December 18, 2017, 06:21:05 AM

Author Topic: Full Canon Cinema EOS C200 Specifications  (Read 11841 times)

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Full Canon Cinema EOS C200 Specifications
« on: May 31, 2017, 07:16:43 AM »
About the Canon Cinema EOS C200

Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals.

As the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0™ card.

Newly developed Canon Dual DIGIC DV6 processors provide the ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop. At the same time, advances in Dual Pixel CMOS Auto Focus (AF) technology and a new touch screen LCD monitor provide smooth AF operation and effective tracking.

Capability Drives Creativity Canon’s Super 35mm CMOS sensor along with newly developed Dual DIGIC DV6 image processors deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0 card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format. Supporting up to 15-stops of dynamic range in MP4 (Canon Log/log 3), the camera is perfect for capturing highlight and shadow detail.

Innovative Focus Control With Dual Pixel CMOS AF, superb tracking and smooth autofocus ideal for video capture is possible. Using the LM-V1 touch-panel LCD monitor, users can intuitively select the subject they wish to focus on with simple touch operation.

4K / UHD The 8.85M sensor supports 4K recording up to 4096 x 2160 for high quality images. 2K/HD recording (Over Sampling HD Processing) that takes full advantage of data from the 4K sensor.

DIGIC DV 6 Dual DIGIC DV 6 image processors are the core technology of this 3rd generation CINEMA EOS SYSTEM that offers wide-ranging expressive capabilities and stress-free operation in an compact body.

Cinema RAW Light – DCI 4K 60P/50P New Cinema RAW Light format retains a high degree of post production freedom when colour grading similar to Cinema RAW while achieving between a one-third to one-fifth file size.

MP4 – 4K UHD 60P/50P Support for UHD (3840 x 2160) 60P/50P makes long recording time possible on versatile SD cards while maintaining high image quality.

120fps – FHD The C200 supports high-speed recording with a maximum 120fps in Full HD without cropping, realising even greater emotion in visual expression.

Dual Pixel CMOS AF Ground-breaking AF technology that uses a CMOS sensor with a construction that combines the functions of both imaging and phase difference AF.

Features

  • The C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting.
  • Offering exceptional creativity, the compact size makes the C200 suitable for mounting onto a drone or gimbal.
  • Combine Dual Pixel CMOS AF with the LCD Monitor LM-V1, with touch panel support, focusing becomes even more intuitive, with the capability to choose the subject for focusing with a touch.
  • The C200 offers high-speed One-Push AF and continuous AF within a horizontal and vertical range of the screen of approx. 80%.
  • The C200 supports a variety of output signals via HD-SDI and HDMI. High quality on-board audio is delivered via 2 x XLR terminals.
  • An EVF LUT with partial HDR simulation enables a view close to an HDR display. HDR View Assist (400%/1600%) checking is also possible on the LM-V1.

Features:

  • Professional UHD/50P camera with internal SD card recording and High Frame Rate option
  • Enter the world of professional 4K filmmaking with a camera boasting a Super 35mm CMOS sensor capable of recording high definition UHD/50p MP4  footage internally to dual SD card and Full HD up to 120P with flexibility and ease
  • Internal RAW recording to CFast 2.0 card
  • Record 4k Cinema RAW light footage in 10 bit/50P OR 12 bit 24P/25P to CFast 2.0 card with simultaneous MP4 proxy
  • Professional high quality image and audio
  • Up to 13-stops dynamic range with Canon Log 3 Wide DR for ease of use and high sensitivity ISO 100-102,400
  • Dual Pixel CMOS AF and extensive shooting functions
  • Advanced autofocus options with touchscreen control plus HDR monitoring and 10 stop electronically controlled optical ND filters
  • Easy operation and flexible configuration
  • Robust, compact body featuring and EF mount supporting a huge range of EF and cinema lenses. Built-in Wi-Fi, Ethernet, SDI and XLR terminals for professional use

Benefits:

  • Internal 4K recording with Cinema RAW Light and MP4 format
  • Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD
  • Up to 15-stops dynamic range (Cinema RAW Light)
  • Professional High Quality image and audio
  • Dual Pixel CMOS AF with touch control and extensive shooting functions
  • Easy operation and flexible configuration

Capability drives creativity

The EOS C200 features Canon’s 4K Super 35mm CMOS sensor with an effective pixel count of 8.85MP, along with the newly developed Dual DIGIC DV6 image processors. As a result, it can deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0™ card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format.

