Tag Archives: canon

Canon scrapped its most ambitious vlogging camera ever… Here’s what the patent reveals

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Canon has filed three separate patents chasing a handheld vlogging camera, five years apart, and each one solved a completely different problem than the one before it. The version everyone read about this spring is a fixed lens gimbal with a smart shutdown sequence, built to compete with the Osmo Pocket 4, and it traces cleanly back to a 2024 filing. Its real ancestor sits further back, in a December 2020 patent that rarely gets mentioned in the same breath, and it deserved better than being forgotten. That filing wasn’t a gimbal camera at all, despite early reports calling it exactly that. It was a pistol grip built around an interchangeable lens mount and a motorized head that only pans and tilts, aimed at creators who wanted a real sensor and real glass in something you could frame with one hand. Had Canon actually built it, this would have been the most ambitious vlogging camera the company ever attempted, not the fixed lens compromise it eventually shipped toward instead.

DPReview had to rewrite its own coverage once it worked through the Japanese documents, since the initial assumption of Osmo style stabilization didn’t hold up against what the patent actually claimed. Control came from a rear touchpad and a front trigger for preset framing points, with the display flipping automatically depending on lens orientation. Canon even filed a follow up patent for a lock to stop the lens twisting free mid motion, evidence of how much engineering went into a product that never left the drawing board. The mount in the drawings lines up with EF-M, a system Canon has since confirmed is finished, lenses gone and shipments halted for good. Comparing that abandoned idea to this year’s fixed lens gimbal makes one thing obvious, Canon already had its most ambitious vlogging camera worked out on paper years ago, and simply never pulled the trigger.

A 360 degree pan and roughly 270 degrees of tilt let the lens swing from a landscape shot to a selfie without repositioning the grip. A rear touchpad aimed the head, a front trigger locked preset framing points, and two buttons handled recording and playback. The camera also read its own orientation, flipping the display when the lens rotated backward and switching to vertical when the grip turned ninety degrees. A hot shoe up top took a mic or a light. None of it needed a phone paired over Bluetooth, unlike most gimbal cameras built since.

Patent application 2021-004930 would have added a lock to stop the lens releasing by accident, since a lens on a motorized head has nothing solid to brace against while you twist it free. CanonNews and DPReview both read the mount as EF-M based on the tab position in the drawings, backed by a separate filing for an add on grip and adapter meant for larger lenses. Canon’s own documents admit the tradeoff, since a bigger adapted lens would have limited the head’s pan and tilt range, while a compact EF-M prime would have kept full motion. It is a rare case of a patent documenting its own compromise instead of pretending the idea scales cleanly. EF-M is gone now, with Canon USA confirming shipments in the region have ended, so this camera never got the chance to grow into a second generation of lenses.

Canon’s April patent takes the opposite bet, a fixed lens gimbal with a folding head and a shutdown sequence smart enough to know when nobody is holding it. That is a sensible answer to the Osmo Pocket 4, though a smaller idea than the one Canon shelved earlier, since a fixed lens will never accept a wider prime the way an EF-M mount could have. Canon spent five years learning that practicality sells better than ambition, and this year’s patent proves the lesson stuck. Somewhere in Tokyo sits the version of this camera that would have actually mattered to people who own lenses, and Canon decided it was too complicated to build. Whatever ships next will be more reliable than the 2021 concept, but it will also be the safer camera, worth remembering next time Canon calls something a first for creators.

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Canon Is Stealing DJI’s Content Creator Crown With Its Own Osmo Pocket Rival

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DJI built the pocket gimbal camera market almost entirely by itself, and for years nobody credible showed up to contest it. The Osmo Pocket line became the default recommendation for vloggers, travel creators, and anyone who wanted stabilized footage without strapping a gimbal rig to their wrist, and DJI knew it. Then the US government started making noises about Chinese drone manufacturers, DJI’s core business landed on security watchlists, and suddenly the ecosystem that looked impenetrable started looking like a liability. Canon has been watching all of this, and a newly published April 2026 patent suggests the imaging giant has decided this is exactly the moment to move.

