text:
Six uncapped players are named today in a 43-man double squad for Scotland's packed June Test match tour schedule.
Glasgow Warriors' forwards Gordon Reid, Alex Allan and Kevin Bryce and their talented midfield colleague Finn Russell (pictured above) are joined by London Irish openside Blair Cowan and Edinburgh Rugby scrum-half Grayson Hart for the tour which will mark new head coach Vern Cotter's introduction to the role.
Scotland's matches are v USA in Houston on Saturday 7 June; Canada in Toronto on Saturday 14 June; Argentina in Cordoba on Friday 20 June; and South Africa in Port Elizabeth on Saturday 28 June. The 43 consists of 19 from Glasgow Warriors, 17 Exiles and seven from Edinburgh Rugby.
Cotter told www.scottishrugby.org: "I'm very much looking forward to starting work with the Scotland players as we begin our 16-match countdown to the 2015 Rugby World Cup in England.
"Working with Scott Johnson and the national coaches, we've selected, effectively, two squads for our itinerary this summer taking into account Glasgow Warriors' pursuit of PRO 12 silverware and the fact that our match against South Africa falls out-with the IRB Regulation 9 window.
"We've included a mix of the battle-hardened and promising new talent and it will be good to see how players step up to tough and different challenges at the end of a long domestic campaign."
Cotter will consider captaincy when the preparations begin for the North American leg of the tour next week.
In terms of world rankings the Springboks, who are in Scotland's Rugby World Cup pool, sit second in the IRB list; Argentina are ninth; Canada are 15th and the USA are 18th.
A number of players will not tour either through injury, elective surgery or possible involvement in the sevens competition at the 2014 Commonwealth Games at Ibrox Stadium in Glasgow in July. The squad for the Commonwealth Games will be announced tomorrow (Wednesday).
Jack Cuthbert and Matt Scott (both Edinburgh Rugby), Ryan Wilson (Glasgow Warriors) and Ross Rennie (Bristol Rugby) would have been included for the tour but for injury. Additional players could yet be added to the squads.
Some nine players are scheduled to undertake the entire four match tour: forwards Gordon Reid, Pat MacArthur, Kevin Bryce, Moray Low, Geoff Cross and Grant Gilchrist and backs Alex Dunbar, Sean Maitland and Stuart Hogg.
Kyle Traynor will join the squad after his club's Greene King IPA Championship final second leg against London Welsh on Wednesday 4 June.
Newcomer Finn Russell was understandably elated by his selection. In a video interview he told www.scottishrugby.org : "It's something I've been aspiring to all my life and it's great to get this chance.
"I'm looking forward to the tour and the experience that I can gather from it. Canada, as you've seen from the sevens here in Glasgow, are improving all the time and America are getting better too, so every game on this tour is going to be really tough."
Scotland squad for the Test matches v USA and Canada
Forwards: Alex Allan (Glasgow Warriors) Age 22 uncapped; Johnnie Beattie (Montpellier) Age 28 Caps 30; Kelly Brown (Saracens) Age 31 Caps 63; Kevin Bryce (Glasgow Warriors) Age 25 uncapped; Blair Cowan Age 28 uncapped; Geoff Cross (both London Irish)Age 31 Caps 28; Grant Gilchrist (Edinburgh Rugby) Age 23 Caps 4; Richie Gray (Castres) Age 24 Caps 37; Jim Hamilton (Montpellier) Age 31 Caps 55; Scott Lawson (Newcastle Falcons) Age 32 Caps 43; Kieran Low (London Irish)Age 23 Cap 1; Moray Low (Exeter Chiefs) Age 29 Caps 26 Pat MacArthur (Glasgow Warriors) Age 27 Caps 4; Gordon Reid (Glasgow Warriors) Age 27 uncapped; Alasdair Strokosch (Perpignan) Age 31 Caps 38 and Kyle Traynor (Bristol Rugby) Age 28 Caps 4.
Backs: Chris Cusiter (Sale Sharks) Age 31 Caps 68; Alex Dunbar (Glasgow Warriors) Age 24 Caps 8; Max Evans (Castres) Age 30 Caps 42; Tom Heathcote (Bath Rugby) Age 22 Caps 3; Stuart Hogg (Glasgow Warriors) Age 21 Caps 20; Greig Laidlaw (Gloucester) Age 28 Caps 29; Sean Lamont Age 33 Caps 86; Sean Maitland Age 25 Caps 9; Finn Russell (all Glasgow Warriors) Age 21 uncapped; Duncan Taylor (Saracens) Age 24 Caps 10 and Tim Visser (Edinburgh Rugby) Age 26 Caps 12.
Scotland squad for Test matches v Argentina and South Africa
Forwards: Kevin Bryce (Glasgow Warriors) Age 25, uncapped; Geoff Cross (London Irish) Age 31, Caps 28; David Denton Age 24 Caps 22; Alasdair Dickinson Age 30 Caps 34; Ross Ford Age 30 Caps 75 (all Edinburgh Rugby); Chris Fusaro (Glasgow Warriors) Age 24 Caps 2; Grant Gilchrist (Edinburgh Rugby)Age 23 Caps 4; Jonny Gray Age 20 Caps 3; Rob Harley Age 24 Caps 4 (both Glasgow Warriors); Moray Low (Exeter Chiefs) Age 29 Caps 26; Pat MacArthur Age 27 Caps 4, Gordon Reid Age 27 uncapped (both Glasgow Warriors); Tim Swinson Age 27 Caps 7; and Jon Welsh Age 27 Caps 2 (both Glasgow Warriors).
Backs: Alex Dunbar (Glasgow Warriors) Age 24 Caps 8; Dougie Fife Age 23 Cap 1; Grayson Hart Age 25 uncapped (both Edinburgh Rugby); Stuart Hogg Age 21 Caps 20, Peter Horne Age 24 Caps 2 (both Glasgow Warriors); Ruaridh Jackson (London Wasps) Age 26 Caps 23, Sean Maitland Age 25 Caps 9; Peter Murchie Age 28 Caps 2; Henry Pyrgos Age 24 Caps 10; Tommy Seymour Age 25 Caps 8; and Duncan Weir Age 23 Caps 13 (all Glasgow Warriors).


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|2012-04-21, 22:58
|Link #29662
I am no one
Join Date: Apr 2010
Location: Inside your head
^ ooh, you mean like Evangelion?
I need to close this case for now, next topic: Charles
You see, due to, err, unconventional body, his sync ratio continuously decreasing in the last two years. At some point during the story's run, Dunois decided to take Revive from him.
Coincidentally the point where he find that his true purpose of being a mole is not only ByakuShiki's data but also anything regarding Ichika.
He was supposed to get a Dual-core Armored Stratos later, with justification that
A. Sub-core system has lower tolerance on Sync Ratio (with D-ranker male and female can use them excellently)
B. Char's canon ability to harmonize the wave pattern of two I.S. core, allowing him to use Dual Sub-core flawlessly or refilling/draining other I.S. energy pool. (Technically ST!Madoka and ST!Houki also has that ability, but use it for their OOA instead)
Does this scenario makes sense, somewhat? Bear in mind that this Char is devoted to his father because, well, specific reason.
|2012-04-21, 23:53
|Link #29664
That one guy
Join Date: Nov 2011
@zero: the scenario makes sense. And the IS itself seems okay. Though I am slightly put off by the subcore system and the forced energy transfer system. Mostly because I don't know the details.
An interesting point about harmonizing is that you're basically syncing. So it's another possibility she can harmonize a pilot and an IS beyond her own... so in canon case she could've been the one who can activate Houki's OOA for her when Houki herself couldn't.
Also, it wasn't evangelion... it was a mix of D. Gray Man and Kamen Rider W
@jak: I don't see why not
|2012-04-22, 00:36
|Link #29665
Diamond is Unbreakable
Join Date: Apr 2011
Location: The Middle Way
I always thought that after the 4th Generation they'd have to fix energy consumption problems before doing anything radical. After that I guess you could remove the core from the equation, in other words the IS is turned into data which is stored in your own brain--you can't get better synchronization with anyone other than yourself.
|2012-04-22, 00:37
|Link #29666
I am no one
Join Date: Apr 2010
Location: Inside your head
@ Demi
The energy transfer already happened in canon, when Ichika is out of energy, Char give what's left on her revive, adjusting their frequency/wavelength and transmit the power via cable. This happens during VT system rampage.
And yes, she can do just that, but she's dependent on the cable, and lacking required system & software to do just that means Charles has to do it without computer assistance, which is bothersome and difficult task (whereas Houki and Madoka have the tech)
I am conflicted whether to give Radiant Azazel the gadget required for energy drain or not, probably similar to Astray Gold Frame AMATU's claw in concept.
Last edited by ZeroXSEED; 2012-04-22 at 00:54.
|2012-04-22, 01:04
|Link #29668
That one guy
Join Date: Nov 2011
The energy consumption problem can be answered as time goes on. Natural innovation of better forms of energy storage and more efficient energy use will come about. Unless someone invents a GN drive or arc reactor(I prefer GN drive) and sticks it on an IS.
For me, it just doesn't fit the image of sweet ol' charlotte stealing energy... sounds more like what Houki, Cecilia and Rin would do :|
|2012-04-22, 01:12
|Link #29669
I am no one
Join Date: Apr 2010
Location: Inside your head
^ Hence I'm so conflicted. Then again, this Charles is a devoted spy, make that what you will.
In raw spec alone, Radiant Azazel is Jack of all stat: versatile armory, versatile defense and versatile speed. All in all, Charles become THE generic guy in the roster. Being an Armored Stratos, it doesn't have OOA either because there's no personality whatsoever within the cores.