Supporting up to 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3), the camera is perfect for capturing highlight and shadow details.

The EOS C200 is also capable of delivering both slow and fast motion recording at up to 120fps with no crop in Full HD/MP4, ideal for those wanting creative slow motion capture.

An ISO range of 100 to 102,400 guarantees excellent performance, even in difficult lighting conditions, such as when quickly switching between locations. The built-in optical ND filters of up to 10 stops provide further flexibility and convenience, allowing filmmakers to shoot in bright light and expand the depth of field control.

Advanced operability and ergonomic design

Built for professionals and ideal for single shooters, the EOS C200 features an advanced AF system that provides reliability and accuracy when shooting 4K, as well as a touch screen LCD panel for filmmakers to easily select their subject.  For those who need to switch effortlessly between several subjects in a single shot, the Dual Pixel CMOS AF enables smooth AF operation whilst the Manual Focus Assist Function, Face Detection with Face Priority and Face-Only options provide greater creative focus control.

Specifications:

CAMERA
Image Sensor
Sensor Super 35mm type CMOS
System RGB primary colour filter (Beyer array)
Total pixels per sensor Approx. 9.84 megapixels (4206 x 2340)
Effective pixels per sensor Approx. 8.85 megapixels (4096 x 2160): When 4096 x 2160 or 2048 x 1080 is selected as the resolution
Approx. 8.29 megapixels (3840 x 2160): When 3840 x 2160 or 1920 x 1080 is selected as the resolution
Dynamic Range 13 Stops (Canon Log3)
Image Processor
Type Dual DIGIC DV6
Lens
Lens Mount Canon EF Mount
Lens Magnification Factor (for EF Mount lenses, including Cinema Primes) At 4096 x 2160 or 2048 x 1080 resolution: Actual focal length x approx. 1.460
At 3840 x 2160 or 1920 x 1080 resolution: Actual focal length x approx. 1.534
Changeable Lens Mount Yes, mount change to PL mount possible via Canon Service centre (Paid for service)
Peripheral illumination correction Yes with compatible lenses
ND filter Clear, 2, 4 ,6, 8, 10-stop
Focus control Manual via lens, manual via RC-V100 Auto Focus (Dual Pixel AF Approximately 80%(vert.),80%(horiz.))
Iris control Manual Via camera body or RC-V100, fine, 1/2 or 1/3 step increments, Auto (with compatible lenses), Push Auto Iris
Image stabilization system Depends on lens used
RECORDING
RAW Recording options RAW (Cinema RAW Light)
Internal Recording Cinema RAW Light, MP4
Recording time (CFast 2.0card) 128GB card 15 Mins (4K Cinema RAW Light 1Gbps VBR)
Recording time (SD Card) 128GB card 110 mins (MP4, 150Mbps) 485Mins (MP4, 35Mbps)
Recording Formats Cinema RAW Light, (CFast 2.0) MP4 XF-AVC (SD card. XF-AVC1)
Recording Frame Rate (1) 59.94 Hz mode (59.94P/29.97P/23.98P)
(2) 50.00 Hz mode (50.00P/25.00P)
(3) 24.00 Hz mode (24.00P)
Slow/Fast motion YES
Interval Record YES
Frame Record YES
Pre Record (cache record) YES, 3 seconds
Relay Recording YES, SD Card recording only
Double Slot (simultaneous) Recording YES, SD Card recording only
Scan Reverse NO
HD-SD conversion NO
Photo storage media SD Card
