Canon announces 8K full-frame EOS R5 C cinema camera

If you’re wondering if the R5 C is a variation on the R5 mirrorless stills camera, you’d be right. The EOS R5 C is a hybrid cinema camera. It can take stills images in a similar way to the R5, but it is very much video focused. As Canon told us during the initial briefing about it, if you are primarily doing stills with a bit of video you will want the R5, but if you mainly shoot video with some stills then the R5 C will be the camera you need.

The concept reminds me a bit of the Panasonic S1H in that the EOS R5 C takes the sensor and main internals off its stills focused brethren, including the well-renowned autofocus system, but it extends the rear of the body to include a fan cooling. system to make recording limitations and thermal issues a non-issue.

Canon EOS R5 C main features
In stills mode, the R5 C can capture 45MP images at up to 20 frames per second, so it’s certainly no slouch in that department, but it’s the video capability that is the most interesting, and its main forte.

The R5 C takes the 8K capability of the R5 and makes it usable without limits. Using the standard battery the R5 C can record 8K at up to 30fps, however, if you use an external power source, be it a D-tap battery system or a power bank, it can record 8K at up to 60fps.

Not surprisingly these high frame rate capabilities filter down to the 4K modes as well, allowing it to be capable of unlimited recording in 4K at up to 120fps.

Interestingly, the camera uses two totally different menu systems depending on whether you are in video or stills mode. It features a large rotary dial to switch it into either mode, requiring a reboot if you change it. In stills mode, the camera features the familiar EOS stills camera menu system and interface. Put it into video mode on the other hand, and it boots up an OS and menu system that will be familiar to anyone who uses the full-size EOS cinema cameras.

Being a full member of the Cinema EOS. line, the R5 C features Canon Cinema RAW recording at 12-bit precision in three qualities, RAW HQ, RAW ST, and RAW LT. It can also record 10-bit XF-AVC format up to 810Mbps, along with MP4 options as well.

The R5 C has two CFexpress 2.0 Type B slots for recording cards, and when recording 120fps in 4K, audio is also recorded and there’s no cropping on the image.

Timecode and stabilisation
Another nod to its Cinema EOS heritage is that timecode is supported, with an in/out terminal separating the system further from the R5 and the rest of the stills range.

Another difference from the R5 is that there’s no IBIS system, due to it being less useful for video work than it is for stills. Its exclusion also helps to keep things lighter at 680g, although on a personal level I would have liked to have seen an ND system as a substitute, much like the very similar EOS C70.

Despite the addition of a fan cooling system, the R5 C still features the same levels of environmental protection as the R5, so those working in inclement weather shouldn’t have anything to be concerned about, as long as you are combining it with weather-resistant lenses.

Canon’s new multi-function hot shoe, as seen on the XF605, features on the top of the body, giving compatibility with Canon’s Speedlight 470EX-AI and the TASCAM CA-XLR2d XLR audio adaptor.

As seems to be par for the course these days, the camera features a dual base ISO system to allow shooting with minimal noise, even at high ISO settings. This feature is only available in video mode, not in stills.

Lastly, the camera is compatible with Canon’s bizarre Dual Fisheye lens, which can be used to shoot 180-degree VR content.

We’ll let you know what we think once review samples become available, but so far it looks like it’ll be a great little camera system to compliment the larger models.

Canon says that the EOS R5 C will be avaialble in March for £4,499.99.

Rockstar’s new budget-friendly 10mm F8 fisheye and 27mm F2.8 lenses both cost less than $80

Chinese optics manufacturer Rockstar has released a new pair of prime lenses for APS-C camera systems: a 10mm F8 fisheye lens and a 27mm F2.8 lens.

10mm F8

Starting with the wider of the two, the 10mm F8 fisheye lens offers a 16mm full-frame equivalent focal length on most APS-C cameras (20mm on MFT) and is constructed of five elements in four groups, including three extra-low dispersion elements. It has a fixed F8 aperture with pentagonal aperture blades, has a 30cm (12”) minimum focusing distance and is entirely manual with no contacts for transferring EXIF data.

Below is a small collection of low-res sample images captured with the lens:

The lens is available for Canon EOS-M, Fujifilm X, Micro Four Thirds, Nikon Z and Sony E mount camera systems. It measures 58mm (2.3”) in diameter, 11mm (.43”) thick and weighs just 79.5g (2.8oz). It is available to purchase on eBay for between $65 and $75, based on the seller you choose to go with.

