Of course, with the promised XF-AVC implementation in February, it will make this camera that much more interesting for many users, even if the rumors of it being only 8-Bit are true. We rented the Canon EOS C200 from LensRentals, for a fast-paced week of production in multiple cities. Modular design. Their APS-C sensors are 1.6 crop. No verification of this or anything else regarding XF-AVC other than “The C200 will receive a free firmware update in February 2018 that will enable XF-AVC recording.” That’s it. HD-SDI, Time Code, and Genlock output. There are HDMI and SDI outputs, and it uses the same batteries as the C300 mkII but comes with a more portable single battery charger. The Canon EOS C200 is placed in a production environment that typically belongs to high end ARRI, RED, and Panasonic cameras. 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 Canon EOS M200 is a modest update to the M100 that was announced in August 2017. I believe the form factor is preferable to the FS7 because you can easily rig it up to be a shoulder cam if you want but you cannot go backwards and rig an FS7 to be a small handheld. The introduction of Canon Cinema Raw Light is interesting. All the best, Seb. Hi Sebastian, do you know if the camera C-log will be available through sdi and hdmi ports? 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. The Canon LM-V1 screen is a very attractive part of the C200. And the cost range hasn't changed much since. Please test both cameras first and comment on such conclusions after that. But the fact that you can use the screen for touch auto focus is amazing. Whether it’s for shooting handheld as a point of contact, or for checking exposure and focus views in bright sunny conditions, the EVF can be a lifesaver. A slightly longer cable is very necessary, but unfortunately it's quite expensive for a cable. 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? And really, it’s not necessary. It’s billed as the gimbal version of the C200. We didn’t have a lot of time to experiment with the C200 during production, but in a short hour while taking photos, we put it in a few different configurations that make for a much more compact and solid camera package. But for videographers who either have a C300 mkII or are interested in getting one, then it becomes a more difficult argument. What’s your source for 150 Mbps 8-bit for the upcoming XF-AVC? Only because it gives us the ability to zoom in and reframe the image. I figure, the EVF is outrageously expensive, so scratch that. Why would you have to transcode after a shoot day? But hey, it gives us an excuse to buy new stuff. 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. Raw + Proxy is an exelemt workflow.. so this means I could scrap my Atomos Ninja, work with the C200 in raw, and if/when I need to deliver Apple ProRes 422 files, this camera would be fine? Balancing the C200 on a Letus Helix Jr - late night before a shoot - was a little struggle, but not as difficult as we imagined. Press ... First Look:Canon Cinema EOS C200 The Canon Cinema EOS C200 and C200B Video Training Series: Shooting with the Camera From Dock to Dish - Canon EOS C200 The Canon Cinema EOS C200 and C200B Video Training Series: Dual Pixel CMOS Autofocus Features. Perhaps each brand has different manufacturing requirements and testing procedures, and maybe the end results mean different dependability standards from one brand to another. CFX600 or CFX650? For private use the camera will be more as you said. I think i tried to ask: how much gig does 16min Raw light consume vs 16min in Redcoderaw (I believe you answered that al ready)? Great review!Two questions:1 – Does the continues tracking AF work when shooting at 120P?2 – Can you send the screen overlay through the HDMI port to an external monitor/view finder (in my case a Gratical) and assign a button to turn the overlay on and off? So now we have to transcode all the media to Proxy because the interview clips are slowing the workflow down. which Transcend CFast card did you use? But we insist on things like 6K, 12 bit, and RAW capture, even though our monitors (and eyes) can’t possibly tell the difference. Dialing in precise exposure from ND 1.2 is just a matter of changing ISO and aperture slightly. People are underestimating how awesome these two things will be in real world use. You don’t need to say you can “literally” shoot any way you want. At 150mbps, you can record as much interviews to your heart’s content, without pushing your hard drive space and processing power. Or does Canon want us to forget about specs completely and focus on the things they excel at: user experience and image quality. If it can output 10 bit C log to an external, then an Atomos Inferno would check off all the boxes. Nice review Sebastian. I could get by with 10bit HD to ProRes via a Ninja Pro for longer non 4K work, although I’d sure like to ditch the external recorder. Canon uses two green channels as on all other C cameras in order to get more accurate color information