September 1, 2016

Canon Goes for Gold with New C700

Canon's new flagship cinema camera is everything you want—though the price will be too much for most to love.

First things first: this is a $28,000 camera. For almost everybody, this falls into the "occasional rental" category, not the "save up and buy" category that the 5D Mark II and the C100 and C300 occupied. For those of you disappointed in the specs of the 5D Mark IV, this camera provides everything everyone asked for, albeit in a package that costs 10 times as much.

It's going to shoot some really beautiful footage, and the ergonomics of the design seem particularly well thought out.

The good news is that it's extremely exciting from a technical point of view. It's a new, more modular design than the previous C-line, including a more flexible eyepiece mount that echoes the Alexa and the URSA. It has a removable touchscreen remote control—the OU-700—and a removable raw module from Codex for up to 120fps 4k raw recording, and manages a capable 60fps internal.

The top and bottom are covered with screw holes, like a cheese plate, for extremely flexible mounting options. Global shutter is available for the PL mount version, as well as Cooke /i support for capturing lens data information into metadata. It features internal proxy recording to SD cards for fast movement to the edit room, though the XAVC codec will be more comfortable in a broadcast environment than a narrative . Raw and ProRes records to CF cards internally, though you get more options (especially a higher frame rate raw) to the external recorder, which makes sense, since CF cards have a limit to how fast they can write. It also features internal anamorphic de-squeeze (though it's still not a 4x3 sensor, so you won't get the benefits of the full Anamorphic image circle like you do on some Alexa models).

C700 Open
C700 OpenCredit: Canon

Some are saying this is meant to smooth over the hurt feelings over the Mark IV specs, but that doesn't really add up; no one who was hoping these features would start showing up in their $3,000 cameras will be mollified with the idea of spending more on a camera than a car. This camera, or course, isn't meant to compete with the forthcoming GH5, the A7SII, or the Blackmagic URSA Mini; Canon has the C100 for that, and the C100 Mark II has proven somewhat popular, though its 1080 limit is looking very dated. 

Canon is going to have a hard time moving in.

What this new camera actually replaces is the previous C500 (albeit with the same sensor as the C300 Mark II), which never really took off, since Sony's F5 and F55 took up a lot of the market that Canon was hoping to capture. This camera feels like it's aiming even a little higher than the 4-year-old F55—​aiming up at the Red Epic platform, or even going against the Amira as being a C-camera on Alexa shoots. That market is a very tough nut to crack: while the C line has been around a while and produces beautiful imagery, the only movie that comes to mind when I hear "Canon C" is Blue Is The Warmest Color. If asked to name 50 movies shot on the Alexa or the Epic, I bet most of us could do so without thinking. The aforementioned have a big presence and history in that space, and Sony has a history in high-end broadcast, which is the other potential market. For better or for worse, those are markets that chance slowly and stay loyal to "what works"; Canon is going to have a hard time moving in.

Credit: Canon
I hope Canon is able to find some market share with this camera, because if the imagery of the C700 (and the promotional test footage) is anything to go by, it's going to shoot some really beautiful footage, and the ergonomics of the design seem particularly well thought out. But with the film and video market it doesn't have the low-end dominance it used to, and moving up in the world can be hard. If Canon really wants its users to take them back, then need to bring a lot of what we see here in some form into a C100 Mark III, and fast.

The camera is available now.

Tech specs

  • 4K (4,096 x 2,160) video recording at up to 810Mbps
  • Internal 10/12-bit XF-AVC or ProRes recording
  • 4K recording at up 59.94P/50P internally or 100P/120P with optional Codex recorder CDX-36150
  • Up to 15 stops dynamic range
  • Dual Pixel CMOS AF (EOS C700 only)
  • PL mount Global Shutter model options
  • Proxy Recording to SD Cards
  • Selectable Gamma and Log Curves
  • XF-AVC and ProRes Recording to CFast 2.0
  • Raw Recording Option
  • OU-70 Remote Control Unit
  • Adaptable to B4 mount
  • Internal Anamorphic de-squeeze

Your Comment

79 Comments

NFS is getting slow recently! They announced this 8 hour earlier, come on NFS you are way better than this!

About the camera
Image quality looks very very cinematic to my eyes but a very late response from canon to sony! let's not talk about the price. just a reminder C500 was 28K at first now it's 7K!

September 1, 2016 at 12:55PM, Edited September 1, 1:00PM

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Rayhanur kabir
Director, DP
248

Do you really feel it's necessary to chastise NFS for being 8 hours late on something? Wow!

