CANONEOS C500MARK II
SPECIFICATIONS Price: £16,999/$15,999 body only Sensor size: 20.8-megapixel full frame CMOS, Dual Digic DV7 Formats: Cinema RawLight 4:2:2 12-bit 2.1Gbps, MP4 XF-AVC 4:2:2 10-bit 810Mbps; 5952x3149 6K 4096x2160 C4K, 3840x2160 4K, 2048x1080 2K, 1920x1080 FHD Frame rates: 59.94/50/29.97/25/24/23.98p Fast frame rates: 60fps Cine RawLight and XF- AVC full frame, 120fps in 2K Controls: Peaking, colour bars, waveform, zebras, focus assist Autofocus: Dual Pixel CMOS AF; one shot, continuous, face priority Lensmount: EF (User changeable to PL) Shutter speed: 1sec-1/2000sec Filters: Up to 10 stopND built in Screen: 109mm/4.3in LCD touchscreen, 2.76million dots Viewfinder: Add-on LM-V2 (supplied) Audio: 2x XLR inputs Output: HDMI, 12G-SDI, Mini-BUSB Storage: 2x CFexpress, SD/ SDHC slot ISO range: 160-25,600, expandable 100-102,400 Dynamic range: 15+ stops C-Log2
as it oversamples into 4K. This suppresses moire and reduces noise, resulting in very high image quality. The sensor is claimed to have more than 15 stops of dynamic range and a wide colour space, perfect for High Dynamic Range work. It records in PQ/HLG for HDR work, and Canon Log 2 and 3. The EOS C500Mark II supports user LUTs, too, and there is now a LUT button for ease of use. We only had a brief hands-on session with a camera that was not the final production version, so can’t make any judgement about the quality, but we did see amazing work that was stunningly sharp, with very natural colours and an incredibly low amount of noise. And with the camera using the same Cinema Raw Light codec as the C200, the workflow systems are already in place and well-tried. As well as recording internally onto CFexpress cards, simultaneous proxy recording is also possible; you can edit these low-res proxy files rather than having 5.9K footage slow down your edit. You can replace themwith the high-res Raw or XF- AVC footage for final output.
full sensor, and DCI 4K XF-AVC 10-bit 4:2:2 (like the C300Mark II), which is a very robust and well- liked codec. The biggest gripe most users have with the C200 is that its internal codec is only 8-bit and therefore not the best for grading or shooting in Log. Essentially, it’s a Raw-only machine, which does take more time in processing and eats up hard drive and card space. It’s not a full-blown 16-bit Raw like some cameras that can export these massive files to external hard drives. The C200 has a compressed version that offers much of the same benefits in terms of quality, dynamic range and the ability to be colour-corrected and graded. Few users really need full Raw, apart fromHollywood types shooting for special effects, and Cinema Raw Light is a great codec that offers huge advantages over more conventional files. In the past, you would have had to choose between the C200 if you wanted Raw, or the C300Mark II if you wanted a 10-bit 4:2:2 codec. Now, the C500Mark II offers both. Of course, with discounts on the C200 and C300Mark II you could actually buy one of each for £13,797/ $15,498, which is less than the £16,999/$15,999 launch price of the C500Mark II. But of course these cameras are Super35 rather than full frame, and lack the modularity and ultimate resolution. Even if you only want to shoot in 4K, the 5.9K sensor is ideal
ABOVE With a manual focus cine lens, this camera is ideal for creating movies with a lovely cinematic look
Dimensions (WxHxD): 167.6x152.4x147.3mm/ 6.6x6x5.8in Weight: 1.77kg/3.9lb
“If youwant to bolt on a Cooke anamorphic lens you can do that, or revert to the EFmount and use a nifty 50”
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WINTER 2019 PRO MOVIEMAKER
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