Full Canon Cinema EOS C200 Specifications

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<strong>About the Canon Cinema EOS C200</strong></p>
<p>Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals.</p>
<p>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.</p>
<p>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.</p>
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<p><strong>Capability Drives Creativity</strong>

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.</p>
<p><strong>Innovative Focus Control</strong>

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.</p>
<p><strong>4K / UHD</strong>

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.</p>
<p><strong>DIGIC DV 6</strong>

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.</p>
<p><strong>Cinema RAW Light – DCI 4K 60P/50P</strong>

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.</p>
<p><strong>MP4 – 4K UHD 60P/50P</strong>

Support for UHD (3840 x 2160) 60P/50P makes long recording time possible on versatile SD cards while maintaining high image quality.</p>
<p><strong>120fps – FHD</strong>

The C200 supports high-speed recording with a maximum 120fps in Full HD without cropping, realising even greater emotion in visual expression.</p>
<p><strong>Dual Pixel CMOS AF</strong>

Ground-breaking AF technology that uses a CMOS sensor with a construction that combines the functions of both imaging and phase difference AF.</p>
<p><strong>Features</strong></p>
<ul>
<li>The C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting.</li>
<li>Offering exceptional creativity, the compact size makes the C200 suitable for mounting onto a drone or gimbal.</li>
<li>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.</li>
<li>The C200 offers high-speed One-Push AF and continuous AF within a horizontal and vertical range of the screen of approx. 80%.</li>
<li>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.</li>
<li>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.</li>
</ul>
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<p><strong>Features:</strong></p>
<ul>
<li><span class="bolded">Professional UHD/50P camera with internal SD card recording and High Frame Rate option</span></li>
<li>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</li>
<li><span class="bolded">Internal RAW recording to CFast 2.0 card</span></li>
<li>Record 4k Cinema RAW light footage in 10 bit/50P OR 12 bit 24P/25P to CFast 2.0 card with simultaneous MP4 proxy</li>
<li><span class="bolded">Professional high quality image and audio</span></li>
<li>Up to 13-stops dynamic range with Canon Log 3 Wide DR for ease of use and high sensitivity ISO 100-102,400</li>
<li><span class="bolded">Dual Pixel CMOS AF and extensive shooting functions</span></li>
<li>Advanced autofocus options with touchscreen control plus HDR monitoring and 10 stop electronically controlled optical ND filters</li>
<li><span class="bolded">Easy operation and flexible configuration</span></li>
<li>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</li>
</ul>
<p><strong>Benefits:</strong></p>
<ul>
<li>Internal 4K recording with Cinema RAW Light and MP4 format</li>
<li>Continuous 120fps (maximum) High Frame Rate with no cropping at Full HD</li>
<li>Up to 15-stops dynamic range (Cinema RAW Light)</li>
<li>Professional High Quality image and audio</li>
<li>Dual Pixel CMOS AF with touch control and extensive shooting functions</li>
<li>Easy operation and flexible configuration</li>
</ul>

