C500 MKII Leaked on Canon Rumors

Just read the news shooter article knowing nothing going in.

The whole time I thought, well, it’s not perfect and missing a few things, but this actually sounds really good and not crippled! I’m impressed and actually kind of intigued.

I was thinking from all I read the price would be $5999 to compete with EVA1, or $7999 if they felt aggressive. Or $8999 because hashtag, canon.

Then I saw $15999 and almost spit out my coffee and closed the tab. Yeah right guys.

IBIS with ND Filter, internal 4K 60p 10-bit 422, Dual Pixel AF, great UI all sounds compelling... at like $6-7k... maybe a hair more.

Flipping canon, lol.
 
Terry Nixon said:
unfortunately, the Locking EF Mount is only available as an accessory.

The mounts are user changeable, a first for Canon.
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But we're like, friends, right? I'm sure you could hook me up with a free Locking EF mount stock with a new C500 Mark II camera if I paid you an extra $2,199, yes?
 
filmguy123 said:
Just read the news shooter article knowing nothing going in.

The whole time I thought, well, it’s not perfect and missing a few things, but this actually sounds really good and not crippled! I’m impressed and actually kind of intigued.

I was thinking from all I read the price would be $5999 to compete with EVA1, or $7999 if they felt aggressive. Or $8999 because hashtag, canon.

Then I saw $15999 and almost spit out my coffee and closed the tab. Yeah right guys.

IBIS with ND Filter, internal 4K 60p 10-bit 422, Dual Pixel AF, great UI all sounds compelling... at like $6-7k... maybe a hair more.

Flipping canon, lol.
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I felt the same thing when originally reading about the Sony Venice. I thought, "This is all sounding good. Probably like $1k to compete with the iPhone X," and then I read $55k and I called a friend with my Canon C700 and was like, "What was Sony thinking?"
 
puredrifting said:
I get the feeling they are, but I wonder if the digital cinema market from an over $10k camera has just moved on?
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I agree with the consensus that the $12-20K bracket seems like a much more difficult sell in 2019/2020 than just a few years ago. But I guess it becomes a question of how complete that camera is.

I can't help but think that there is a market of more 'documentary oriented' film makers that appreciate both the incredible flexibility of this camera, PLUS won't mind to save a few thousand, or invest that money in other support gear/lighting.

The market will tell us.
 
Honestly, how anyone can complain about the price of this is utterly beyond me.

The nearest alternative is the C700FF at about twice the price (including the Codex recorder), and the next options after that are three/four times the price (Venice, Monstro, LF).

Canon have just offered up an A-camera feature set at a mid-level corporate/doco price. Anyone who can't see the value in that is frankly a little confused.

Now there IS a very reasonable question to ask with this camera, which is "will producers be asking for full-frame 6k?"

I for one highly doubt that's coming anytime soon. So is there actually any pressing need for anyone to sell off their current 4k FS7s/Varicams/F55s/C300ii etc. etc.? I think the answer is "no, not really".

But if anyone has somehow managed to wear out such cameras in the few years they've actually been out, and is therefore looking for a replacement shortly - I feel like the C500ii just jumped to the head of the pile.
 
Oh, and Canon, since you're reading this thread anyway:

I would take that sensor+Digic 7 combo in a RF mount 1Dc mkII body, with maintained ability to shoot both raw internally, and the FF readout to 10bit 4K/2K.

Then just add the normal Canon 1D body photography functionality.

I'd pay (<$10K) for that.
 
Grug said:
Canon have just offered up an A-camera feature set at a mid-level corporate/doco price. Anyone who can't see the value in that is frankly a little confused.
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That's all well and good. Great, actually.

The main question is if the camera is actually worth its paper-spec price.

I - and many others - have lost a small fortune in the past on cameras just like this offering mouth-watering features only to be very underwhelmed by their IQ and overall performance.

IMO, the C300 Mark II and C500 have to be two of the worst cameras ever made for the price (I'm sorry) while the C200 is one of Canon's best cameras ever made. (And nothing but love for the C100s and original C300.)

Where this one will exist I do too wonder.
 
Grug said:
... Now there IS a very reasonable question to ask with this camera, which is "will producers be asking for full-frame 6k?" ...
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Helium/Monstro, Alexa/Mini LF, C500 MKII, FX-9 (not announced yet), Venice are full frame or near full frame cameras with a 5K/6K/8K sensor. And, undoubtedly, more 6K/8K models are on the way from the usual suspects.

Another way of looking at it is that you'd be getting a model that will keep its value as 6K/8K becomes more dominant. It's as if you had bought an F55 5-6 years ago and it remained a valuable tool ever since then. Meanwhile it earned you back the initial investment many times over. Plus, C500 MKII a reasonable $16,000 (and even more reasonable if you own EF glass).

PS. Canon should release a promo film pronto. C700FF is a long forgotten memory.
 
NorBro said:
That's all well and good. Great, actually.

The main question is if the camera is actually worth its paper-spec price.

I - and many others - have lost a small fortune in the past on cameras just like this offering mouth-watering features only to be very underwhelmed by their IQ and overall performance.

IMO, the C300 Mark II and C500 have to be two of the worst cameras ever made for the price (I'm sorry) while the C200 is one of Canon's best cameras ever made. (And nothing but love for the C100s and original C300.)

