Canon C500 Mark II First Look – 6K, Full Frame, Cinema RAW Light, Modular Concept

This is the new C500
mk ii from Canon. Hi, my name is Nino
and this is cinema5D. Today I take a close look at the
newly introduced Canon C500 mk ii, a camera which takes a
much more modular approach than any other cinema camera
from Canon so far. It’s important to add that
we’re only looking at the mock-up of this
camera here right now. Therefore, we cannot judge the
image quality of the camera yet. Only the ergonomics and the
concept of the camera itself. It’s been over seven years already since the introduction of the
original Canon C500, which used to be Canon’s
flagship camera in the cinema lineup before the introduction of the C700, which was already introduced
three years ago, can you believe it? And it’s been over four years since
the C300 mk ii was introduced. So with the competition
heating up left and right for high-end cinema cameras as well as lower end mirrorless
cameras with cinema functions, it’s really been time for Canon to
introduce a new member of the family. And the C500 mk ii is
a very promising addition. Before we look at the internals, let’s take a closer look at the
modular design of the C500 mk ii. The body itself is very light, it only weighs 1750 grams
or less than 3.9 pounds. Many essential connectors are already
built-in right into the bare-bones body. So there’s a monitor out, there’s a
12G SDI out as well as an HDMI out, both of which support 4k 50p and
60p with only one single cable, which is something you didn’t
have in the older C500 where you needed two SDI cables. There’s also timecode built-in, which is something you do not
always get with such a small body, for example, take the Sony FS7,
an extremely popular cinema camera, this camera needs an
additional Extension unit to support timecode in and out
which of course is a pain. And the Canon C500 mk ii
already has it built in. When it comes to audio there’s a mini
jack in and a headphone out, of course, and there are two XLR s built right into
the body with full manual controls. Also a nice addition, there’s no XLR on a hand unit anymore like used to be the case with
the C300 and the C300 mk ii. At the bottom there is
a normal 12.6 volt power input and the camera itself
uses the same batteries as the C200 and the C300 mk ii,
which is of course very nice. The camera has 2 CF
Express card slots which is the successor of CFast and also an SD card slot
for simultaneous proxy file recording. As usual, fixed NDs with 2 4 & 6 stops
are built right into the camera and you can even combine them to achieve 8
and 10 stops of neutral density. Unfortunately, there is no variable
ND filter built into the camera. To switch to slow motion quickly
without having to go into the menus, there is an S&F button on the side
now which stands for ‘slow and fast’, very similar to what Sony
has with an S&Q button which is called ‘slow and quick’. The camera comes with an included
LCD touchscreen with 4.3 inch which is slightly larger than
the one found on the C200. It also comes with a nice mechanical
design that makes it very robust and you can adjust it to
basically any position you want. Canon now also made
the EVF user removable, which is a great upgrade compared
to the original C300, C300 mk ii and also C500, because that little thing
sticking out at the back was always in the way
when you wanted to use this camera on a gimbal or a drone. So now you can just pop it out. the EVF is an OLED EVF now
and it has 1.77 megapixels and its 0.3 inches large. There are two optional
Extension units for the camera. The first one, Extension Unit 1,
is very very small and it adds genlock, remote
connection and ethernet to the camera. The much larger Extension Unit 2 adds
the ability to use V-mount batteries with the C500 mk ii and you also
have a DC out with 24 volts and 2A you also have a D-Tap, which is great and the same connectors
as Extension Unit 1. Then you also have a b-4 lens connector
to use your ENG lenses with this camera, you have a second 12G SDI
connector, which is great and also two more XLRs with
the dedicated manual control. So it’s quite a full package that
you get with Extension Unit 2. Of course, it’s a bit of a shame that
you cannot use the EVF anymore once you add one of the
two Extension units to the camera. But in general its really great that Canon clearly took something
out of Sony’s FS7 playbook with these Extension units and makes
the camera extremely modular with it. What’s really exciting is that the EF
mount that is delivered with the camera is now user interchangeable,
that’s a first for Canon. There are now optional PL
mounts and Cine EF mounts that you can purchase for this and you can just unscrew
four allen key screws and simply mount the other
mount in your camera. This is really great for Canon users and I think this also adds to the
modularity of the C500 mk ii. Now, let’s take a close look at
the internal specs of the C500 mk ii. First of all, of course it’s
most important to note that it comes with a 5.9 K full-frame
sensor in a 17:9 aspect ratio. Canon claims that it has