The patent describes a compact handheld camera with a fully integrated three-axis gimbal, a fixed lens, a grip with a screen, and a folding mechanism that protects the stabilizer head during storage. Canon has actually filed three gimbal-related patents since 2021, each one progressively more practical than the last, and this newest filing is the first that reads like an actual product brief rather than a thought experiment. The key engineering detail is a smart shutdown sequence that guides the gimbal into a safe folded position before cutting motor power, using magnetic sensors and image analysis to confirm the camera is no longer in use. It sounds minor until you realize that mechanical wear from limp-motor shutdowns is one of the more quietly frustrating failure modes in the category.

Designer: Canon

That three-patent arc maps almost perfectly onto how Canon typically approaches a new product category. The 2021 filing was the moonshot, an interchangeable-lens gimbal camera with cinema-level mechanical ambition that would have been extraordinary if Canon could have made the economics work. It could not, at least not at a price point a travel vlogger would stomach. The 2025 follow-up introduced an auto-flipping mechanism for continuous shooting without interruption, solving a specific operational frustration rather than reimagining the whole device. This latest filing drops the interchangeable lens entirely and focuses on fixed-lens portability with intelligent behavior baked into the motor control system. That progression from wild ambition to refined practicality is Canon doing what Canon does: taking its time, watching the market develop, and showing up when it has something worth shipping.

The competitive timing could not be more pointed. DJI launched the Osmo Pocket 4 in April 2026 with a 1-inch sensor and 4K at 240fps, confirmed a dual-lens Osmo Pocket 4P with 3x optical zoom, and faces the Insta360 Luna Ultra coming in May with a Leica-tuned dual-cam system and 6x in-sensor zoom. Canon is walking into a category fight that has never been more crowded or more technically advanced. The honest question is whether intelligent power management and Canon’s legendary color science, the warm, true-to-life rendering that photographers have trusted for decades, can compete against DJI’s hardware spec escalation and Insta360’s modular innovation. Canon’s answer, reading between the patent lines, seems to be that smarter behavior and a name creators already trust is a more durable advantage than chasing the highest frame rate number.

None of this guarantees a product ships. Patents are promises Canon makes to itself, not to consumers, and the 2021 interchangeable-lens concept never made it past the drawing board. What separates this filing from that one is the granular specificity of the engineering detail. When a patent document gets precise about magnetic sensor placement, motor position thresholds, and the exact sequence of a shutdown routine, it suggests the people writing it have thought about tolerances and failure modes, which tends to happen closer to a factory floor than a whiteboard. Canon has spent five years doing the homework on this category. The timing, with DJI’s business under regulatory clouds and the content creator market larger than it has ever been, suggests it may finally be ready to hand it in.

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Canon’s quirky new lenses help you create content for Apple Vision Pro and VR

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Mixed reality platforms try to seamlessly blend physical and digital objects, but our current technologies have their limits. You can, for example, view a regular photo or video in this virtual world, but it’d be like seeing a TV float in front of you. Such content doesn’t fully convey the power and the possibilities offered by these technologies, for which you’ll require specialized tools that are often well beyond the reach of even the majority of professional content creators. Fortunately, the industry landscape is changing, and more accessible tools are becoming available, like this pair of Canon lenses recording at creating stereoscopic 3D photos and videos that don’t require you to buy a new camera, provided you already have a compatible Canon model.

Designer: Canon

To create a stereoscopic 3D video effect that doesn’t look fake, you’ll naturally need either multiple cameras working in sync or one that records in 3D from the get-go. Since there isn’t a huge demand for the latter, 3D or spatial cameras are rare and expensive. More importantly, they require you to set aside your existing cameras and settle for something unfamiliar and potentially less capable than your pro DSLR or mirrorless camera.

