I know the hassles of continuously having to switch cards...pain in the arse...That's why having a robust broadcast internal codec such as that in the EVA1 makes more sense for us. If raw needed, that's when we would use an external recorder. This makes more sense for us, esp for long form. Raw is good, but strong internal codec is more efficient IMHO.
C300: C300 Mk II down to $9,999.
- Thread starter dpc
- Start date
Yep and 10bit at 50/60p is at 10bit but can't seem to find the raw bit rate output for the C300 MKII
NorBro
Major Contributor
From the C-D page:
"The Canon C300 MKII camera can output Canon RAW in 4096x2160 (4K) or 3840x2160 (Quad HD). Frame rates in either mode are up to 29.97p. Canon RAW is recorded by the Odyssey in the native 10-bit .RMF files and is readable in any post program capable of reading Canon RAW. The Odyssey can also accept 4K/QHD RAW up to 30fps, debayer it and turn it into high quality 4K/UHD Apple ProRes video. C300MKII can also output 2K or HD 12-bit RGB 4:4:4 video. The RAW Bundle Upgrade is not required for this as the Odyssey7Q/7Q+ can record these formats in uncompressed video DPX files."
https://www.convergent-design.com/canon-eos-c300
"The Canon C300 MKII camera can output Canon RAW in 4096x2160 (4K) or 3840x2160 (Quad HD). Frame rates in either mode are up to 29.97p. Canon RAW is recorded by the Odyssey in the native 10-bit .RMF files and is readable in any post program capable of reading Canon RAW. The Odyssey can also accept 4K/QHD RAW up to 30fps, debayer it and turn it into high quality 4K/UHD Apple ProRes video. C300MKII can also output 2K or HD 12-bit RGB 4:4:4 video. The RAW Bundle Upgrade is not required for this as the Odyssey7Q/7Q+ can record these formats in uncompressed video DPX files."
https://www.convergent-design.com/canon-eos-c300
Michael Thames
Carbonite Member
I feel embarrassed to ask this question. I've only attempted raw on my 5D3, but never succeeded because Da Vinci doesn't work with my Mac book pro. So I have zero experience with this. Does an external recorder convert the raw files into Pro-res or some codec so you can import into FCPX? Or is there another process after that?
It can convert it, as Norbert showed above, but you can also play with raw Raw (aka ruhruh).
Mitch Gross
Veteran
Hey, I wrote that!
The C300-2 (and the C500) RAW output is 10-bit uncompressed. The 10-bit cap is because a 3G-SDI link can only pass so much data, so even though the C500 camera can output 12-bit RGB in 2K/HD, it and the C300-2 cannot go above 10-bit in RAW output. The data rate of the C200 internal RAW is far lower due to heavy compression, so 12-bit is available.
NorBro
Major Contributor
The external recorders can do both (although it depends on the camera settings); keep the native RAW files or convert to ProRes.
I'm going to share a little secret with you...back in the Blackmagic vintage days when Resolve wasn't what it is today, some of us would edit the DNGs in Lightroom. So it's basically like editing stills with full RAW control and lots of neat flexibility, and then you'd apply the edits to all of the DNGs (could be thousands) and export them into a folder and then open a sequence in QT7 and convert it into a self-contained .MOV.
It's a heck of a workflow that's just not mentally feasible for anything more than a few clips, but it works!
The other ML RAW workflow was to bring the in the dng files into After Effects as a sequence, use Adobe Camera RAW to make adjustments then export out to another format for editing. It was slow and cumbersome, working shot by shot. We shot a whole feature that way- with Cineovision anamorphics I had at the time. (vignetting wasn't a problem once you cropped your 2.35 image). One for the history books- not recommended then or in this day and age.
rob norton
Veteran
If the magnification function is like the BMUMP's then it's still incredibly fast to punch in, use your finger to move around then get focus so it may be useful on sticks.
With practice, I think double tapping the screen won't show up on a static shot i.e. checking focus during interview.
puredrifting
Major Contributor
FWIW, if it's like the touchscreen on my 80D, it requires a very light touch. Unless you were on a really long focal length lens, I don't think shake will be a problem, but with normal people stuff with 18-135mm, not an issue.
krick
Well-known member
I went with a C300 Mark ii too. The c300m2 and c200 are really two very different cameras, for different types of work. I own a c100 mark ii and love it but I kept missing opportunities of work because of the very compressed 420 8bit ( no go for broadcast) and sometimes the time code I/O was required too. I have personally never been asked for raw, I work on documentary style and corporate videos. Raw would be a nightmare to manage, and I am not even talking about the price of cards and all that, just the workflow alone.
with a c200 I would be exactly in that same boat, with on one end, raw that I would probably use once to try, or maybe on a very specific shoot. And on the other end a codec that is too compressed for any broadcast work...
The touchscreen? I don't understand why this is such a big deal. Like I read on this thread earlier, I don't want to remove my hands from the controls and that screen will get so dirty each time. I may be wrong but this really feels like a gimmick to me, I would probably use the joystick anyway.
So is the C300 worth the 2,500 more? In my case yes.. I know something is coming soon, maybe next year? but I can also wait a long time, and honestly under $10k this is a sweet deal. I just put my order and I already got a client delighted that I am making the move ( they shoot with c300s and are starting to film in 4k). this is a work tool for me, period. Will this camera brings me work, yes. Will the c200 bring those same opportunities, I am not so sure and probably not. And if I need raw one time I'll put a recorder on the back for that specific shoot.
And then there is 4K60p and 120p with no crop. And that's really the only thing I can envy from the C200. But again it doesn't have the codec for my type of work, so what's to envy?
This is where the EVA1 still have my attention as another work tool
with a c200 I would be exactly in that same boat, with on one end, raw that I would probably use once to try, or maybe on a very specific shoot. And on the other end a codec that is too compressed for any broadcast work...
The touchscreen? I don't understand why this is such a big deal. Like I read on this thread earlier, I don't want to remove my hands from the controls and that screen will get so dirty each time. I may be wrong but this really feels like a gimmick to me, I would probably use the joystick anyway.
So is the C300 worth the 2,500 more? In my case yes.. I know something is coming soon, maybe next year? but I can also wait a long time, and honestly under $10k this is a sweet deal. I just put my order and I already got a client delighted that I am making the move ( they shoot with c300s and are starting to film in 4k). this is a work tool for me, period. Will this camera brings me work, yes. Will the c200 bring those same opportunities, I am not so sure and probably not. And if I need raw one time I'll put a recorder on the back for that specific shoot.
And then there is 4K60p and 120p with no crop. And that's really the only thing I can envy from the C200. But again it doesn't have the codec for my type of work, so what's to envy?
This is where the EVA1 still have my attention as another work tool
Last edited:
Matt Turner
Well-known member
C300 MKIII will surely not be announced until NAB/CineGear '18 with a release for September 2018 - ~ 15 months away.
Not really "soon" by current camera tech cycles.
I'm with you - for me the 4K60p is the only really compelling feature of the C200 over the C300 MKII.
Last edited: