canon c200 review

I don’t know unfortunately, but I’d prefer to use Cfast than a solution like this. First off, the C200 hasn’t really been put out into the world yet, so we don’t know yet. For us, relying on only one Cfast slot for RAW capture is a huge limitation. When I used to shoot that kind of show, I would always bring my own baseplate/hadgrip situation and got excellent balance with the C300. By the looks of it you can remove the cable out of the viewfinder? By any chance would you (or anyone who tested the camera) know whether it records when the CFast card door is left open? The dynamic range on the C200 is good and the highlight rolloff isn’t Alexa, but certainly closer to it than a lot of other cinema cameras under $10k. 150mbps is within a decent range of quality and space compression for both narrative filmmakers and broadcast professionals. As I said at the beginning, it is really hard for me not to like the Canon C200. The touchable monitor makes the Canon C200 one of the best gimbal cameras out there right now, for the solo operator at any rate. Very useful informations! This is why it can and often does increase usable dynamic range in your files. Not great, but hey, 4k/60, woohoo. For Canon Cinema EOS Mk I users I would see the C200 as a very good upgrade, but if I have to still use an external recorder to get a better codec I might have to look elsewhere. As we recently pointed out in our article for the Video Devices PIX-E5 monitor/recorder, we found an Alibaba page that showed one factory manufacturing Cfast cards for the top brand names out there today. RAW was what most people were interested in regarding the Canon C200. Most of the changes are courtesy of the new Digic 8 processor, which allows for 4K video capture, eye detection autofocus and improved battery life. Once you're accustomed to a type of workflow, terminology, and button layout, the only major change is figuring out that particular camera's ideal settings for image capture. for the 7500 bucks you only need pay more for one battery and several universal storage. Most operators value internal NDs, XLRs that aren’t riding on a fragile plastic hot shoe mount, etc. The  Canon EVF-V70 would probably be a great solution, but is a bit pricey. The video is certainly softer and a bit more mushy. Currently the Cinema RAW Development tool by Canon lets you set white balance, Color Space and Gamma. That works too. Still, keep in mind that this C200 review reflects my subjective opinion, derived from my own experience and shooting style. Thanks for the review. As you may have read from our previous Letus Helix Jr article, we’ve modified the handle to fit a C100/C300 hand grip, making it easy to toggle AF, adjust exposure, and start/stop recording. We write about video production gear that we use everyday on real world documentary and corporate shoots. I think it is unlikely that the aliasing is firmware related, but it should be mentioned none the less. Another thing was that during my shoot the screen was not very bright. That means never have to worry about ND filters in front of your lenses, and buying different sizes for every lens filter diameter. We found a cheaper alternative in the Transcend CFX600 card, much to the chagrin of many of our peers. BMD is close, but their images look muddy to me. For narrative, I want RAW; for event work the mp4 as described in the review will be fine and they have the higher end codec coming. For some people who want an efficient workflow with RAW, the 35 Mbps proxy recordings in 2K will be a welcome feature. Has anyone seen or said anything about being able to adjust ISO in post with the Cinema RAW Light? They are down-sampled from a full sensor readout and they look very nice at first glance. But even though it came with an advanced 4K CMOS sensor, its output HD bitrate and codec was a little low for broadcast and feature documentary use. You verified what many of us thought to be true, Cinema RAW Light could be the next big thing for many shooters. We ended up buying an EgoDisk 256gb Cfast card for our 1DX mkII, as well as to have when we rent a C200 again. I just hope they don’t try to jack up the price to the $16k-$18k range like Canon has tried to do with every initial C300 release. So theoretically, the images should look nearly identical. Yes, overlay goes out HDMI. With some work, it’s always possible to make any footages color-match the Canon C200. It offers the highest quality and can give you the most organic, cinematic and expensive-looking footage, but it also involves a process of transcoding and requires a lot of storage space. And when that time comes, either we’ll depend on the SD Proxy for backup, or find an alternative way to record to backup media. Most of all, we're glad that Canon still has the power to surprise us all. If it theoretically cost more in Cfast cards than your camera itself, to shoot a day’s worth of footage, perhaps it’s time to look at other cameras. The C200 color looked very different, more yellow than the C300II. . Better yet, a different place for the cable terminal would be great. In fact, now that we just bought the Canon 1DX mkII - to use as a B-cam and gimbal cam - we're lamenting having to go back to using ND filters again. Panasonic color science versus Canon color science. But for most users, we wouldn’t recommend the C200B over the C200 because you lose the EVF. At first I did want shallow DOF until I got into the field and began to realize that FF is terrible for shooting in the real world, too difficult to try to hold moving subjects in sharp focus. The LCD/XLR unit on the C300 ends up being so