those cropped areas, saving bandwidth. Compared with streamed video that is magnified on a computer using the Viewer PTZ function, the Digital PTZ function can reduce the overhead for computers because the video cropped by the camera is streamed, resulting in smaller file sizes. Digital PTZ supports a 16:9 aspect ratio at multiple resolutions, including 640 x 360, 512 x 288, 256 x 144, and 128 x 72 pixels.

VB-H41
Featuring a completely new structural design for increased durability with improved bearings and a flexible-cable assembly, the Canon VB-H41 Full HD IP Security camera includes a best-in-class Genuine Canon 20x optical zoom lens with 12x digital zoom, a wide 60.4º angle of view, and an improved Auto Focus algorithm to improve focusing accuracy in various difficult shooting conditions. Working together with a built-in thermal sensor, the VB-H41 Auto Focus algorithm also corrects for temperature changes in the installation environment. An electronic Image Stabilization feature minimizes blur that can be caused by vibration in the installation base, and the VB-H41 supports select third-party USB joysticks for controlling PTZ and presets. The VB-H41 can capture potentially crucial image detail in low-illumination environments down to 0.4 lux at F1.6 and 1/30 sec. in color* and 0.02 lux at f/1.6 and 1/30 sec. in black & white.*

VB-H610VE
The VB-H610VE fixed vandal-resistant Full HD IP Security camera is housed in a clear polycarbonate dome mounted to an aluminum body; this unified enclosure has a dust and water-resistance rating of IP66. The enclosure can also absorb violent impacts. Inside the enclosure, the VB-H610VE lens is mounted in a damping mechanism to protect it against heavy blows. The camera is designed for use in areas that may be subject to abuse, such as correctional facilities, public transportation centers, shopping malls, and schools. An optional heater allows the camera to be used in temperatures down to -22º F. The VB-H610VE also features a built-in Genuine Canon 112.0º wide-angle 3x optical zoom lens for clear, high-quality images. The VB-H610VE (and VB-H610D and VB-H710F) can capture potentially crucial image detail in low-illumination environments down to 0.3 lux at F1.2 and 1/30 sec. in color* and 0.015 lux at f/1.2 and 1/30 sec. in black & white.*

VB-H610D
As with the VB-H610VE, this camera has a built-in Genuine Canon wide-angle 3x optical zoom lens with an ultra-wide 112.0º angle of view, making it ideal for use in areas with severe space restrictions such as stairways, narrow halls, and elevators, as well as vast, wide-open spaces such as shopping malls or factory floors. The lens’s sophisticated aspherical optical composition and optimal lens coating technology enables it to produce high-quality sharp images with minimal distortion and flare. The VB-H610D is a versatile fixed security indoor dome camera suited for many IP security applications. Both the VB-H610VE and VB-H610D cameras also include a Remote Adjustment Function to change the angle of view (including pan, tilt, rotation, zoom, and focus) of the cameras from any remote PC, thereby eliminating the time and expense of on-site adjustments involving labor, transportation, and equipment.

VB-H710F
Designed with a traditional rectangular “box” look, the Canon VB-H710F Full HD IP Security camera also features a built-in Genuine Canon wide-angle 3x optical zoom lens with an ultra-wide 112.0º angle of view. A unique feature of this camera is its built-in motorized focus and zoom function, which enables users to adjust those settings. Convenient and labor-saving, motorized focus and zoom is a major benefit for challenging and/or large installation environments.

Installation Advantages
The Canon VB-H41, VB-H610VE, VB-H610D, and VB-H710F Full HD IP Security camera are designed to facilitate convenient installation. All provide ONVIF Profile S conformance for improved compatibility with other ONVIF-compliant third-party security products. All four cameras can be powered either with 24VAC, 12VDC, or PoE (IEEE 802.3af conformant).

Pricing and Availability
The VB-H41 PTZ camera, VB-H610VE fixed vandal-resistant dome camera, VB-H610D fixed indoor dome camera, and VB-H710F fixed indoor “box” camera have suggested list prices of $2,899, $1,569, $1,289 and $1,159 respectively1. Initial shipments for all new models are scheduled to begin in December, 2012.

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. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010† and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. 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. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

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

* At 50 IRE with SSC (Smart Shade Control) off.

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

1 Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.

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Canon HD Digital SLR Cameras Provide Documentary Filmmakers With Creative Freedom

Documentary filmmakers have long agreed that the more inconspicuous the camera, the more “truth” it can capture. The proliferation of compact, highly mobile video cameras during the past 20 years has proven this to be true, but many of today’s documentarians not only want a camera that won’t intimidate interviewees, they also want a camera that can capture imagery that’s more cinematic. The filmmakers behind two of this year’s Oscar-nominated documentaries achieved both goals by using digital SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. Directors Danfung Dennis (Hell and Back Again) and Lucy Walker (The Tsunami and the Cherry Blossom) recently discussed the advantages of their Canon digital SLR cameras during interviews at the International Documentary Association’s Los Angeles DocuDay event. Each documentary took advantage of a different EOS DSLR and series of EF lenses to uniquely capture their particular stories. Dennis’ camera of choice was the EOS 5D Mark II, while Walker and her director of photography Aaron Phillips used an EOS 7D DSLR.

Hell and Back Again tells the story of a U.S. Marine Corps sergeant’s battle with post-traumatic stress disorder after his return from Afghanistan. The film combines combat footage shot by Dennis with intimate scenes of the soldier’s physical and emotional difficulties as he tries to readjust to everyday married life as a civilian in North Carolina. Prior to shooting the film, Dennis spent several years as a photojournalist covering both Iraq and Afghanistan with Canon DSLR cameras. An early adopter of the HD capabilities of the EOS 5D Mark II, Dennis built a stabilization rig for the camera that enabled him to shoot run-and-gun video while embedded with Echo Company 28 of the 2nd Marine Division in Southern Afghanistan.

“I have always been interested in how I could advance documentary cinematography so that it was closer to the methods and look of both still-photojournalism and narrative cinematography,” Dennis explained. “I was deeply moved by past war photographers, especially those from the Vietnam era. I wanted to borrow from the syntax of photojournalism, and then mold and shape it with cinematic HD to convey the emotional power of still images to give audiences a very direct, immersive feeling of what it’s like to go to war and then come home from it. Canon’s EOS 5D Mark II allowed me to do that, with extremely high-quality lenses and a small single-person set-up that enabled me to get into various situations ranging from combat zones to the home of an injured soldier. This type of visual medium helped me get into that person’s mind, and was very different from a traditional documentary look and feel.”

Technology and Trust
Upon returning to the U.S., Dennis rebuilt his EOS 5D Mark II camera-stabilization rig to be even smaller and less intrusive for capturing cinema vérité footage of the everyday lives of the sergeant and his wife. Shooting extensively in interior locations, Dennis had special praise for the low-light capabilities of the Canon 5D Mark II’s 21.1-megapixel 36mm x 24 mm full-frame Canon CMOS sensor, and for the Canon EF series lenses he used.

