C200: $1,000 Price Drop.....C500MKII coming soon?

Oh, true...the 1DX Mark II's been doing that for a few years now. (S1/R does it now too.)

That's one of the infuriating things about Canon; they can and do excel well but also severely hold back their innovations.

___

4K/60p, sure...LOG, no.

DPAF, sure...in 4K (certain cameras), no.

RAW, sure...regular decent format that's a bit more manageable, no.
 
I actually saw that last night, but didn't watch it.

For years, I have wondered how any of these companies can rely on Sony like that.
 
NorBro said:
... For years, I have wondered how any of these companies can rely on Sony like that.
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Because it's one stop shopping that saves them tens of millions on the R&D.

The downside is that Sony keeps the very best for its own models.

And then it's horse trading at its finest.
 
But is there no one else that can supply them sensors? (Like what are R&D do the companies looking for sensors need if they are already make cameras. They still have to do the work dialing everything in.)
 
NorBro said:
But is there no one else that can supply them sensors? (Like what are R&D do the companies looking for sensors need if they are already make cameras. They still have to do the work dialing everything in.)
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The problem is that most sensor work was done for cars, mobile phones and robots/automated vision and all those have different requirements than the consumer/pro cameras. Sony has an overlap in that they can group their R&D better. Now, ARRI paid STM to do a "by special order only" job for the ALEF original. But that's a very much a small batch order compared to something like IMX 410 (24 MPX, full frame) that's inside Z6, A7III and S1/H (and probably EOS RP) that will move tens of thousands units annually.
 
In one of the notes below that video above, the guy said that an improvement in dynamic range is the real challenge.

Makes sense as most cameras gained like 2 stops in 10 years.
 
About time for a new camera from them.

Something with compressed RAW options, plus 10 bit H265 or prores recording up to 4k 60p.
 
Ugh, C500 MKII to sit above the now ancient C300 MKII and the “Nice camera but nobody is buying it” C700. Not very exciting as the market overall, has shifted downward in size and cost.

I don’t think high end content producers will choose to use a C500 MKII over their Venice’s, REDs and Arris and the lower end is probably not going to trade up from their C200, 300 MKII and FS7s? Would you? I wouldn’t over our C200 for FF 8K
 
puredrifting said:
I don’t think high end content producers will choose to use a C500 MKII over their Venice’s, REDs and Arris and the lower end is probably not going to trade up from their C200, 300 MKII and FS7s? Would you? I wouldn’t over our C200 for FF 8K
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Agreed, the Venice and Monstro, at least here in Austin, are owning the full frame cinema market. At least until the Mini LF launches. I work in a rental house and no one has ever asked me to source a C700 let alone the FF variant, which I almost forgot existed lol. I think having the C500 MK II with internal RAW recording is a step in the right direction but these in-between'er models that appear to be either expensive tech demos or stop gaps until a MK III C300 finally releases feel kind of weird. I could say the same thing about the C200 for that matter but I think it's in that price range where folks would rather just buy it than rent it (full disclosure - I bought one in November 2017 and have been loving it for the freelance work I get).
 
I still really don't get the full-frame cinema thing. Seems like far more of a pain in the ass than a creative boon. You can get pretty wicked shallow DoF from S35 if you want, I certainly don't usually want shallower. I'm usually stopping down to avoid razor-thin DoF.
 
puredrifting said:
Ugh, C500 MKII to sit above the now ancient C300 MKII and the “Nice camera but nobody is buying it” C700. Not very exciting as the market overall, has shifted downward in size and cost...
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CR doesn't seem to be into the video end of things, so that was a mix of rumors and their speculation. I am not sure if the C700 sensor is all that by the 2020 standards. However, it's possible that a C500 MKII will have that and CRL for about $15,000. The question then becomes, "why not just buy S1H, with roughly the same 6K performance, for about $10,000 less?"

So, considering plummeting prices and rocketing performance of the equipment, I can see a $3,000 - 6,000 - $12,000 C200 - C300 MKIII (4K, CRL raw, PDAF) - C500 MKII (6K C700 sensor, CRL at various compression ratios) spread, with C200 moving into the entry level in the Canon lineup to replace C100 MKII.

But that's presuming Sony sits on FS-7/II for the fifth straight year.
 
DLD said:
CR doesn't seem to be into the video end of things, so that was a mix of rumors and their speculation. I am not sure if the C700 sensor is all that by the 2020 standards. However, it's possible that a C500 MKII will have that and CRL for about $15,000. The question then becomes, "why not just buy S1H, with roughly the same 6K performance, for about $10,000 less?"

So, considering plummeting prices and rocketing performance of the equipment, I can see a $3,000 - 6,000 - $12,000 C200 - C300 MKIII (4K, CRL raw, PDAF) - C500 MKII (6K C700 sensor, CRL at various compression ratios) spread, with C200 moving into the entry level in the Canon lineup to replace C100 MKII.

But that's presuming Sony sits on FS-7/II for the fifth straight year.
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You mean FS7 MKIII?
 
puredrifting said:
You mean FS7 MKIII?
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I posted on that thread that there will be no FS-7III. When you think about how far the tech moved in five years - from the APS-C 8.8 MPX sensor to the Full Frame 20 MPX + removable media + SSD + you name it for half the price - any resemblance to the original would be only in esthetics.

And then there's S1H and 6K, although technically a RGB 4K is 26.4 MPX and 4:2:2 is 17.6 MPX (Sony F65 sensor) and that's more than enough for basic use ... such as a major film release.

So, a $12,000-$15,000 8K camera might prove to be as popular as C700 while a 6K-for-$6K camera may be flying off the shelves, especially if it's R-mount and the new lenses are a notch above the "classic" EF.
 
The price drop on the C200 is already trickling into used prices. Just snapped up a C200 body (with EVF) with one battery for $3800. Building it back up with parts from B&H, I can be up and running all day (2x BP A60 batteries, enough MSATA drives for 4 hours of Canon Raw Lite) for about $6200. Not too shabby.
 
All this talk about 6k and 8k, and I'm still using a C100 Mk1 for the majority of my freelance work. Then again, I used a pair of XH-A1s until 2016. Someone above mentioned they'd take interest when 10bit 4k 60p came in at a few thousand clams. I think I'll hop on that boat.

Seriously though, how the heck is 8K going to come into serious play?? Ridic.
 
Yeah good 1080p is certainly good enough for me at really for most productions realistically. Although of course more productions are wanting 4k now, even though I think there is often no reason for it.

The more interesting thing coming with more new releases is higher frame rates, bit depth, and codecs.
 
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