C500 MKII Leaked on Canon Rumors
- Thread starter Run&Gun
- Start date
What's your guess on pricing ?
Didn't they say it was going to be "under $20,000"?
Well, we know what that means.
It'll be $11,999 within a year.
Samuel H
Major Contributor
Seems like a C700 that can record RAW internally, so I'm going to guess $20k
Question for people who know their Canon stuff: apart from internal RAW, in what way is that spec list different from a C700?
(I'll never use one of these, so, just out of curiosity...)
edit: oh, there you go: $19,999 then
Question for people who know their Canon stuff: apart from internal RAW, in what way is that spec list different from a C700?
(I'll never use one of these, so, just out of curiosity...)
edit: oh, there you go: $19,999 then
NorBro
Major Contributor
There are multiple versions of the C700.
The two main differences would be a global shutter and full-frame recording specs if comparing to those models.
But from a quick glance (I'm still on vacation), the 'regular' C700 differs by providing ProRes and the CODEX RAW recording/hardware/workflow, and having other features built into the body while the rumors suggest the C500 II having modules for the EVF, genlock, timecode, 12G-SDI, maybe more.
I'm sure there are other differences...we'll know more once it's official.
The two main differences would be a global shutter and full-frame recording specs if comparing to those models.
But from a quick glance (I'm still on vacation), the 'regular' C700 differs by providing ProRes and the CODEX RAW recording/hardware/workflow, and having other features built into the body while the rumors suggest the C500 II having modules for the EVF, genlock, timecode, 12G-SDI, maybe more.
I'm sure there are other differences...we'll know more once it's official.
Eric Coughlin
Veteran
If it can shoot good Super35 (it mentions Super35 for slow-mo) it'd be more interesting. Full frame is for DSLR wannabees.
In terms of specs, C700 does 240 fps and offers ProRes as well, while C500 Mark II rumored specs don't mention ProRes and cap out at 120 fps.
Don't know that this camera has much appeal for me as a C300 Mark II owner and Arri Amira owner. If I want to step up my image over my C300s, I'll shoot on my Arris which will still look better than C500 Mark II RAW. The C500 Mark II has a smaller form factor than Arri, but looks larger and heavier than a C300 Mark II. You get things like RAW, higher resolution, full frame, but those only really benefit in a higher end environment where again I'd just break out the Arri. I suppose if I was going to add another C-series camera to my lineup instead of adding a fourth C300 Mark II, the C500 Mark II could be a consideration, but I'm not seeing any killer features that make me want to go out and buy it right away.
There are of course a lot of questions like does it have a side handle, what is meant by additional modules for timecode, etc., and what kind of axe did they use to chop the C700 in half and can that same axe be used to turn my Amira into an Alexa Mini.
In terms of specs, C700 does 240 fps and offers ProRes as well, while C500 Mark II rumored specs don't mention ProRes and cap out at 120 fps.
Don't know that this camera has much appeal for me as a C300 Mark II owner and Arri Amira owner. If I want to step up my image over my C300s, I'll shoot on my Arris which will still look better than C500 Mark II RAW. The C500 Mark II has a smaller form factor than Arri, but looks larger and heavier than a C300 Mark II. You get things like RAW, higher resolution, full frame, but those only really benefit in a higher end environment where again I'd just break out the Arri. I suppose if I was going to add another C-series camera to my lineup instead of adding a fourth C300 Mark II, the C500 Mark II could be a consideration, but I'm not seeing any killer features that make me want to go out and buy it right away.
There are of course a lot of questions like does it have a side handle, what is meant by additional modules for timecode, etc., and what kind of axe did they use to chop the C700 in half and can that same axe be used to turn my Amira into an Alexa Mini.
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Considering I just watched two shows shot on Monstro (Stranger Things S3; The Boys S1), I'm not sure I agree about FF being for wannabees.
I'd agree that it's not a definitive upgrade to S35, because it wasn't apparent to me that the shows were FF in the same way that SDR to HDR is an obvious improvement my mom can see; I had to look up the cameras they were shot on and they look wildly different from each other.
I also agree with your other points though. I'm not sure how much better in terms of image quality this will be than my C200, which means I'd have no reason to upgrade (presumably for 2x the price).