“The 5D Mark II’s sensor is incredible, I was pushing the limits of what’s possible with its low-light capabilities,” Dennis stated. “You can shoot at extremely high ISOs and still have a relatively clean image. I also used really nice Canon lenses, an EF 35mm f/1.4 and an EF 50mm f/1.2. Those L Series lenses allowed me to open it all the way up to f/1.2 in extreme low-light, push the ISOs quite high, and still get this incredible image without having to use any external lights. They gave me a shallow depth of field for conveying a lot of the emotions of the central character. In Afghanistan I primarily used an EF 24-70mm f/2.8, which gave me the diversity necessary to get wide and tight shots, without having to fumble and change lenses when there is a lot of dust and action going on. The EOS 5D Mark II and its EF lenses allowed me to work as one person with one rig and shoot an entire film.”

Equipment aside, Dennis hastened to mention another essential element of his documentary technique that goes beyond using a small camera with no intimidating movie lights. That element is trust.

“I think it’s really also about having that level of trust with your subjects, where they are willing to open up to you and let you capture something that is very personal and raw,” he noted.

Visual Haiku
Trust was also key to director Lucy Walker and DP Aaron Phillips’ interviews of Japanese earthquake and flood survivors in The Tsunami and the Cherry Blossom. Touring areas devastated by the 2011 Tohoku earthquake by car and on foot, Walker, Phillips, and their driver/translator carried their Canon EOS 7D cameras and minimal gear in backpacks, and were always careful to tell their interview subjects that they were filming video footage and not just taking still pictures.

“It was important for people to understand that we were shooting video, because you want them to be ‘on-board’ with what we were doing,” Walker said. “And even though they knew we were filming, the compact size of the Canon 7D and its familiar stills-camera appearance helped avoid any ‘intimidation’ factor. They felt comfortable, and you always want the scene to be about the people you’re filming – candid, honest, and emotional – and not about the crew and the equipment. The EOS 7D was absolutely super for us and we never really considered an alternative.”

“The Canon EOS 7D was liberating,” Phillips agreed. “I don’t think people would have been as receptive to us if we had a larger, traditional-format documentary camera. I think we would have been booted from many locations if we had a crew with boom poles and lights. The EOS 7D made us much more ‘human’ and sensitive to the situation.”

Walker and Philips shot interviews with survivors in the areas hardest hit by the disaster, juxtaposing that footage – and news video of the tsunami – with scenes showing the beginning of cherry blossom season, a cherished annual tradition in Japan. As the film’s website notes, The Tsunami and the Cherry Blossom is “a stunning visual haiku about the ephemeral nature of life and the healing power of Japan’s most beloved flower.”

A Cinematic Look
Walker and Phillips found that the 18-megapixel APS-C-size CMOS sensor in the Canon EOS 7D digital SLR camera was particularly well-suited not only for photographing the beauty of nature in bright outdoor settings, but also for shooting intimate, emotional indoor interviews in subdued lighting. “To have the option to shoot with no light and still get a gorgeous image was important,” Phillips related.

Lenses used for filming The Tsunami and the Cherry Blossom included a combination of Canon EF series models. “We used all Canon lenses, including Canon L-Series zooms: the EF 16-35mm f/2.8, the 24-70mm f/2.8, and the 70-200mm f/2.8,” he said. “We also used a Canon Extender EF 2x and did a little work with 24mm and 45mm Canon tilt-shift lenses.”

Crafting beautiful images for a documentary is as appropriate as it is for any other kind of film, Walker believes. There’s no reason why a documentary has to have a traditional “documentary” look. “People often think of documentaries as being poorly shot and low quality, but I like to think of documentaries as being potentially very beautiful,” Walker explained. “Just because it’s depicting real life doesn’t mean that it’s ugly. Aaron is the kind of cinematographer who can bring artistry to spontaneity, even when I am demanding that we move fast. I believe you should be able to deliver results that stand up to a big-screen cinematic blow-up and look absolutely stunning.”

Both filmmakers believe that this is a golden age for documentary production, due not only to the sophistication of cameras such as the Canon EOS 7D digital SLR, but also due to the elimination of the cost of film and processing made possible by digital recording and editing.

“The decreased cost is a huge advantage,” Walker stated. “You have the flexibility to shoot, experiment, and explore. We were translating Japanese as we went, which slowed the interviews, but we didn’t have to cut. This does make it easy to shoot too much content and get into trouble in post, but we didn’t. We had 46 hours of footage, which would have been totally unaffordable in film, but for us it was the absolute right amount to shoot, and a fabulous freedom. Now it is easier than ever to sculpt stories from scratch, and I credit the new digital tools of non-linear editing and affordable, cinematic cameras such as the Canon EOS 7D digital SLR as the reason why it’s such an exciting time to be a documentary filmmaker.”

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Canon EOS 5D Mark II Digital SLR Cameras Streamline the Production of a Major New Animated Stop-Motion Horror Comedy

The efficiency and creative uses of a classic movie-animation technique have been greatly improved of late due in large part to the advanced features, compact size, and high-resolution still-photo capabilities of EOS 5D Mark II SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions. The technique, known as stop-motion animation, is distinctive in appearance but traditionally labor-intensive, entailing frame-by-frame photography of a puppet “actor” to create the illusion of movement. LAIKA, the renowned animation studio near Portland Ore., has recently streamlined the photography and workflow of its latest stop-motion 3D feature film, ParaNorman, using 60 Canon EOS 5D Mark II cameras and other advanced digital technologies.

“It took us 86 weeks to shoot the principal photography,” noted John Ashlee Prat, one of five lighting cameramen on the film. “The Canon 5D Mark II has features that helped us to expedite this process.” A horror comedy about a small-town boy who can see and speak to spirits, ParaNorman’s eponymous hero must battle an assortment of ghosts, witches, zombies, and terrified humans to save his town from doom. In order to capture the more than 400,000 separate stop-frames needed to create ParaNorman, the film was divided among five camera teams and 50 separate units at LAIKA’s 151,000 square ft. studio. Each unit had its own shooting stage, sets, puppet “actors,” equipment (including Canon EOS 5D Mark II cameras), and a crew working on different portions of the film simultaneously. Director of Photography Tristan Oliver supervised the entire production. Of all the film-resolution digital still cameras on the market, Prat explained, the 5D Mark II had the best combination of features needed for the 3D stop-motion animation of ParaNorman.

“Stop-motion animators need a live-view reference to see and record their progress,” he said. “We tested every off-the-shelf digital SLR camera that can provide live view and the high-resolution RAW image files we needed, and we found that the Canon 5D Mark II live view is far superior to any of the others. The 5D Mark II also provides the RAW image output we needed, and a USB connector to feed files to our in-house network.”

Production Workflow
Compact, lightweight, and compatible with Canon’s wide selection of EF Series lenses, the 5D Mark II digital SLR camera is equipped with a 21.1 megapixel full-frame Canon CMOS sensor and DIGIC 4 image processor for exceptional still-image capture in a number of RAW or JPEG modes and sRAW options. (The 5D Mark II can also record exceptional full 1920 x 1080 HD motion imagery, which wasn’t needed for ParaNorman’s stop-motion still-photo technique.)