out of the 8-bit space. Do we know if autofocus or audio capture works in 120P unlike the FS7? There’s a long forum thread on DVXUser that explores all the Cfast options out there. To sell more stuff? Who do you trust? But for us, we judge a camera by how it deals with less than ideal conditions, like on grey days, in mixed lighting office environments, using an average lens like the Canon 24-105mm or the 18-135mm Nano lens. Gimbals like the Helix Jr and the popular DJI Ronin M are certainly up to the challenge of carrying a C200. We churn through different types of lights, we get more sophisticated in our setups, we spend a long time perfecting the image, all for a shot that only appears in our videos briefly. This is what impressed me the most. I’m guessing it’s sensor side. For the shot above I was standing underneath a large tree. How does it compare to the BMD Ursa Mini Pro? In the meantime, here's Canon's simple RAW Light workflow. You’re typically dialing in audio levels blind, or you’re standing on a stool. But the addition of the XLR inputs and audio controls is what really sells the C200 as an interview cam. Shame that in UK it cost 7700£ -> 9863.70$ :-/. Lexar, EgoDisk, SanDisk? But won’t deliver in them.Glad to reed the review, very helpful! The Newsshooter forums have just launched. So far there hadn’t been any confirmation from other users that a C200 would even fit on a Helix Jr, so we weren’t entirely sure it would even work. Even if you don’t use the EVF regularly, when you need it you need it. And isn’t that the whole point of introducing new tech in our industry? You’ll also notice on the ungraded images the dynamic range doesn’t look to hot either. It’s pretty stiff. There are 5 internal ND filters, which is amazing. Hi Christopher, I’m glad the review helped. But the holy grail of this camera is internal RAW recording. $2,000.00 versus $7,500.00 Prosumer versus pro. This is not necessarily a bad thing though. I was told that Adobe apps will support CRM natively in the near future too. As a rough guideline, with a 128gb Cfast card, you can record 16 minutes of RAW Light at 4k/24fps. I don’t think it’s really designed and targeted for the broadcast TV crowd. There are also IR problems with ND filters on a lot of cameras. 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. This is how we would have our C200 rigged up for everything except gimbal shooting. Hi Sebastian, thank you for taking the time to review the camera so comprehensively – it has actually allowed me to be confident enough to pre-order the camera. If you cannot see the difference between images from the 5D and the C200, this camera is definitely not intended for you. For me personally, I’m a convinced RAW shooter – I love to get the best out of my footage and I love to edit, and the extra space and additional rendering is worth it for me. GH-5 is a M43 imager, C200 is a S35 imager, the M43 imager is much noisier, cannot shoot at high ISOs without getting really grainy, it’s FOV and DOF options are limiting compared to an S35 imager. It was easy and intuitive to use. It does 4k raw and has a good mp4 codec if i’m not mistaking. There's no dual slot recording when you're shooting RAW, which means you're placing all the production on the faith of one slot. Unlike the C100, which has a built-in LCD unit, with a Canon C200 you have to add the monitor unit to the gimbal somewhere. I don’t think it’s possible to have a cable like that without affecting the gimbal balance. In terms of specs, the C200 is certainly Canon’s most interesting camera since their entry into the cinema market. Canon has made quite a few changes from the 100D across the body, some of which are more obvious than others. Rather than feed us the specs and camera we think we want. Whether you prefer a monitor only like the SmallHD Focus, or a monitor/recorder like the Video Devices PIX-E5, the C200 becomes a very compact interview camera now that you don’t need to depend on the C300 LCD/XLR unit, or the C100 XLR top handle. Canon's Log 3 Gamma supports 14 stops of dynamic range. The LCD screen has touchable AF, which is a super bonus for Canon Cinema shooters. I prefer the Red Camera engineering which gives you the option to rig a camera up as you see fit. The Canon Cinema EOS C70 is Canon’s first Cinema camera with an RF mount (which in turn means being able to use the amazing RF lens lineup). But for many shooters, ergonomics and reliability is another key aspect when it comes to evaluating a camera. Autofocus did not work in slow motion, on the camera with beta firmware I tested. I’m pretty excited about this camera and will probably pick one up at some point. This thing is in a no man’s land between the Ursa Mini Pro and the new Panasonic. As I said at the beginning, it is really hard for me not to like the Canon C200. Luckily, there’s a Proxy recording on the SD, which has saved our bacon a few times on our C300II shoots. Five quality ND filters could cost you over $1000, in one diameter size and ND strength alone, for just a portion of your lenses. When the 5D MKII hit, it was such a novelty to see shallow DOF, which I liked but I shoot a lot of documentary, EPK and BTS footage and FF is the wrong tool for that. 