Photo Recording Size 2048×1080 (when video image resolution is 4096×2160/2048×1080)
3840×2160 (when video image resolution is 3840×2160)
1920×1080 (when video image resolution is 1920×1080)
SYSTEM
Wave Form Monitor YES
Colour Bars YES, SMPTE / EBU / ARIB
Peaking YES
Zebra YES. Zebra 1 Level 5 5% to 95 5% in 5 percentage point intervals (70 5%)
Zebra 2 Level: 0% to 100% in 5 percentage point intervals (100%)
Markers YES, Centre, Horizontal, Grid Aspect Ratio(4:3 / 13:9 / 14:9 / 16:9 / 1.375:1 / 1.66:1 / 1.75:1/1.85:1 / 1.90:1 / 2.35:1 / 2.39:1 / Custom), Safe Area (80% / 90% / 92.5% / 95%)
EVF
Built- In EVF YES. 1.77M dots
Optional EVF Accessory Canon EVF-V70 (Also requires CL-V2 bracket)
Display Panel
Display Panel 4 inch/10.1cm diagonal LCD Monitor. Touch panel. Approx., 1.23M dots
Inputs/Outputs
Audio in XLR x2, 3.5mm Audio, AES/EBU digital or Analog Audio input, Line, Mic, +48V Phantom Power supported
Headphone output YES
HDMI YES, HDMI 2.0, output only. Max. output resolution 3840 x 2160.Timecode out compatible
USB YES. Mini-B Hi-Speed USB
3G/HD-SDI output YES x 1.BNC jack
Video [HD]:SMPTE 292. [3G]:SMPTE 424, SMPTE 425
Audio [HD]:SMPTE ST 299-1. [3G]:SMPTE ST 299-2, Output impedance 75 , Output signal level 0.8 Vp-p
Time code NO
Genlock NO
Synch NO
Component out NO
AV terminal NO
DC Output NO
DC input YES, 14.4V DC (Battery), 16.7V DC (DC-In)
Power Consumption 50.00P: Cinema RAW Light/MP4; 18.5W (Approx.)
Continuous Recording Time (battery) BP-A30 (3100mAh) 130 Min (Approx.) BP-A60 (6200mAh) 280 Mins (Approx.)
Cinema Raw Light/4096 x 2160 or MP4/3840 x 2160 recording
Remote Control Terminal YES, 2.5mm proprietary connector
Wireless Control Terminal Built-in Wi-Fi. FTP and Browser Remote/Preview
Lens terminal NO
Ethernet terminal YES. FTP CAPABLE, MP4 files only
Video connector (For Monitor or EVF) YES, Canon proprietary connection
Misc.
Tally lamp YES
Custom Dial YES
SHOOTING FUNCTIONS
Exposure
Exposure metering (a) Standard (centre-weighted metering)
(b) Spotlight
(c) Backlight (compensation)
Exposure compensation AE shift function . The target value (8 steps from centre) for the brightness can be set. Indicated as exposure values (EV). (2.0, 1.75, 1.5, 1.25, 1.0, 0.75, 0.5, 0.25, and 0) are displayed on the screen as AE
Push Auto Iris YES
Exposure Lock NO
Auto Gain Control setting NO
Auto Focus System Dual Pixel CMOS AF supported
Manual focus, one-shot AF, continuous AF, AF-Boosted MF, face detection AF (only lenses that support AF functions can be used in any of these modes), focus guide
AF Frame Sizes Large; size equivalent to approx. 20% (vertical) x 25% (horizontal) of the image display range;
Small; size equivalent to approx. 20% (vertical) x 8% (horizontal) of the image display range
Auto Focus Modes One-Shot AF, Continuous AF and AF-Boosted MF are the available modes. All of these modes take effect when the AF/MF switch of the EF lens is at the AF setting.
One-Shot AF: AF is performed only while the one-shot button to which it has been assigned is held down. No further lens movement is permitted after focusing.
Continuous AF: AF control is performed at all times.
AF-Boosted MF