Although the Canon 5D Mark II is designed to record to CF media cards, LAIKA instead used the USB output of each camera to feed all image data directly to computers running Dragonframe stop-motion animation software. Dragonframe recorded each image in the resolutions needed to a server farm, and enabled animators to review their work at any time by shuttling footage back and forth on a special keypad.

“Dragonframe ingests a full .CR2 Canon RAW format file for each frame along with a JPEG, which can be played back for animator reference,” Prat explained. “The RAW files and JPEGs get exported out as a neat little package to editorial for smooth postproduction workflow. Later on we resized and worked in 2K, but still had the hi-res RAW files to fall back on when we needed to do special effects on specific shots.”

Creative Advantages
Photography of a stereoscopic 3D film requires the capture of not one, but two frames – a left and a right image – 24 times for every second of screen time (in stop-motion animation that number is doubled to 48). The compact size of the Canon 5D Mark II digital SLR camera (as opposed to traditional film cameras) greatly facilitated the capture of the corresponding left- and right images needed for 3D, especially given the miniature sets and puppets being photographed. Each 5D Mark II camera was mounted on a computer-controlled motorized horizontal slider, which moved the camera first right and then left for sequential capture of all the necessary 3D frame-pairs.

“The slider is necessary because we can’t put two cameras side-by-side to successfully photograph little 8- to 12-inch puppets in a miniature world,” Prat explained. “We have to use the inter-ocular distances appropriate to that world in order for it not to look miniature. Depending on the shot, those distances can vary from as little as half a millimeter to maybe 10 or 12 millimeters. That’s why the 5D Mark II on a slider works so well. In addition, the compact SLR form factor added stability to our motion-control rigs and allowed us to design smaller-profile rigs that allowed us to put cameras in interesting places – in tunnels and in low-angle situations – that increased our ability to create interesting shots. Another reason why the 5D Mark II is well-suited for stop-motion animation is because it captures images directly through its lens, without parallax. What the animator sees is exactly what he’s going to get, which is crucial for any kind of filmmaking.”

Time-Saver
Ruggedly built, the Canon 5D Mark II integrates many advanced technologies designed for convenient operation. Among these is a self-cleaning sensor unit, which employs a low-pass filter at the front of the sensor to automatically shake off dust with ultrasonic vibrations. The EOS 5D Mark II also has a coating on the front surface of the low-pass filter to increase its resistance to dust sticking to the sensor.

“The self-cleaning sensor feature of the Canon 5D Mark II saved us a lot of time because we didn’t need to take the lens off to clean the sensor,” Prat added. “Also, after principal photography we checked all the 5D Mark II cameras for their total number of shutter actuations, and some of them got up to 150,000. We are rolling our current fleet of Canon 5D Mark II cameras on to our next production, although not for principal photography. Instead they will be used to support all the other departments for their photographic needs. We expect they will make it through the next production with little problem. Principal photography will be done with
Canon 5D Mark III cameras, which feature a noise level that’s two stops better than the original Mark IIs, and that’s even better for us.”

Although the comical characters in ParaNorman experience many frightening adventures, LAIKA’s use of Canon 5D Mark II cameras provided no unpleasant surprises. “The Canon 5D Mark II performed beautifully,” Prat concluded. “We were able to shoot the whole movie without having any cameras fail on us, which was wonderful. This gives me confidence in our decision to use the 5D Mark III on the next production. Canon has made a commitment to the cinema world, and they listen to users to learn how they can improve their products. They stopped by LAIKA to see how we do things, which we really appreciate.”

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Canon EOS 5D Mark II DSLR Cameras Help Capture the Summer Animated Feature “ParaNorman” in 3D

LAKE SUCCESS, N.Y., August 16, 2012 – Five camera teams and crews of animators, puppeteers, and staff from LAIKA animation studios, along with an garrison of sixty EOS 5D Mark II SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions, have come together to help bring the new 3D feature film, “ParaNorman” to screens this Summer. The EOS 5D Mark II DSLR cameras captured frame-by-frame stop-motion animation of puppet “actors” in this new horror comedy about a small-town boy who speaks to ghosts and must battle an assortment of otherworldly creatures to save his town from doom.

“The Canon EOS 5D Mark II has features that helped us to expedite the stop-motion animation process,” noted John Ashlee Prat regarding the animation of “ParaNorman.” Prat, one of five lighting cameramen on the film, explained that in order to capture the more than 400,000 separate stop-frames needed to create “ParaNorman,” the film was divided among five camera teams and 50 separate units at LAIKA’s 151,000 square ft. studio. Each unit had its own shooting stage, sets, puppet “actors,” equipment (including Canon EOS 5D Mark II cameras), and a crew working on different portions of the film simultaneously. Director of Photography Tristan Oliver supervised the daunting task of five simultaneous film units throughout the entire production.

Compact, lightweight, and compatible with Canon’s wide selection of EF Series lenses, the
Canon EOS 5D Mark II digital SLR camera is equipped with a 21.1 megapixel full-frame Canon CMOS image sensor and DIGIC 4 image processor for exceptional still-image capture in a number of RAW or JPEG modes and sRAW options.

“Stop-motion animators need a live-view reference to see and record their progress,” Prat said. “We tested every off-the-shelf digital SLR camera that can provide live view and the high-resolution RAW image files we needed, and we found that the Canon EOS 5D Mark II live view is far superior to any of the others. The 5D Mark II also provides the RAW image output we needed, and a USB connector to feed files to our in-house network.”

Photography of a stereoscopic 3D film requires the capture of not one, but two frames – a left and a right image – 24 times for every second of screen time (in stop-motion animation that number is doubled to 48). The compact size of the Canon EOS 5D Mark II digital SLR camera (as opposed to traditional film cameras) greatly facilitated the capture of the corresponding left- and right images needed for 3D, especially given the miniature sets and puppets being photographed. Each 5D Mark II camera was mounted on a computer-controlled motorized horizontal slider, which moved the camera first right and then left for sequential capture of all the necessary 3D frame-pairs.

“The slider is necessary because we can’t put two cameras side-by-side to successfully photograph little 8- to 12-inch puppets in a miniature world,” Prat explained. “We have to use the inter-ocular distances appropriate to that world in order for it not to look miniature.”

“The self-cleaning sensor feature of the Canon EOS 5D Mark II saved us a lot of time because we didn’t need to take the lens off to clean the sensor,” Prat added. “We are rolling our current fleet of 5D Mark II cameras on to our next production, although not for principal photography. Instead they will be used to support all the other departments for their photographic needs. Principal photography will be done with EOS 5D Mark III cameras, which feature a live view that’s two stops better than the original Mark II’s, and that’s even better for us.”

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. With $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in patent holdings in the U.S. in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. 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. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

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

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

Availability and specifications of all products are subject to change without notice.

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Canon U.S.A. Introduces Four Portable LCD Projectors that Deliver Crisp Images at an Affordable Price

LAKE SUCCESS, N.Y., June 7, 2012 – Integrating the latest technology advances into its line of LV-Series portable projectors, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced four LCD models designed to serve the needs of a wide range of professional users. Common to all of these convenient, lightweight portable projectors is a cost-effective combination of high brightness, long lamp and filter life, and convenient auto setup functions. Divided into Advanced (“A”) and Mid-Range (“M”) models, Canon’s newest products include the LV-8227A high-contrast projector and the LV-7392A, LV-7297M, and LV-7292M multimedia projectors.

