USER REVI EW | CANON EOS C70
lens to a full-frame equivalent focal length. It also increases light transmission by approximately one stop. It’s possible the 100-series cameras – such as the C200, C300, C500 and C700 – might receive their own body redesign and EF or interchangeable lens mounts. There could also be a range of C70, followed by a C50 or C90, beginning a new style of cameras with RF mounts. Time will tell, but the EOS C70 hints at an exciting way forward for Canon. With previous cameras – like other brands – Canon received criticism that specs were always crippled in some way to protect the sales of more expensive models. That cannot be levelled at the C70. It uses the same Dual Gain Output Super 35 sensor and Digic DV7 image processor as the Canon EOS C300 Mark III, albeit for about half the price. For the first time in a Canon cine body, you can record different formats, resolutions and bit depths on each media card slot, or use the second card slot as a backup or for relay recording. The C70 is also capable of 4K 4:2:2 10-bit recording to internal SD cards in the XF-AVC and MP4 format, although it doesn’t have all the C300 Mark III’s spec, like internal Raw recording, due to its compact body. The C300 also has a higher bit rate, built-in image stabilisation, 12G-SDI connections and a lens mount that can be changed from Canon EF to P or B4
work in cropped 4K above 60p, it performs well in 2K Super 16 crop up to 180fps. DGO delivers a high dynamic range of up to 16+ stops when using C-Log 2. There is also C-Log 3, plus HDR in PQ and HLG. And, for standard colour profiles, Wide DR maximises dynamic range for a faster workflow. There are built-in LUTs, or upload your own. Image quality is excellent across all settings, exuding the natural colour Canon is famous for. Shooting All-Intra in 4:2:2 10-bit 4K, using C-Log 2, gives a huge dynamic range and depth of colour that’s easy to play with in post. With files of this quality, few would ever feel the need for Raw. Canon claims the reason the camera doesn’t shoot Raw Light internally is the limitation of twin SD cards. Dropping to 4K/60p in 4:2:2 10-bit Long GOP, there’s hardly any degradation in quality, unless you really are a pixel-peeper. With
mounts. Otherwise, the C70 is not missing much – plus, it’s smaller. Where the Raw-shooting C200 was criticised for its relatively weak internal 8-bit codecs, the C70 comes out swinging with impressive spec. As well as 4K 4:2:2 10-bit All-Intra in up to 30p or 60fps in 2K, it can also record H.264 Long GOP 4:2:2 10-bit up to 120fps in 4K – and 180fps in 2K Super 16 cropped mode. Recording up to 120fps, there is Dual Pixel CMOS AF support, along with audio recording. In faster modes, set using the S&Q function, audio is recorded and stored as separate files to use in post. The Dual Gain Output (DGO) sensor gives a boost in quality at all ISO settings, and is ideal for HDR. Each pixel is read out with two different gain levels – one’s higher to control noise in the shadows, while one’s lower for better saturation and detail in brighter areas. These signals combine electronically to form a single image. While it doesn’t
ABOVE The left side of the C70 has all the main connection ports and custom buttons, plus ND filter control
SPECI F I CAT IONS
SENSOR FORMAT & SIZE: 9.6-MEGAPIXEL SUPER 35 DUAL GAIN OUTPUT (DGO) SENSOR, DIGIC DV7 PROCESSOR RECORDING FORMATS: XF-AVC ALL-I OR LONG GOP, 4:2:2 10-BIT 410MBPS; MP4 H.265/HEVC 4:2:2 10-BIT OR H.264 4:2:0 8-BIT, 4096X2160 C4K, 3840X2160 4K, 2048X1080 2K, 1920X1080 FHD FRAME RATES: 4K/120FPS, 2K (CROP)/180FPS EXPOSURE LATITUDE: 16+ STOPS, C-LOG 2 LENS MOUNT: RF
“THE DUAL GAIN OUTPUT SENSOR GIVES A BOOST IN QUALITY AT ALL ISO SETTINGS, IDEAL FOR HDR”
32 DEF I N I T ION | MAY 202 1
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