GEAR
CANONEOS C500MARK II TEST
you require, manage noise, change white-balance and really push it hard in the grade. The camera we used did not have the final firmware, so it would be unrealistic to dig into the Raw files to pixel-peep for ultimate quality. It’s likely this will change before productionmodels are in the shops. Of course, converting Raw files for use inmost NLEs makes an additional step in your workflow, but it’s worth it if you have the time and expertise to coax out the best quality. Another big benefit to be gained from the camera is
“What we sawwas incredibly clean, noise-free footage – as you’d expect from such a large sensor”
that you can record 4K proxies to the second card and use these in your edit for speed, then replace them with the graded footage converted fromRaw. Using the camera in XF-AVC in 4K, the sensor oversamples the 5.9K signal into
4K, which suppressesmoire and reduces noise for extremely high, 10-bit image quality. Of course, this is not a final production camera so it wouldn’t be right to pass critical judgement on the files. But what we sawwas incredibly clean, noise-free footage – as you’d expect fromsuch a large sensor –with lots of detail that was incredibly easy to grade and pull around in post, and had oodles of dynamic range. It had all the same characteristics of other Canon cinema cameras we have tested that use this well-liked codec, but was a significant leap ahead thanks to the big sensor. Footage from the final firmware will confirmour opinion of the EOS C500Mark II, but we’re already very excited about the quality this new camera brings to filmmaking.
ABOVE The tilting viewfinder and other accessories bolt on at the back using four hex bolts
THE VERDICT The new EOS C500Mark II is a hugely impressive new camera that uses all the latest technology, has a modular style to suit lots of uses, and best of all has a 5.9K full- frame 35mm sensor. It records 12-bit Cinema Raw Light or 4K 10-bit 4:2:2 XF-AVC tomemory cards, has autofocus you can trust, and in-body image stabilisation. It’s the first camera of its type to offer all this spec, and because of that is likely to become one of the all-time classics. But of course, nothing’s ever perfect... The IBIS doesn’t work when shooting Raw, and the very fastest frame rates are limited to 120fps –with a sizeable crop. Unless you exclusively shoot action sports, none of this is likely to put you off the camera one bit, and rightly so. In fact, the only real negative is the body-only launch price of £16,999/$15,999. You have to be seriously convinced the camera’s going to pay for itself in double-quick time to stump up that amount of coin. If you’re a committed Canon user, then it’s a camera that will fit into your workflow seamlessly. And if you use a Canon EOS C200 and shoot it in Raw, then pairing
this with a C500Mark II will give you incredible flexibility and quality good enough to flog your work to Netflix. Next stop, Hollywood!
More information
canon.com
HOW IT RATES Features: 10 Everythingmost filmmakers could dreamof, in one camera Performance: 9 It handles well, has a huge sensor and incredible focusing Handling: 9 About as good as it gets for a modern cinema camera Value formoney: 8 It offers spec that nothing else does – but you pay for it OVERALL RATING: 9/10 This is a camera with a spec list that many filmmakers have been dreaming about Pros: It’s a 5.9K, full-frame, Raw-shootingweapon! Cons: No IBIS in Raw, limited fast frame rates that suffer a noticeable crop
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PRO MOVIEMAKER SPRING 2020
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