@ Jak
Yes, yes it is.
|2012-04-22, 01:23
|Link #29671
I am no one
Join Date: Apr 2010
Location: Inside your head
Well, Madoka already fill that quota... can you think any other use of this skill aside from Buff/Debuff?
I actually think about coordinator/tactician type where Charl will lead a teamwork/formation attack, easier to achieve by using the core harmony effect.
|2012-04-22, 01:39
|Link #29673
I am no one
Join Date: Apr 2010
Location: Inside your head
The same as I.S. core, except it lacked the sentient AI, therefore not affected by the pilot's willpower (no OOA, shift up, and abnormal power boost natch). The also has inferior power output and processing power.
As advantage however, it's possible to stack them unlike I.S. core (because sub-core lacked the individuality true core and pseudo-core has), so long as you have decent core-harmonization ability (and Charl's ability in that regard is top notch). In a way of another, they act like golem did: objective took 100% priority, but they're not independent and still need human input, unliek automated golems.
Since they also has much lower tolerance, plenty (as in, thousands amongst billions) of males is capable of using them, though amongst them only select dozen able to use them at full capacity (for example: Joshua O'Brien and Dan Gotanda)
|2012-04-22, 01:50
|Link #29675
I am no one
Join Date: Apr 2010
Location: Inside your head
PT member even jokingly call them Zombie Core because they are born from combining 'failed' I.S. core and 'stem cell' of Ygdrassil, the quantum computer that become the origin of current I.S. (whereas first I.S. are conventional space suit with fairly advanced but realistic technology instead of physic-stretching pseudoscience that is White Knight)
|fanfic ideas, fanfiction, ff.net, harem, is fanfic, warning fanfic spoilers, wincest
|Thread Tools

subset: commoncrawl


text:
|Powered by QM on a Linux server
KnowledgeBase 00099: Query Processor Averages
The query processor AVERAGE field qualifier is widely supported by multivalue environments but just what does it do?
The default behaviour of the AVERAGE keyword is to accumulate a total of the value of the field to which it is attached and then report this value divided by the number of records on the "total" line. If a record has this field empty or non-numeric, it is treated as zero.
Most spreadsheet tools do not behave this way. If a cell in a column to be averaged in empty or non-numeric, the normal action is to ignore the cell both in terms of accumulating the total and also when determining the number of data items for the division. In QM and many other multivalue products this behaviour can be enabled by use of the NO.NULLS qualifier.
Alternative Averages
The AVERAGE keyword described above calculates what is usually referred to as the mean value. There are other ways in which mathematics defines an average to be calculated.
The median value is defined as the middle value in a sorted list of all values, including repeated values, in the data being averaged. Where there are an even number of values, the median value is the average of the two values in the centre of the list.
The mode value is the most frequently occuring value in the data being averaged.In QM, these alternative averaging methods are provided by the MEDIAN and MODE field qualifiers. Whilst not strictly an average, the related RANGE field qualifer shows the difference between the minimum and maximum field value. All three of these field qualifiers support use of NO.NULLS to ignore empty and non-numeric data.
Related Articles
See also the CALC keyword in the QM Reference Manual.


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Celebs, fans use social media to pay tribute to ex-Wham! member George Michael
Michael passed away at 53 on Sunday
Celebs, fans use social media to pay tribute to ex-Wham! member George Michael
Michael passed away at 53 on Sunday
Singer George Michael passed away Dec. 25 at 53. The former Wham! member and "Freedom" singer sold more than 100 million albums worldwide and remains one of the best-selling British musical artists of all time.
Celebs and fans swarmed social media with heartfelt eulogies to the London-born singer. Here are some of their posts:
I've loved George Michael for as long as I can remember. He was an absolute inspiration. Always ahead of his time.
— James Corden (@JKCorden) December 25, 2016
Feeling very honored to have been part of #GeorgeMichael's #Freedom90 video. His bravery inspired all of us. RIP 💔 https://t.co/33iZLbGTG4 pic.twitter.com/nsJcRzFyyv
— Cindy Crawford (@CindyCrawford) December 26, 2016
George Michael was a kind and gentle soul. #Wham
— Ryan Reynolds (@VancityReynolds) December 26, 2016
I just heard about my friend @GeorgeMichael's death. He was such a brilliant talent. I'm so sad.
— Ellen DeGeneres (@TheEllenShow) December 25, 2016
Always loved the #georgemichael song "John and Elvis are dead". Referencing #JohnLennon ...and now,sadly George joins them.So very sad. #RIP
— John Lennon (@JLennon_Quotes) December 26, 2016


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Install a New Overlay
This article is in progress.
This HOWTO is based on the standard directories for overlays and the portage tree. For an example of an alternate location please see the Gentoo installation guide.
An overlay is a secondary portage tree, used to install and manage gentoo packages (ebuilds) which are not in the main portage tree.
The standard overlay location is /usr/portage/overlay/. The standard portage tree location is /usr/portage/tree/. It is important that the overlay and the portage tree are NOT in the same directory. Placing the overlay in the same directory as the portage tree will cause the overlay to be overwritten the first time you emerge sync.
The first thing we need to do is define the overlay directory in /etc/make.conf. It can be useful to keep your previous overlay so we place the new overlay in a unique directory that is at the same level as the previous overlay. In this case it is /usr/portage/overlays/20060122. The 20060122 happens to be the date of the new overlay.
KURO-BOX-EM #cd /etc KURO-BOX-EM etc #nano make.conf
Edit the PORTDIR_OVERLAY line to point to the new overlay directory.
Next we set up the portage profile. The file /etc/make.profile is a symbolic link from /etc to the profile in the overlay. You will need to remove the old link.
KURO-BOX-EM etc #rm make.profile
We must replace the link with a new link that points to the overlay. The link is the relative diretory from /etc. Notice we have to go up 1 level (../) from /etc before going back down the /usr part of the directory tree.
KURO-BOX-EM etc #ln -s ../usr/portage/overlays/20060122/profiles/kurobox make.profile
Next we need to let portage know where the overlay is located. We do this with another symbolic link that points from the profile in the overlay, to the profile in the official portage tree.
KURO-BOX-EM etc #cd /usr/portage/overlays
Notice the 20060122 in the following lines. Change it to the date of your overlay in order to point to the correct directory. It is the relative path from the profile in the overlay to the profile in the official portage tree. Each ../ indicates a directory up in the tree. Just count the directories up and then add the path back down.
KURO-BOX-EM overlays #echo "../../../../portage/profiles/default-linux/ppc/2005.1/ppc" > 20060122/profiles/kurobox/parent KURO-BOX-EM overlays #cd /etc
Now lets regenerate the portage cache. This would be a good time for a bathroom break or a quick run to the store for a snack.
KURO-BOX-EM etc #emerge metadata Updating Portage cache: 100% KURO-BOX-EM etc #
Now we'll check if the system is up to date while at the same time testing portage.
KURO-BOX-EM etc #emerge -puD system


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Featured News - Current News - Archived News - News Categories
Will house citizens' most important documents
by Christian W. Peck
Public Information Officer
Niagara County Public Information Office
Niagara County lawmakers took steps Tuesday night to secure critical records, some dating back 200 years, that are currently housed in a dilapidated, leaking structure.
The decision, which consolidates the county's record management operations at a facility on Transit Road in Newfane, means that millions of vital records, land records and court proceedings will be moved to a facility that complies with state laws for the handling of such documents.
Many of the county's records are currently stored at the county's Davison Road complex, which was largely abandoned in 2002. The records storage facility at that site is a dilapidated structure with water infiltration issues.
"This is the right thing to do," County Clerk Wayne F. Jagow told county lawmakers. "The valuable records under our custodial care are in danger of being lost to time - destroyed by the elements - due to the unacceptable environment we're storing them in."
Jagow explained that state law obligates him as the county's records management officer to house millions of records either affecting every county citizen's daily life or essential to the administration of county government.
"The New York State Arts and Cultural Affairs Law is very clear on storage requirements - and government's responsibility to maintain these vital records about every major event in our citizens' lives, from their birth to their citizenship to their home ownership to legal proceedings to the businesses they own, even the records of their death," Jagow said. "We owe it to our taxpayers to treat those records with the greatest care possible."
The Arts and Cultural Affairs Law sets very stringent humidity control and HVAC requirements for storage facilities, which the Newfane facility meets. The current records facility on Davison Road is a dilapidated structure with water infiltration issues.
Among the documents stored at the site are:
•The records of every county agency
•Real property transactions and clear title to land holdings since the county's 1808 incorporation
•All civil and criminal proceedings
•Health Department records that must be stored in accordance with HIPAA requirements
•Social Services records
•Niagara County Sheriff's Office and Niagara County District Attorney investigative files
•Adoption records
•Some birth and death records
And, even as the county is allowed to dispose of old records, current space is proving barely adequate. In 2011, the Niagara County Records Management Program legally disposed of 44.06 tons of records, and still is "bursting at the seams" as one county official put it.
Under terms of the lease agreement, the county will pay $4.45 per square foot for a 28,000-square foot storage space, and gains a piece of land to be utilized for a federally mandated radio tower site.
Niagara County Legislature Majority Leader Rick Updegrove, R-Lockport, noted that the county's decision to sell the Davison Road complex after it stopped functioning as a hub of large-scale government operations in the early 2000s had weighed on the decision, although the records facility is currently slated to remain county property.
"The Davison Road property has been for sale for a decade," Updegrove told fellow lawmakers present at Tuesday's meeting. "Any sale of the Davison Road property does not include the sale of the records storage facility."
It is the current, dilapidated state of that facility - and stringent requirements set by the state in the Arts and Cultural Affairs Law - that drove the decision to relocate to the new, humidity-controlled facility.
This point was echoed by Legislator Tony Nemi, I-Lockport, who chairs the Legislature's community services committee, which fully considered the lease proposal before advancing it to the floor for a vote.