“Canon’s lineup of LV-Series portable LCD projectors is designed to appeal to a diverse array of markets and applications with great performance, genuine user benefits, and excellent cost-efficiency,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technology & Communications Group, Canon U.S.A.

Combining high-contrast (3000:1) image projection with widescreen WXGA (1280 x 800) resolution display, the Canon LV-8227A multimedia projector is designed to deliver bright (2500-lumen), highly detailed video and still images even in well-lit environments, such as classrooms. The Canon LV-8227A is also capable of reproducing full 16:10 widescreen images generated by the latest laptop and desktop computers – including crisp, well-defined diagrams and spreadsheets – without cropping or compression.

Outputting a bright 3000-lumen image, the Canon LV-7392A multimedia projector features a contrast ratio of 2000:1, and is also well-suited for classrooms, labs, and other smaller educational environments. The LV-7392A delivers XGA (1024 x 768) resolution images, as do the LV-7297M and LV-7292M multimedia projectors, which output 2600 and 2200 lumens, respectively. The LV-7297M and LV-7292M are designed for general use by the small office/home office market.

All four of Canon’s newest LV-Series portable projectors include a wide array of computer, video and audio connections for compatibility with a variety of media-display devices. Connectors include a HDMI 1.3 input that enables crystal-clear display of high-definition video signals from Blu-ray players, satellite TV or digital cable boxes, and other high-quality video and audio sources. An RS-232C serial connection provides for full local PC controls when using third-party control software. The LV-8227A and LV-7392A each include a 10-watt built-in speaker with network control capabilities while the LV-7297M and LV-7292M incorporate 1-watt built-in speakers.

Canon’s LV-8227A, LV-7392A, LV-7297M and LV-7292M multimedia projectors feature Genuine Canon wide-angle 1.2x zoom lenses with manual zoom and focus for exact user-determined settings of projection optics, clear picture quality, and generous projection distances. The Canon projectors also include a variety of Image Modes to suit varied presentation needs, including:
• Standard – the normal mode pre-set on the projectors.
• Presentation – increases contrast and saturation (detailed diagrams and text in bright rooms).
• High Contrast – clear and easy-to-see detail in bright environments.
• Cinema – increased contrast and tonal detail for depiction of moving images.
• Blackboard/Greenboard – to improve color reproduction when projecting onto colored classroom boards.
• Color Board – to improve color reproduction when projecting on a colored wall.
• User 1-4 – enables users to save and recall preferred individual settings.

Advanced Features
The Canon LV-8227A, LV-7392A, LV-7297M and the LV-7292M projectors incorporate many useful features designed to maximize convenience and economy for end-users. These features include:

• Auto Setup Functions – for signal input, PC signal type, and vertical-keystone correction. One push of a button automatically identifies the type of input signal (video or computer), and – if a computer input – automatically synchronizes the projector’s display with the computer screen’s pixel configuration. Auto vertical-keystone “squares” images when the projector is facing the screen at an angle.
• Extended Projection-Lamp Life – up to 6,000 hours in Quiet Mode (projection-lamp life of the model LV-7490 is 5,000 hours in Quiet Mode).
• Extended Air Filter Life – up to 5,500 hours in ECO Mode (the filter, made of a new three-layer, highly efficient, hybrid material, cleans the air drawn in by the internal fan that cools the projection lamp).
• Quiet Operation – at only 29 dB (in Quiet Mode), these new projectors are equipped with a cooling system that produces very little noise.
• Easy-Install Lamp and Direct Power-On – convenient features for users wanting to ceiling-mount their Canon multimedia LCD projector.

Pricing, Availability and Warranty Information
The new Canon LV-8227A, LV-7392A, LV-7297M, and LV-7292M have suggested list prices of $799, $799, $699, and $599, respectively. All models are expected to ship in late June and each is backed by Canon U.S.A.’s exclusive Triple P (Projector Protection Program), a FREE service program that provides a loaner projector of equal or greater value to the end user in the event their projector needs to be repaired.

For more information, visit www.usa.canon.com/projectors.

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. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. 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. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.
.
# # #

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

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

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

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Canon U.S.A. Introduces the REALiS SX6000 and REALiS WX6000 High-Brightness Pro AV Series Multimedia LCOS Projectors

LAKE SUCCESS, N.Y., June 7, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, continues its strong commitment to the installation projector market with two new competitively priced additions to its high-brightness, high-resolution REALiS line of Pro AV Series multimedia LCOS (Liquid Crystal on Silicon) projectors, the SX6000 and the WX6000. Both of these new installation projectors are designed to provide exceptional display performance for large conference rooms, small theaters, and other long-throw venues with relatively high ambient light levels in a wide range of professional AV markets.

The Canon REALiS SX6000 and REALiS WX6000 projectors integrate new, advanced LCOS display panels with an improved pixel-spacing aperture ratio of 96 percent. When combined with Version 4.1 of Canon’s revolutionary AISYS (Aspectual Illumination System) optical technology both projectors can deliver high brightness, a contrast ratio of 1000:1, superior white balance, improved reliability and durability, and first-in-class energy efficiency. The REALiS SX6000 will deliver 6000 lumens of brightness at SXGA+ (1400 x 1050) resolution and an aspect ratio of 4:3 while the REALiS WX6000 delivers 5700 lumens of brightness at WXGA+ (1440 x 900) resolution and an aspect ratio of 16:10. In addition, both projectors feature a built-in Six-Axis Color-Correction IC and 3D Color LUT (look-up table) to provide superb color reproduction accuracy.

“The growing demand for installation projectors encompasses a broad range of professional AV markets, including higher education, business, houses of worship, engineering, government, and the military,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A. “Canon continues to strengthen its commitment to these and other installation-projector users, by providing these latest REALiS Pro AV Series multimedia LCOS models.”

Advanced Display Features
Responding to the most important needs of their users, the new Canon REALiS SX6000 and WX6000 projectors deliver a combination of excellent image quality together with high brightness. In addition to their AISYS-enhanced LCOS projection system, another reason for the improved image quality of the new models is their exceptional aperture ratio. (Aperture ratio refers to the percentage of each pixel that is used for projected image data.) The higher the aperture ratio, the less visible space there is between pixels in the projected image, leading to higher image quality at comparable resolutions. With an aperture ratio of 96% and brightness levels of 6000 lumens and 5700 lumens respectively, the REALiS SX6000 and WX6000 projectors offer the highest specifications for these features within the Canon REALiS projector line-up.

Canon’s REALiS SX6000 and REALiS WX6000 projectors also include greater burn-in resistance which is ideal for applications that require long periods of continuous projection. While providing high luminance, the new LCOS display panels also deliver higher energy efficiency, as compared with other manufacturers’ display technologies with similar luminance ratings.

