Canon Announces New Canon EOS C400 Cinema Camera and CINE-SERVO 17-120mm Cinema Lens

Canon Announces New Canon EOS C400 Cinema Camera and CINE-SERVO 17-120mm Cinema Lens

Canon has just introduced two new tools for filmmakers and videographers, the Canon EOS C400 Cinema Camera and the CINE-SERVO 17-120mm Cinema Lens.

Having used and/or owned multiple Canon cinema cameras in the past, I’ve grown to think of one word when it comes to the products they build: “workhorses.” Built tough, the cameras just seem to work. And when you are a working professional, a dependable camera is the most valuable of commodities. And now, Canon has created a new box camera of the RF mount era, the EOS C400.

If you’ve shot with any of the previous Canon cinema cameras such as the C200, C300, C500, etc., you’ll be familiar with the shape and ergonomics. These cameras are built with single operators in mind with the most used buttons placed on the operator side for easy access. This includes moving the audio levels to the operator side this time around, a change from previous models, to make it easier to adjust on the fly. The camera has a built-in multifunction hotshoe which allows you to connect a variety of accessories without the need for additional wires. One cool touch is that when you connect the included top handle, the multifunction hotshoe capabilities extend to the handle as well, allowing you access to these functions regardless of how you choose to build your rig.

As mentioned earlier, this camera uses the Canon mirrorless RF mount as opposed to the EF mount of many older models. This allows you to take advantage of the capabilities of the new Canon mirrorless line of lenses. In addition to native glass, the newer RF mount also allows the user to adapt a variety of non-RF lenses to the system. Being released simultaneously with the camera is an optional Mount Adapter PL-RF to allow you to connect PL mount glass to the system.


The camera offers full frame 6K resolution and 16 stops of dynamic range. This is achieved from a newly designed sensor with a triple base ISO. This means essentially that the noise floor resets for optimal results at ISO 800, 3200, and 12800. So documentary shooters should have no problem adjusting to difficult lighting conditions.

The camera records to two card slots. One main card slot is CFexpress Type B while the second is standard SD. The 12-bit 6K Canon Cinema RAW Light can only be recorded to the CFexpress Type B slot but you can choose to simultaneously send proxy recordings or separate audio recordings to the SD for a cleaner workflow. You have the option to shoot three levels (file sizes) of Cinema RAW Light: HQ, ST, and LT. You can shoot full 6K in Cinema RAW Light up to 60 fps to the CFexpress Type B with higher frame rates available at the expense of resolution (4K Cinema RAW Light up to 120 fps/2K Cinema RAW Light up to 180 fps). Or, if you choose to forgo Cinema RAW Light in favor of XF-AVC, you can record 10-bit 4:2:2 to either card in a number of varieties. Both Canon Log 2 and 3 are available.

The EOS C400 brings over the amazing autofocus capabilities from Canon’s mirrorless line and includes Dual Pixel CMOS AF II. It also includes a new interval timer mode for creating time lapses as well as a new Auto Clear Scan Setting which automates the process of detecting the frequency of a TV’s, LEDs, etc. that may be in your scene and eliminates distracting flicker.

The camera will run off of a new battery, the BPA 60N (or the larger capacity 30N). If you have the older BPA batteries, they will function with the camera, although, with the older batteries, you lose a few peripheral functions like the multiport hotshoe and certain functions via the dedicated lens control port at the front of the camera body.

The camera has internal anamorphic desqueeze capabilities and comes with my favorite option on any camera, built-in NDs. In the case of C400, you get 0 to 10 stops of NDs for you to adjust as needed for your scene. Overall, there are 18 user-assignable buttons for advanced customization.

The camera offers 12G-SDI and 3G-SDI monitor outputs, a full-size HDMI output, built-in Wi-Fi connectivity, Ethernet, and also features SRT protocol for IP streaming of video and audio. The camera also makes room for DIN connectors for timecode, genlock, and even return video to help with live compositing. With live productions in mind, the EOS C400 camera body has a dedicated 12-pin lens terminal for broadcast and cine-servo lenses, such as the newly announced CINE-SERVO 17-120mm Cinema Lens which builds upon the legacy of the company’s CINE-SERVO line while adding an RF mount (the lens also comes in a PL mount option which supports ZEISS eXtended Data and ARIA).

There are a couple of add-ons you would want to consider. For one, this camera does not have an EVF. So, you will need to rely on the LCD screen or invest in a 3rd party option if you prefer to have your eye to the viewfinder. The two audio ports are mini-XLR as opposed to full-sized XLR so you may need an additional dongle depending on your audio sources.

I haven’t had my hands on the camera yet, but it promises to be a valuable tool for filmmakers and videographers in the years to come.

The camera ships September 2024 and will retail for $7,999. The CINE-SERVO 17-120mm will be available in October 2024 for an estimated retail price of $23,850. The MOUNT ADAPTER PL-RF will be available in September 2024 for an estimated retail price of $1,599.

Christopher Malcolm's picture

Christopher Malcolm is a Los Angeles-based lifestyle, fitness, and advertising photographer, director, and cinematographer shooting for clients such as Nike, lululemon, ASICS, and Verizon.

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