28mm F2.8

If fisheye lenses aren’t your ‘thing,’ Rockstar has also released a new 27mm F2.8 lens for APS-C camera systems. The fully-manual lens offers a 43mm full-frame equivalent focal length on most APS-C camera systems (52mm on MFT) and is constructed of six elements in five groups. It has a 25cm (9.9”) minimum focusing distance, has a fixed F2.9 aperture and uses a 55mm front filter thread.

This lens is also available for Canon EOS-M, Fujifilm X, Micro Four Thirds, Nikon Z and Sony E mount camera systems and is currently listed by multiple sellers on eBay for around $59, give or take a few based on the seller and accessories included.

Neither of these lenses are likely to impress in the image quality department, but if you want an ultra-budget option to see if you like the fisheye look or to test out the 27mm F2.8 lens, it’s a no-brainer for the low prices these lenses are being sold for.

Leica Launches New M11 Rangefinder Camera

Leica today has unveiled its new M11 rangefinder camera, the successor to the M10 model which itself has seen plenty of variants since its initial launch back in 2017. As expected, the new shooter is equipped with a slew of improvements over its predecessor in features and overall image quality.

In terms of product design, the M11 looks almost no different than the previous model. Present is Leica’s M mount in front, an optical viewfinder, various dials on top of its body, and a large fixed rear display. For the latter, the camera is equipped with a 2.95-inch 2M dot LCD touchscreen with 2M dot resolution, offering a higher resolution when compared to the M10.

It is also worth noting that the M11 is offered in two variants: all-black option and silver – both of which differ in terms of finishing, but comes with the same features and hardware. The former features an aluminium top with scratch-resistant coating and weighs at 540 grams, whereas the latter uses a brass top plate and is slightly heavier at 640 grams.

Under its hood is an all-new 60MP full-frame sensor, which is a significantly huge leap over its predecessor’s 24MP sensor. This is accompanied by an ISO range of 64 to 50,000, exposure compensation of -3 to +3 EV (1/3 steps), as well as mechanical and electronic shutter options. In regards to the latter, the mechanical option can shoot at speeds of up to 1/4,000th of a second, while the electronic variant goes up to 1/16,000th of a second.

As mentioned earlier, the M11 also comes with Leica’s Triple Resolution Technology, which basically allows it to shoot at either 60, 36 or 18 megapixels in DNG Raw or JPG. Leica explains that shooting at a lower resolution will have the camera utilise the full width of its sensor, but at the cost of image quality.

The new rangefinder comes with an internal storage capacity of 64GB, as well as support for SD, SDHC, and SDXC (UHS-II) memory cards. In addition, the M11 features a USB-C port, Bluetooth and Wi-Fi support, and a 1,800mAh that lasts up to 700 shots on a single charge.

As mentioned earlier, the M11 also comes with Leica’s Triple Resolution Technology, which basically allows it to shoot at either 60, 36 or 18 megapixels in DNG Raw or JPG. Leica explains that shooting at a lower resolution will have the camera utilise the full width of its sensor, but at the cost of image quality.

The new rangefinder comes with an internal storage capacity of 64GB, as well as support for SD, SDHC, and SDXC (UHS-II) memory cards. In addition, the M11 features a USB-C port, Bluetooth and Wi-Fi support, and a 1,800mAh that lasts up to 700 shots on a single charge.

Irix introduces 21mm T1.5 cine full-frame lens

We are seeing a lot of new Cinema Lenses in the past year and today we have another new fast T1.5 21mm full-frame lens from Irix. Irix states their lenses have the “Irix look” and the new 21mm full-frame fits right in with the others in the lineup.

The Irix 21mm T1.5 optical design includes 4 Extra-low Dispersion glass elements with 4 high reflective elements and 2 Aspherical lenses. There are a total of 15 elements in 11 groups with an image circle of 43.3mm with a complete covering of every sensor size from Full Frame 35 down to 1/3” sensors.

The lens has an 11-blade iris that will provide nice blur when opened up and at T1.5. Irix states the new lens has practically no focus breathing (below 1 degree in the full range from 0,3m to infinity). The lens is stated to have very low distortion below 2%.