The new REALiS models are capable of displaying high-resolution video and computer signals with exceptional rendition of movement, crisp contrast, and sharper blacks. A dynamic gamma feature optimizes gradation reproduction and contrast, which can be beneficial when displaying movies in moderate ambient light. A Memory Color Correction feature enhances colors like skin tones and nature colors to provide vivid, pleasing detail. User-determined display settings for the projectors include Standard, Presentation, VividPhoto, Photo/sRGB, Video, and Cinema. Users can also register up to five display combinations each for computer and video inputs.

As with Canon’s other REALiS Pro AV Series installation LCOS projectors – the REALiS WUX5000 and REALiS WUX4000 – the REALiS SX6000 and REALiS WX6000 are also available in “D” versions featuring a DICOM® Simulation mode designed to reproduce medical images such as X-rays, CAT scans and MRI images with superb 21-step grayscale gradation. The “D” versions are not cleared or approved for medical diagnosis and should not be used for these purposes.

Expanded Interface Options
Adding to the versatility of the projectors is a wide array of new and established industry-standard digital and analog inputs – including DVI-I, HDMI 1.3, and analog RGB – that ensure compatibility with the latest video and computer display devices. Separate audio connections include two inputs, and one output for external amplification and speakers. A network-ready RJ-45 port allows for authorized users to manage and control multiple projectors from any PC on the network. An RS-232C serial connection allows for monitoring the projector locally through a third-party control system. A separate stereo mini-jack input enables the hand-held remote-control unit for the projectors to be directly connected when used with third party control software.

Optional Projection Lenses
The new REALiS projectors are complemented by a choice of three high-resolution interchangeable Genuine Canon projection lenses. Incorporating advanced low-distortion/high-resolution optical technologies developed for Canon’s widely used EF Series photographic lenses, the three lenses for the REALiS SX6000 and REALiS WX6000 projectors, which are also compatible with the REALiS WUX5000 and WUX4000 models, include a 1.5x standard zoom, a 0.8x ultra wide-angle fixed lens, and a 1.7x long-focus zoom. Engineered to minimize brightness loss, each lens fits within the body of the projector, due to the use of advanced Canon aspherical elements. This reduced length eliminates lens-overhang issues when mounted inside projector-lift systems.

Price and Availability
The Canon REALiS SX6000 and REALiS WX6000 Pro AV Series multimedia LCOS projectors have suggested list prices of $6,799 and $4,999, respectively. Both are expected to be available through authorized Canon dealers by October for the REALiS SX6000 and September for the REALiS WX6000.

The Canon REALiS SX6000 and REALiS WX6000 Pro AV Series multimedia LCOS projectors are backed by Canon U.S.A.’s Three-Year Limited Warranty and exclusive Projector Protection Program (“Triple P”). Triple P is a FREE service program that provides a loaner projector of equal or greater value in the event that a qualifying unit is in need of repair. Triple P is available on all Canon projector models during the Three-Year Canon U.S.A. Limited Warranty period.

For more information please visit www.usa.canon.com/projectors

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. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. 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. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

# # #
†Based on weekly patent counts issued by United States Patent and Trademark Office.
All referenced product names, and other marks, are trademarks of their respective owners.

DICOM is the registered trademark of the National Electrical Manufacturers Association for its standards publications relating to digital communications of medical information.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

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Canon U.S.A. Introduces the REALiS SX6000 and REALiS WX6000 High-Brightness Pro AV Series Multimedia LCOS Projectors

LAKE SUCCESS, N.Y., June 7, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, continues its strong commitment to the installation projector market with two new competitively priced additions to its high-brightness, high-resolution REALiS line of Pro AV Series multimedia LCOS (Liquid Crystal on Silicon) projectors, the SX6000 and the WX6000. Both of these new installation projectors are designed to provide exceptional display performance for large conference rooms, small theaters, and other long-throw venues with relatively high ambient light levels in a wide range of professional AV markets.

The Canon REALiS SX6000 and REALiS WX6000 projectors integrate new, advanced LCOS display panels with an improved pixel-spacing aperture ratio of 96 percent. When combined with Version 4.1 of Canon’s revolutionary AISYS (Aspectual Illumination System) optical technology both projectors can deliver high brightness, a contrast ratio of 1000:1, superior white balance, improved reliability and durability, and first-in-class energy efficiency. The REALiS SX6000 will deliver 6000 lumens of brightness at SXGA+ (1400 x 1050) resolution and an aspect ratio of 4:3 while the REALiS WX6000 delivers 5700 lumens of brightness at WXGA+ (1440 x 900) resolution and an aspect ratio of 16:10. In addition, both projectors feature a built-in Six-Axis Color-Correction IC and 3D Color LUT (look-up table) to provide superb color reproduction accuracy.

“The growing demand for installation projectors encompasses a broad range of professional AV markets, including higher education, business, houses of worship, engineering, government, and the military,” noted Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A. “Canon continues to strengthen its commitment to these and other installation-projector users, by providing these latest REALiS Pro AV Series multimedia LCOS models.”

Advanced Display Features
Responding to the most important needs of their users, the new Canon REALiS SX6000 and WX6000 projectors deliver a combination of excellent image quality together with high brightness. In addition to their AISYS-enhanced LCOS projection system, another reason for the improved image quality of the new models is their exceptional aperture ratio. (Aperture ratio refers to the percentage of each pixel that is used for projected image data.) The higher the aperture ratio, the less visible space there is between pixels in the projected image, leading to higher image quality at comparable resolutions. With an aperture ratio of 96% and brightness levels of 6000 lumens and 5700 lumens respectively, the REALiS SX6000 and WX6000 projectors offer the highest specifications for these features within the Canon REALiS projector line-up.

Canon’s REALiS SX6000 and REALiS WX6000 projectors also include greater burn-in resistance which is ideal for applications that require long periods of continuous projection. While providing high luminance, the new LCOS display panels also deliver higher energy efficiency, as compared with other manufacturers’ display technologies with similar luminance ratings.

The new REALiS models are capable of displaying high-resolution video and computer signals with exceptional rendition of movement, crisp contrast, and sharper blacks. A dynamic gamma feature optimizes gradation reproduction and contrast, which can be beneficial when displaying movies in moderate ambient light. A Memory Color Correction feature enhances colors like skin tones and nature colors to provide vivid, pleasing detail. User-determined display settings for the projectors include Standard, Presentation, VividPhoto, Photo/sRGB, Video, and Cinema. Users can also register up to five display combinations each for computer and video inputs.

As with Canon’s other REALiS Pro AV Series installation LCOS projectors – the REALiS WUX5000 and REALiS WUX4000 – the REALiS SX6000 and REALiS WX6000 are also available in “D” versions featuring a DICOM® Simulation mode designed to reproduce medical images such as X-rays, CAT scans and MRI images with superb 21-step grayscale gradation. The “D” versions are not cleared or approved for medical diagnosis and should not be used for these purposes.

Expanded Interface Options
Adding to the versatility of the projectors is a wide array of new and established industry-standard digital and analog inputs – including DVI-I, HDMI 1.3, and analog RGB – that ensure compatibility with the latest video and computer display devices. Separate audio connections include two inputs, and one output for external amplification and speakers. A network-ready RJ-45 port allows for authorized users to manage and control multiple projectors from any PC on the network. An RS-232C serial connection allows for monitoring the projector locally through a third-party control system. A separate stereo mini-jack input enables the hand-held remote-control unit for the projectors to be directly connected when used with third party control software.

