Bassman2003
Veteran
Still can't believe they are putting 16 bit audio in this thing. Why skimp?
C200: The new Canon C200 with 4K
- Thread starter Michael Thames
- Start date
puredrifting
Major Contributor
Looking to cameras for quality audio has always been a frustrating experience. Why change it now? ;-) At least the EOS C cameras, generally, have good audio (for a camera), I can recall how crappy the audio used to be on $100k cameras, at least it is usable now, especially for dialog. Remember, pros generally shoot with a sound mixer who is using a Sound Devices recorder and quality mics. These days, all I record on camera that gets used is ambient for b-roll and single subject talking heads. Anything other than those, I hire a sound mixer. I always tell clients that if sound matters, we need to hire a pro to capture it.
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Michael Thames
Carbonite Member
The problem with raw has always been the workflow and storage. Storage is now not a problem with raw-light, but the work flow is a nightmare from my experience with a 5D3 and ML, and my new MacBook Pro which Resolve doesn't like.
Alpha Beta Omega
Veteran
I'm a firm believer that any modern professional video camera should shoot 10-bit 4:2:2 internally at the base level and then provide better or lesser codecs. And it should be an easy to edit All-I codec and not raw.
Someone else might be fine with only raw but I'm not. And I can't tell clients what editing systems they should have to handle files. If it doesn't fly with them they will go to another image provider.
Someone else might be fine with only raw but I'm not. And I can't tell clients what editing systems they should have to handle files. If it doesn't fly with them they will go to another image provider.
It has an internal mic
NorBro
Major Contributor
Who's Bob?
puredrifting
Major Contributor
And theres a good bunch of cameras this size that do 4:2:2 10 bit at a similar price, no transcode. Theres only one, maybe two (BM) in this price range in this size that does raw.
You can shoot 1 hour raw continuously with that one slot and the sd card slots can record simultaneously for proxy files. You can rent cards too.. You need longer times theres other cameras that can but not in raw.
cpreston
Veteran
I would guess that creating an audio input on a camera that would benefit from recording 24bit depth would be prohibitively expensive. The preamps and ADC would need to be pretty high end. I guess it might be useful for AES input, but it seems redundant since you are necessarily going to be using a high end recorder to feed the AES and if you need those extra bit depths for audio editing then you are probably aren't working from the camera audio anyway.
Bassman2003
Veteran
True, but I am not buying into the notion that this or the Panny camera will only be used on crewed productions. 24bit audio is the professional standard and is on many cameras. If this is an $8,000 camera I would expect it to meet the professional standard. But I am a one man band so I am probably out of the intended market.
Plus, projecting the upcoming generation of CPU, GPU, SSD, RAM/3DXPoint a year forward, one can see a lot more firepower to deal with it. Also, one has to figure that Raw Light is here to stay and that C200 won't be the only Canon camera with it.
chrisfromlilongwe
New member
I'm definitely buying a C200 and hopefully a used C300 MKii by the end of the year. I think the raw is just fine will transcode to prores if i need 10 bit. Not a big deal to me.
having 2 slots would have made things a lot easier and with the possibility of redundancy, be a little nervous putting all your faith in that one very expensive cfast card. Tis all I'm saying
puredrifting
Major Contributor
Not happening though, camera is done if it's shipping in July or August. If having 4k redundancy is important to you, you'll have proxy, or you could hook up an Atomos recorder ( It would be 8-bit but 4K in a good codec) or you'll have to go with the C300 MKII. For my work, proxy or an Atomos recorder would suffice.
I think Canon have restricted the C200 in some clever ways, to make people think this way, it's also my natural reaction, to think I need both, to serve different requirements, C200 internal raw for higher end TVC's or gimbal shots as no one really needs hours or gimbal shots anyway along with the 4K 60P and the C300 MII as the main workhorse for the bulk of work.
If anyone is interested, I'm still selling mine here on the DVX marketplace :costumed-smiley-047
I feel the same way. The EVA might end up being great and will certainly end up being popular, but the C200 seems like it's the best camera for narrative cinema under $10k, where you'll probably shoot in RAW+Proxy. If you shoot event or corporate work or something where you have to hand over footage to a client right away, maybe you might want 10-bit 422 in-camera. I hope they do at least add 10-bit over HDMI/SDI, but I will likely use the RAW+proxy all the damn time I need the highest quality, and when I don't need the highest possible quality I likely won't want to do a heavy grade on that type of job anyway, right?
I have to say that I've shot exactly that kind of work with C100 and with A7s, both 8-bit, and gotten repeat work from my footage.
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As far as I've read, the Canon raw lite is still no walk in the park, clients or producers still shudder when I mention R3D for certain jobs today and I don't see many BM Ursa mini 4.6 users shooting a lot of compressed raw even though it's in there, they are more than happy with the prores.
It's a move in the right direction from Canon but as I mentioned, you will most likely still need a safe workhorse alongside for the corporate gigs etc, this camera is aimed squarely at indie films or as a b-cam to the C700 for sure without it being confused as a workhorse.
Canon also has the Dual AF and good low light capability which makes both the C200 and C700 and amazing combo for indie features against the RED's or BM's
I may completely change my mind on Canon when we get to see the EVA1 footage start to drop but I'm also a bit skeptical about how it would stack up as I have never seen anything jaw dropping on the Varicam LT, yes there are some nice clips out there, but it's not a very popular cam where I am.
It's a move in the right direction from Canon but as I mentioned, you will most likely still need a safe workhorse alongside for the corporate gigs etc, this camera is aimed squarely at indie films or as a b-cam to the C700 for sure without it being confused as a workhorse.
Canon also has the Dual AF and good low light capability which makes both the C200 and C700 and amazing combo for indie features against the RED's or BM's
I may completely change my mind on Canon when we get to see the EVA1 footage start to drop but I'm also a bit skeptical about how it would stack up as I have never seen anything jaw dropping on the Varicam LT, yes there are some nice clips out there, but it's not a very popular cam where I am.
cpreston
Veteran
Well, the C300 II seems to have an option to record in 24bit or 16bit.