"Niagara County's government pursued this lease because it made sense," Nemi said. "This lease was reasonable, and it met our basic legal obligations to New York state and our basic moral obligation to safeguard our citizens' most important records."


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Getting The Braces Off and Other ChangesPosted by in NASCAR
Ahh if you never had braces you were a lucky ducky. I work braces for a couple years and getting them finally removed was cause for celebration. No more painful "adjustments" which is orthadontal speak for tightening and no more food restrictions. My particular braces removal celebration included caramel popcorn. But anyway, NASCAR fans, I digress. We got our first taste of the new nose on the cup cars without the splitter braces when the cars hit Daytona International Speedway for testing last Thursday, Friday and Saturday. I have to say I LOVE the look of the new nose on the cars. In my opinion, the new nose adds to the aesthetics of the car and makes it look sportier. Hopefully the lack of braces on the splitter will keep the cars from collection hot dog wrappers, grass clumps and other debris and make possible overheating less of an issue.
Many drivers were getting their first feel of the new surface on the speedway as well, as Daytona was repaved during the off season. Many drivers reported it to be quite smooth and likened it to the newer surface at Talladega. It should make for some interesting racing that is for certain. I loved that testing was streamed live on the internet because I could tune in from my side of the states. Seeing and hearing the cars on the track put a huge smile on this fan's face. Why? Because it means soon our season with be on again in full swing.
Just from the little pieces of testing that I was able to watch it is going to be hard for me to get use to certain changes. It's really weird seeing Kasey Kahne in the Red Bull number 4 car. I did see him race for Red Bull in person in Phoenix at end of last season, and it was weird then. Still weird. Weirder yet? Is Harvick in Budweiser red and Kurt in the number #22! It's all going to take some getting used to that is for sure. However this nothing new to us NASCAR fans; sponsors and teams change because our sport is dynamic like that.
Other changes to look forward to or get use to this season:
- Ethanol used as fuel in the cars. Preliminary reports had the cars getting fewer miles per gallon on the ethanol so we will see how much the switch to a "greener" fuel changes strategy on the track.
- Speaking of Ethanol- because of the change to ethanol fuel, the gas can needed to be modified. Because of the modifications to the gas can, it was determined that the catch can man was no longer needed. It is a plus for pit road safety to have one less man over the wall (especially on smaller tracks with cramped pit roads). While it may be plus for safety though it probably sucks if you were a catch can man.
- Drivers now have to declare a series in which they want to run for the championship. This I don't like. Why? Because that means my dreams of watching Kyle Busch sweep all three championships one day has died. Yes I am a Tony fan but I am SURE that Kyle could sweep all three series if he put his mind to it.
- There is the possible change in the points system that will be most likely announced soon.
- There is the change in the chase format….playfully called the Jamie Mac Chase Clause (JMCC) between Misty and I. I think its weird use the last two positions of the chase into more wild card spots given to the two non chase contenders with the most wins. I don't know how that will change the chase…but I guess we will see.
Needless to say there are a lot of changes this season and not JUST to the drivers/teams. Here we go NASCAR fans. Let's buckle in for a new season. And to my Tony Stewart readers all I can say is #goTONYgo!
Also NASCAR fans- be sure to head over to The Fast and The Fabulous and vote in Round 4 of the Hottest Driver contest. This round pits Stewart-Haas teammates against each other. Go vote…
You can follow any responses to this entry through the RSS 2.0 You can skip to the end and leave a response. Pinging is currently not allowed.


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Species: Maathai's longleg (Notogomphus maathaiae)
Status: Endangered (EN)
Interesting Fact: First described in 2005, Maathai's longleg is a clubtail dragonfly belonging to the genus Notogomphus.
More information:
Also known as Maathai's clubtail, this dragonfly is commonly referred to as 'longleg' on account of its extended hind thighs. Maathai's longleg is a fairly dark-coloured dragonfly, distinguishable thanks to the bright green markings on the sides of its thorax.
Dragonflies start their life as aquatic nymphs. They pass through a series of developmental stages and undergo several moults as they grow before metamorphosis occurs. There is no evidence to suggest that this species is seasonal. Two female Maathai's longlegs have been observed laying eggs in water.
Maathai's longleg has been recorded from the forests of Mount Elgon National Park, Katamayu Forest and Marioshoni Forest, Kenya. It is found from around 2,200 to 2,600 metres above sea level, in and around clear montane forested streams.
The forest habitat on which this species appears to rely has been widely destroyed in recent decades, and Maathai's longleg is therefore presumed to have suffered significant declines. As deforestation continues, this rare dragonfly is expected to be up-listed to Critically Endangered on the IUCN Red List before too long.
In the densely populated Kenyan highlands, Maathai's longleg serves as an indicator of habitat quality and is therefore being promoted as a flagship species to raise awareness of the need to protect the natural forest and watershed. Protection of its riverside forests will not only help this endangered dragonfly, but also the farmers of the foothills, by guaranteeing soil stability and a steady flow of water. To this end, dragonflies such as this species are being dubbed the 'guardians of the watershed' in East Africa, helping to raise their profile in the field of conservation.
Find out more about Maathai's longleg at Enchanted Landscapes.
See images of Maathai's longleg on ARKive.
Phoebe Shaw Stewart, ARKive Text Author


text:
Buy this item and earn 80 reward points.
Squeaker Accordian Double-Voice - Medium (12 Pack) ListenThis medium-sized squeaker is perfect for comedy magic and performing for children. Make it part of your next routine!Double-voice squeakers make a sound both when they are pressed and when they are released.Squeaker Length Approximately 2 1/2" (6.5cm)


text:
Joel McHale's Elaborate Chris Christie Takedown
White House Correspondents' Dinner headliner Joel McHale delivers an elaborate takedown of New Jersey Governor Chris Christie and the investigation into the George Washington Bridge lane-closure scandal.
This transcript has been automatically generated and may not be 100% accurate.
I ... speaking of digestive systems Chris Christie is here ... he's actually here ... tonight's ... while Sir you are and one ... for punishment Sony reader ... Chris Christie ... is an illustration canceled a train tunnel to Manhattan ... they're Closing nipples the Skyway and they blocked the George Washington Bridge finally ... a politician willing to stand up to America's commuters ... data due on the bridge jokes or size just as I got onto both Avago half and half ... I know you like the combo platter ... now ... I get that I'm sorry for the jokes Governor Christie I didn't know I was going to tell it's ... but I take full responsibility for its ... whoever wrote it will be fine ... but the books last year ... so I will be a mansion or not to read just as soon as I get to the bottom of our happenings ... because I was unaware it happened until just now ... putting a blue ribbon commission of me to investigate the job I just told ... and if I find any wrongdoing on my part I assure you I will be dealt with ... I just looked into it turns out I'm not responsible for its just this has been served ... the the the the the ... I ... he's going to Chile ...


text:
0 Members and 1 Guest are viewing this topic.
Do we really need to put Peter through the extra work of splitting this up? The topic of the thread is WFO purchasing concerns and everything we've discussed has related to that. It's been a bit more than Reeped asked for, but, as he said, he's gotten the info he needs, has purchased the oven, and, when the oven arrives, he's planning on starting a new thread.I'm fine with it being split, but I think the thread has pretty much run it's course and splitting it would take some work.
They were designed to be used at much lower temperatures for bread- with a pre-heat and then retained heat baking with a closed door. We're taking a tool that was designed for something entirely different and trying to make it work for our needs. It is only a stroke of luck that, for the sake of fuel efficiency, they made the decision to go with a lower dome. Their choice of door size has no foundation whatsoever in high oven temperature thermodynamics. The door size decision was most likely based on the need for greater access for loading/unloading bread, as well as the possibility that, at some point, they might have used some kind of shelving system to fit more loaves. The door size on the FGMs has absolutely nothing to do with efficiency- at least, not within the framework of Neapolitan temperatures. When you get into Neapolitan temps, it's the Neapolitans that have done their homework, not the French. Wood has been a scarce commodity in Naples for quite some time. These ratios (dome height to oven width, door height to dome height) were born out of necessity.
Hi Scott,I am little taken back by such strong statements. Have you talked to the owner of FGM to know so much about the design and decision on the dome and door height? Do you have fuel/wood consumption for other ovens to compare with a FGM oven? I think I need to invite you for a little test cooking with a FGM. Are you up for that?
Antoine, were the FGMs originally designed for bread or were they not?
Objection, irrelevant. (I am a lawyer).
I would beg to differ that most of the heat transferred from the fire to the brick is via hot air flow. Direct flame/coal contact and IR radiation is my best guess for the majority.
the glowing gaseous part of a fire
It is possible that a lower throat could help on the raised door, not arguing there with you. I have designed the metal piece with the FGM owner and we will get to put it to the test.
Tom, I'm not saying that 'most of the heat' is transferred by hot air. If you read my previous posts, I'm saying the minority of the heat is transferred by hot air, but it's enough to impact wood consumption and pre-heat times.
I wonder when the day will come when an intelligent man is allowed to state his beliefs without being called out to the Romper Rooms show an tell ideal.


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|2004-12-10, 21:56
|Link #221
ore wa kanpeki da
Join Date: Nov 2003
Yet it cannot be activated by anyone other than the prophet. As the fighting ensues she loses her lover and activates this angel or whatever you want to call it. It asks a few questions and decides to obliterate the human race. What was the point of the series? love overcomes hate and all that jazz and as far as that goes it told it pretty well. One could say the same thing for macross plus without all the "liberal" overtones we saw in macross zero
If you were expecting some gaint mecha action with flight suits you were surely misled
|2004-12-11, 02:50
|Link #222
/Ultimate Magic Attack!!!