Optional Projection Lenses
The new REALiS projectors are complemented by a choice of three high-resolution interchangeable Genuine Canon projection lenses. Incorporating advanced low-distortion/high-resolution optical technologies developed for Canon’s widely used EF Series photographic lenses, the three lenses for the REALiS SX6000 and REALiS WX6000 projectors, which are also compatible with the REALiS WUX5000 and WUX4000 models, include a 1.5x standard zoom, a 0.8x ultra wide-angle fixed lens, and a 1.7x long-focus zoom. Engineered to minimize brightness loss, each lens fits within the body of the projector, due to the use of advanced Canon aspherical elements. This reduced length eliminates lens-overhang issues when mounted inside projector-lift systems.

Price and Availability
The Canon REALiS SX6000 and REALiS WX6000 Pro AV Series multimedia LCOS projectors have suggested list prices of $6,799 and $4,999, respectively. Both are expected to be available through authorized Canon dealers by October for the REALiS SX6000 and September for the REALiS WX6000.

The Canon REALiS SX6000 and REALiS WX6000 Pro AV Series multimedia LCOS projectors are backed by Canon U.S.A.’s Three-Year Limited Warranty and exclusive Projector Protection Program (“Triple P”). Triple P is a FREE service program that provides a loaner projector of equal or greater value in the event that a qualifying unit is in need of repair. Triple P is available on all Canon projector models during the Three-Year Canon U.S.A. Limited Warranty period.

For more information please visit www.usa.canon.com/projectors

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. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. 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. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

# # #
†Based on weekly patent counts issued by United States Patent and Trademark Office.
All referenced product names, and other marks, are trademarks of their respective owners.

DICOM is the registered trademark of the National Electrical Manufacturers Association for its standards publications relating to digital communications of medical information.

Availability, prices, and specifications of all products are subject to change without notice. Actual prices are set by individual dealers and may vary.

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Canon EOS 5D Mark II and 7D Digital SLR Cameras Add Muscle to Action Scenes in “Marvel’s The Avengers”

An epic confrontation between nightmarish super villains attacking the Earth and the super-heroic team of Iron Man, Captain America, The Incredible Hulk, Thor, Hawkeye, and Black Widow explodes onscreen in “Marvel’s The Avengers.” Directed by Joss Whedon, the film is packed with intense action and visual effects created by Hollywood’s most advanced production technologies, including the EOS 5D Mark II and EOS 7D digital SLR cameras from Canon U.S.A., Inc., a leader in digital imaging solutions.

Compact, lightweight, and compatible with Canon’s wide selection of EF Series lenses, the Canon
5D Mark II and EOS 7D digital SLR cameras are equipped with large Canon CMOS sensors and Canon DIGIC 4 image processors that enable them to record exceptional full 1920 x 1080 HD motion images at the user-selectable frame rate of 24p (23.976 fps), the standard for theatrical filmmaking. As “Marvel’s The Avengers” cinematographer Seamus McGarvey explained, these Canon digital SLR camera features made possible new creative opportunities for capturing thrilling point-of-view (POV) shots that can be seamlessly intercut with footage from the film’s principal 35mm and digital cinematography cameras to heighten the visual impact of this latest and most extraordinary Marvel Studios Super Hero movie to date.

“I think very highly of the Canon 5D Mark II, as I’ve been using it for the last few years on documentaries and other drama projects,” McGarvey stated. “When I started working on ‘Marvel’s The Avengers’ I knew there would be a lot of close-quarter action work and unrepeatable stunts to capture. The 5D Mark II and the 7D digital SLR cameras produce images that are worthy of cinema, and their small size is a major advantage. You can place them in locations where a typical movie camera wouldn’t fit, and you can capture images that other cameras cannot. They are perfect for shooting additional angles that give film editors more options for creating powerfully immersive and kaleidoscopic views of action scenes.”

Hidden Cameras
Featuring unprecedented battles between iconic super heroes and villains, “Marvel’s The Avengers” sets new standards for filming elaborate stunts and pyrotechnics in actual urban locations. Using multiple cameras limits the need for “retakes” of these complex scenes, and the affordability and small size of Canon 5D Mark II and 7D digital SLRs, enabled McGarvey and his crew to obtain ample coverage by positioning as many cameras as they needed, practically anywhere they wanted them. According to McGarvey, a particularly noteworthy sequence was shot in downtown Cleveland involving flaming cars zooming down an alley amid simulated rubble and debris.

“We had five Canon 5D Mark II’s and two 7Ds,” he said. “We hid them in places that were really close to the big stunts, which would be too risky to do with bigger cameras that would require an operator and two assistants. We were able to slide one Canon digital SLR into a sewer grating and put another under a pile of debris for a key shot of a car hurtling toward the lens, flipping through the air on fire. There’s always the danger of destroying one of these SLR cameras, but as long as you can still recover its CF media card you’ve got the shot.”

McGarvey also noted the immersive impact of Canon POV footage on scenes involving stunt performers. “Stunts are conventionally seen from outside the action,” he explained, “but we got great footage from a stunt man running with a Canon digital SLR camera. This conveyed a realistic sense of jeopardy to the audience, and a much more intimate view of the action. This footage worked especially well, since the film will be converted to 3D.”

Lighting and Lenses
Night scenes were also an important component of the action in “Marvel’s The Avengers,” and McGarvey had special praise for the low-light capabilities of the Canon 5D Mark II and 7D digital SLR cameras, both of which range from ISO 100 to 6400.

“These cameras really have an incredible register in darkness, which has been integral to our shooting,” he said. “We did second-unit shots in a mine with minimal and intermittent light sources, and the detailed images we created using the Canon digital SLR cameras were extraordinary. We also used them for night exteriors with minimal lighting, and they coped very well with the range between our bigger, hotter light sources and the lower end of darkness. I also find this to be true when using 5D Mark II SLR cameras for my documentary work, shooting inside cars and restaurants. Working only with available light, the image registers in a rounder way than the other digital cameras I have used. I think part of that is the way the big CMOS sensors work in the Canon digital SLR cameras, particularly if you work with a lens with a wider aperture. I’m very fond of the Canon EF 50mm f/1.2L lens, which produces a unique look I love.”

Further enhancing the creative filmmaking potential of HD-capable Canon digital SLR cameras such as the 5D Mark II and the 7D is Canon’s EF lens series, one of the world’s most comprehensive selections of high-quality precision optics. Canon EF series lenses include a broad range of standard and medium telephoto models as well as wide-angle, ultra-wide zooms, macro, fisheye, and even tilt-shift lenses.

“I’ve been working with a range of great Canon lens choices throughout this production, and on my documentary work,” McGarvey noted. “I love the look that these lenses create. They create a softer, more rounded look. The resulting footage is still crisp in terms of contrast but have a warmer feel. This helped us match the Canon footage with images from the digital movie cameras we used.”