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. The auto focus on the Canon C200 convinced me. To start, I’ve shot 99% of OWL BOT’s content on a C100mkII, so I’m already familiar with the body type and workflow. This is where Cinema RAW Light becomes more than a codec, and instead a malleable format within your NLE that allows for seamless creation of different compliant passes easier than ever before.”, Link: http://www.learn.usa.canon.com/resources/articles/2017/eos-c200-post-production-brief.shtml?categoryId=22. But of course, the theories and speculation are rampant all over the industry forums, speculating why Canon would do this or that. That's going to be a game changer for C300 mkII shooters. It means these video creators can simply grab a C200 body and shoot high quality content handheld, or placing it on a gimbal, or attaching it to the side of a car. So for the rest of us documentary and corporate shooters who prefer everyday workhorse media, like HD at 10-bit 4:2:2 - the C200 still doesn't compete with the C300 mkII, even though they share the same CMOS sensor. The conversion in both DaVinci Resolve 14 Beta and the Canon Cinema RAW Development tool took a little under 30 minutes for 16 minutes of footage on an 8-core Mac Pro. The focus assistant tells you when your subject is in focus. And if so, would the conversion be done in Premiere? There are a lot of things to be excited about with the Canon EOS C200. As other reviewers have noted, the C200's HDMI connection happens to be right in the way of where your hand will typically rest. Plus, it’s powered by the camera, so there are no batteries to deal with. I hope that helps. It was nominated for an Academy Award. GH-5 lacks built in ND filters, XLR audio is not integrated, GH-5 AF is lacking, C200 has Canon’s DPAF with Face Tracking and works very well. So for most people out there, we recommend the standard Canon C200 on a gimbal. The Canon C200 is available for pre-order now and will start shipping at the beginning of August 2017. In terms of specs yes, but the URSA Mini Pro image is very different, less realiable, less dynamic range and less color detail. The footage was just so versatile and great to work with. In the event of a failure, is it the camera at fault? However, I am pretty sure the C200 screen will not be able to hold up against the latest high-bright screens that are so convenient to work with, like the new smallHD FOCUS. As you can see, it had lots of thick leaves, while in the open, the midday sun was burning down. Depends on your project needs. Of course it’s $6k. Thankfully, Canon Cinema cameras and their CMOS chips don’t seem to have any IR issues with internal NDs. And if you don't like our newsletter, you can unsubscribe with a single click, the link is at the bottom of every newsletter. Went from there to the C100 MKI, then a C300 MKI, now I rent C300 MKII when I need 4K (most of my work doesn’t yet require 4K) The C200 is perfect for my needs and I feel that Cinema RAW Light is a bigger development than people realize. I was able to adjust the exposure of the small test clips they had on the machine. He shot that all handheld with an original C300 as well. Outside of interviews too - can you imagine how easy it will be to track a subject walking away or toward you, by touching on the screen a couple times? The C200 button layout is similar to the C100 and C300. At one point, our C300 mkII was being used for our subject interview, and the C200 was taken off the gimbal so that one of us could shoot non-specific slider shots in a different part of the shooting location. I’m excited to get that look back. The FS7 is only a shoulder cam. The Canon EOS C200 and C200B are designed to combine entry-level ease of use with high-end features, 4K video, and a new image processing system. 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. Even with all this removed, you can still use the camera. I’m just curious how much space this will save, how streamlined it will be, and how much Raw quality (obviously WB and ISO changes) you’ll lose by doing this. Dear Silton, It sounds to me like you base your assumptions on very unreliable observations. But a C200 fit on the Helix Jr. without issue. One alternative brand, EgoDisk, has popped up and claims it achieves that minimum speed rating as well, and it’s half the price of the others. TL;DR: In many ways the Canon EOS C200 is a perfect cinema camera, and it's the long awaited upgrade to C100 shooters looking to get into 4k capture. There is little movement in the interview shot. It’s worth it. But computers become faster, the software gets better, and sooner or later all that will speed up. For us, we’re certainly very excited about the development, and we look forward to taking on RAW Light as a recording medium in the near future.