Face Detection AF Face Priority: AF is set to face frame when a face is detected, to tracking frame when tracking, and AF frame when there is no face or tracking.
Face Only: Switches to face frame when a face is detected, to tracking frame when tracking, and MF when there is no face or tracking. In both Face Priority and Face Only, the face to detect can be selected with the joystick.
Focus Guide Available; displays focus status or unfocused status using the AF signal.
Shutter speed
Control Modes Manual only
Shutter speed 1/3 stop display: 1/1, 1/1.26, 1/1.59, —, 1/1600, 1/2000 (total of 34 settings)
1/4 stop display: 1/1, 1/1.19, 1/1.41, 1.68 —, 1/1700, 1/2000 (total of 45 settings).
The slowest speed will differ depending on the frame rate setting.
Shutter Angle 360.00, 240.00, 180.00, 120.00, 90.00, 60.00, 45.00, 30.00, 22.50, 15.00, 11.25
Also, angle values equivalent to 1/120, 1/60, 1/40, 1/30, 1/100, 1/50, 3/100, and 1/25 are selectable within the minimum angle range from 360.
Custom Picture
Stored Configurations PRESET: Canon Log 3/Canon Log /BT.709/Off
GAMMA: Canon Log 3/Canon Log/Wide DR/Normal 1 (Standard)/Normal 2 (x4.0)/Normal 3 (BT.709)/Normal 4 (x5.0)
COLOUR MATRIX: Neutral/Production Camera/Cinema EOS/Original /Video/ Off
Storage Medium Internal, SD Card
Master Pedestal 0 50
Master Black Red 0 50
Master Black Green 0 50
Master Black Blue 0 50
Black Gamma 0 50
Low Key Saturation 0 50
Knee Point + 50 – 95 – +109
Knee Slope -35 – 0 – +50
Knee Saturation 0 – 10
Sharpness Level -10 – 0 – +50
Noise reduction Off / 1 – 12
White balance Red/Blue Gain 0 – +50
Setup level (0 – 50)
Wi-Fi & GPS Specifications
GPS Information (Optional Accessory) Location (latitude, longitude and altitude) and GPS information using Coordinated Universal Time (UTC) can be added to RAW movies, MP4 movies and photos. Satellite data acquisition status can be checked in camera mode.
W-Fi Specification Standard: IEEE 802.11b/g/n (2.4 GHz band), IEEE 802.11a/n (5 GHz band) (not supported in Qatar, Indonesia or Iraq) IEEE 802.11b/g/n (2.4 GHz band) IEEE 802.11n/11a (5 GHz band): Differs depending on the models destination.
Authentication: Open system, WPA-PSK, WPA2-PSK
Encryption systems: WEP-64, WEP-128, TKIP, AES
White balance
Auto YES. Shockless WB available
Preset Daylight (5600K), Tungsten (3200K)
Manual Setting Preset A/B, Colour Temperature Setting: 2000K – 15000K
Black balance
Black balance adjustment Auto Black Balance Adjustment
Time code
Countup system Regen, RecRun, FreeRun, TC Hold. Drop Frame /NonDrop Frame ( DF/NDF) in 59.94P/29.97P mode only
Audio
Recording Cinema RAW Recording: Linear PCM: 16-bit / 48 kHz / 4 channels
MP4: MPEG-4 AAC-LC (16-bit / 48 kHz / 2 channels), Linear PCM (16-bit / 48 kHz / 4 channels)
MISCELLANEOUS
Dimensions (Main Body Only) Approx. 144 x 153 x 179 mm (5.7 x 6.0 x 7.0 in)
Weight (Body Only) Approx. 1430g (3.2lb)
Operating Temperature range Approx. 0 to 40C, 85% (relative humidity)
Approx. -5 to 45C, 60% (relative humidity)
« Last Edit: May 31, 2017, 10:21:45 AM by Canon Rumors »
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Full Canon Cinema EOS C200 Specifications
« on: May 31, 2017, 07:16:43 AM »