Shots captured using Canon 5D Mark II and the 7D SLR cameras were conformed to motion sequences acquired using the film’s principal digital cinematography and 35mm movie cameras during months of extensive digital intermediate sessions. For McGarvey, the Canon digital SLR cameras were as important as any of the other production tools employed to make “Marvel’s The Avengers.”

“I don’t see a difference in terms of storytelling value between the scale and size of the Canon digital SLR cameras and the main digital cinematography and film cameras we used,” McGarvey confided. “They’re all part of the artistic palette of filmmaking. Cinema and photography are converging and the technology continues to rapidly accelerate. Canon is at the vanguard of this revolution. Cinema is still evolving and there are many stories yet to be told. The affordability and high quality of Canon’s digital SLR cameras are democratizing film production and will allow everyone to try their hand at it. I think that out of this revolution will emerge an unusual perspective on our world through cinema.”

About the Movie
Marvel Studios presents “Marvel’s The Avengers”—the Super Hero team up of a lifetime, featuring iconic Marvel Super Heroes Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow. When an unexpected enemy emerges that threatens global safety and security, Nick Fury, Director of the international peacekeeping agency known as S.H.I.E.L.D., finds himself in need of a team to pull the world back from the brink of disaster. Spanning the globe, a daring recruitment effort begins.

Starring Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner and Tom Hiddleston, with Stellan Skarsgård and Samuel L. Jackson as Nick Fury, directed by Joss Whedon, from a story by Zak Penn and Joss Whedon with screenplay by Joss Whedon, “Marvel’s The Avengers” is based on the ever-popular Marvel comic book series “The Avengers,” first published in 1963 and a comics institution ever since. Prepare yourself for an exciting event movie, packed with action and spectacular special effects, when “Marvel’s The Avengers” assemble in summer 2012.

“Marvel’s The Avengers” is presented by Marvel Studios in association with Paramount Pictures. The film is being produced by Marvel Studios’ President Kevin Feige and executive produced by Alan Fine, Jon Favreau, Stan Lee, Louis D’Esposito, Patricia Whitcher, Victoria Alonso and Jeremy Latcham. The film releases May 4, 2012, and is distributed by Walt Disney Studios Motion Pictures.

###

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Canon Professional HD Camcorders Enable St. John’s University to Expand TV And Online Coverage of Campus Sports Programs

LAKE SUCCESS, N.Y., April 26, 2012 – A leader in intercollegiate athletics for more than a century, St. John’s University today achieves increased exposure for its sports programs by producing high-definition (HD) coverage for home games with affordable, high-performance HD camcorders from Canon U.S.A., Inc., a leader in digital imaging solutions. The St. John’s Television Network (STJ-TV) uses Canon XF305 and XF105 professional tapeless HD camcorders to produce sports coverage not only for its official athletics website (www.redstormsports.com), but also for national and regional cable networks, and for Internet and mobile platforms available to millions of viewers and subscribers.

“This has been great for our fan base and marketing efforts for all of our sports,” said Mark Fratto, Senior Associate Director of Athletics for Communications at St. John’s University. Fratto explained that St. John’s had been using Canon SD (standard definition) camcorders for several years to produce sports content for its Athletic Department’s website. “We’re elevating our coverage to the next level and producing high-quality live-action HD sports not only for our own website but for much larger commercial distribution outlets as well.”

The University, with its central campus located in the New York City borough of Queens, has 17 varsity athletic programs known collectively as the St. John’s Red Storm. They include: basketball, soccer, tennis, golf, and fencing; men’s baseball and lacrosse; women’s softball and volleyball; and indoor and outdoor track & field and cross-country. Campus sports venues include the famed Carnesecca Arena and Taffner Field House, the Belson and Jack Kaiser Stadiums, and Da Silva Field. Essential to transitioning the St. John’s Television Network to HD sports coverage was choosing the right combination of affordable production equipment. This included high-performance HD video camcorders that are rugged enough to handle coverage of more than 100 different sporting competitions per year, but also intuitively designed to accommodate a production crew that includes both student and professional camera operators.
Choosing Canon
“In modeling the St. John’s Television Network we looked at professional teams that set the standard,” Fratto noted. “Those teams use a lot of Canon products, which is a brand known for its high-quality optics. You can get great results for the cost and the size of Canon cameras and lenses, so it was an obvious decision for us.”

“I researched HD camcorder models made by different manufacturers, talked to the people using them, and found that Canon’s XF305 and XF105 were both great choices,” added Sean McCluskey, St. John’s Director of Multimedia Services. “The XF305 and XF105 cameras are not heavy or cumbersome. They’re small, but not too small. They also have HD lenses, and that’s something other brands of HD camcorders with built-in lenses don’t have. Then there is the fact that the XF305 and XF105 have HD-SDI output, genlock input, and SMPTE time code in/out, which are very handy, since we’re doing not only live game coverage but also studio productions such as The Red Storm Report for a regional cable network.”

In addition to its five Canon HD camcorders (four Canon XF305’s and one XF105), the St. John’s Television Network’s affordable HD production system also includes a NewTek TriCaster 850 Extreme production system, a NewTek 3Play 820 slow-motion replay system, and two Windows-based graphics computers. “We assembled the right mix of easy-to-use, relatively low-cost HD technologies, integrated them into a mobile flypack, and use them with our Canon HD camcorders to do four- and five-camera productions,” Fratto noted. “Everything is completely portable, and all of our venues are within walking distance here on campus. We essentially took every aspect of large HD-truck productions and shrunk them, including the cameras.”

Compact and Sturdy HD
Designed for professional use, Canon’s XF305 and XF105 HD camcorders are multi-purpose video cameras that can feed live HD to a production switcher via their HD-SDI outputs (as in the case of the St. John’s Television Network) or record directly to Compact Flash (CF) cards. Both cameras are equipped with native Canon 1920 x 1080 HD CMOS image sensors for exceptional picture quality, the Canon XF Codec for precision HD capture and recording, and Canon’s proprietary Canon DIGIC DV III Image Processor for accurate color and detail. The three-CMOS XF305 features a Genuine Canon 18x HD L-series zoom lens. The single-CMOS XF105 comes equipped with a Genuine Canon 10x HD L-series lens. Both models feature Canon’s SuperRange Optical Image Stabilizer (IS) system with Dynamic and Powered IS modes for optimal performance in a wide variety of situations. The XF305 and XF105 also offer extensive Custom Picture Settings that users can save to an SD memory card for easy matching of multiple XF305 and XF105 cameras.

“The XF305 and XF105 HD camcorders allow us to set our own specific color profile and ‘paint’ the camera for HD,” McCluskey said. “We can save those profiles to an SD card and load them into all of our Canon HD camcorders, which is very convenient.”

McCluskey noted that the St. John’s Television Network relies on the XF105 for studio interviews and press conferences and on the XF305 for live sports coverage. “The XF305 is smaller than traditional HD field cameras for sports, so it gives you more functionality,” he confided. “You can hold them up high if you need to shoot down inside a huddle, or you can get down very low if you want to capture a ‘gopher’ shot. Some are on tripods and others are hand-held. Most important, the networks like the HD quality we are able to create with them.”

