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USER REVIEW CANON C200
ON A TRIPOD, USING THE TOUCHSCREEN TO PULL FOCUS IS FAULTLESS
operators would focus manually – always – but with a suitable lens the C200 handles the job so well you can just leave it to get on with it. The face recognition isn’t always perfect, but if you can get your talent to look at the camera for a second, just so that it ‘locks on’, the C200 will hold that focus remarkably. On a tripod, using the touchscreen to pull focus is faultless – with suitable lenses you can even change the speed of the pull. And while focussing manually, the on-screen focus indicators – powered by the dual-pixel focus sensor – can be very useful. The 6200Ah batteries supplied with the review camera will last half a day each, with care, and with the accessories attached (including the battery) but without a lens, the camera only weighs around 3kg. A 128GB CFast card gives you about 16 minutes of recording RAW Light at 25fps. A 64GB SD card is good for 242 minutes of MP4 at the same frame rate. RAW DELIGHT Which you choose is, of course, dependent on your project. The MP4 files are fine, but they are 8-bit, and I managed to provoke some visible compression artefacts – even at 150Mb/s – with foaming water and evergreen trees blowing in the wind. On the other hand, the 12-bit RAW Light images are stunning. Where shadow detail disappears into compression mush with lesser CODECs, there is so much you can reveal in the shadows with Raw images, even at higher ISOs. On top of that, there is the creamy smoothness to the images that characterises the ‘C’ family of cameras, and Canon’s fantastic colour science – particularly evident in skin tones. With a good prime lens, the rich tonality combines with sparkling levels of detail – more than the MP4 CODEC manages to retain. The Raw files, of course, have no inherent noise reduction
ABOVE Canon has produced a camera that will appeal to many different users including potentially VFX clients who are looking to capture high end VFX pulls in a raw format.
DEFINITION MARCH 2018
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