Bernard

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #1 on: May 31, 2017, 07:47:07 AM »
Looks good. Let's hope the price is competitive with the FS5 or FS700.

Etienne

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #2 on: May 31, 2017, 08:49:18 AM »
This is quite a loaded camera! More goodies than I expected to see. Now, what price?

rrcphoto

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #3 on: May 31, 2017, 08:51:05 AM »
7500 apparently

CarlMillerPhoto

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #4 on: May 31, 2017, 09:08:12 AM »
Ugh. This looks like an absolutely fantastic camera, but HOW can they keep coming out with Cinema line bodies that DON'T have broadcast quality specs?! For the C100 I can understand since it's at the bottom of the line, but a camera up the chain and at $7,500? It seems again Canon is trying to straddle the line. By throwing in internal RAW they're reaching out to bigger productions who want a B/C cam (the stripped down C200B without EVF is an obvious appeal to that market), but they still try and sell it to owner-operators. I can tell you owner-operators don't want to mess with RAW 95% of the time - it's too big a pain in the butt. I mostly shoot weddings (for which the C200 will do fantastic since those customers don't care about bitrate & specs) but when a producer for a commercial gig asks what I'm shooting on (I say C100) they ALWAYS ask "Do you have access to a A7s/r II or FS5/7?". Not for 4k usually, but for a broadcast quality bit rate & spec. This happened just last week. Now with this C200, those producers are still going to say, "Do you have access to a A7s/r II or FS5/7?"
My photography equipment goes here, apparently.

jeffa4444

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #5 on: May 31, 2017, 09:13:14 AM »
It will likely show itself at Cinegear in Los Angeles this coming weekend. I agree with CarlMillerPro it will not be taken as a serious broadcast camera with the EBU bit rates that broadcasters like the BBC ask for it will not be used other than for inserts not total productions.
Canon 5DS, Canon 6D, Canon 6D MKII,16-35 f4L IS USM, 17-40 f4L USM, 28 f2.8, 24-70mm f4L IS USM, 24-105 f4L IS USM, 100mm f2.8L IS USM, 70-200 f2.8L IS USM II, 70-300 f4-5.6 IS USM, 50 f1.8 STM, 100-400mm f4.5-5.6L IS USM II, 1.4EX III, EOS 760D, EF-S 10-18mm f4.5-5.6 IS STM & others.

rrcphoto

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #6 on: May 31, 2017, 09:29:03 AM »
from cinema5d:

This highlights another interesting fact about this camera: at this time there is no “410Mbps All-I codec” as on other EOS cameras like the C300 mark II. While it offers 4K Raw recordings at 50P, which is great, we see that the only alternative is 150Mbps MP4 – a rather low bit-rate codec that is not ideal for professional productions. This could be a deal breaker for some documentary and TV productions aiming for good-quality recordings, but who don’t necessarily want the extensive and hard disk space-consuming workflow that come with shooting Raw.
The good news, however, is that according to the press release, Canon’s XF-AVC video format will be available via a future firmware upgrade. The upgrade will be free of charge and is planned to be available from Q1 2018.



beats me if I see anything of the sort in the press release.

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #6 on: May 31, 2017, 09:29:03 AM »

HurtinMinorKey

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #7 on: May 31, 2017, 10:05:54 AM »
Ugh. This looks like an absolutely fantastic camera, but HOW can they keep coming out with Cinema line bodies that DON'T have broadcast quality specs?! For the C100 I can understand since it's at the bottom of the line, but a camera up the chain and at $7,500? It seems again Canon is trying to straddle the line. By throwing in internal RAW they're reaching out to bigger productions who want a B/C cam (the stripped down C200B without EVF is an obvious appeal to that market), but they still try and sell it to owner-operators. I can tell you owner-operators don't want to mess with RAW 95% of the time - it's too big a pain in the butt. I mostly shoot weddings (for which the C200 will do fantastic since those customers don't care about bitrate & specs) but when a producer for a commercial gig asks what I'm shooting on (I say C100) they ALWAYS ask "Do you have access to a A7s/r II or FS5/7?". Not for 4k usually, but for a broadcast quality bit rate & spec. This happened just last week. Now with this C200, those producers are still going to say, "Do you have access to a A7s/r II or FS5/7?"

