The introduction of the Canon EOS EF C200 brings us upon a new era of Cinema Cameras. There is a whole lot to talk about in this small, compact, and versatile camera. The EOS C200 has a (10 Stop) range of built in ND (Neutral Density) filters. It can record at 120fps at 4K and unlike most of its competitors, it doesn’t need to crop the image in order to achieve this speed. If you then add the cameras ability to record 4k RAW internally, you have yourself one heck of a camera. The camera also offers MP4 with a compression ratio of 150 Mbps, which is the standard h.264 compression that most entry level prosumer cameras get these days. This feature makes the C200 the perfect camera for the “Run and Gun,” and an extreme asset to the documentarian in us all.
The C200’s Most Striking Features
One of the things that most people will find most interesting is to see the RAW footage that the C200 produces internally. This footage will be very affective for shooting in: low, harsh, and direct sun-light. You can expect all of the footage to be full-fledged RAW quality. The camera delivers excellent 12-bit RAW files with a true, organic quality, and a soft roll off, plus a whole lot of shadow information. The C200 shoots internal at 4:2:0 8-bit, and although this may not be the 4:4:4 of cameras like the C500, you will still definitely be amazed at the quality it produces. Worth mentioning is the fact that with the omission of internal 4:2:2 the camera does lack the allure of those looking for a high quality broadcast camera, but in truth, the average filmmaker and documentarian will find their perfect match with the C200.
The slow motion shots at 120fps work very well, even though you can only shoot in HD, those images are beyond fantastic. They are down-sampled from a full sensor readout, but this factor takes nothing away from the final product, it is something that you will truly have to see to believe.
Canon have introduced their new file format (Canon Cinema RAW Light) and astonishingly it is 3-5 times smaller than the traditional RAW formats. However, it still produces a large amount of data. Not stopping there, the Canon C200 records on any CFast 2.0 cards which means that you can rent more storage for less money.
When shooting 4K RAW at 24p you can expect 16 minutes of recording time on a 128GB card. The 4KDCI file format (Canon Cinema RAW Light) writes at a rate of 1 GBPS, which is super-fast and convenient when on set of very long shoots.
The build of the C200 is very sturdy, it has a robust feel that is similar to the C100 MII body. So if you have used that camera before you will feel right at home. After a 6 year wait Canon has at last put the XLR audio inputs directly on to the body of the camera, which means you can now record internal audio without a handle or an LCD monitor attached. One of the things that I also noticed was that the exhaust fan has been moved to the back of the camera, reducing the camera noise away from the direction of the microphone.
In the end, I really fell in love with this camera. It does just about everything that you could imagine. The 12-bit 4K RAW lives up to the expectation of a “RAW” image, at the same time the processing of the images is very easy and super affordable and most importantly it will only take up one third of the storage. It takes 2 CFast 2.0 cards which will record up to 32 minutes of RAW footage. That is pretty amazing. With its rugged build, familiar ergonomic body, and 10 stops of built in ND, I was honestly shocked by what the C200 can do. To produce internal 4K RAW in a camera at any cost is great, and the fact that it can shoot up 60p RAW and up to 120fps in HD is also incredibly useful. This camera will be a great addition to any videographer’s arsenal, giving you the ability to shoot Pro Cinema on the go. Once you get your hands on it, I don’t think that you are going to want to let go of it. We’ve only scratched the surface with this report, there are so many things that make this the perfect camera for serious filmmakers and documentarians.
Take a look at the C200 on paper:
While in RAW
Internal 12-bit 4K RAW
Smaller file size with “Cinema RAW Light”
Records RAW to CFast 2.0
Up to 59.94 fps in 4K 10-bit
While in MP4
Internal UHD MP4 recording – 150 Mbps
Records MP4 to SD card (>U3)
Up to 59.94 fps in UHD 8-bit (4:2:0)
Up to 120fps in HD with full sensor readout
Super35 CMOS sensor & active EF mount
Advanced Dual Pixel CMOS Auto Focus with touch screen and face detect
5 Internal ND filters (up to ND 10!)
Good low-light performance and low noise
HDMI and SDI outputs
XLR inputs on the body
Proxy Recording onto SD card