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<p><strong>Capability drives creativity</strong></p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
<p><strong>Advanced operability and ergonomic design</strong></p>
<p>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.</p>
<p><strong>Specifications:</strong></p>
<table width="500" cellspacing="5" cellpadding="5">
<tbody>
<tr>
<td valign="top" width="50%"><b>CAMERA</b></td>
</tr>
<tr>
<td valign="top"><b>Image Sensor</b></td>
</tr>
<tr>
<td valign="top"><b>Sensor</b></td>
<td valign="top">Super 35mm type CMOS</td>
</tr>
<tr>
<td valign="top"><b>System</b></td>
<td valign="top">RGB primary colour filter (Beyer array)</td>
</tr>
<tr>
<td valign="top"><b>Total pixels per sensor</b></td>
<td valign="top">Approx. 9.84 megapixels (4206 x 2340)</td>
</tr>
<tr>
<td valign="top"><b>Effective pixels per sensor</b></td>
<td valign="top">Approx. 8.85 megapixels (4096 x 2160): When 4096 x 2160 or 2048 x 1080 is selected as the resolution</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Approx. 8.29 megapixels (3840 x 2160): When 3840 x 2160 or 1920 x 1080 is selected as the resolution</td>
</tr>
<tr>
<td valign="top"><b>Dynamic Range</b></td>
<td valign="top">13 Stops (Canon Log3)</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Image Processor</b></td>
</tr>
<tr>
<td valign="top"><b>Type</b></td>
<td valign="top">Dual DIGIC DV6</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Lens</b></td>
</tr>
<tr>
<td valign="top"><b>Lens Mount</b></td>
<td valign="top">Canon EF Mount</td>
</tr>
<tr>
<td valign="top"><b>Lens Magnification Factor (for EF Mount lenses, including Cinema Primes)</b></td>
<td valign="top">At 4096 x 2160 or 2048 x 1080 resolution: Actual focal length x approx. 1.460</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">At 3840 x 2160 or 1920 x 1080 resolution: Actual focal length x approx. 1.534</td>
</tr>
<tr>
<td valign="top"><b>Changeable Lens Mount</b></td>
<td valign="top">Yes, mount change to PL mount possible via Canon Service centre (Paid for service)</td>
</tr>
<tr>
<td valign="top"><b>Peripheral illumination correction</b></td>
<td valign="top">Yes with compatible lenses</td>
</tr>
<tr>
<td valign="top"><b>ND filter</b></td>
<td valign="top">Clear, 2, 4 ,6, 8, 10-stop</td>
</tr>
<tr>
<td valign="top"><b>Focus control</b></td>
<td valign="top">Manual via lens, manual via RC-V100 Auto Focus (Dual Pixel AF Approximately 80%(vert.),80%(horiz.))</td>
</tr>
<tr>
<td valign="top"><b>Iris control</b></td>
<td valign="top">Manual Via camera body or RC-V100, fine, 1/2 or 1/3 step increments, Auto (with compatible lenses), Push Auto Iris</td>
</tr>
<tr>
<td valign="top"><b>Image stabilization system</b></td>
<td valign="top">Depends on lens used</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>RECORDING</b></td>
</tr>
<tr>
<td valign="top"><b>RAW Recording options</b></td>
<td valign="top">RAW (Cinema RAW Light)</td>
</tr>
<tr>
<td valign="top"><b>Internal Recording</b></td>
<td valign="top">Cinema RAW Light, MP4</td>
</tr>
<tr>
<td valign="top"><b>Recording time (CFast 2.0card)</b></td>
<td valign="top">128GB card 15 Mins (4K Cinema RAW Light 1Gbps VBR)</td>
</tr>
<tr>
<td valign="top"><b>Recording time (SD Card)</b></td>
<td valign="top">128GB card 110 mins (MP4, 150Mbps) 485Mins (MP4, 35Mbps)</td>
</tr>
<tr>
<td valign="top"><b>Recording Formats</b></td>
<td valign="top">Cinema RAW Light, (CFast 2.0) MP4 XF-AVC (SD card. XF-AVC1)</td>
</tr>
<tr>
<td valign="top"><b>Recording Frame Rate</b></td>
<td valign="top">(1) 59.94 Hz mode (59.94P/29.97P/23.98P)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">(2) 50.00 Hz mode (50.00P/25.00P)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">(3) 24.00 Hz mode (24.00P)</td>
</tr>
<tr>
<td valign="top"><b>Slow/Fast motion</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>Interval Record</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>Frame Record</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>Pre Record (cache record)</b></td>
<td valign="top">YES, 3 seconds</td>
</tr>
<tr>
<td valign="top"><b>Relay Recording</b></td>
<td valign="top">YES, SD Card recording only</td>
</tr>
<tr>
<td valign="top"><b>Double Slot (simultaneous) Recording</b></td>
<td valign="top">YES, SD Card recording only</td>
</tr>
<tr>
<td valign="top"><b>Scan Reverse</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>HD-SD conversion</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>Photo storage media</b></td>
<td valign="top">SD Card</td>
</tr>
<tr>
<td valign="top"><b>Photo Recording Size</b></td>
<td valign="top">2048×1080 (when video image resolution is 4096×2160/2048×1080)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">3840×2160 (when video image resolution is 3840×2160)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">1920×1080 (when video image resolution is 1920×1080)</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>SYSTEM</b></td>
</tr>
<tr>
<td valign="top"><b>Wave Form Monitor</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>Colour Bars</b></td>
<td valign="top">YES, SMPTE / EBU / ARIB</td>
</tr>
<tr>
<td valign="top"><b>Peaking</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>Zebra</b></td>