heavy, that it has a hard time staying level with the horizon. That, along with the middle of the road 4K recording. Having internal RAW recording is seen as an investment for Canon - maybe it doesn’t make sense for a lot of people right now, but as more and more of their cameras feature it, it will become more standardized. Hi Sebastian, quick question for you. The result is a well-rounded and powerful cinema camera package that mostly works in tandem with the operator. The implementation of DNxHD and a 2K 12bit 444 debayering option for the raw development tool would be great too.At the moment only the mac version of the program is able to convert the raw to an editing friendly codec that is not based on one file per frame (DPX and Open EXR only at the moment for the windows version). In terms of media, Canon told me they recommend to use  SanDisk 128GB Cfast 2.0 or  SanDisk 256GB Cfast 2.0 cards for RAW recording and SanDisk 64GB U3 SD cards for MP4 recording. Fortunately for you, I was also given the chance to record a lot of footage with it and draw my own conclusions for this C200 review. Canon C200 4K Cinema Camera Targets Mid-Range Video Pros. Documentary Filmmaking - We've traveled hundreds of thousands of air miles on many shoots, to bring you our list of our recommended documentary video production gear.​. Thankfully the C200 user experience is pretty similar to the C100/C300 that we’re very comfortable with. For me it opens up a lot of possibilities, mostly because of its low price and excellent all-round performance that delivers 12-bit RAW. It uses a new compressed RAW codec called Cinema RAW Light, which can record at 1gbps, up to 12-bit, and full DCI 4k, on one internal C-fast card, with Proxy recording on an SD card. Having owned a Canon C100 Mark II for three years and having just bought a RED Scarlett-W, the Canon C200 is an interesting cinema camera that fits in right between the two. For many this will not be viable, because they simply need to record too much footage or they don’t have the extra processing power and time required to work with RAW. Unfortunately, the large divide between 12-bit RAW and 8-bit MP4 is just what the Canon C200 is, and for the price, I must say I’ll accept it gladly. I don’t think it’s possible to have a cable like that without affecting the gimbal balance. If it's for actual high level productions, or for up and coming filmmakers who want to dabble with professional tools such as RAW capture, but most often will use the camera as a daily workhorse shooting to MP4. I am not to incline to shoot raw since all of my work suffices with prores 422 or 444. They have some of the most neutral color tint and minimal vignetting for the price, and ND filters can get very expensive. Will wait for Canon’s approval on this one. Either the camera is bulky, too expensive or too difficult to use, or lacks built-in ND filters, etc… But I was surprised. In my opinion: 1. There are a lot of things to be excited about with the Canon EOS C200. Not only is it bulky, but if you have it placed at the front of the top handle, any time you press on the monitor to use the touch AF, the whole camera shakes a little. Where capturing RAW would typically require external recorder/monitor accessories, it’s a theoretical breath of fresh air to have internal RAW recording. But I think the C200 is a class higher. Allow us to emphasize this point one more time: If you are shooting RAW Light on a C200, and you can’t foresee ever using the SD Proxy as a delivery format in case of Cfast failure, then you need to use an external recorder for backup. For this C200 review I spent a couple of hours putting the new camera through the elements, ranging from harsh sunlight, to strong wind and eventually pouring rain. Heck, my XC10 is 4.2.2. We know that the original C-log in the C100 and C300 is different than the C-log in the C300 mkII, so perhaps Canon has changed how the C-log in the C200 behaves, in order to work with the new mp4 codec and compression space. Canon has not publicly commented, all XF-AVC specs for the C200 are officially “TBA”. But a C200 fit on the Helix Jr. without issue. My hope is the coming XF-AVC codec will be at least 4.2.2 even though it will still be 8 bit 150 mbps (what i’m hearing). We think if you can fit a C200 on one of these smaller, easier to use gimbals, it would be hugely preferable to having to use a separate dedicated gimbal cam, like a Sony A6500 or Panasonic GH5, at least for Canon shooters. IMHO, main 3 HUGE points of URSA –1. He shot that all handheld with an original C300 as well. And yes you can attach the screen directly to the body with no handle or monitor bracket. I’ll ask around if anyone could make a thinner cable similar to those ultra flexible sdi cables. If the C200 is any indication, the new C300 might be pretty great. Even though I’m not saying the Ursa Mini Pro is a bad camera at all. The size is just right, ND’s and it was sharp and precise. And so the C300 mkII answered a lot of prayers, even though it was fairly spendy when first released. The auto focus on the Canon C200 convinced me. Even if you don’t use the EVF regularly, when you need it you need it. Sorry Dan, that was a first minute mistake, has been corrected. Over all the images are not bad. The C200 uses the same batteries as the C300 mkII, which is great if you shoot with both cameras. The bigger Letus Helix Standard is necessary to make up for the extra height and bulk of the C300. The XC-10/XC-15 use 305 Mbps 8-bit while the C300 MKII use 410 Mbps 10-bit. Canon S35 cinema sensors are 1.5 crop. With face tracking. I have a Letus 35mm adapter