7Q with C300 M2 - what options do I have?

Clermond

Veteran
I still own the 7Q with the full license package. After the price drop and a 1000€ promotion discount of my dealer I am thinking about switching to the Canon C300 II. What options do I have in recording? RAW to DNG - full 4K / UHD / 2K / 1080 in which framerates? RAW to ProRes? I could not find this information on Convergent's website. Thanks
 
With the C300-II and the Odyssey7Q (or Odyssey7Q+) you can capture the following:

DCI 4K & UHD up to 30p in Canon Cinema RAW (note, not Cinema DNG)
DCI 4K & UHD up to 30p in Apple ProRes (HQ/422/LT)
DCI 2K & 1080p up to 30p in RGB 12-bit or 10-bit in DPX
DCI 2K & 1080p up to 30p in RGB 12-bit or 10-bit in Apple ProRes 4444(XQ) & 4444
 
It's disappointing...I'm going to wait one more firmware update for 4K/UHD/60P even via external recorder, and then completely give up on the camera if it doesn't arrive.
 
Thanks Mitch. So nothing faster than 30p. Probably I will stick with my FS7.

There's more (I own this combo):

2K & HD 4:2:2 60P - ProRes (HQ/422/LT)
HD 4:2:2 60P - DPX Uncompressed (I don't think DPX goes to 60P in 2K on the Odyssey7Q, but need to check on that.)

No dual link 120fps output from C300mk2, afaik. So that frame rate is internal codec only.

The C300mk2 looses some much wanted functionalities in slowmo mode, f.ex. Autofocus. The trick is that you can set the C300mk2 to shoot in 60P (not slowmo) and keep autofocus, audio, etc; but then set the Project Frame Rate on your Odyssey7Q to your desired base frame rate, f.ex. 23.98, and just like that you get it all! :-)

No Variflag support yet on O7Q, so in-between frame rates (f.ex. 48fps) are not so usable to record on O7Q. Also not sure if the C300mk2 has Variflag properly implemented on the 2K output. Mitch, any plans for Variflag support on O7Q?

You also get the router and LUT functionality of the Odyssey7Q, the O7Q CanonLOG2/Cinema Gamut LUT is nicer than what's built in to the C300mk2 (IMHO), multiple HD outputs, 2K/4K scaled to 17:9 letterbox on HD outputs, clean 4:2:2 outputs when you are shooting 444, De-Squeezer if you ever want to shoot Anamorphic, P or PsF outputs, etc, etc, etc.
Basically the C300mk2 (like the Varicam LT and Alexa Mini) spits out a bunch of signals that are not commonly supported by many monitors, so the O7Q is a necessary Swiss Army Knife to make it all work, particularly on client heavy shoots.

De-Bayer and internal Codec on the C300mk2 are both very nice, so not much for the Odyssey7Q to improve upon, unlike FS700 & FS7 where some will argue that O7Q does it better. Besides the convenience for post to handle ProRes over a H264 based codec that is very compute heavy (but that's the same across the board for Sony, Panasonic & Canon).

And, if you REALLY need every pixel you can get the 4K RAW that comes out of the C300mk2 is UNCOMPRESSED, unlike FS7 & FS700 where there's a 3:1 compression on the RAW datastream between the camera and the Odyssey7Q. So if you plan on blowing up to IMAX or do serious push-ins in post, shooting uncompressed .rmf on C300mk2/O7Q should get you more than FS7 & FS700. Haven't heard of many people needing this, though. Quite frankly I've only done one shoot with the C300mk2/Odyssey7Q where I really needed to roll .rmf for the above stated reasons. (I've rolled .rmf where it wasn't that much needed, but nice to have...)

The main argument for the C300mk2 is the Canon look. And that carries across to the O7Q, even in LOG. It's a very simple combo for shoot and post.
 
Thanks for expanding on my list.

I believe DPX does go to 2K60p, but only in 10-bit. Would need to double check if anyone out there cared.

I don't think that there are ny plans for Variflag at this time.

While we follow Canon's spec for Canon Log2/Cinema Gamut, I agree that it appears better than what comes out of the camera itself. No idea why.

Things like 17:9, 4:2:2 monitoring of 4:4:4 signals, anamorphic desqueeze and so on are things we offer for every camera, but yes they are useful on the C300-II.
 
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