<td valign="top">YES. Zebra 1 Level 5 5% to 95 5% in 5 percentage point intervals (70 5%)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Zebra 2 Level: 0% to 100% in 5 percentage point intervals (100%)</td>
</tr>
<tr>
<td valign="top"><b>Markers</b></td>
<td valign="top">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%)</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>EVF</b></td>
</tr>
<tr>
<td valign="top"><b>Built- In EVF</b></td>
<td valign="top">YES. 1.77M dots</td>
</tr>
<tr>
<td valign="top"><b>Optional EVF Accessory</b></td>
<td valign="top">Canon EVF-V70 (Also requires CL-V2 bracket)</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Display Panel</b></td>
</tr>
<tr>
<td valign="top"><b>Display Panel</b></td>
<td valign="top">4 inch/10.1cm diagonal LCD Monitor. Touch panel. Approx., 1.23M dots</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Inputs/Outputs</b></td>
</tr>
<tr>
<td valign="top"><b>Audio in</b></td>
<td valign="top">XLR x2, 3.5mm Audio, AES/EBU digital or Analog Audio input, Line, Mic, +48V Phantom Power supported</td>
</tr>
<tr>
<td valign="top"><b>Headphone output</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>HDMI</b></td>
<td valign="top">YES, HDMI 2.0, output only. Max. output resolution 3840 x 2160.Timecode out compatible</td>
</tr>
<tr>
<td valign="top"><b>USB</b></td>
<td valign="top">YES. Mini-B Hi-Speed USB</td>
</tr>
<tr>
<td valign="top"><b>3G/HD-SDI output</b></td>
<td valign="top">YES x 1.BNC jack</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Video [HD]:SMPTE 292. [3G]:SMPTE 424, SMPTE 425</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Audio [HD]:SMPTE ST 299-1. [3G]:SMPTE ST 299-2, Output impedance 75 , Output signal level 0.8 Vp-p</td>
</tr>
<tr>
<td valign="top"><b>Time code</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>Genlock</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>Synch</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>Component out</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>AV terminal</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>DC Output</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>DC input</b></td>
<td valign="top">YES, 14.4V DC (Battery), 16.7V DC (DC-In)</td>
</tr>
<tr>
<td valign="top"><b>Power Consumption</b></td>
<td valign="top">50.00P: Cinema RAW Light/MP4; 18.5W (Approx.)</td>
</tr>
<tr>
<td valign="top"><b>Continuous Recording Time (battery)</b></td>
<td valign="top">BP-A30 (3100mAh) 130 Min (Approx.) BP-A60 (6200mAh) 280 Mins (Approx.)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Cinema Raw Light/4096 x 2160 or MP4/3840 x 2160 recording</td>
</tr>
<tr>
<td valign="top"><b>Remote Control Terminal</b></td>
<td valign="top">YES, 2.5mm proprietary connector</td>
</tr>
<tr>
<td valign="top"><b>Wireless Control Terminal</b></td>
<td valign="top">Built-in Wi-Fi. FTP and Browser Remote/Preview</td>
</tr>
<tr>
<td valign="top"><b>Lens terminal</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>Ethernet terminal</b></td>
<td valign="top">YES. FTP CAPABLE, MP4 files only</td>
</tr>
<tr>
<td valign="top"><b>Video connector (For Monitor or EVF)</b></td>
<td valign="top">YES, Canon proprietary connection</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Misc.</b></td>
</tr>
<tr>
<td valign="top"><b>Tally lamp</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>Custom Dial</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>SHOOTING FUNCTIONS</b></td>
</tr>
<tr>
<td valign="top"><b>Exposure</b></td>
</tr>
<tr>
<td valign="top"><b>Exposure metering</b></td>
<td valign="top">(a) Standard (centre-weighted metering)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">(b) Spotlight</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">(c) Backlight (compensation)</td>
</tr>
<tr>
<td valign="top"><b>Exposure compensation</b></td>
<td valign="top">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</td>
</tr>
<tr>
<td valign="top"><b>Push Auto Iris</b></td>
<td valign="top">YES</td>
</tr>
<tr>
<td valign="top"><b>Exposure Lock</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"><b>Auto Gain Control setting</b></td>
<td valign="top">NO</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Auto Focus System</b></td>
<td valign="top">Dual Pixel CMOS AF supported</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">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</td>
</tr>
<tr>
<td valign="top"><b>AF Frame Sizes</b></td>
<td valign="top">Large; size equivalent to approx. 20% (vertical) x 25% (horizontal) of the image display range;</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Small; size equivalent to approx. 20% (vertical) x 8% (horizontal) of the image display range</td>
</tr>
<tr>
<td valign="top"><b>Auto Focus Modes</b></td>
<td valign="top">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.</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">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.</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Continuous AF: AF control is performed at all times.</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">AF-Boosted MF</td>
</tr>
<tr>
<td valign="top"><b>Face Detection AF</b></td>