Front Diameter
All Irix Cine lenses have a front size of 95mm and geared Mod 0.8 M rings, which ensure compatibility with most accessories available on the market. The focus and aperture rings are aligned at the same distance and have the same rotation angle.

Weather Sealed
The lenses are resistant to rain, sand, snow, or dust with engraved markings on the lens that have been filled with UV-reactive paint for better visuals when shooting in difficult lighting conditions.

Key features

Unique “Irix” cinematic image
Full frame
Weather sealed
Very low focus breathing
180 degrees focus rotation ring
75 degrees rotation for the aperture ring.
Compact and lightweight
Compatible with other Irix lenses
Almost no distortion
7 mounts, including mirrorless

Lightweight, Compact Design

The housing of the new 21mm T1.5 is made of lightweight aluminum-magnesium alloy. Irix wants to keep the size and weight down on their cine lenses. The 21mm T1.5 comes in at 1.1 kg (2,4lbs)

Because of the small weight, Irix cine lenses can be used on smaller cameras or handheld rigs and stabilizers. All the Irix Cine lenses have a lens support foot that provides stabilization when using lens support with follow focus systems. The support foot can be attached to the lower or upper part of the lens.

Available Mounts
The Irix Cine 21mm T1.5 lens will be available in the seven most popular industry mounts: Canon EF, Canon RF, Sony E, Nikon Z, Olympus MFT/ Panasonic MFT and Arri PL-mount

Price and Availability
The Irix 21mm T1.5 Cine lens will be available within the next few weeks. and available today for preorder at selected dealers and Irix online Store. The prices are set at €1195 Euro (€1295 Euro for PL Mount version) and $1195 USD ($1295 for PL Mount version).



Benro has revealed details of its Aureole product – a detachable, multi-function filter holder and mount adapter system that allows photographers to not only adapt lenses but is also able to support filters via a built-in, quick loading system.

The Benro Aureole is set to be available in two different versions – the RC1, which configures Canon EF lenses to RF mount cameras, and the RE1, which configures Canon EF lenses to Sony E-Mount camera bodies in a ‘cross-brand’ set-up. As well as being a lens mount adapter Benro says the Aureole will give photographers the ability to also use filters without needing to attach anything to the front of the lens.

Benro has also said that it has created a smarter filter system. Rear-mounted filters have the benefit of being smaller and allow them to work with any lens, but removing them can be time-consuming and fiddly. Front-mounted filters are more common and more widely used, but tend to be much larger and multiple sizes or ring adapters are necessary to work with lenses of different sizes. The concept for the Aureole combines the two concepts into what Benro calls ‘the best of both worlds’. However, it’s not a totally new idea as Canon already produces an EF-EOS R mount adapter that also includes the ability to mount a variable ND filter within it.

Benro says the design of the Aureole reduces the cost of adapters and filters at the same time. The company calls it a ’double filter’ system as it can accept both square and circular format filters simultaneously. The adapter will allow one filter to be inserted from the top and another from the side, and Benro has said this will make it more versatile for shooting in either portrait or landscape camera orientations. There’s also the additional potential benefit of helping to keep your camera’s sensor clear of dust when leaving one filter in place while swapping the other.

The Benro Aureole will be available in the US for $249, but, as yet, no price or availability has been revealed for the UK or European markets.

Canon confirms it will release a new Cinema EOS camera on January 19

In posts shared across Canon USA’s social media profiles, the company revealed a new Cinema EOS camera system will be released at 7am (EST) on January 19, 2022.

Alongside the phrase ‘it’s coming,’ which accompanied the teaser image, Canon says to be ‘ready for anything’ and to ‘stay tuned for the big announcement.’ While it might be futile to draw conclusions from the teaser, the use of the word ‘big’ and the rather substantial video tripod shown in the image suggests the camera might be on the larger side of things. However, that’s pure speculation and somewhat contradicts the rumors out there suggesting the camera will be the EOS R5c, a cinema-oriented version of Canon’s EOS R5 camera system.

Whatever the case is, we have only a week until we find out, so mark your calendars and set some time aside for the latest in Canon’s Cinema EOS lineup.

NEARITY Audio and Camera Innovations to North America

Experienced audio/video technology distributor Mobile Video Devices Inc. (MVD) has been chosen as the exclusive North American AV distributor for conferencing solution innovator NEARITY. The new agreement will see MVD supply and support NEARITY’s full portfolio of audio endpoints, all-in-one conferencing devices, PTZ conferencing cameras, and webcams to systems integrators and resellers throughout the region. MVD will also bundle NEARITY devices alongside complementary products from other vendors to form complete video conferencing solutions.

