GEAR TEST CANON EOS C80 AND C400
NO RED FLAGS A fold-out screen on the C80 (below right) controls various input options; colour reproduction is typically lovely (right)
Some of the best results are a compromise, using 4K oversampled from the 6K sensor, which opens more versatile frame rate choices. We quickly found a codec that worked for us, but it’s good to know there is 6K Raw, for example, when ultimate image quality is necessary – or 4K/120p full-frame for some super slow-motion on the C400. In a strategy that started with the C70, Canon has not crippled the spec of the cheaper camera to protect sales of more expensive, profitable cameras. The C70’s Super 35 Dual Gain Output sensor that would handle Raw files has been upgraded to a new stacked sensor on both the C80 and C400, which now shoots Cinema Raw Light internally. There are three base ISO settings of 800, 3200 and 12,800 when shooting Raw or in Log. Shoot in Canon 709, Wide DR, PQ or HLG and the base settings are 400/1600/6400, while in standard BT.709 it’s 160/640/2500. Select which of the base settings to use, or choose Auto and leave it to the camera to work it out for you. This lets you achieve optimal signal-to-noise performance even in very low light and works well. Noise is controlled and even when ISO ramps up, but if some creeps in it’s easy to sort in post. These are two great cameras for low-light use. However, shooting in Raw means the files have no noise reduction in camera. This gives highly detailed shots, but you’ll need to apply noise reduction in post. In a compressed codec like XF-AFC or XF-HEVC S, there is NR added in camera, but this can be adjusted to suit individual shoots. You can also alter settings such as saturation to customise your look. Although the triple-base ISO sensor is impressive, it doesn’t quite offer the
dynamic range of the Dual Gain Output sensor found in previous models like the C300 Mark III. This system works at all ISO levels when each pixel is read out with two different gain levels – one high for controlling noise in shadow areas and one low for better saturation and detail in brighter areas. These signals are electronically combined to make a single image. Maybe this will feature in a higher- end C500 in future? GAMMA SCHOOL For a great straight-out-of-camera solution, the Wide DR gamma setting gives a pleasing and natural look with
punchy, vibrant colours that stay just on the right side of being too bold. Again, there are lots of customisation options. The dynamic range isn’t quite as high as C-Log2 or 3, but it’s a convenient choice that works well with little tweaking. When it comes to post, we did have some issues with the MXF files from the C400, but not the C80, when used in Final Cut Pro X. We updated the Canon MXF and Raw plug-ins, but the Mac Studio M1 computer still wouldn’t read them and the Edit Ready desktop plug-in wouldn’t work either. Checking online showed other users had the same problem, but identical files from the C80 were fine! Perhaps it’s a glitch in the Apple matrix. DaVinci Resolve worked perfectly on all files, even though it wasn’t version 19. Image quality is superb right across the range of settings, with all of Canon’s celebrated natural colours. If you want to go for maximum quality then Raw is ideal, but All-Intra in 4:2:2 10-bit 4K using Log gives impressive dynamic range – with great colours that proved easy to tweak in post.
QUALITY IS SUPERB, WITH CANON’S celebrated natural colours ”
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