<td valign="top">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.</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">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.</td>
</tr>
<tr>
<td valign="top"><b>Focus Guide</b></td>
<td valign="top">Available; displays focus status or unfocused status using the AF signal.</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Shutter speed</b></td>
</tr>
<tr>
<td valign="top"><b>Control Modes</b></td>
<td valign="top">Manual only</td>
</tr>
<tr>
<td valign="top"><b>Shutter speed</b></td>
<td valign="top">1/3 stop display: 1/1, 1/1.26, 1/1.59, —, 1/1600, 1/2000 (total of 34 settings)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">1/4 stop display: 1/1, 1/1.19, 1/1.41, 1.68 —, 1/1700, 1/2000 (total of 45 settings).</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">The slowest speed will differ depending on the frame rate setting.</td>
</tr>
<tr>
<td valign="top"><b>Shutter Angle</b></td>
<td valign="top">360.00, 240.00, 180.00, 120.00, 90.00, 60.00, 45.00, 30.00, 22.50, 15.00, 11.25</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">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.</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Custom Picture</b></td>
</tr>
<tr>
<td valign="top"><b>Stored Configurations</b></td>
<td valign="top">PRESET: Canon Log 3/Canon Log /BT.709/Off</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">GAMMA: Canon Log 3/Canon Log/Wide DR/Normal 1 (Standard)/Normal 2 (x4.0)/Normal 3 (BT.709)/Normal 4 (x5.0)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">COLOUR MATRIX: Neutral/Production Camera/Cinema EOS/Original /Video/ Off</td>
</tr>
<tr>
<td valign="top"><b>Storage Medium</b></td>
<td valign="top">Internal, SD Card</td>
</tr>
<tr>
<td valign="top"><b>Master Pedestal</b></td>
<td valign="top">0 50</td>
</tr>
<tr>
<td valign="top"><b>Master Black Red</b></td>
<td valign="top">0 50</td>
</tr>
<tr>
<td valign="top"><b>Master Black Green</b></td>
<td valign="top">0 50</td>
</tr>
<tr>
<td valign="top"><b>Master Black Blue</b></td>
<td valign="top">0 50</td>
</tr>
<tr>
<td valign="top"><b>Black Gamma</b></td>
<td valign="top">0 50</td>
</tr>
<tr>
<td valign="top"><b>Low Key Saturation</b></td>
<td valign="top">0 50</td>
</tr>
<tr>
<td valign="top"><b>Knee Point</b></td>
<td valign="top">+ 50 – 95 – +109</td>
</tr>
<tr>
<td valign="top"><b>Knee Slope</b></td>
<td valign="top">-35 – 0 – +50</td>
</tr>
<tr>
<td valign="top"><b>Knee Saturation</b></td>
<td valign="top">0 – 10</td>
</tr>
<tr>
<td valign="top"><b>Sharpness Level</b></td>
<td valign="top">-10 – 0 – +50</td>
</tr>
<tr>
<td valign="top"><b>Noise reduction</b></td>
<td valign="top">Off / 1 – 12</td>
</tr>
<tr>
<td valign="top"><b>White balance Red/Blue Gain</b></td>
<td valign="top">0 – +50</td>
</tr>
<tr>
<td valign="top"><b>Setup level</b></td>
<td valign="top">(0 – 50)</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Wi-Fi & GPS Specifications</b></td>
</tr>
<tr>
<td valign="top"><b>GPS Information (Optional Accessory)</b></td>
<td valign="top">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.</td>
</tr>
<tr>
<td valign="top"><b>W-Fi Specification</b></td>
<td valign="top">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.</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Authentication: Open system, WPA-PSK, WPA2-PSK</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Encryption systems: WEP-64, WEP-128, TKIP, AES</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>White balance</b></td>
</tr>
<tr>
<td valign="top"><b>Auto</b></td>
<td valign="top">YES. Shockless WB available</td>
</tr>
<tr>
<td valign="top"><b>Preset</b></td>
<td valign="top">Daylight (5600K), Tungsten (3200K)</td>
</tr>
<tr>
<td valign="top"><b>Manual Setting</b></td>
<td valign="top">Preset A/B, Colour Temperature Setting: 2000K – 15000K</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Black balance</b></td>
</tr>
<tr>
<td valign="top"><b>Black balance adjustment</b></td>
<td valign="top">Auto Black Balance Adjustment</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Time code</b></td>
</tr>
<tr>
<td valign="top"><b>Countup system</b></td>
<td valign="top">Regen, RecRun, FreeRun, TC Hold. Drop Frame /NonDrop Frame ( DF/NDF) in 59.94P/29.97P mode only</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Audio</b></td>
</tr>
<tr>
<td valign="top"><b>Recording</b></td>
<td valign="top">Cinema RAW Recording: Linear PCM: 16-bit / 48 kHz / 4 channels</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">MP4: MPEG-4 AAC-LC (16-bit / 48 kHz / 2 channels), Linear PCM (16-bit / 48 kHz / 4 channels)</td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>MISCELLANEOUS</b></td>
</tr>
<tr>
<td valign="top"></td>
</tr>
<tr>
<td valign="top"><b>Dimensions (Main Body Only)</b></td>
<td valign="top">Approx. 144 x 153 x 179 mm (5.7 x 6.0 x 7.0 in)</td>
</tr>
<tr>
<td valign="top"><b>Weight (Body Only)</b></td>
<td valign="top">Approx. 1430g (3.2lb)</td>
</tr>
<tr>
<td valign="top"><b>Operating Temperature range</b></td>
<td valign="top">Approx. 0 to 40C, 85% (relative humidity)</td>
</tr>
<tr>
<td valign="top"></td>
<td valign="top">Approx. -5 to 45C, 60% (relative humidity)</td>
</tr>
</tbody>
</table>
<span id="pty_trigger"></span>
 
Jul 23, 2013
329
126
carlsmiller.com
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?"
 

jeffa4444

EOS 5D Mark IV
Feb 28, 2013
1,516
174
67
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.
 

rrcphoto

EOS R6
Jun 20, 2013
2,505
147
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.
 
Oct 12, 2011
447
0
www.carolineculler.com
CarlMillerPhoto said:
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.
 
Jul 23, 2013
329
126
carlsmiller.com
HurtinMinorKey said:
CarlMillerPhoto said:
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.
 

Nakean

I'm New Here
Feb 27, 2016
21
0
CarlMillerPhoto said:
HurtinMinorKey said:
CarlMillerPhoto said:
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

EOS RP
Jan 12, 2011
756
104
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

EOS 90D
CR Pro
Feb 6, 2015
111
55
CarlMillerPhoto said:
HurtinMinorKey said:
CarlMillerPhoto said:
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

EOS R
CR Pro
Dec 26, 2015
1,353
1,180
Turku, Finland
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 :eek:
 

CanoKnight

EOS 90D
Jul 7, 2014
132
92
$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) !?
 

rrcphoto

EOS R6
Jun 20, 2013
2,505
147
CanoKnight said:
$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.

adding some fluff?

are you serious?

a cini zoom is parfocal, no zoom breathing, etc.

something your ordinary zoom is not, and is certainly not "fluff" to do it right.
 

Bernard

EOS 90D
Mar 18, 2015
139
2
CarlMillerPhoto said:
they ALWAYS ask "Do you have access to a A7s/r II or FS5/7?".

That's likely to be a workflow issue. They have their system set-up for specific cameras, and anything else will cost them more in terms of post-production time. They probably would have said the same thing if you had an Alexa.
 

Policar

EOS RP
Dec 20, 2010
523
3
Bernard said:
CarlMillerPhoto said:
they ALWAYS ask "Do you have access to a A7s/r II or FS5/7?".

That's likely to be a workflow issue. They have their system set-up for specific cameras, and anything else will cost them more in terms of post-production time. They probably would have said the same thing if you had an Alexa.

Not really the case. I own a C100 and the two times I tried to rent it out for corporate clients one far preferred the AF100 for its timecode sync and the other was interested in renting an HVX200 instead. Very very high end clients, too, top of the line.

On the other hand, the Alexa is the camera I see used most often (on the lower end stuff I work on now). I'd say 90% of the projects I work on are Alexa-originated now.

Market perception matters a lot as does meeting certain broadcast specs.

That said, this is targeted mostly at mid range wedding videographers and should be excellent for that market. And with the promised codec upgrade it should be good enough for anyone!
 