Join Date: Feb 2004
Location: Time Warp/Future
IF we know the world will be destroyed at March 2005, then yup I'd say environmentalism in the real world doesn't make any sense. That's why some Christians are against environmentalism, since they think they know the future and that the world will end and be remade by God. But I don't know future, so environmentalism in the real world makes sense to me.
So yup, I don't know the future of the real world, and I know the future of the Macross world, that's why environmetalism in Macross seems stupid to me. IF I know the future of the real world, maybe I'll think environmentalism in real world is stupid too. but that's not the case.
Last edited by dreamless; 2004-12-11 at 04:28.
|2004-12-11, 16:15
|Link #223
Join Date: Jun 2003
As far as I am concerned, the fact that Macross is set in the future means very little. Kawamori isn't trying to predict the future for us, he's trying to tell us a story about humanity. And in this case that story involves people risking their whole lives for doomed causes. Because we are so inundated with movies and media now, there is no idea that is shocking to us. How many of you went insane with grief when the earth was destroyed at the beginning of SDF Macross? Not one, would be my guess. Because for all the fact that we don't want our own world to die, the earth in the Macross universe meant nothing to us at the time. We knew nothing about the people who lived there, what they did, etc. Now we have a little bit of backstory that, theoretically anyway, will add to the meaning of the Macross series that take place after it.
I also disagree that 'technology triumphs over nature'. I would say that man's use of technology balances itself out. Technology in conjunction with human nature drove man to the brink of destruction, and and technololgy in conjunction with another part of human nature brought him back from it. That's the whole dialogue in Macross, right? The pull between the part of us that leads to destruction and the part of us that leads to preservation and culture. But we know that the humans in SDF Macross were devastated when the earth was destroyed. And for all the technology they had, it was nature that brought forth those first few dandelions that Hikaru saw when he was flying patrol, not technology. In that sense, nature triumphs over technology.
|2004-12-11, 16:46
|Link #224
/Ultimate Magic Attack!!!
Join Date: Feb 2004
Location: Time Warp/Future
About Communism or whatever, I don't have the slightest idea of what it has to do with this discussion.
For your interpretation of the message of the entire Macross series, that's also totally irrelevant to this discussion of whether environmentalism in Macross Zero sounds stupid or not. Although I'd say in Macross world (NOT our real world), it's technology that drives humans to the brink of extinction, it's technology that makes the Earth inhabitable by humans again, and it's technology that saves humanity from certain extinction. So technology triumphs over nature as far as human survival is concerned, because without technology humans will surely go extinct. It's the use of technology that destroys the environment and it's the use of technology that restores it. and no I'm not talking about "human nature" (anyway Zentraedi invasion has nothing to do with human nature), I'm talking about "nature" as in environmentalism. But anyway as far as I see this has nothing to do with whether environmentalism in Macross Zero sounds stupid or not.
|2004-12-11, 17:54
|Link #225
Join Date: Jun 2003
Ok, Ok. Let me try again. What my post had to do with environmentalism in Macross Zero is this: If you think about it as a part of the story, rather than as a pre-packaged philosophy bundle, it adds a specific detail to the entirety of the Macross story. The destruction of earth in SDF Macross means a lot more if we know that, not too many years ago, all of these sacrifices were made to save the earth. Individual characters might come to the conclusion that nature should be saved. The Mayan people have a long history of trying to live in harmony with nature. But the things that people learn, and the culture of an ancient race, mean nothing in the long run because it's all destroyed anyway. The drastic change that occurs during and after the Zentradi war are more meaningful if we know about the people who lived in the world before it was destroyed. Just like if you hear that a house has burned down and everyone inside is dead, you might think it's sad that such things happen or not think anything about it at all. But if you knew the people who lived in that house then it would mean a lot more to you.
'Because we know the earth is destroyed, why bother to have the environmentalism theme in Macross Zero?' I say: have it there because it adds more detail to the story. The point of the 'Communism' example is that it is a common thing in human history for people to make massive sacrifices for goals that utterly fail. So I am looking at Macross as Kawamori's attempt to tell a story about humanity, which sometimes includes massive sacrifices that, in the end, meant nothing. A story can be interesting without its characters succeeding.
As for this:
By that logic, you should stop eating and drinking water. You know that you are going to die. So why make the effort? In the end your life won't be preserved. It's a fruitless endeavor.
Hmm.. are those explanations any better than the previous post?
|2004-12-12, 02:09
|Link #227
/Ultimate Magic Attack!!!
Join Date: Feb 2004
Location: Time Warp/Future
|2004-12-12, 04:38
|Link #228
Join Date: Jun 2003
Hmm.. I'm starting to think that I communicate through irrelevant illustrative examples too often.
|2004-12-30, 19:45
|Link #229
Senior Member
Join Date: Feb 2004
Nice anime, a good balance of action/charactersation/story until the ep4 & 5.
Practically every new character is taken out of the picture.
The poor resolution with the 2 vs 2 dogfight duel.
Dues ex machina ending
I actually prefered it more with the VFs stay in plane mode.
The 4-cannon MAC
Super VF-0, they showcased the Armoured VF-0 so I was expected it.
Nice lead-up but kind of sappy ending. Mainly because I didn't feel that Shin & Sara as a couple was as believable as Roy & Alice.
|2006-02-17, 01:17
|Link #230
I My Me Strawberry Eggs
Problem with Macross Zero fansub translations
In the AnimeOne & ANBU fansub hosted by Animesuki, Shin Kudou is referred to as Lieutenant.
But in the Anime-Fansubs & Animefactory's fansub also hosted by Animesuki, Mao refers to Kudou as Ensign.
Both those two separate fansubs refer to Focker as a Major, which is an Air Force rank, not a navy rank. So if these translations are accurate, what is an Air Force major doing out above the sea? Isn't the sea supposed to be the territory of the naval air forces? Many national navies/navys do have their own air forces. The Unification navy may have their own air force as well. (That's only rhetorical question, which I'm using as an example of mistranslating. Soluzar had answered that question in other forum.
I wonder what Japanese ranks, which the fansubbers have translated into english, are? Since I am deaf, I don't know what Japanese titles those characters are using in the raw Japanese. So anyone please give me the Japanese military ranks, that the fansubbers equated rather than translated?
One should know that one has to properly equate Japanese military ranks with their U.S. military equivalents.
Ensign is a naval rank. Lieutenant is both an Air Force and Navy rank, although Lieutenant is a higher rank than Ensign.
U.S. Navy----------------------U.S. Army, U.S. Air Force and U.S. Marine Corps
Ensign------------------------- Second lieutenant
Lieutenant (j.g)-------------- First Lieutenant
Lieutenant-------------------- Captain
Lieutenant Commander------ Major
Commander------------------ Lieutenant-colonel
Captain------------------------ Colonel
Rear Admiral (lower) --------- Brigadier General
Rear Admiral (upper)---------- Major General
Vice Admiral-------------------- Lieutenant-General
Admiral------------------------ General
U.S. Navy: http://uniforminsignia.net/index.php...id=65&sid=1287
U.S. Air Force: http://uniforminsignia.net/index.php...id=65&sid=1262
Imperial Japanese Army (1931-1945): http://uniforminsignia.net/index.php...d=150&sid=1353
Japan Self-Defense Force (present): http://uniforminsignia.net/index.php...id=150&sid=876
Imperial Japanese Navy: http://uniforminsignia.net/index.php...d=150&sid=1357
Japan Maritime Self-Defense Force (present): http://uniforminsignia.net/index.php...d=150&sid=2001
Japan Air Defense Force (present): http://uniforminsignia.net/index.php...id=150&sid=872
Last edited by stelok; 2006-02-17 at 01:45.
|2006-02-17, 01:59
|Link #231
I haven't looked much in to details on the subject,
but the title translations of those ranks in Japanese SDF don't match the ones shown on this Japanese wikipedia page.
As far as I know, there is no Navy equivellant in Japanese SDF system. The only 3 divisions are JASDF (air), JMSDF (maritime), and JGSDF (ground).
And what was Kudo's rank exactly? Shoui? Shousa? Either way, there's no such rank in JSDF, so trying to match his title in to JSDF rank is a moot act. From there on, the best the translator can do is ... well, the best guess.
So, my point up so far: There's no hard-set rules how forces of armed defense should be grouped. Trying to match different forces's equivellance between different countries are sometimes impossible. Same goes for ranks. Sometimes, you just cannot be absolute with these things.
Also, majority of fansubbers aren't as well-versed in military knowledge as you are. So what they can do is research within certain limit. Macross Zero episode 3 came out over 2.5 years ago. 2.5 years is enough time for enough people to create more websites than we can possibly imagine. That means we had much less resources we could rely on back then.
Heh... trying to pick on translation differences on something that old seems very pointless thing to me.
Last edited by Sylf; 2006-02-17 at 02:11.
|2006-02-17, 04:35
|Link #232
I My Me Strawberry Eggs
You only researched on post-World War II Japanese military, but you have overlooked the former Imperial Japanese military rank structure from 1931-1945. You should have gone to the links to the former Imperial Japanese Army and Navy in my first post and read the info.
So Kudou's rank is shoui? And then Shousa must be Focker's rank. Both the Japan's Imperial Navy and Imperial Army have the same rank structure as each other, unlike the Japan ground, maritime and air Self-defense Forces.
shoui is equivalent to both ensign and second lieutenant. Chuui is equated to both navy lieutenant (j.g) and army first lieutenant. Taii is translated to both navy lieutenant and army captain. Shousa means both lieutenant commander and major. Chuusa equates to both navy commander and army lieutenant colonel. EDIT: Taisa is both Navy Captain and Army Colonel.
That explains why the navy pilot Fuchida is referred to as "colonel" in the Pearl Harbor movie and is also referred to as "commander" in the movie called Tora! Tora! Tora!
