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Chris Hurd September 5th, 2019 07:03 AM

Canon Announces Cinema EOS C500 Mk. II
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With its modular design, competitive price point and new features such as a 5.9K Full Frame CMOS sensor, user-changeable lens mounts, electronic image stabilization, internal cinema RAW light recording and the new DIGIC DV 7 Image Processor, the EOS C500 Mark II represents a bold leap forward for Canon’s Cinema EOS system line. The variety of assembly and lensing options help to make this camera ideal for a broad range of applications, from run-and-gun documentary shooting to live television broadcasts and big-budget films.
Full press release at Canon’s New EOS C500 Mark II 5.9K Full Frame Cinema Camera Delivers Versatile, Affordable Solutions at DV Info Net

Gary Huff September 5th, 2019 08:15 AM

Re: Canon Announces Cinema EOS C500 Mk. II
I think this is a great C700 FF alternative for those who liked what that camera had to offer, but wanted a more compact form factor.

As for a C300 Mark II user like myself, I am troubled by the fact that it is primarily geared towards full frame. Oversampling is great, but only available in Full Frame, otherwise it's a Super35 crop. I have a whole host of lenses that I wouldn't be able to use with this camera to maximize what it's capable of, from the EF-S 17-55 all the way to the CN-E 18-80. Full Frame also gives no benefit to what I use this camera for day in and day out. I already have enough issues with shallow DOF on my C300 with a Sigma 18-35 or 50-100 or a prime, so I don't see what even more shallow DOF does to benefit me. On top of that, the 120fps mode is still a Super16 crop like the C300, so I don't know if that will be improved at all.

I have a C200B as my second camera, and I rarely ever use Cine Raw Light, only for the 12-bit color depth. I usually transcode it immediately to ProRes 4x4 for ease of use. I much prefer the 10-bit 4:2:2 XF-AVC of the C300 for the typical content I capture, it's robust enough for the kind of color correction I do, and I am working on a documentary right now in the 12-bit 444 XF-AVC capture of the C300 and it's terrific to work with. I would have loved to see a 12-bit 4K XF-AVC option in the C500 II, but it doesn't look like there are any 12-bit options save for Cine Raw Light, which is a shame.

I am also disappointed that the LCD is the same from the C200. I would love Canon to branch out with these displays and have a 7" option, especially a 1500 nit 7" option that uses the UN-5 cable. I do like the fact that you can pick between a rear EVF or the one with the C700.

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