Founded on a mission to bring people and institutions nearer to each other through sophisticated AV solutions, NEARITY provides innovations for distance collaboration at cost-effective pricing. Empowered by pioneering audio technology that combines deep learning with traditional signal processing, it offers a comprehensive portfolio from entry-level to high-end solutions that help make conferencing easier, more efficient, and more affordable.

NEARITY’s audio innovations include full-duplex, AI-driven noise suppression; de-reverberation; advanced daisy-chain technology; and beamforming algorithms to ensure participants are heard clearly. Product lines include dedicated speaker-microphone combinations as well as all-in-one conferencing devices (such as the NEARITY C25 and C30R) that combine a speaker, microphone, and HD or 4K webcam into a single, fully-integrated unit. The company’s newest development, the NEARITY S100 USB audio interface, provides bi-directional conversion between line-level, analog audio signals and digital USB signals. This enables USB audio endpoints such as the NEARITY A11 and A20 to be used with legacy video conferencing systems – significantly improving audio quality without the waste of replacing the existing conferencing system.

“Our goal is to create high-quality, easy-to-use conferencing products and offer them at very reasonable pricing,” said Jermy Wang, Global Sales Director at NEARITY. “We believe that every business should have access to great, flexible technology for their users. MVD has a proven track record of helping international vendors like ourselves grow their presence in North America while providing exceptional support to channel partners and customers. We look forward to a long and successful partnership.”

MVD has been providing full-service distribution and manufacturer representation for market-leading media technology products for over 15 years, with a focus on conferencing, live streaming, collaboration, and video production. MVD works closely with resellers, system integrators, and OEMs to provide the ideal video solution for each unique application and supports them through all aspects of setup and implementation. Other key product lines distributed by MVD include Magewell video capture, streaming, and AV-over-IP devices; ScreenBeam wireless display and collaboration solutions; PTZOptics and HuddleCamHD pan/tilt/zoom and auto-tracking cameras; and NETGEAR managed network switches.

“We have been working hard to design complete bundles for small conference rooms and video conferencing from home, in an effort to make it easier for integrators and resellers to bring comprehensive solutions to their customers,” said Darryl Spangler, President of Mobile Video Devices. “Home office conferencing is here to stay, but keeping people on such calls engaged requires better video and audio solutions. We were looking for audio products to complement our existing vendors’ video innovations, and we were impressed by the quality and affordability of NEARITY’s devices. We’re excited to become their exclusive North American AV distributor.”

Canon’s CES 2022 launches are ambitious shots at reinventing the consumer camera

Canon is the only major camera brand at CES 2022, which gave it a great opportunity to blow us away with its vision of the future of photography. Instead, the camera giant launched into an uncharacteristic dive into moonshot ideas that are, while laudable, almost certainly too far outside its comfort zone to succeed.

Canon’s two big ideas at the electronics expo are its AMLOS system, a gesture-based software platform for video meetings, and Kokomo, a social VR platform for ‘immersive’ video calls. Both are attempts to reimagine its cameras as essential tools for our new socially-distanced age. But they’re also worryingly big stretches for a conservative company that isn’t renowned for its software innovation.

Before we take them too seriously, aren’t AMLOS and Kokomo just light-hearted concept candy for the future-gazing fest that is CES 2022? That’s true to an extent – CES has increasingly become a playground for brands to mock up ideas that give them an innovation halo, and Canon has certainly got in the spirit of things.

But the ambitiousness of both of its concepts also hints at the rough waters the camera industry finds itself in. Smartphones have pushed camera sales back down to their film-era niche, which means camera announcements at CES have become vanishingly rare. So what does an elder statesman like Canon do in a sea of start-ups and vaporware? It could, like Sony, talk about all the ways its planning to help creators in 2022, but instead Canon went off-piste into the forests of VR and a new video-calling platform for Microsoft Teams.

Fresh perspectives
To be fair, Canon’s AMLOS system is, in theory, a handy new tool for certain video calls. First announced at CES 2021, the software (whose name stands for ‘Activate My Line of Sight’) is able to give participants multiple views of the same meeting from a single camera, thanks to its automatic cropping powers. It also lets a presenter use hand gestures to, for example, quickly take screenshots of a whiteboard.