Imperial Japanese Navy rank insignia (1931-1945): http://uniforminsignia.net/index.php...d=150&sid=1357
Imperial Japanese Army rank insignia (1931-1945): http://uniforminsignia.net/index.php...d=150&sid=1353
Look at both Army and Navy websites and compare the rank systems of the Japanese Imperial Navy and Army.
Yes, I know these websites use "sho i", "chu i", "sho sa" without the letter "u" but that's sometimes how they are translated as right as they can be. For example we often hear the name "Keitaro" in the Love Hina anime while"keitarou" in Love Hina manga. Tokyopop uses "Ichiro" in the Sakura Wars manga while the same name is listed as "Ichirou" in Sakura Wars anime on AXN-Asia channel. We hear often "kouhai" and "kohai", which are the same word but with a different spelling. EDIT: The name Kudou can also be said as Kudo.
The question is why are Macross producers using the rank system of the extinct Imperial Japanese military from 1931-1945 instead of the rank system of the post-WWII Japan Self-Defense forces?
EDIT: But even so, the fansubbers had to know that Focker and Kudou are serving aboard on an aircraft carrier ship which means they are both in the Navy.
Japan Self-Defense Force rank insignia (present): http://uniforminsignia.net/index.php...id=150&sid=876
Japan Maritime Self-Defense Force rank insignia (present): http://uniforminsignia.net/index.php...d=150&sid=2001
Japan Air Defense Force rank insignia(present): http://uniforminsignia.net/index.php...id=150&sid=872
If you want to research for military rank structure and insignia, then go to
http://uniforminsignia.net/ , not Wikipedia.org.
EDIT: perhaps, then the Macross Zero fansubbers should use Royal British air force ranks instead of U.S. military ranks in their translation. I can imagine Squadron Leader Focker and Pilot Officer Shin Kudou. But I know these Macross Zero fansubs are made by Americans. Besides, not many people outside Britain, Canada, Australia, India, Pakistan and other former British colonies are aware of the rank structures of the Royal army, Navy and Air Force.
O stands for officer and E stands for enlistee.
Royal British Air Force-----------U.S. Air Force
(O-1) Pilot Officer---------------Second Lieutenant
(O-2) Flying Officer--------------First Lieutenant
(O-3) Flight Lieutenant---------Captain
(O-4) Squadron Leader--------Major
(O-5) Wing Commander-------Lieutenant colonel
(O-6) Group Captain------------Colonel
(O-7) Air Commodore-----------Brigadier General
(O-8) Vice Marshal--------------Major General
(O-9) Marshal--------------------Lieutenant General
(O-10) Chief Marshal-----------General
U.K. Royal Air Force rank system: http://uniforminsignia.net/index.php...d=133&sid=1216
Last edited by stelok; 2006-02-17 at 05:10.
|2008-04-19, 14:33
|Link #236
Junior Member
Join Date: Apr 2008
Location: Los Angeles
Awesome research, nicely done. Why the British always have to be different?
|2008-04-19, 14:43
|Link #237
Holy Beast ~Wuff!~
both are great in my eyes.
|2008-05-16, 06:46
|Link #238
Senior Member
Join Date: Apr 2008
Such a nice OVA...with such a dissapointing final.
Nora's death sucked(should have been killed off by Shinn),DDs death sucked(had to be killed by Roy Focker) ,magic crap sucked,many things about this Ep 5 sucked. And this after awesome 4 episodes?
Its all you fault AFOS!!!Damn you bird-man!Damn youuuuu!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
|2008-06-02, 11:57
|Link #239
Incoherance is my friend!
Join Date: Dec 2005
God I hate this parallel story..I don't care if Roy "I'll sleep with anything female" Focker is in it, it skirts around the Macross landing and focus on some obscure story thing....uuhhhggggggggg....frontier is suppose to shed some light on it but good lord it feels as if its adding unneeded plot points....
If Sara and shin didn't get folded off the earth then the whole thing is a travesty to the Macross franchise....
On another note Macross 2 the movie was better....even if it was a mix of southern cross and macross...hell you can even call it a robotech film since its not cannon to the main macross story and its still better.....
Now with the ranting out of the way, why they are using a new plot fulcrum to end humanity's warring when they have a big ass ship in the middle of the sea to play with I do not know...sure there are plenty of alien races and the universe to play with story wise but....bbllaahhhhhhh...
I'l like to see a 13 ep season or maybe a full 26 ep season to flush..er...flesh this thing out, have the bridman thing run in a kind of parallel to the UN coming around macross, then with other events we can ping back and froth ending it with the earth coming together, I mean there are good war story's and UN politic story's to hash out here, for me macross is as much story and character relations as it is mech action.
Anyone have a clue what Frontier is going to do with "zero" in ep 10?
one final jaby jab would like to see a OVA finish up macross itself as well, well not a bad cliffhanger a 3-6 ep ova to get it near where 7 starts would not be a bad thing.
Someone mentioned plus....this is what I think abotu plus a AI construct of a singer gains control over a city/fighters to steal away the singers ex pilot lover...... gggaaaaaaaa it burns!
Last edited by ZippyDSM; 2008-06-02 at 12:07.
|2008-06-02, 13:18
|Link #240
Senior Member
Join Date: Jun 2006
You know why the UN wasn't using the big ship at New South Antaria?
They're still refurbishing a piece of junk!
Was it supposed to shoot that alien fleet unprovoked and we're not firing it?
Oops there goes our anti-gravity generators!
What our fold engine disappeared?!
Oh great we also brought the entire Island, the two warships with us!
Goes to show Macross humans don't know much of alien technology then.
Also it is not a parallel story it is a prequel showing an incident during the unification war.
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|On A Roll
Highlights of Wallcoverings' Latest and Greatest Trends and Consumer Press!
"On a Roll" featured publicity coverage of the Wallcoverings Association residential program participants. Throughout each issue, WA kept our members and industry affiliates posted on all the press that the association secured for wallpaper products!
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Past Issues
On A Roll Issues 2009-2012
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1/26/2019 » 1/29/2019
2019 WA Annual Conference


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Cinema EOS
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Leave No Story Untold.
The Cinema EOS C500 4K Digital Cinema Camera capitalizes on the groundbreaking ergonomic design of the EOS C300 camera, and offers a Super 35mm, 8.85-megapixel CMOS image sensor, DIGIC DV III Image Processor and an expansive range of recording and output options specifically for 4K and 2K image acquisition. Addressing the discrete needs of cinema and TV, the EOS C500 offers two forms of 4K origination - productions can dynamically select DCI (SMPTE 2048-1:2011 standard) or the alternative television-centric Quad-HD (SMPTE 2036-1:2009 and ITU-R BT.1769 standards) source image formats.
The EOS C500 features uncompressed Canon RAW output for both 4K and 2K recording. The Canon RAW output is delivered to external recording systems via built-in dual 3G-SDI ports. Dual uncompressed HD-SDI out ports supports external live monitoring. HD content can be written to dual onboard CF cards simultaneously to provide proxy video for offline NLE systems.
Canon has collaborated with some of the most respected names in the industry to ensure the Cinema EOS C500's output works seamlessly with external digital recording units, portable and master monitors, and on set DIT systems. The Cinema EOS C500 provides flexibility in 4K and 2K recording to allow production teams to maximize the efficiency in their production and post-production workflows.
4K/2K Workflow
The EOS C500 fully supports both 4K and 2K image resolutions; as such, it is the ideal choice for demanding video productions across a wide gamut that ranges from high-quality commercials and TV dramas to motion-picture releases. A 4K workflow offers four times the resolution of standard high-definition acquisition, resulting in life-like theatrical presentations, a familiar, film-style workflow, full versatility during post-production, and added flexibility for visual effects.
Canon design engineers have developed a 4K/2K acquisition platform and matching workflow for the video and motion-picture industries. With 4K rapidly moving to become the de facto standard for theatrical projection, the need for high-resolution acquisition is a production reality. The EOS C500 is designed to fit seamlessly with projects shot entirely in 4K, or for mixed 4K/2K productions. Coupled to external data recorders, the EOS C500 is a true "4K powerhouse," while still retaining the flexibility to handle standard HD workflows.
Simplified Workflow Chart
For detailed specifications and workflow, please go to each recording device manufacturer's website.
Cinema RAW Development Software
Playback RAW clips and preview on a PC monitor
Output preview image from SDI to the master monitor
Supports AJA KONA 3G only
4K output will be supported using four 3G-SDI cables
Output industrial standard files
DPX, MOV (Mac only)
Proxy (HD and SD size) output is supported
The software will be available through download from the EOS C500's Drivers & Software section.
System Requirements (As of July 2012)
|Windows 7, SP1, 64-bit version
|MAC OS X v10.7 or 10.8
|Intel Core i7, 3.06 GHz
|Intel Xeon, 2.8 GHz Quad
|NVIDIA GeForce GTX680
|NVIDIA Quadro 4000
|Any with read/write speed of 600 MB/s *1
|SDI expansion card *2
|AJA KONA 3G with driver v10.3.0 *3
|AJA KONA 3G with driver v10.3.1 *3
|End of October 2012
|Mid-December 2012
*1 Keeping RAW clips on a separate drive from the save destination of developed clips is recommended.
*2 Required only when checking SDI output on an external monitor.
*3 As of September 2012.
4K, 2K Multiple Output Formats
|Frame Rate
|4K RAW 10-bit
|4096 × 2160 /
3840 × 2160
|59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
|4K HRAW 10-bit
|4096 × 1080 /
3840 × 1080
|59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
|2K RGB 444 12-bit
|2048 × 1080 /
1920 × 1080
|59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
|2K RGB 444 10-bit
|2048 × 1080 /
1920 × 1080
|59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
|2K YCC 422 10-bit
|2048 × 1080 /
1920 × 1080
|59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
For enhanced creativity, and to accommodate a variety of workflows, the EOS C500 offers a range of 10- and 12-bit imaging modes. These comprise: 4K Output Priority Mode in resolutions up to 4096x2160 pixels; 2K Output Priority Mode in resolutions up to 2048x1080 pixels; and internal MXF File format recording up to 50 Mbps, utilizing MPEG-2 data compression at a variety of user-selectable frame rates and image resolutions.
