GEAR CANONEOS C500MARK II TEST
The all-new Canon EOS C500 Mark II offers so much – to filmmakers that can justify the price WORDS ADAM DUCKWORTH FULL FRAME CINE EOS 7 reasons to love Canon’s newC500
I t’s one thing to check out the specs of a new camera, read all the marketing spiel, even have a short hands-on with it on an artificial-feeling set at a trade show, or in a dealer’s showroom. It’s another thing to have it for a fewweeks and get the chance to try it in lots of different shooting situations, in everything frombright sun to low light, with a variety of different lenses. It’s amazing howmuch better you get to know the ins and outs of
majority of filmmakers could use for the majority of paid jobs and get results that are better than ever. A lot of that is thanks to the convergence of all the latest technology, packed into one body. If you’ve been lusting after the incredible low-light performance and shallow depth-of-field you can only get with a full frame sensor, have been seduced by high-tech autofocus that really works, yearn for in-body image stabilisation and want the option for manageable Raw
any camera when you’re on location actually putting it through its paces. Features that seemed obvious, easy to set and a wonderful idea on the spec sheet can sometimes not be quite as useful when you’re faced with time pressure and the real need to hit the Rec button at the right moment –with all the right settings locked in. Fortunately, the Canon EOS C500Mark II is not one of those disappointing or confusing products. If you can stretch to the asking price, it’s a camera that the
ABOVE A 5.9K full- frame sensor in a compact, easy-to- handle body
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PRO MOVIEMAKER SPRING 2020
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