Creating New Platforms
As a Big East member, all of St. John’s conference basketball games are covered by national cable network video-production crews. The additional live HD game coverage that the St. John’s Television Network shoots with Canon HD camcorders and delivers to that network (and to other cable and online outlets) has the potential to revolutionize college sports television, Fratto believes.

“We are using this HD production model to shoot, transmit, and distribute those men’s basketball games that are not selected for air by the broadcast network,” he explained. “We are also able to create a platform for women’s basketball, men’s and women’s soccer, volleyball, fencing, softball, and baseball. None of those games would ever make it to air in broadcast quality if they had to be produced using expensive, traditional HD equipment. With our Canon HD camcorders and other affordable equipment, however, we are able to put these productions together ourselves and reach much wider audiences. There is also revenue involved, with broadcast sponsorships, billboards, replays and other opportunities. We believe we have developed a model that every college and university could use.”

“We have a video production operation that benefits our entire University,” Fratto concluded. “The St. John’s Television Network gives undergraduate students a chance to learn and contribute by experiencing hands-on HD sports production. We think that at least in terms of regional sports, this model – as demonstrated by what the St. John’s Television Network is doing with Canon HD camcorders and the other equipment – will be unbeatable in terms of the quality versus the cost.”

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. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. 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. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.
# # #
†Based on weekly patent counts issued by United States Patent and Trademark Office.
All referenced product names, and other marks, are trademarks of their respective owners.

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Canon REALiS WUX4000 Installation LCOS Projectors and XF305 Professional HD Camcorders Create Value for a University’s Video Display and Capture Requirements

Set amid the majestic hills of Aliso Viejo, Calif., Soka University is a private four-year liberal arts college and graduate school. Among the many impressive buildings on its picturesque 103-acre campus is the new Soka Performing Arts Center. Designed and built to the highest standards, the Center is one of three campus locations recently outfitted with REALiS WUX4000 installation LCOS projectors from Canon U.S.A., Inc., a leader in digital imaging solutions. Displaying bright 4000-lumen higher-than-HD-resolution (1920 x 1200) widescreen 16:10 video and still images, a total of four REALiS WUX4000 projectors are used to present a variety of visual content at this prestigious University.

“The Soka Performing Arts Center is a stunning space both visually and acoustically,” noted Sam Morales, associate technical service manager at the University. “We wanted to have a zero-compromise facility in terms of the equipment that we put into that space, and that’s why we chose Canon REALiS WUX4000 projectors.”

Initially discouraged by the cost of large-venue projectors for the 1200-seat Soka Performing Arts Center, Morales and his team looked instead for a display solution for the smaller 180-seat black-box theater in the Academic Building. Their search led them to the Canon REALiS WUX4000 installation LCOS projector, which proved to be the right choice for both venues.

“I was skeptical that the Canon REALiS WUX4000 would even work in the black box theater, since it didn’t even have a projection screen in it,” he recalled. “What it does have is an almost transparent cyclorama with a non-reflective surface. But when we fired-up the REALiS WUX4000 and saw how it looked, we were amazed. The pictures were really sharp even though we intentionally used dark imagery to see what kind of detail we could get out of the projector. The results were so good that we felt immediately compelled to purchase one for that theater.”

Impressed with the performance of the Canon REALiS WUX4000, Morales and his team also tested it in the Soka Performing Arts Center. What they saw resulted in their decision to purchase not one but three more of the projectors. Two are stacked in the Center and another was installed in a large classroom.

“Even from 100 feet away, one Canon REALiS WUX4000 projector can do the job in the Center with good HD quality with proper brightness and contrast,” he said. “It’s also quite a cost savings, when you consider that the projection lamp for the first large-venue projector we looked at cost almost as much as an entire REALiS WUX4000. There are absolutely no grids in the picture like you see with LCD projectors and the overall quality is fantastic.”

Employing Canon’s fourth-generation proprietary AISYS-enhanced LCOS optical engine, the REALiS WUX4000 projector delivers crisp, seamless images with intricate detail, high brightness, high contrast and accurate color. LCOS (Liquid Crystal on Silicon) is a next-generation display technology utilizing tightly packed pixels providing excellent image quality. Canon’s proprietary AISYS (Aspectual Illumination System) technology further increases the display advantages of LCOS by efficiently utilizing and equalizing light from the projector lamp. Featuring an easy-access lamp, air filter, and optical filter, and a choice of three interchangeable Genuine Canon projection lenses to suit a variety of presentation environments, the REALiS WUX4000 also provides quiet operation.

“Acoustics are the primary focus of the hall and we found that we can actually put the Canon REALiS WUX4000 projector right in the middle of the seats and it doesn’t bother anyone,” Morales stated. Canon projection lenses chosen for Soka University’s REALiS WUX4000’s include a 1.7x long-focus zoom for the large classroom and a 1.5x zoom for the black box theater. Both lenses are used in the Soka Performing Arts Center, depending on which of its multiple projection screens are being used.

Versatile HD Video Capture
REALiS WUX4000 installation LCOS projectors aren’t the only Canon professional imaging products being used at Soka University, Morales revealed. The institution also has ten Canon XF305 Professional HD Camcorders mounted on custom-made robotic arms in both the Center and the black-box theater. Easily removable from their mounts, the XF305 Professional HD Camcorders are used for a variety of production tasks at the University.

“The Canon XF305 is actually designed for hand-held ENG-style shooting, but we also use them as robotic-style HD cameras,” Morales explained. “In our custom mounts they can do everything that traditional robotic HD cameras can, and at a third of the price. They are fantastic HD cameras for performing arts centers and concert halls, where discretion is of the outmost importance. A larger HD camera would be too aesthetically cumbersome for those spaces.”

The Canon XF305 Professional Camcorder records Full HD video directly to Compact Flash cards. Equipped with three high-sensitivity Canon native 1920 x 1080 CMOS sensors, the XF305 features a Genuine Canon 18x HD zoom lens with Instant AF and a Full Manual Focus mode with mechanical “hard” end stops and distance markers. Weighing just 6 lbs., the XF305 includes a 4-inch, 1.23-megapixel LCD monitor (with built-in waveform and vector scope display) that can be positioned at either the right or left side of the camera body. The XF305 also includes an industry-standard HD-SDI output, a genlock input, and SMPTE time code (in/out) terminals for multi-camera productions. Equipped with Canon’s advanced MPEG-2 4:2:2 50Mbps XF Codec for exceptional image quality, the XF305 employs the MXF File Wrapper for robust workflow and compatibility with all leading non-linear editing systems.

“These Canon XF305 HD cameras are very versatile,” Morales adds. “We can take them off of the robotic mounts and use them at different locations on campus. I keep one in my office and have taken it up in a helicopter to shoot aerial views. We also use them in our recreation center, where we hold our yearly gala. In the past we hired a crew with its own cameras. This year they used our Canon XF305 HD cameras and we saved thousands on rental fees.”

Named after a Japanese word that means “to create value,” Soka University’s choice of image projection and capture technologies do much to fulfill that goal, according to Morales. “In a very demanding application, with high expectations and standards, we feel that these Canon products create value for our video capture and display needs,” he stated. “We don’t want to settle for anything less than the best.”

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