The clever part is the automatic processing that AMLOS carries out to create these views and screenshots. In Canon’s CES 2022 demo, the software pulled out a front-on view of a whiteboard that was positioned at an awkward angle to the camera, by cropping and processing the livestream. A open-palm hand gesture in front of the Canon EOS R5 also neatly captured a shot of the camera.

But a couple of limitations mean that AMLOS, which Canon says will be available “in the first half of 2022”, is still likely a niche innovation. Firstly, while the software works with any type of camera, Canon recommends one of its PTZ (Pan, Tilt, Zoom) models like the Canon CRN 300 or CRN 500 for the best experience. These cost $2,699 / £2,249 / AU$3,579 and $5,399 / £4,499 / AU$7,149 respectively.

Also, for most people’s video meetings, the whiteboard shown in Canon’s demos has been replaced by cloud docs, which are easy to view in video meetings without an expensive camera.

Virtual insanity
Similar barriers will also likely constrain Canon’s even more ambitious Kokomo software. This will apparently let you meet friends and family in VR video calls that are based in locations like Malibu, New York or Hawaii. The downside? You’ll need a compatible Canon camera, VR headset and a compatible smartphone, and it’s not yet clear which models these will include, or when the software will land.

VR video calls are something that very few people have asked for – many of us are, after all, reluctant to even upgrade our laptop’s webcam – and Kokomo has been slightly overshadowed by the announcement of the PSVR 2 at CES 2022.

Also, Canon’s disclaimer about Kokomo, which states that “no assurances can be given that this software, in the current or any other form, will be made available for sale or use in the U.S. or elsewhere”, doesn’t exactly inspire confidence that it’ll still be around by CES 2023.

In reality, Kokomo is likely a promotional tool to show off Canon’s new dual-fisheye lens, which it announced in October 2022. The Canon RF 5.2mm f/2.8L Dual Fisheye is the world’s first lens for digital interchangeable lens cameras that can shoot 180-degree VR video, and was used to shoot Kokomo’s tropical backgrounds. It would also have made a far better CES 2022 keynote announcement, had the launch schedules lined up.

Next frame
Ultimately, the future of VR video is still extremely uncertain, given VR’s inability to break into the mainstream. And while Canon has understandably jumped into the world of work video calls, it’s not yet clear how long-term these pandemic-related trends are going to be.

Rather than a VR-based moonshot, couldn’t Canon make a photography-based app like Glass to provide a home for those fleeing from Instagram? Or why not make a next-gen companion app for its cameras that blows away the average competition? Innovations in computational photography, live streaming or camera accessories would all have been great fodder for CES 2022, too.

Instead, Canon’s CES 2022 announcements show that the camera giant has really given up on wooing a new mainstream audience over to its home turf of photography. Its real innovations, like Eye Control AF or its SPAD sensor, are reserved for professional cameras, and now it’s looking for new consumer spaces to plant its imaging flag. Whether those include VR video calls and Microsoft Teams software remains to be seen.

Canon will no longer produce DSLR cameras

You’re a teenager straddling the zero years and the next decade, and you’re about to unwrap a gift you’ve been asking for for months. You know that in that package will be a Canon Reflex, the lintel for a promising career as a photographer that mom, dad and your friends lacking in beautiful photos foresee in your future.
For that camera you won’t need a shoulder strap, the photo production will be more unpredictable, that DSLR will shoot on the beach, among the main cities of Europe visited strictly in a school trip or among the tall grass of the field behind the house, before ending up well stored, for years, in a drawer in the bedroom.
The sense of guilt (largely overcome by the time in another gift box will be unwrapped the iPhone X) for having abandoned the Canon after only one vacation and a few shootings to the friend, could return to the surface, especially after the announcement of Canon with which it announced the end of the production of DSLR.
The CEO Fujio Mitarai in recent days has declared in fact to the newspaper Yomiuri Shimbun that the Japanese company will focus only on the production of mirrorless, a generation of machines more advanced as well as smaller and versatile for professionals, launched in 2018 after six years of development.
Thus ceases the production of one of the symbols of teenage aspirations and velleities, but also a tool that has educated to the language of photography and its technique. DSLR have been for many professional photographers the first step to launch their careers and realize their first projects, and for others the tool to take space in an era of representation such as that of blogs and social networks.