Where this one will exist I do too wonder.
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The lack of timecode and dual slot recording for the high quality recording made me dismiss the C200.relative to the C300II. Along with the fact that I would never be able to convince any of my current clients to work with Canon RAW Lite. It is just a different market. The C500 II fixes all of the holes that I see in the current lineup.
 
cpreston said:
The lack of timecode and dual slot recording for the high quality recording made me dismiss the C200.relative to the C300II. Along with the fact that I would never be able to convince any of my current clients to work with Canon RAW Lite. It is just a different market. The C500 II fixes all of the holes that I see in the current lineup.
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I mean...then you do it yourself. Batch convert the CRL.

Or purchase an external recorder (solves two problems).

Timecode is also solvable.

I get it, but it just shouldn't be a problem in 2019...unless you're handing over footage, I guess.

But maybe an additional $12K+ is worth it to "fix" those "holes" for good.
 
Grug said:
Honestly, how anyone can complain about the price of this is utterly beyond me.

The nearest alternative is the C700FF at about twice the price (including the Codex recorder), and the next options after that are three/four times the price (Venice, Monstro, LF).

Canon have just offered up an A-camera feature set at a mid-level corporate/doco price. Anyone who can't see the value in that is frankly a little confused.

Now there IS a very reasonable question to ask with this camera, which is "will producers be asking for full-frame 6k?"

I for one highly doubt that's coming anytime soon. So is there actually any pressing need for anyone to sell off their current 4k FS7s/Varicams/F55s/C300ii etc. etc.? I think the answer is "no, not really".

But if anyone has somehow managed to wear out such cameras in the few years they've actually been out, and is therefore looking for a replacement shortly - I feel like the C500ii just jumped to the head of the pile.
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Exactly. This camera is competing against cameras costing much more. If the image quality is up there, I think Canon has a hit.
 
Eric Coughlin said:
The expansion unit should have had more SDI outputs as the Sony F55 has I believe four SDIs out.
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That's one of the things that's always gotten me about the Canon's: Lack of SDI outputs. I'm used to having three on my Vari's and four on my F55. The Canon's are very, very limiting to a professional who needs to feed multiple monitors and VF's and sometimes even a "live" signal at the same time. My Vari's have native VF's plus three outputs and my F55 has a native VF plus the four outputs. Canon actually ticked a lot of boxes with this, but dropped the ball/just made stupid decisions with it, too.
 
chris f said:
I’m actually quite impressed and am surprised Canon didn’t come in at $20K with this. I’m almost shocked that this comes with a built in lens stabilization with any lens to boot! I’m also surprised it comes with the LCD, expected it to be just a block like the C200B. Also surprised the modules aren’t priced way higher.

In a vacuum I’m very impressed - Canon seems to have listened to feedback and made some great changes and improvement here. Other than a lack of Prores and higher frame rates this ticks every box for me at a really good price. Pro quality with handy consumer features (autofocus, image stabilization, etc.)

Functionally speaking, for me this is a better camera than the C700FF and it's half the price.

Will be interesting to see what Sony announces and how that compares.
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I give them them a thumbs-up for a lot of things on this, but I'm scratching my head over a lot of things, too.

Is ProRes really THAT big of a deal, today? Several years ago, yes. I even paid for the ProRes board to be installed in my F55 four years ago. But now... I can't remember the last time I was asked for ProRes by a client. And it's generally a much more inefficient CODEC, at least on the shooting/data size side with no quality benefits, at least on my 55 vs. XAVC.
 
puredrifting said:
I agree, that EVF-V70 is a great EVF, I really dug using it when I shot with the C700FF last year but at $6K, it's priced more like an Arri accessory.
From what they told us, the EVF-V50 will sell for $700.00, which I thought was reasonable although I am sure it's like the EVF on the C200, usable, but nothing to write home about.
If I were buying the C500 MKII, I would just get the V-Mount back and skip an EVF. I've given up on shoulder mount shooting Canons, unless someone is paying me to do so,
they are awful shoulder rig cameras and this C500 MKII will be no different.

I'm kind of amazed that Canon still seems so fixated on making all of the C series cameras than the C700 so shoulder mount unfriendly and small, like everyone is going to HAVE to throw
it on a gimbal or a drone. Sony makes the FS7 MKII passable on the shoulder, the Varicam LT works better on the shoulder, the BMD UMP G2 reminds me of throwing a Betacam on the shoulder too.
I guess "modern" shooters, coming from the DSLR world, are cluleless about what a shoulder mounted camera should have to work with shooting that way? They seem to accept the ergonomic
mess that most modern cameras are.
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As they say, Ignorance is bliss.
 
Run&Gun said:
That's one of the things that's always gotten me about the Canon's: Lack of SDI outputs. I'm used to having three on my Vari's and four on my F55. The Canon's are very, very limiting to a professional who needs to feed multiple monitors and VF's and sometimes even a "live" signal at the same time. My Vari's have native VF's plus three outputs and my F55 has a native VF plus the four outputs. Canon actually ticked a lot of boxes with this, but dropped the ball/just made stupid decisions with it, too.
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Well, it's better than having the single HDMI output that most people on this board are willing to work with. Ot the workarounds required for the FS5/7.
 
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