still gathering dust in my garage, along with my broken old DVX100A. So, having the controls at the back of the camera is a huge improvement. In direct sunlight I couldn’t see and I was forced to use the small EVF at the back. The connectors and buttons sit in the right places for me. Dialing in precise exposure from ND 1.2 is just a matter of changing ISO and aperture slightly. Canon has certainly put a lot of their camera-making experience into the Canon C200. The stock monitor mount, along with a Cinevate Universal Accessory Mount above it. A week after the announcement of this affordable 4K RAW camera, we had a chance to put it to the test, shoot a lot of RAW and MP4 footage and create this Canon C200 Review for you. Not to mention the terrible form factor of Canons. But color science is comparable. Also check out “Cartel Land” by Matthew Heineman. Check out my footage below: I strongly urge you to either download the source file from Vimeo and watch this on a good 4K screen. These two improvements are almost enough to make us switch from the C300 mkII to C200 for interviews alone. It will be ok for web delivery but quality wise it is not as good as the crop sensor mode in my C300 MK II. ​The problem with this demo video is it's on an entirely different planet from the kinds of productions that potential C200 owners would use it on. Maybe that’s true if you’re shooting in Cinema RAW Light, in 10 or 12 bit. I wonder if It’s better to use directly Da Vinci without transcoding or first the Cinema RAW Development. But I still might get this little beast. This gives you a lot of flexibility and a range of up to 10 stops of ND filtration. It’s an incredibly simple and reliable camera to use, and it’s been a staple for us on hundreds of shoots over the years. But the fact that you can use the screen for touch auto focus is amazing. Canon has always had a good menu structure. Currently the Cinema RAW Development tool by Canon lets you set white balance, Color Space and Gamma. but maybe it's a good thing, so we don't adjust ISO accidentally, when we're reaching for the aperture wheel. With Apple ProRes HQ 10-bit, the Canon C200 would be a perfect fit for everyone and for most of my projects. It seems that these days nobody is impartial about Canon -there are Lovers (with certain interest)who promote, and haters who bash. It’s really frustrating, and we’ve had to use a DIY screw method of keeping the LCD level. We’re terrible, unprofessional shooters who don’t know what we’re doing and are not properly utilizing the camera the way its intended to be used. A couple years ago we moved to the C300 mark II and it continues to amaze us. Since then, the price has come down significantly. There are lots of reports of processing differences between PC vs Mac, DaVinci Resolve vs Canon’s CRD software, but the main thing is that it takes a lot of time, even with new computers. It would be great if we could get a coiled version of this cable, or various sizes without spending a fortune. No color checker, but maybe I can upload a file. Except the supported, Canon-tested media is not guaranteed either. When you’ve worked with one of the older models, then you know it can be a bit flimsy, bulky and limiting. . And then it’ll take about 130gb of space on your hard drive. The main benefits are longer record times, and no wasted time transcoding as footage is about 1:1 to transcode, so it’s at least 16-32 mins of transcoding depending on card size. The monitor unit is perfectly lightweight, now that nothing else is attached to it. Funny Paolo, I was an early adopter of the 5D MKII, still have it and have a 5DMKIII and worked through ML through the early days. The portability, ease of use, image, affordability of lenses, and codec/bitrate all worked to the C300’s advantage in becoming an industry standard. For the shot above I was standing underneath a large tree. Review Canon C200. What’s your source for 150 Mbps 8-bit for the upcoming XF-AVC? The C200 has built-in 10 stops of NDs and an incredible autofocus. Why would we risk losing precious footage in order to save a little? However, before I push the button, I just have one question regarding Transcend cfast cards – did you find that they were fine to record 60p raw on? A few months after the C200 was released into the hands of early adopters, we found an opportunity to try it our for ourselves.​. Sebastian, thanks for answering so many of the comments. Thanks ? Thanks for this review Sebastian ; ). I can do it on my C100/300. Over the air TVs are still broadcasting in 720p Rec 709 by the way, so theoretically none of us have needed to upgrade our equipment for over a dozen years. These unique photographic filters give operators more control over image exposure in bright shooting situations, especially when the use of large apertures is required to achieve shallow depths of field. The menu look has changed considerably, but overall we became familiar with it fairly quickly. Little money? If Canon is smart, they’ll make the XF-AVC codec 10bit 422 at a decent bit rate, then this thing would sell off the charts . If you use a third-party screen though, you will lose the touchscreen functionality on the C200, which is especially useful when using auto focus. Truth be told, any Canon Cinema camera shooter could wish for C100 ) right! Canon provides a list of approved cameras due to its lack of a timecode.! Be true, Cinema RAW Light color checker in the us and costs $ 6,000 camera! Many people were interested in regarding the Canon C200 review – the shooting experience canon c200 review... 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