But you still have access to raw-light for those producers who demand brodcast quality.  So I doubt they are going to write off the entire camera for this.   And raw-light is much easier to deal with than true raw.


CarlMillerPhoto

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #8 on: May 31, 2017, 10:28:59 AM »
Ugh. This looks like an absolutely fantastic camera, but HOW can they keep coming out with Cinema line bodies that DON'T have broadcast quality specs?! For the C100 I can understand since it's at the bottom of the line, but a camera up the chain and at $7,500? It seems again Canon is trying to straddle the line. By throwing in internal RAW they're reaching out to bigger productions who want a B/C cam (the stripped down C200B without EVF is an obvious appeal to that market), but they still try and sell it to owner-operators. I can tell you owner-operators don't want to mess with RAW 95% of the time - it's too big a pain in the butt. I mostly shoot weddings (for which the C200 will do fantastic since those customers don't care about bitrate & specs) but when a producer for a commercial gig asks what I'm shooting on (I say C100) they ALWAYS ask "Do you have access to a A7s/r II or FS5/7?". Not for 4k usually, but for a broadcast quality bit rate & spec. This happened just last week. Now with this C200, those producers are still going to say, "Do you have access to a A7s/r II or FS5/7?"

But you still have access to raw-light for those producers who demand brodcast quality.  So I doubt they are going to write off the entire camera for this.   And raw-light is much easier to deal with than true raw.

Raw-light is true raw. Based on the info currently available the only difference is that raw-light is compressed and takes up less space. It's an equally burdensome post process and is still 128gb for 15min. Most broadcast producers will write this camera off. They don't want raw dailys.
My photography equipment goes here, apparently.

Nakean

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #9 on: May 31, 2017, 12:03:26 PM »
Ugh. This looks like an absolutely fantastic camera, but HOW can they keep coming out with Cinema line bodies that DON'T have broadcast quality specs?! For the C100 I can understand since it's at the bottom of the line, but a camera up the chain and at $7,500? It seems again Canon is trying to straddle the line. By throwing in internal RAW they're reaching out to bigger productions who want a B/C cam (the stripped down C200B without EVF is an obvious appeal to that market), but they still try and sell it to owner-operators. I can tell you owner-operators don't want to mess with RAW 95% of the time - it's too big a pain in the butt. I mostly shoot weddings (for which the C200 will do fantastic since those customers don't care about bitrate & specs) but when a producer for a commercial gig asks what I'm shooting on (I say C100) they ALWAYS ask "Do you have access to a A7s/r II or FS5/7?". Not for 4k usually, but for a broadcast quality bit rate & spec. This happened just last week. Now with this C200, those producers are still going to say, "Do you have access to a A7s/r II or FS5/7?"

But you still have access to raw-light for those producers who demand brodcast quality.  So I doubt they are going to write off the entire camera for this.   And raw-light is much easier to deal with than true raw.

Raw-light is true raw. Based on the info currently available the only difference is that raw-light is compressed and takes up less space. It's an equally burdensome post process and is still 128gb for 15min. Most broadcast producers will write this camera off. They don't want raw dailys.