Canon’s solution is to actually equip its interchangeable lens cameras with optics designed to take photos or record videos directly in stereoscopic 3D or spatial video. This does mean using two lenses, which is what the upcoming RF-S7.8mm F4 STM DUAL lens will bring to the table. Details are still slim on this particular lens, other than it’s designed with the Apple Vision Pro in mind, particularly its new Immersive Video capability. Best of all, this lens is compatible with existing cameras, though only the Canon EOS R7 has been named so far.

The RF-S7.8mm F4 STM DUAL lens is, of course, also compatible with Canon’s own EOS VR system, as is a slightly odder RF-S3.9mm F3.5 STM DUAL FISHEYE lens, also for the Canon EOS R7. As the name implies, the lenses for this module are farther apart, allowing for a wider field of vision and a deeper 3D effect. It does make your camera look weird and could potentially block easy access to the grip or buttons on the front of the camera.

At $1,099, the RF-S3.9mm F3.5 STM DUAL FISHEYE isn’t exactly cheap, but it’s also within reach of pro content creators. More importantly, they won’t need to buy another camera and can stick to the powerful Canon EOS R7, presuming they already own this model. The price for the RF-S7.8mm F4 STM DUAL for the Apple Vision Pro will most likely be revealed closer to its launch this Fall.

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Canon’s RF 200–800mm Lens Combines Long Range With Excellent Stabilization

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Last week, Canon announced a new telephoto-to-super-telephoto lens with the ability to zoom in 4x. This should let anyone take extremely accurate shots from a long distance with little noticeable blur, and it may open new doors for wildlife photographers (who, likely, would prefer to avoid disturbing any natural habitats) working without a tripod. It sounds like hand-holding a Canon EOS R-series full-frame camera equipped with one of these lenses provides comparable image clarity, which is important when you consider tripods are a drag on mobility. The lens making such photography wizardry possible is called the Canon RF200-800mm F6.3-9 IS USM, and — despite its $1,899 MSRP — you’re absolutely going to want one if you plan on capturing fast-moving distant objects, like wildlife or even fast-moving athletes or vehicles.

Designer: Canon

By default, this 200mm lens has a minimum focus distance of 2.62 ft or 0.8 meters. But that can be extended out to 800mm for much clearer long-distance shots with a minimum distance of 10.83 ft or 3.3 meters. Of course, that’s if you don’t use an extender. Sticking an Extender RF2x on top of a Canon RF200-800mm doubles its focal length even further to 1600mm, potentially making it one of the best super-telephoto lenses around. That’s partially thanks to Canon’s Optical Image Stabilization (OIS), which Canon claims provides “enhanced shake reduction for up to 5.5 stops”. When paired with Coordinated IS on the Canon EOS R-Series cameras, these benefits combine for “reliable handheld performance and clearer detail in low-light situations, without having to increase the ISO or decrease the shutter speed.”

Canon’s RF200-800mm F6.3-9 IS USM lens features a number of weather-proofing features which blend right into its stylish black-and-white matte design. For instance, its white paint is actually meant to work as a countermeasure against excessive heat when exposed to direct sunlight for long periods of time, as would be the case when capturing sports footage or when shooting wildlife in an area with a hot climate. The lens mount, focus/control ring, lens function buttons, and other interface pieces are rated for dust-proofing as well. Carrying it around should be a breeze; this lens only weighs 0.55 lbs, making it lightweight compared to other telephoto lenses — which usually weigh somewhere in the 1-3 lb range.

So far, reviews of the RF200-800mm F6.3-9 IS USM skew overwhelmingly positive. TechRadar praised the lens for its “unbeatable reach” and “sharp detail especially at its wider end”. Even then, it sounds like the lens’ aperture could use more headroom for lower-light scenes. But that isn’t a huge deal on its own. If you buy one of these, you’re likely going to pair it with one of Canon’s EOS cameras — packed-in with in-body stabilization — and if that’s the case, this lens should be able to capture incredibly detailed photos (even in low-light situations) from afar. According to Canon, the RF200-800mm is shipping out to customers in the United States on December 14.

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