Because the discrete needs of cinema and television production can vary from project to project, the EOS C500 offers two forms of 4K origination. Users can dynamically select either the DCI source-image format – SMPTE 2048-1:2011 standard – or the alternative, TV-centric Quad-HD source-image format – SMPTE 2036-1:2009 and ITU-R BT.1769 standards.
For added flexibility, the EOS C500 lets users select uncompressed Canon RAW output for use in both 4K and 2K productions. Instead of utilizing the built-in Compact Flash/CF storage media, Canon RAW-format output is delivered to external recording systems via built-in dual 3G-SDI ports. Dual uncompressed HD-SDI outputs support external monitoring. To provide proxy video sources for offline non-linear video editing systems, HD content can also be written simultaneously to dual, onboard CF cards.
2K/Full HD images can be output as either RGB 4:4:4 12-bit/10-bit or YCC 4:2:2 10-bit data for both 59.94Hz and 50Hz projects at up to 50 Mbps rates; because of data-bandwidth restrictions, recording onto the EOS C500's built-in Compact Flash/CF card drive are made at Full HD resolutions. As well as serving as a primary source for video capture, HD images streamed onto the CF card can be used as proxies for off-line editorial.
Cinema RAW Capture
The EOS C500 lets you capture images in a choice of 4K Cinema RAW and 4K Half Cinema RAW modes at frame rates up to, respectively, 60 fps and 120 fps, with 10-bit resolution. For enhanced flexibility, these two Bayer RAW modes are offered in a choice of Digital Cinema Initiatives/DCI 1.895:1 or Quad Full High Definition/QFHD 16:9 aspect ratios.
4K RAW data output from the EOS C500 image sensor can be recorded using about one-third of the space required for 4K RGB data, and Cinema RAW-based recording systems offer an enhanced degree of creative freedom during post-processing.
Primary applications for Cinema RAW include video production for high-end commercials and major motion-picture releases, in addition to footage for high-quality visual effects. 4K Cinema RAW data output can be processed using the Cinema RAW Development software application, which is available through the Canon website.
Canon 4K Super 35mm 16:9 CMOS Sensor
The EOS C500 features a Canon-designed Super 35mm, 16:9 CMOS sensor with full 4K resolution capable of delivering pristine-quality, 8.85-megapixel images needed for commercial applications with minimal moiré and other artifacts. Based on the same technology as the well-received EOS C300, the EOS C500's High-Sensitivity CMOS image sensor has the additional ability to directly output full 4K, 10-bit RAW Bayered data through two dedicated 3G-SDI connectors. The sensor's large, Super 35mm size lets you capture cinematic shallow depth-of-field imagery, yet maintain the enhanced image characteristics demanded by professional cinematographers.
During data transfer, the uncompressed information from the EOS C500's 4096x2160 Bayer-type CMOS image sensor is read out and transferred as RAW data to the 3G-SDI output. Prior to editing and/or image processing, this pristine RAW data is recomposed using a process known as de-Bayering to extract the highest amount of detail information from the camera's sensor, and capable of delivering truly breathtaking results for both film and TV projects.
By maintaining a wide pixel pitch, the sensor maximizes the amount of light that falls on each photo site, thereby enhancing the EOS C500's sensitivity and reducing image noise. By using a single CMOS sensor to capture individual Red, Green and Blue channels for each Full HD 1920x1080 frame, the EOS C500 produces color performance that is comparable with conventional three-chip designs. Of course, during 4K recording, the EOS C500 uses a debayering algorithm to process and output a full-resolution 4096x2160 image.
Canon Log Gamma
The EOS C500 features a log gamma setting that sets the camera to maximize dynamic range and provide wide exposure latitude. The files produced using log format are ideal for post-production processes where corrections, color matching and grading are applied. It provides users with a high level of creative freedom in post-production without substantially degrading the image quality. When using Canon Log, the EOS C500 can provide a dynamic range up to 800%. Canon Log Gamma can be applied in any EOS C500 recording or output mode.
Fully Compatible with New & Existing EF-mount Lenses
Canon EOS C500 with EF-Lens Mount
To integrate easily into the working style and equipment array of film crews and production houses, the EOS C500 with a Canon EF-lens mount is completely compatible with all of Canon's EF lenses, including compact primes, super telephotos, specialty Tilt-Shift, Macro and Fisheye lenses - over 60 in all.
EF and L-Series Lenses
A unique combination of the world's most advanced optical, microelectronic, and precision manufacturing technologies, the Canon's EF lenses, compatible with the EOS C500, are perfected in Canon's laboratories and proven in the field. Whatever the application, whatever the budget, there are Canon EF lenses perfect for nearly every scenario. Their compatibility not only affords the Cinema EOS access to some of the finest optics on the market, it opens up myriad possibilities with Canon's superlative specialty lenses, including a range of Tilt-Shift lenses, Close-up lenses and even Canon's amazing EF 8-15mm f/4L Fisheye Zoom.
Canon EF Cinema Lenses
Canon EF Cinema lenses are designed and engineered to meet or exceed the exacting standards of working professionals. Every Canon EF Cinema lens is designed to fulfill contemporary 4K production standards, surpassing the performance requirements of any HD imaging system. Zoom lenses feature large aspherical lens elements to achieve sharp, consistent images in every shooting situation. Geared inner focusing minimizes focus-induced changes in the angle of view, rendering focus breathing virtually zero. The 11-blade aperture diaphragms ensure smooth out-of-focus areas and beautiful bokeh - and innovative glass construction counteracts barrel expansion and contraction to avoid temperature-induced marking discrepancies. EF Cinema lenses provide markings on angled surfaces on both sides of the barrel, making it easy to read focus and aperture settings from behind or either side of the camera. Focus markings can be switched from standard labeling to metric. Control rings are designed to maintain the proper amount of resistance with consistent operating torque. EF Cinema lenses share uniform gear position, diameter and rotation angle as well as front lens diameters, enabling the film crew to quickly change to another Canon zoom or prime lens or compatible third-party accessories like matte boxes and rods without adjustments.
Canon EF Cinema Zoom Lenses
Canon's Cinema EF Zoom lenses offer unrivaled optical performance for demanding high-end productions, available in both EF and PL mount configurations. With fluorite, aspherical lens elements and advanced optical design, these unequalled Cinema EF Zoom lenses are capable of 4K-image reproduction. The wide-angle CN-E14.5-60mm T2.6 L S/SP provides industry-leading breadth of range; the telephoto CN-E30-300mm T2.95-3.7 L S/SP rivals best-in-class zoom magnification and telephoto focal length. Together these lenses cover the range most commonly used in cinema shooting.
Canon EF Cinema Prime Lenses
The brilliant series of Cinema EF Prime lenses offers spectacular 4K-image quality in lightweight, compact designs. Three models for EF mount cameras - CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F - offer consistent form factors and marking optimized for motion picture production. Whether you shoot with a Canon EOS C500 or EOS DSLR, the compact and consistent lens design makes for excellent handling. Audiences will also love the results from the 11-blade aperture diaphragms, fast t-stops and proven Canon lens elements.
Additional lenses are already under development, reflecting Canon's commitment to offer the broadest range of professional cinema lenses to meet filmmaker's needs, now and in the future.
Terminal Connectors
The EOS C500 comes complete with essential I/O interfaces via professional-grade BNC and multi-pin connectors.
Two 3G-SDI connectors output the Canon Log Gamma and audio signals at resolution and frame rates established within the EOS C500's 4K/2K priority modes.
Two Monitor connectors can be used to feed a video signal to an external monitor in 4K/2K priority mode, with a choice of either Rec709 or Wide DR color-adjustment, look-up tables (LUTs). (Marker, zebra and peaking signals can be set to output to only one of the monitor ports.) Signal format is YCC 4:2:2, 10-bit.
A Sync Out connection carries a choice of HD Sync/HD-Y or SD black burst/composite signals.
A Genlock Input can be used for synchronizing the camera with an external video device.
A Timecode In/Out connector enables the EOS C500 to either lock to external timecode or feed its internally generated timecode to external systems.
An HD/SD SDI connector serves as a standard interface for commercial HD equipment, with multiplexed audio and video signals in a digital format.
Two XLR Audio connectors are provided on the modular monitor control unit. The audio inputs provide 2-channel audio recording with the ability to switch between line-level, mic-level and mic-level with phantom power supply.
Versatility, Reliability and Durability
Designed from the ground up to maximize shooting comfort and usability, the EOS C500's modular design enables different components to be added or removed as required to meet the needs of a particular shooting scenario, and also to increase the comfort of a camera operator. In addition to the core camera body, the EOS C500 features a low-angle, camera-handle extension plus a removable LCD Monitor and control panel with XLR audio inputs. (However, to accommodate the EOS C500's 3G SDI outputs, the handgrip is fixed in a single position and not removable.)
The EOS C500 features an Ultra-High Resolution 1.55 Megapixel EVF with approximately 100% field-of-view coverage for comfortable viewing and accurate image composition, focus and color adjustment. The viewfinder's angle is adjustable for additional user comfort. The Camera Control Unit features a 4-inch, 1.23 Megapixel rotating LCD screen that offers approximately 100% field-of-view coverage. Mounted onto the camera control pad, the display panel can be freely rotated to provide the operator with flexible viewing angles and convenient access to the control panel. For added flexibility, the panel can also be mounted in different positions to accommodate different viewing positions required by the operator, director or producer. Such flexibility and ease of movement makes the display easier to use than a rigid design that can be easily bumped during a shoot.
