GEAR CANONEOS C500MARK II TEST
The new camera also borrows the 4K 4:2:2 10bit XF-AVC recording codec from the C300Mark II, making it broadcast-ready and a huge step up from the lower-spec 8-bit codec in the C200. However, if your client demands 12-bit 1080p output, only the C300Mark II can produce this. The larger sensor on the C500 is just too data-rich to output it. 2 It uses the latest mirrorless technology It’s no secret that a lot of the latest development work is going towards the new breed of mirrorless cameras, such as the Canon EOS R. With its full- frame sensor, advanced autofocus using lots of focus points, bright touchscreen, and 120fps recording for super slow-motion, it’s the sort of spec cinema camera owners look at with envy. All this is now in the C500Mark II, plus the in-body stabilisation that’s a big selling point for many mirrorless cameras from rival manufacturers. It hasn’t even come to Canon’s EOS R range yet, but it’s believed it will in future launches. So, the Cinema EOS is leading the way in Canon’s implementation of full-frame stabilisation.
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Straight out of the box, the camera is as basic as you like, with just the main body and a lens mount – ideal for professional-style drones or gimbals, as the body alone weighs just 1750g/3.85lb. Bolting on the side gripmakes it easy to hand-hold, as well as providingmore control buttons. Bolt on the top handle and bracket for the screen and you have a perfectly serviceable camcorder. The top handle slides into a cold shoe at one
ABOVE The 4.3-inch LCD monitor offers intuitive touch focus operation, and improved focus control
Themodular design adds flexibility The Canon C500Mark II aims to be a do-all machine
by not only allowing the user to remove the viewfinder and screen – tomake it as small as possible for use on gimbals or drones – but also build it up into a broadcast or cinematography rig with extension units that are not too expensive and just bolt on.
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PRO MOVIEMAKER SPRING 2020
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