The first footage will tell...
cpreston
Veteran
For client work, the dual recording and timecode could make it worth the choice. It seems to me that this camera will fill a niche in corporate work as the first lower budget FF camera. It will be interesting to see if Canon can steal back some of the market share that Sony took. Or maybe Sony will get something out this year.
G
Guest
Guest
HG and other lifestyle channels will probably love this camera to add to their C300 ensemble. Being able to splash in some shallow dof art shots or shoot their ultra wides ff35 will be great for them.
Eric Coughlin
Veteran
I haven't seen The Boys (Oh, 8.9 stars on IMDB; I should check it out!), but I would hardly consider the cinematography and image quality of Stranger Things to be on par with the past few HBO shows I've watched, Game of Thrones (Arri Alexa XT), True Detective (Season one, Super35 film), Big Little Lies (Arri Alexa XT), and Westworld (Super35 film), which were shot on Super35. Most of the Netflix shows in general look worse to me than HBO shows, and I would at least partly contribute that to the camera choices.
That said, my statement was an exaggeration. I view full-frame as a useful tool that should be used when appropriate, just like time-lapse, slow-mo, drones, etc. The wannabe aspect comes from inexperienced filmmakers (as well as experienced filmmakers) using a "cool" tool just because it's cool, and not because it actually helps tell the story, and thus a tool that is genuinely useful at times, becomes overused and becomes a fad which lowers the quality of a production. I feel like full frame is a useful tool at times that is coming back into popularity after the 5D renaissance ended, and it will be a fad for awhile, before normalizing again when people realize that having depth of field that shallow is often a bad thing, and the majority of the time, Super35 strikes a better balance in terms of appropriate depth of field.
In an ideal world, a camera would be full-frame and be able to switch to Super35 with no line-skipping, aliasing, image quality loss, etc., at the quick flip of a user programmable button. At that point, you get the best of both worlds. I'm still unclear on the capabilities of the Alexa Mini LF as far as Super35 goes, but I know there is a rumored 4K Alexa Mini Super35 so it would seem the LF version is lacking as far as Super35 capabilities, and I wouldn't be surprised if it's the same case for the C500 Mark II.
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Run&Gun
Veteran
Switchable without any image quality sacrifice would be nice. One of the production companies I shoot for that owns three Amira's has been telling me for several months(maybe since NAB) that there is supposed to be a new Amira(4K) coming. I don't know if they have any concrete, definitive, (possibly) inside info, but I do know that they met with Arri during NAB.
G
Guest
Guest
Arri employees i have talked to, say it is almost ready... whatever that means.
You should definitely check it out! It's disgusting in all the right ways....
While I would agree that Stranger Things isn't quite as beautiful as GoT (I don't remember S1 of True Detective, and have never seen Big Little Lies), I do think it's one of the nicest looking shows around and definitely top tier (I'm watching in 4K/HDR on an OLED). I kinda think GoT is just a prettier subject (sweeping Irish coastlines and desert/icy landscapes) than ST is, and I'm sure has a much higher budget. Now that you clarified your stance (sorry if I missed a joke), I think mostly agree with you. The only place we may disagree is I think FF is here to stay and will become a new standard, if for no other reason than camera manufacturers will want you to buy a 6k/FF camera to replace your perfectly good 4k/S35 camera.
Agreed that any FF camera should be able to shoot S35 with no quality hit. The 1DC and I'm assuming 1DX-II does this, and I believe Sony's A7 series does it too (been a while since I've owned one).
cpreston
Veteran
Canon does some strange engineering for video over the years. The 1DC had an S35 mode that was moderately decent oversampled 1080p. They dropped it in the 1DXII and 5Div. Instead, they just keep offering their horrible pixel binned "FullHD" in every camera. They did add a 1080p crop offering on the EOS R which is a 1080p conversion of the UHD pixel crop that seems to use the same process as the C100, but it isn't quite as large as S35. As far as I can tell, video offerings outside of the 1DC have always had video as an after though addition using a minimal amount of resources.
Jim Feeley
Veteran
IBC in 2.5 weeks wouldn't be a terrible place to introduce a 4K Amira or similar camera, doncha think?
G
Guest
Guest
That would be nice. Very nice!