Full Manual Control
The EOS C500 incorporates a number of built-in features that camera cinematographers and camera operators need to ensure accurate exposure and color levels during production.
A versatile waveform monitor provides detailed analyses of both overall image brightness and RGB Components.
To check color balance and view the effects of white-balance adjustments, an on-board vectorscope displays real-time image hue and saturation analysis.
The EOS 500 offers full manual control of all functions, including iris, shutter speed, gain, zoom, focus and audio levels, thereby allowing the camera operators to adapt to both technical and artistic challenges during the shooting. For maximum customization, you have access to Custom Picture Settings, Custom Functions and Custom Display Options to tailor the EOS C500 precisely to your specific needs.
For situations in which conditions require critical focusing, the EOS C500 offers several focus aids. A pair of Peaking Modes and a Magnify Focus Assist are available in both standby and record mode, making it extremely easy to check and confirm critical focus settings. An Edge Monitor Focus Assist system, which was first introduced with the Canon XF Series camcorders, shows overall focus of the image plus focus status of focus-check boxes.
With the November 5th, 2015 firmware update, EF Lens communication has been expanded to allow servo lens control from the from the RC-V100 remote control. An external battery/power source is necessary to drive the lens, as power cannot be supplied by the camera.
Slow and Fast Motion
During internal CF recording mode, the EOS C500 provides a Slow and Fast Motion Mode that can be used to record at a different frame rate than the playback frame rate, thereby resulting in either a fast or slow motion effect. Because the EOS C500 is recording real frames, and simply modifying the data playback rate, there is no overall quality loss due to interpolation; maximum image quality is maintained. In HD 1080 mode, fast motion is supported at up to 30-times normal rate and as slow as 1/1.25 sec.; in HD 720 mode, fast motion is supported up to 60-times the normal rate, and as slow as 1/2.5 seconds. In 4K/2K output modes the camera provides variable frame rate control that can be output to external recorders.
The EOS C500 incorporates an interval recording function. With this feature set, users can program the camera to record a specified number of frames at specified intervals for time-lapse capture.
WFT-E6 Wi-Fi® unit with Remote Capabilities
The EOS C500 can be used with the optional WFT-E6A Wi-Fi transmitter to provide unique capabilities not found in competitive units. Using any web-enabled devices such as a laptop PC, smartphone or tablet, you can control and adjust a number of the EOS C500's operational functions, including camera start and stop plus shooting parameters, in addition to monitoring a remote video feed and inputting session metadata. A built-in Bluetooth sensor will communicate automatically with external GPS units to secure location data that can be embedded with your video footage.
Effective Pixels
4096 x 2160 pixels; Approx. 8.85 megapixels
Total Pixels
4206 x 2340 pixels; Approx. 9.84 megapixels
Sensor Type
Sensor Size
Super 35; 26.2 x 13.8 (29.6 mm diagonal); 6.4 µm cell pitch
Scanning System
Number of Sensors
RGB Primary Color Filter (Bayer Array)
Imaging Processor
Digic DV III
Interchangeable Lens System
Choice of PL or EF mounts for compatibility with a wide variety of lens systems.
ND Filter
Mechanical ND filter system with option of clear, 2, 4, and 6 stops
Iris Dial
Iris Dial located on camera body for use with EOS EF Lenses with electronic Iris control (EF Camera version only)
Peripheral Illumination Correction
Available on EF Mount model only
Exposure Modes
Normal Setting -6dB to 30 dB TBD
Fine Setting 0dB to 24 dB in 0.5 dB increments
320 to 80,000
Shutter Modes
3 Modes: OFF; Speed; Angle; Slow Shutter; Clear Scan
Speed Mode is selected in 1/3 or ¼ stop increments
Shutter Speed Range
59.94i/59.94p: 1/60 to 1/2000 in 1/4 or 1/3 stops; SLS: ¼, 1/8, 1/15, 1/30; CS: 59.94 Hz - 250.27 Hz
29.97p: 1/30 to 1/2000 in 1/4 or 1/3 stops; SLS: ¼, 1/8, 1/15; CS: 29.97 Hz - 250.27 Hz
23.98p/24p: 1/24 to 1/2000 in 1/4or 1/3 stops; SLS: 1/3, 1/6, 1/12; CS: 23.97 Hz - 250.27 Hz
50i/50p: 1/50 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/3, 1/6, 1/12 1/25; CS: 50.00 Hz - 250.78 Hz
25p: 1/25 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/3, 1/6, 1/12; CS: 25.00 Hz - 250.78 Hz
Shutter Angle Settings
59.94i/59.94p: 360, 240, 216, 180, 120, 90, 60, 45, 30, 22.5, 15, 11.25
29.97p: 360, 240, 216, 180, 120, 108, 90, 60, 45, 30, 22.5, 15, 11.25
23.98p/24p: 360, 345.6, 288, 240, 180, 172.8, 144, 120, 90, 86.4, 72, 60, 45, 30, 22.5, 15, 11.25
50i/50p: 360, 300, 240, 180, 150, 120, 90, 60, 45, 30, 22.50, 15, 11.25
25p: 360, 300, 240, 180, 150, 120, 90, 75, 60, 45, 30, 22.50, 15, 11.25
Iris (Aperture) Range
EF Lens only - ½. 1/3 stop or fine setting can be selected
Smooth Manual control on Cinema Lenses
Focus Settings
AF Modes
8 Bit MPEG-2 Long GOP
Maximum Bit rate
50Mbps (CBR)
Recording Options
Recording Options
Recording Media
CF Card (Type 1 Only); 2 Slots (Movie Files); UDMA supported
SD Card (Still Images (JPEG), Custom Picture Data*, Clip Metadata, and menu settings); SD/SDHC/SDXC Supported; MMC Cards are not supported
*Custom Picture Data and settings is not compatible with data from others Canon models
File Format
MXF (OP-1a)
File System
Maximum Clip Number
999 (per media)
Recording Format
Linear PCM; 2-Channel; 16-Bit; 48 kHz
Built-in Microphone
External Audio Inputs
2 - XLR inputs (Auto and Manual level settings)
External microphone terminal: (3.5 mm diameter)
Recording Channel Selection
This is used to set the allocation of the audio channels:
CH1/CH2: The CH1 signals are allocated to the L output channel, and the CH2 signals are allocated to the R output channel.
CH1/CH1: The CH1 signals are allocated to the L output channel, and the CH1 signals are allocated to the R output channel.
CH2/CH2: The CH2 signals are allocated to the L output channel, and the CH2 signals are allocated to the R output channel.
ALL CH/ALL CH: Signals obtained by mixing the CH1 and CH2 signals are allocated to the L and R output channels.
XLR Mic Trimming
Available; -12dB, -6 dB, 0dB or +12 dB
Recording Level Adjustment Range
- Infinity to +18dB
Phantom Power
Available; +48V
Headphone Adjustment
16 Settings; Volume is muted at lowest setting
Built-in Speaker
1KHz Tone
Available; -12, -18, or -20 dB
Clip Display: 3x4 Index Display, Original, OK Mark, Check Mark, Shot Mark, Expand, Photo (SD Card), Clip Metadata
Clip Playback: Forward Search (x5, x15, x60), Reverse Search (x5, x15, x60), Forward frame Advance, Reverse Frame Advance, Record Review, Skip to next clip, skip to previous clip
Clip information Display: Clip Metadata display, custom picture settings Playback Functions: Inter-media Copy (Single Clip, All Clips, Last Clip); Clip Delete (Single Clip, All Clips, Last Clip)
Still Image Playback: index, single playback, erasure, protect
Special Recording Functions
Relay Recording*; Double-Slot Recording**; Copying between Media
* Not available during Slow Motion 50 Mbps recording
** Not available in combination with Slow and fast motion recording
NOTE: Special features other than Slow and Fast Motion Recording are not available in 4K and 2K modes
Photo Recording Mode
Available; Images captured to SD Card
Waveform Monitor
Available; 2 Modes (Standard and RGB Component)
Exposure/Focus Aids
Peaking (2 types), Zebra Pattern*, Magnify, Edge Monitor Focus Assist, Black and White Mode
*Can be output via the SDI or HDMI Jack (HD Only)
Interval Record
Available; ability to set time interval and number of frames to record
Interval can be set in 25 levels ranging from 1 second to 10 minutes.
(1s/2s/3s/4s/5s/6s/7s/8s/9s/10s/15s/20s/30s/40s/50s/1m/2m/3m/4m/5m/6 m/7m/8m/9m/10m)
NTSC 59.94i/29.97p/23.98p/24.00p: Selectable between 1, 3, 6, 9 frames
NTSC 59.94p: Selectable between 2, 6, 12 frames
PAL 50i/25p/50p: Selectable between 2, 6, 12 frames
Frame Record
Available; Records a set number of frames each time the record button is pressed
NTSC 59.94i/23.98p/24.00p: Selectable between 1, 3, 6, 9 frames
NTSC 59.94p: Selectable between 2, 6, 12 frames
PAL 50i/25p/50p: Selectable between 2, 6, 12 frames
Yes, 3 seconds cache (Audio and Video)
Scan Reverse
When using a Depth of Field Converter or other lens adapters it flips or reverses the image automatically so it is recorded correctly.