more than 15 stops of dynamic range. And actually the sensor that they’re
using is the same one they’re using in the C700 full frame that was
introduced just over a year ago. Now when it comes to competition
with 6K in a full-frame sensor right now we only really
have two cameras to compare: the Venice with 6K 4:3 sensor and also the Panasonic S1H which
also has a 4:3 6K sensor. Now, both of these cameras are more
optimized to anamorphic shooting if you want to use the
full resolution of course. Canon took a different approach,
they probably thought ‘well, there’s too many other
players on this market already, we want to offer 6K in full frame
when using normal spherical lenses. And I think that makes a lot
of sense, because of course for most of us, you would
use anamorphic lenses only maybe 10% out of
your shooting time. So 90% of what you’re shooting
is just normal 16 or 17:9 and this is where canon really has
something with the C500 mk ii. But of course you can also
shoot anamorphic on the C500 mk ii, just in this case you will lose the
resolution on the sides of the sensor because, effectively, you’re gonna
use 4:3 resolution in a 17:9 sensor. So ending up with something
like 4k, or something similar. You’ve probably waited for it,
now I’m finally getting to it. The internal recording options. Now this camera uses a new
processor by Canon the DIGIC DV 7. And this processor enables the
camera to record up to 5.9 K from the full-frame sensor in
Cinema Raw Light. You can also record 4k UHD
HD in Cinema RAW Light and also, in addition to that,
you have XF AVC 10 bit 4:2:2. The compressed codec that
we already saw on the C300 mk ii. Now for the first time you can have
one or the other in the same camera. Of course, this was also
possible with the C700, but everybody was hoping that Canon
would introduce this for the C200 and also for the C300 mk ii
through firmware updates. This hasn’t happened yet,
probably will not happen anymore now with the C500 mk ii out. But it’s nice to see that it’s now finally
possible to have both 10 bit and 12 bit within the same body for a price
that is less than the C700. Now one thing to note if you want
to record 5.9 K with this camera you cannot use the XF AVC codec. This is only supported
in Cinema RAW Light with XF AVC you can record
up to 4k DCI. Now let’s quickly talk about the
frame rates you can record in. With Cinema Raw Light
in full resolution of 5.9K you can go up to 50 or 60p respectively. Once you step down to 2k or HD
you can record up to 120 fps. In XF AVC, unfortunately
only in cropped mode. We’re not sure yet if there
is the cropped mode for 120 fps also in Cinema RAW Light, the specs that we have were
not so specific about this. But by the time of viewing this video you might already know
from the article linked below. Autofocus in cinema cameras anybody? Well Canon was the first
one to have a proper autofocus a really great working
autofocus in their cinema cameras and also in many of
their other cameras. Their dual pixel autofocus
works really really well. And they also build it into
the C500 mk ii. And it covers around 80%
of the image area. And what’s new with this one
is that you can further fine-tune it because you can change the
focus tracking and ramping speed of the focus between
two objects, for example. So you can influence how
fast the focus shift, which is something we
haven’t seen before and that should further
enhance your possibilities when using this camera
in a cinematic way of pulling focus with autofocus. Now let me summarize,
and also add one more time that we did not have a chance
to film with this camera yet. But from what we have seen
with the mock-up and all the specs, we’re really impressed. This for the first time is an extremely
modular Canon cinema camera. It’s extremely flexible to all
kinds of shooting scenarios. First of all, because of how it’s built how you can build it up
from something really small that can go on a drone or a gimbal up to a proper shoulder mount
camera with Extension Unit 1 & 2 and so on, and all the shoulder
pads and everything that goes with it. Also the interchangeable mounts
of course makes it a lot more flexible. But also internally you have
Cinema Raw Light in 12-bit and you also have 10 bit
recording internally. It will cost around 15,000 euros, that’s the same price that the original
C300 mk ii cost about four years ago. So you can already see that it’s kind
of replacing that camera in the market. Which is interesting. It’s a lot less money than the
original C500 was seven years ago. We of course are excited to
shoot with it a proper review and please stay tuned to cinema5D to see a lot more about
this camera in the future once we really get our
hands on to a working unit. But so far what we’ve seen, we are excited and also stay tuned to cinema5D for a lot more news from ABC
which is around the corner. We expect more camera news and
accessory news from there as always. And if you haven’t subscribed yet, please subscribe to our
YouTube channel. Thanks for watching.

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