Jun 2, 2017
2
0
Oslo
I find it insane to release a pro camera at this price level in 2017 with 4:2:0 8bit 35Mbit/s @ 1080p. Someone at R&D Canon should get fired - epic failure.

The worst part is that this camera's hardware actually is capable of recording 4:2:2 10bit 50Mbit/s @ 1080p. So only a management decision to shield C300 mk2 sales. Which of course is too bad since this is one of the potentially best cameras around. RAW in 10 and 12bit is all good, but RAW is not a very user friendly format for every day filming. They can easily make this right via firmware update, but they won't. the XF-AVC codec scheduled in February 2018 is according to rumors 8bit only. So yes, we will get better bitrate, but still 4:2:0 8bit. I want 10bit in XF-AVC for both 1080p and UHD/4K.

Also a big no regarding their lacking support for RAW via SDI. Actually both SDI is restricted to 10bit in 1080p and 8bit in 2160p.

I actually cancelled my order on the C200 because of this.

WHY must always Canon destroy their potentially epic equipment which would leave the competition in the dust (Sony/Panasonic). Currently those are laughing all the way to the bank and can not believe how easy Canon is making it for them in 2017/2018.
 

HarryFilm

EOS RP
Jun 6, 2016
705
166
"RAW in 10 and 12bit is all good, but RAW is not a very user friendly format for every day filming."

---

I do not see the big deal with filming in
Canon RAW-lite, You buy four CFast 2.0 cards
and rotate every 15 minutes out to your on-set
laptop which converts and outputs your footage
to multiple $150 Two-Terabyte Western Digital
USB 3.0 Portable hard drives using Apple ProRes 4:4:4
or to CineForm FilmScan 4:4:4 in less than 10 minutes
per card and voila you have INTRAFRAME Wavelet
encoded editable master footage which can be
colour-corrected, chroma or alpha keyed and
otherwise manipulated to your heart's delight.

From there, you do your editing on FCP,
Premiere, AVID or Davinci Resolve using
Apple ProRes or Cineform FilmScan and
only output your final production
viewing master or Youtube MPEG-4
or H.265 masters as the last step!

What is the big deal which following
a thought-out process like that?
Are you that strapped for budget and cash?

Seriously! We are looking at less than $3000
of gaming laptop power and four two-terabyte
portable hard drives?

If you're that strapped for cash maybe you need
to go back to working at Starbucks, save some
production funds and THEN film your script.

YES I know I'm on a high horse with my 25 years
of experience, four Canon 1Dc's, a C300 2 5D's
multiple drones and other cinegear whatnot,
BUT Cinema Production should be treated like
a WAR! It's a FIGHT to provide Logistics
(i.e. transport and sets), Arms (aka camera and
production gear), Soldiers (i.e. Cast and Crew)
and C4SIR (Directors and Producers)

You don't goto war unless you've PREPARED
and HAVE all your personnel and systems at
full readiness SO WHY the heck are YOU
doing ANY production without sufficient
resources to execute and finish the task
WELL in an actual Battlespace
(i.e. production set) arena?

Prior Planning and Preparation
Prevents P*** Poor Performance
(U.S. Marine Corps motto)

Warfighters Must Prepare before going to war
and since a Cinema Production IS LIKE A WAR,
you need to TRAIN, PREPARE, EQUIP and FUND
properly your production BEFORE you even shoot
the first second of footage!

Doing ANY LESS is cause for ending up in a
total carnage (financially!) with utter defeat
inflicted by enemies both known and unknown!

Making Movies IS FIGHTING A WAR!
It's a War Against Enemies called
Time, Money, Talent and Technology!

DO NOT GO INTO BATTLE unless you
are prepared to FIGHT HARD with fully
trained and prepared personnel and gear!

Save your pennies first! Harden yourself
for cinema battle and THEN you can
fight the good war for Sundance or
Oscar recognition!

===

So in the case of the Canon C200, this is a great
camera but you NEED TO BE AWARE OF its limitations.
For me personally, I could EASILY use the advantage
of my experience of shooting in Raw(lite) and then
converting to a GOOD intraframe codec (ProRes444 or
Cineform FilmScan) while still onset cycling CFast cards
every 15 to 20 minutes to a laptop. The key is buying
enough USB3 or Thunderbolt portable hard drives so
that you can store all your Raw-to-INTRAFRAME-encoded
video on a daily basis for your entire production run.

For less than $3000 you can do all the above tasks!
So SAVE and spend the money to do that and put the
extra effort into your script, DECENT lenses and
a good editor!
 
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