C200: The new Canon C200 with 4K

drummondb said:
Are we 100% sure the HDMI HD out is 10-bit 422? I seem to recall a mention in one of the early C200 videos (the AbelCine one maybe?) that it was 8-bit in a 10-bit wrapper.
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It's listed on Canon's signal output matrix chart as "10-bit". I believe them.
 
TheDingo said:
But you can use cheap off-the-shelf SSD drives to record ProRes 422 HQ externally, but the C200 only has uber expensive CFAST 2.0 cards in a single card slot.
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puredrifting said:
According to their product matrix on the left, the NVS2825 is discontinued. But that is an intrguing idea.
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The above seems a bit too complicated but I'd be surprised if the major accessory manufacturers didn't wire together an acceptable quality CFast-to-SSD adapters. The DIY solution, as posted a few pages back, is very inexpensive. The URSA solution is $600. The only question at the moment appears to be whether the slot door will present a problem and whether the adapter will need some sort of a similar plastic cover to activate the recording. There's obviously a chance that this will not come off as cleanly ... but ... C200 is going to be a huge seller and a $300-$500 CFast-to-SSD gadget will probably be purchased by every perspective C200 owner. This creates a huge incentive for these third parties to create something dependable and, at the same time, simple and affordable.

Something like this -


And more.

 
If you take a look at this Adorama video around 50 seconds, you'll see the door pop open.

There is a sensor somewhere in the opening/closing (like with other cameras)...an internal part or something gets popped/locked into place when the door is closed. I don't know exactly, but I'm not sure if it will be easy to alter...

https://www.youtube.com/watch?v=29UJL2m6sgU
 
NorBro said:
There is a sensor somewhere in the opening/closing (like with other cameras)...an internal part or something gets popped/locked into place when the door is closed. I don't know exactly, but I'm not sure if it will be easy to alter...
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Hmmm... But the door has a little window. If the window was removed you could run a cable out to a breakout box with the door closed and locked in place.
 
Yes, it certainly looks more difficult with the hinged door - the adapter is unlikely to have it - but I figure someone will come up with the workable solution. There's too much money to be made here.
 
puredrifting said:
It's listed on Canon's signal output matrix chart as "10-bit". I believe them.
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I forgot about the fact that it's 10-bit 422 in HD over HDMI/SDI. I'm not sure why folks are complaining so hard. I'm not being snarky or sarcastic here; is it just that folks don't want to bolt on a recorder?
 
TheDingo said:
Hmmm... But the door has a little window. If the window was removed you could run a cable out to a breakout box with the door closed and locked in place.
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Based on the internal space available, how thick those cables are and where the CFast card goes in (not sure if it's the top or bottom), it's probably going to be impossible.

I think cutting out the middle section of the card door as precisely as possible would work. Once the dummy card is in, there is not much room for anything else besides sand. You have to be a bit more careful depending on your location, but I think it would be okay. A bit more airflow should be good too.
 
In an exceptional situation, I wonder how many C200 owners wouldn't mind sending their camera over to the adapter manufacturer if the procedure is a bit more involved - i.e., some plastic cutting, door replacement, etc.

One has to assume that the CFast doors are repairable/replaceable, right?
 
Yea, a door replacement modification would be the best solution if you really want to use one of those things and there is no other option.

Ideally, the company selling the adapter would also provide the service.
 
Yeah, if someone can liberate that CFast slot, this camera is going to explode.

So what's the best external monitor and/or recorder option?
 
The bare-bones Shogun Inferno IMO.

https://www.bhphotovideo.com/c/product/1334247-REG/atomos_atomshgin2_shogun_inferno_7_4k.html

Super high-quality bright monitor with 4K/60p via HDMI and SDI.

Will of course be limited with the C200, but for $1300 it may be the last monitor/recorder you buy that will cover you with every camera on the market.

If you're looking for just a small monitor, lots of other options are cheaper and/or more convenient (the 7" one above is a bit bulky).
 
puredrifting said:
8-bit is not quite the kiss of death many make it out to be. Sure, 10-bit is better, but the C100s, C300 and many dozens before them were all 8-bit and somehow, some beautiful images got made with those cameras and that handicapped bit rate. Of course we would all prefer 12-bit but many of us will do lots of good work with 8-bit on the C200.
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Unless it is for broadcast I think for new cameras one should expect 10 bit minimum especially if you need log gamma.
Also with HDR gaining momentum you have to have 10 bit or higher material.
 
Cary Knoop said:
Unless it is for broadcast I think for new cameras one should expect 10 bit minimum especially if you need log gamma.
Also with HDR gaining momentum you have to have 10 bit or higher material.
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I agree, but none of my clients want LOG and none even know what HDR is ;-)
 
puredrifting said:
I agree, but none of my clients want LOG and none even know what HDR is ;-)
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So, basically, if you shoot baked-in with minimum or no grading - do you mostly? - then the 8-bit vs. 10-bit is no big deal.

In terms of the external recorder with C200, Canon's notion is that you don't need it.
 
DLD said:
So, basically, if you shoot baked-in with minimum or no grading - do you mostly? - then the 8-bit vs. 10-bit is no big deal.

In terms of the external recorder with C200, Canon's notion is that you don't need it.
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I mostly shoot baked in, either WDR if it will get a cc pass from the on-line editor or the Abel Cine EOS Match profile for web/air ready if it is for one giant client I have in Washington DC who never seems to color correct, even though I have begged them to. I am trying to get some of our clients to at least let me shoot Log but I am terrified that no matter how much I explain, send links, offer advice, that my flat, washed out LOG footage will go on the web or air as-is because the producer and or editor were freaking clueless. I shoot LOG-C for my own programming that I edit, when I have time, but I often don't have the time to even mess with LUTs as often our clients are in a hurry because they didn't allocate enough post time. 8-bit works for some of our clients, others who I shoot a lot of green screen for really prefer 10-bit for obvious reasons.

I shot a bunch of footage off a boat last week though without using the Ninja Blade and the combination of rocking boat, and rough day on the water definitely "broke" the AVCHD codec, I was kind of bummed, I have not broken it before except intentionally by shooting wide shots of dozens of trees with leaves in the wind. But I learned that huge vistas of ocean vibrating paired with moving camera also breaks the C100's 24Mbps AVCHD codec, pretty badly. Wish I had shot with the Blade out there or the C300, but was super tight space and I only was allowed onto the boat at the last minute, I actually wasn't planning on shooting off of the boat, I was shooting b-roll on shore and was asked if I wanted to go on the boat last minute. The b-roll I shot on shore with the 70-200 2.8 IS II looks great for AVCHD because the camera and entire frame are not moving constantly.
 
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