Is it still only 15 minutes for the 5:1 Raw light compression?

transpo1

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #10 on: May 31, 2017, 01:30:56 PM »
12-bit 4K raw-light at 60p is Canon trying to straddle a line between providing broadcast / cinema quality without undercutting the C300II, basically matching the standard FS7 kit. I'm curious to see whether they're successful with this. For only another $1.5K, one can buy an FS7 with proven and efficient 10-bit codec. Still, I applaud Canon for at least trying something new with cinema raw-light. Time will tell whether their strategy works.

bgoyette

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #11 on: May 31, 2017, 01:58:13 PM »
Ugh. This looks like an absolutely fantastic camera, but HOW can they keep coming out with Cinema line bodies that DON'T have broadcast quality specs?! For the C100 I can understand since it's at the bottom of the line, but a camera up the chain and at $7,500? It seems again Canon is trying to straddle the line. By throwing in internal RAW they're reaching out to bigger productions who want a B/C cam (the stripped down C200B without EVF is an obvious appeal to that market), but they still try and sell it to owner-operators. I can tell you owner-operators don't want to mess with RAW 95% of the time - it's too big a pain in the butt. I mostly shoot weddings (for which the C200 will do fantastic since those customers don't care about bitrate & specs) but when a producer for a commercial gig asks what I'm shooting on (I say C100) they ALWAYS ask "Do you have access to a A7s/r II or FS5/7?". Not for 4k usually, but for a broadcast quality bit rate & spec. This happened just last week. Now with this C200, those producers are still going to say, "Do you have access to a A7s/r II or FS5/7?"

But you still have access to raw-light for those producers who demand brodcast quality.  So I doubt they are going to write off the entire camera for this.   And raw-light is much easier to deal with than true raw.

Raw-light is true raw. Based on the info currently available the only difference is that raw-light is compressed and takes up less space. It's an equally burdensome post process and is still 128gb for 15min. Most broadcast producers will write this camera off. They don't want raw dailys.

Well. Yeah...but. It appears to be less burdensome than cinemaDNG. The camera outputs a single CRM file that can then be transcoded into almost any editing format, color space and Gamma (actually this is pretty brilliant..no need to shoot in LOG..just transcode during processing to your favorite flavor). Current Canon XF-AVC files are generally transcoded, albeit behind the scenes by most NLEs. I think the question is how simple and time consuming the process is. The canon software looks pretty straight forward, and I guess the time component that would have to be contrasted against your favorite NLE's transcoding of XF-AVC. I know when working with 4k Xf-AVC, FCPX can slow to a crawl while doing it's backend conversion to "optimized" files. I'm not sure how other NLE work with xf-avc, but I would generally say it's a capture codec not an editing or finishing codec.

Of course the cost in Cfast is going to be devastating for anyone doing long form work. But from my experience, Cfast is incredibly fast on the download. So as long as you have the ability to download while shooting, you shouldn't need more than 3-4 cards to keep up.

Sharlin

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #12 on: May 31, 2017, 02:17:14 PM »
Wait, am I misunderstanding something regarding the bitrates? How can the 8bit 1080p bitrate be just 35Mbps? Even my 80D does 90Mbps ALL-I or 60Mbps IPB :o

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #12 on: May 31, 2017, 02:17:14 PM »

Chaitanya

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #13 on: May 31, 2017, 02:20:26 PM »
For once this camera is unCanon esq a very well rounded feature set.

CanoKnight

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Re: Full Canon Cinema EOS C200 Specifications
« Reply #14 on: May 31, 2017, 06:27:01 PM »
$5800  for a 70-200.

Lol. See this is how products are priced in a free market system. Not criticizing it - just explaining it. The price of a product is what customers are willing to pay for it, or rather what the seller thinks they can get away with. In the case of film makers, especially serious film makers, Canon assumes their budget will be bigger than the average still photo hobbyist/ enthusiast. So Canon adds a few thousand to the cost of a regular 70-200 while adding some fluff. And voila ! You have a 70-200 for the "cinema EOS" system.

As for the camera itself - well now we know why the video features of the 5d4 is cr*p ! I mean did you really expect "quality" video for pittance ($3500) !?
5d3, 7d2, 100-400 II, 16-35/4, 24-70/4, 70-200/4, 100/2.8M, 50/1.4, 10-22 efs

canon rumors FORUM

Re: Full Canon Cinema EOS C200 Specifications
« Reply #14 on: May 31, 2017, 06:27:01 PM »