After the first Eos-1 in 1989 launched by Canon, the last model produced by the company will therefore be the Eos-10 X MARK III. In between models that have made many millennials feel like photographers, cultivating a fetish for photography repositioned on an amateur level, accessible to all, and not only as a technique to be trained with precise skills and experience. The DSLR was for years a desired tool precisely because it was versatile, through which to experiment easily with shots and fires, with results that gave the apparent satisfaction of having been taken in a professional manner.
DSLR became popular when telephones did not allow to make photos and videos as defined as now, so they were advanced tools for the demands of beginners and in some ways indispensable to achieve good results. It’s no coincidence that the same fate that befell powerful cameras like DSLR now befalls the cameras of the iPhone 12 and 13, which have far exceeded the minimum requirements of many and end up being exploited at least 50% of their possibilities.
As mentioned, DSLR played a role in the mass dissemination of photographic culture, especially at a time when the language of communication was shifting more and more toward the image. The era of self-representation born with Tumblr and then continued by Instagram would not have been the same without cameras on cell phones, but probably also without DSLR, which have combined from before the concept of amateur photos an artistic value, a dignity. That photo of the flowers in the garden, the shot of the Duomo in Milan or the friend smoking became artistic photos thanks to the tool, and not a simple memory like the film developed a few years before by our parents. A perversion towards artisticity that has many weaknesses, but that equally defined a widespread trend.

That DSLR is still on the shelf and has been treated so badly that maybe the flash doesn’t even work that well anymore, and even that little scratch on the lens is a problem. Inside there is still an SD card with all the photos of the trip to London and of the afternoon when a set was set up in grandma’s garden. That day it was easy to feel like a photographer, that day it seemed that all the doubts about the future had found a credible alternative. At grandma’s house everything was ready, as it had been in the rehearsals done at home a few days before, all you had to do was find the button to shoot automatically.

CES 2022: floodlight camera coming in April

Smart home accessory vendor Eve Systems has unveiled a new HomeKit security camera at CES 2022 in Las Vegas. The Eve Outdoor Cam — coming this April, features a sleek modern design, powerful integrated floodlight, and support for HomeKit Secure Video.

“Combining elegant aesthetics with technology designed to safeguard privacy, Eve Outdoor Cam goes beyond legacy surveillance camera concepts with their conspicuous looks and manufacturer clouds”, says Jerome Gackel, CEO, Eve Systems. “Eve Outdoor Cam embodies what Eve stands for: beautiful, connected home products that set the standard for privacy-first smart homes.”

Eve’s latest camera streams and captures events in 1080p high definition resolution at 24fps with a wide 157-degree field of view. The camera supports two-way audio for communicating with those within its view, IP55 weather resistance, and IR night vision that provides a picture in the dark up to 100-feet away.

Through HomeKit Secure Video, the Eve Outdoor Cam stores 10-days worth of events securely in iCloud. The Eve Outdoor Cam can also take advantage of other HomeKit Secure Video features such as Face Recognition and Package Detection; plus, users can tailor smart notifications that can weed out things such as cars or pets.

The Eve Outdoor Cam will be available starting April 5th for $249.95 through Eve and Amazon, followed by Apple at a later date.

In addition to the new floodlight camera, Eve has also announced that the company’s MotionBlind roller shade motor technology is now available through select Coulisse window covering resellers. As with other recent Eve hardware releases, Eve MotionBlinds support Thread connectivity— a first for the smart shade category — offering quick setup, local control, and hub-free operation.

“When adding window coverings to your connected home, making a future-proof choice is key,” says Jerome Gackel, CEO, Eve Systems. “As Thread-enabled accessories, Eve MotionBlinds can support Matter, the smart home standard of the future that is currently being developed by Google, Amazon, Apple and numerous IoT manufacturers.”

Along with Thread, Eve MotionBlinds also support the upcoming Matter smart home standard backed by Apple, Google, and Amazon. Matter essentially makes Eve MotionBlinds future-proof as users will be able to integrate their shades into all of the major smart home ecosystems, which is especially important with window sizing and custom orders.

If you are interested in Eve MotionBlinds, you can head over to to find a retailer in your area. In the US, Eve MotionBlinds are available through and, with pricing varying depending on fabric, size, and accessory options.