Time code
*Drop Frame (DF) and Non-Drop Frame (NDF)
*Drop frame works with NTSC models only and is not available in 24P
Time Code Modes
Regeneration, Record Run, Free Run and External Source
Auto White Balance (AWB)
Not Available
White Balance
Kelvin Setting 2,000K to 15,000K in 100K increments
White Balance Presets
Daylight (5,400K); Tungsten (3,200K); Kelvin
White balance shift is available within Presets (-9 to +9)
Auto Black Balance
Custom Picture Settings
23 Custom Picture settings
A total of nine 9 Customized Pictures are available in the camera and up to 20 can be saved to an SD card
Custom pictures can be adjusted using the following settings and saved for later recall:
Gamma, Black, Black Gamma, Low Key Saturation, Knee, Sharpness, Noise Reduction, Skin Detail, Selective Noise Reduction, Color Matrix, White Balance, Color Correction, Setup Level
Custom Pictures CP8 and CP9 ship with the following presets:
C8: Cinema - Suited for giving recorded media a film tone.
C9: EOS Standard - Used to match the quality of DSLR video shot in EOS standard mode
Custom Functions
Available, 9 total functions
Custom Display
Yes; LCD panel and EVF information display can be customized
Total of 27 display and icons that can be turned on and off
On Screen Markers
Assign Buttons
15; Can be assigned functions as desired (37 functions Available)
Color Bars
Color bars compliant with SMPTE, EBU, or ARIB standards can be selected.
Minimum Subject Illumination
59.94 Hz Mode: 0.3 Lux
(f/1.2, 24 dB, 29.97p, 1/30 sec.)
50.00 Hz Mode: 0.25 Lux
(f/1.2, 24 dB, 25p, 1/25 sec.)
59.94 Hz Mode: F9
(1920 x 1080/59.94i, ISO 640 (0 dB), 2000 lux, 89.9% Reflection)
50.00 Hz Mode: F10
(1920 x 1080/50i, ISO 640 (0 dB), 2000 lux, 89.9% Reflection)
S/N Ratio
59.94 Hz Mode: 54 dB (Typical)
(1920x1080/29.97p, Canon Log, ISO 850, Dynamic Range 800%)
50.00 Hz Mode: 54 dB (Typical)
(1920x1080/25p, Canon Log, ISO 850, Dynamic Range 800%)
Dynamic Range
During Normal Shooting: 300%
*With Canon Log Gamma: 800%
*ISO 850 or above - gain 2.5dB or above
Viewing Angle Adjustment
Available; Viewing Angle can be adjusted up and down 60°
Diopter Adjustment Range
+2.0 to -5.5
EVF Adjustments
Brightness, Contrast, Color, and Backlight (Normal or Bright)
Display Adjustments
Brightness, Contrast, Color, Sharpness, and Backlight (Normal or Bright)
Yes; (with embedded audio);
HD 8-bit 4:2:2 (YPbPr) 1920x1080: 59.94i/50i/23.98/24.00, 1280x720: 59.94p/50p/23.98/24.00
SD 8-bit 4:2:2 (YPbPr) 480: 59.94i, 576: 50i BNC Connector, output only
NTSC 480i/PAL 576i: Compliant with SMTPE 259M
Embedded Audio: Compliant with SMTPE 272M
Time Code Standard: (VITC/LTC) SMTPE 12M
HD-SDI: (Compliant with SMTPE 292M)
1080i/720p: Compliant with SMTPE 292M
Embedded Audio: Compliant with SMTPE 299M
Time Code Standard: (VITC/LTC) SMTPE 12M
Available; 2x BNC
Output Modes: RAW (10-bit); RGB 4:4:4 (10-bit/12-bit); YCC 4:2:2 (10-bit)
Frame Rates: 23.98p/24.00p/25.00p/29.97p/59.94p/50p
Video Monitor Out
Available; 2x BNC
Resolution: 2048x1080 / 1920x1080
Frame Rates: 23.98p/24.00p/25.00p/29.97p/30p/59.94p/50p/60p
Color Space: YPbPr: 10-bit
Time code In/Out
Yes; BNC Connector (Input and Output)
Yes; BNC Connector (Input Only)
Adjustment range: -1023 to +1023
Synch Out
Yes, BNC Connector
(1) HD tri-level signal (HD Sync) 1920x1080: 59.94i/50i/23.98/24.00, 1280x720: 59.94p/50p/23.98, 24.00; The HD standard analog component Y signal with the black muted is output.
(2) HD-Y signals (HD-Y) 1920x1080: 60i, 59.94i/50i, 1280x720: 60p/59.94p/50p; Only the HD standard analog component Y signal is output.
(3) Black burst signal 480: 59.94i, 576: 50i; The SD standard analog composite signal with the black muted is output.
(4) Composite 480: 59.94i, 576: 50i; The SD standard analog composite signals are output.
Yes (Type A)
HD 8-bit 4:2:2 (YPbPr) 1920x1080: 60i/59.94i/50i, 1280x720: 60p/59.94p/50p
SD 8-bit 4:2:2 (YPbPr) 480: 59.94i, 576: 50i
Audio Input Terminal
2 - Balanced 3-pin XLR on Monitor Unit (Mic Level, Mic Level with phantom power and Line Level)
3.5mm Microphone terminal
Headphone Jack
Available; 3.5mm stereo mini-jack
Remote Terminals
Available (Fully LANC Compatible)
Remote control through WFT-E6A accessory is also possible
DC 7.4 V (Battery Pack) / DC 8.4 V (DC In)
Power Terminal
DC in on camera (no need for Dummy Battery)
BP-9 Series (Excluding BP-925)
Compact Power Adapter
Tripod Adapter
Canon TA-100
Tripod Adapter Base
Canon TB-1
Zoom Remote Controller
Canon ZR 2000
Wi-Fi Adapter
Approx. 6.3 x 7.0 x 6.7 in (160 x 179 x 171 mm)
C500 + Monitor Unit: Approx. 7.3 x 9.8 x 7.4 in (185 x 249 x187 mm)
C500 + Handle Unit + Monitor Unit: Approx. 7.3 x 11.2 x 11.9 in (185 x 284 x 301 mm)
Main Unit Weight
C500 Body: Approx. 4.0 lb. (1820 g)
Monitor Unit: Approx. 1.4 lb. (645 g)
Handle Unit: Approx. 6.3 oz. (180 g)
Total Equipped Weight
C500: Approx. 6.0 lb. (2705 g)*
C500: Approx. 6.4 lb. (2885 g)**
* Weights include the monitor unit, BP-955, 2x CF cards.
** Weights include the monitor unit, handle unit, BP-955, 2x CF cards.
Temperature and Humidity
Performance requirements: 0°C to 40°C, 85% (relative humidity)
Operating requirements: -5°C to 45°C, 60% (relative humidity)
Language Support
English, Japanese, Chinese, German, Spanish, French, Italian, Polish, Russian
Time and Date
Automatic Calendar range January 1st, 2010 through December 31, 2031 selectable in American, Japanese and European Date formats.
World Clock
World Clock support - UTC time setting: Setting range from +14:00 to - 12:00
Compatible Supplies & Accessories
Canon offers a wide range of compatible supplies and accessories that can enhance your user experience with you EOS C500 that you can purchase direct. Scroll down to easily select items to add to your shopping cart for a faster, easier checkout. Visit the Canon Online Store
Battery Pack 955
Battery Pack 975
CA-930 Power Adapter
CA-940 Compact Power Adapter
Remote Controller RC-V100
The RC-V100 Remote Controller provides full access to all important user functions, in addition to basic controls. Learn More
The RC-V100 Remote Controller provides full access to all important user functions, in addition to basic controls. Learn More
Tripod Adapter Base
Tripod Adapter TA-100
TA-100 Tripod Adapter allows you to quickly mount/dismount the XL2 on or from a tripod.
Wireless File Transmitter WFT-E6A
New Wireless LAN support for IEEE 802.11n communication in addition to existing IEEE 802.11a/b/g for the EOS-1D X Internal Bluetooth Function for secure communication with Bluetooth compatible equipment Stable design ensures sending errors can be sent automatically Enhanced camera clock synchronization across multiple cameras
Case Studies
White Papers
Interactive Simulator
Transparent: Behind the ScenesGo behind the scenes of the 2015 Golden Globes winning Best TV Series – Transparent, a comedy by Amazon Studios about a family that comes to terms with the revelation that their father (Jeffrey Tambor) is transgender.
4K, 2K, or HD – The Great Debate on ResolutionLeading cinematographers Steven Poster, ASC, Shane Hurlbut, ASC, Dallas Sterling, and Sam Nicholson, ASC, at the 2014 Cine Gear Expo for an insightful conversation on resolution as they compare and contrast their experiences shooting in 4K, 2K, and HD.
RC-V100 Remote ControlThe versatile RC-V100 Remote Controller for EOS C-Series Digital Cinema cameras and the XF305/300/205/200 Professional Camcorders provide full access to all important user functions.
Need for Speed: Behind the ScenesCinematographer Shane Hurlbut, ASC takes you on an adrenaline-pumping ride behind the scenes of the upcoming blockbuster Need for Speed. Shane relied on the Canon Cinema EOS C500 digital cinema camera, the Cinema EOS 1D-C digital SLR, and Canon lenses to capture the heart-pounding, high-velocity speed racing action coming soon to the big screen.
Canon Collaborations: The EOS C500 Configured by the Crew of Human VoiceAcclaimed cinematographer Rodrigo Prieto, ASC, AMC and director Edoardo Ponti take you to beautiful Naples, Italy to give you an intimate behind-the-scenes look at the making of Human Voice, a short film starring Sophia Loren.
Canon Powershot "Be Ready": Behind The ScenesGo behind the scenes with director Dave Meyers and his crew as they shoot a Canon PowerShot commercial in 2K with a Cinema EOS C500. John Veleta, DIT gives an in depth tour of the shoot's workflow and camera configuration, while DP Marcelo Durst explains some of the benefits the EOS C500 brings to the table.
† Prices and specifications subject to change without notice. Actual prices are determined by individual dealers and may vary.
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