C200: Want to shoot 2K only on your C200?

FWIW, I just spoke with Loren Simons of Canon and he said that he recently tested EOS C200 with an Odyssey 7Q (non-plus) and was able to record 2K 10 bit 59.94P 4:2:2 to ProRes HQ and actually use the camera's Rec Command to trigger recording on the Odyssey without any media in the camera itself.

Pretty cool, so there is an external 2K option for the C200!
 
puredrifting said:
FWIW, I just spoke with Loren Simons of Canon and he said that he recently tested EOS C200 with an Odyssey 7Q (non-plus) and was able to record 2K 10 bit 59.94P 4:2:2 to ProRes HQ and actually use the camera's Rec Command to trigger recording on the Odyssey without any media in the camera itself.

Pretty cool, so there is an external 2K option for the C200!
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That's interesting...I don't know how it would do that if you can't set the camera to 2K at all (can you besides the proxy?) and the SDI maxes out @FHD, but I don't doubt it for a second no matter who says it as Canon cameras and their outputs are straight up quirky.
 
NorBro said:
That's interesting...I don't know how it would do that if you can't set the camera to 2K at all (can you besides the proxy?) and the SDI maxes out @FHD, but I don't doubt it for a second no matter who says it as Canon cameras and their outputs are straight up quirky.
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I don't have an Odyssey laying around to try it but I would suspect that if you set the camera to Cfast recording and then proxy recording, that would be what arms the SDI output of the camera to be 2K? Let me double check the menus...

*Edit, just checked and there is an option under SDI output, "1920x1080" OR "2048x1080/1920x1080" so I would say that is the case. Besides, Loren is definitely a straight shooter and would not have said so if it wasn't possible.
 
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Yea, that output setting in the menu is key...so that's cool, at least you can get some clean 2K 10-bit 4:2:2 from the camera if you need it.
 
NorBro said:
Yea, that output setting in the menu is key...so that's cool, at least you can get some clean 2K 10-bit 4:2:2 from the camera if you need it.
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Agreed. The documentary I shot in South America in the Spring, clients wanted 2K, this would have been a good setup for their purposes, the film will be projected at film festivals I am told. We ended up shooting 1080 and it looks great and they didn't want 4K as their post workflow is not setup yet to handle 4K. 2K 10-bit 4:2:2 would have been the sweet spot.
 
puredrifting said:
Agreed. The documentary I shot in South America in the Spring, clients wanted 2K, this would have been a good setup for their purposes, the film will be projected at film festivals I am told. We ended up shooting 1080 and it looks great and they didn't want 4K as their post workflow is not setup yet to handle 4K. 2K 10-bit 4:2:2 would have been the sweet spot.
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Worrying about a large O7Q on the road in another country? Doesn't sound fun. Using external recorders and skinning diffusion frames are my two least favourite video production activities!
 
rob norton said:
Worrying about a large O7Q on the road in another country? Doesn't sound fun. Using external recorders and skinning diffusion frames are my two least favourite video production activities!
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I shot it all on my Ninja Blade anyway so wouldn't have been a lot different. Good hood, lots of batteries and life is fine. I had a gimbal camera for movement stuff so my A camera was mostly on a tripod, little bit of handheld. It worked out well, Prores HQ looks decent and we shot a lot of green screen interviews down there as well as jazz clubs, dark bars, street scenes, etc.
 
puredrifting said:
I shot it all on my Ninja Blade anyway so wouldn't have been a lot different. Good hood, lots of batteries and life is fine. I had a gimbal camera for movement stuff so my A camera was mostly on a tripod, little bit of handheld. It worked out well, Prores HQ looks decent and we shot a lot of green screen interviews down there as well as jazz clubs, dark bars, street scenes, etc.
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Yeah if it doubles as a decent monitor then you're in business. It's just funny when the external monitor is the weakest link, usually because of problems mounting to fairly small cameras.
 
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