September 1, 2016 at 1:24PM

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Richard Krall
richardkrall.com
1673

Yes I do! Disappointment comes from Expectation and we have that kind of expectation from NFS. Constructive criticism should always be welcome!

September 1, 2016 at 1:28PM

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Rayhanur kabir
Director, DP
248

Congrats!! You win the award for most ridiculous comment on the internet today. There's nothing constructive about pointing out that NFS was 8 hours behind on reporting this camera, thats just really bizarre for someone to point out. I'm sure they reported it as soon as they could.

September 1, 2016 at 2:51PM, Edited September 1, 3:05PM

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Kaster Troy
Director, DP, Editor
1134

work must be slow for you.....

September 1, 2016 at 2:52PM, Edited September 1, 2:52PM

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I guess I'm the only one who took it as a little joke...

September 2, 2016 at 4:58AM

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Carlos Luis Pujol
Director of Photography
190

nerd.

September 1, 2016 at 1:58PM

0
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This post is a joke right?

September 1, 2016 at 6:25PM

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James Manson
Photographer
235

Well, you gotta give props to NFS for finding the only image I've seen so far of the C700 (very top) that doesn't make the camera look like a bloated warthog conceived during a failed cloning experiment.

September 1, 2016 at 8:06PM, Edited September 1, 8:06PM

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They have to do research, write the article and get it approved by the editor.

December 10, 2016 at 1:45PM

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Walter Wallace
Spokesperson/Entrepreneur
1241

Popping some popcorn while eagerly awaiting world war camera in the comments...

September 1, 2016 at 1:52PM

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Oscar Stegland
DP/Steadicam
1109

looks like an ursa mini and prob not much better. $28,000......... *hmph*

September 1, 2016 at 1:58PM, Edited September 1, 1:58PM

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If you can't see the difference between this camera and the Ursa mini then just stick with the Ursa Mini.

September 1, 2016 at 2:48PM

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Please inlight us, what more does it have the the Ursa mini doesn't that justify the 22k$ difference, the autofocus of the 70d?

September 1, 2016 at 4:00PM

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AvdS
1104

The possibility to have global shutter.
The ND filters
High speed without cropping the sensor (using the xf-avc codec)
The overall tecnical design (on the ursa you can access the menu only by the touchscreen monitor and the buttons are usefull only with the 5" screen open)
The overall estetical design

September 1, 2016 at 5:40PM, Edited September 1, 5:40PM

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Andrea Cassina
Filmmaker
140

It does have a FEW better features, but not $20k worth of a difference, really. That's quite ridiculous.

September 1, 2016 at 5:46PM

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I agree that for the body only is a little too overpriced, but some of this "few features" make the difference when shooting with an AC on the side or in a production that involve more than one person.

Also you can point the same confronting Amira vs Ursa Mini.

I think that it can be a very good camera if it will be sold with the evf and the baseplate/shouldermount for the same money.

September 2, 2016 at 6:27AM

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Andrea Cassina
Filmmaker
140

It does look like it was designed by someone at cosmetology school. I'll give you that.

September 1, 2016 at 8:08PM

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This'll be much better as a rental rather than a purchase.

However even then, kinda hard to beat the fact that you can gain MOST of these very similar [critical] features in another camera body for only $5k. A bit hard to ignore that situation.

But, it's got Canon's patented color look, which is more than enough of a reason to rent.

September 1, 2016 at 5:48PM

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Dude, the Ursa Mini has shit lowlight. Not everyone is on a low budget, if you are, go for the mini and deal with the drawbacks, but some productions have money literally spilling out of their coffers and this camera barely registers as a line item.

September 1, 2016 at 6:44PM

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Derek Olson
Directomatographeditor
628

I'd go for the Kinefinity camera's way before the Ursa Mini. I wasn't impressed by it (though I was really rooting for it when it was first announced!).

Having said that: I'm waiting for test shots from the new Terra camera's :)

September 2, 2016 at 9:51AM, Edited September 2, 9:53AM

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Jaap Ruurd Feitsma
EU based director and cinematographer
199

If they have so much money, they can afford to light a scene properly.

February 10, 2017 at 9:16PM, Edited February 10, 9:16PM

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David Gurney
DP
1911

r..e..l..i..a..b..i...l..i..t..y

September 1, 2016 at 7:05PM

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Lane McCall
Producer/Director
512

Well if this camera can record videos consistently, without corruption, then it has far surpassed the ursa and ursa mini. The reliability on the ursa is a joke, usually taking up to 3-4 attempts/returns before getting a "working" model. Working models are out there but it's hard to find.

Canon cameras are rock solid and much better color than Sony. I just sold all my song stuff I can't deal with the shit color anymore. This camera is aimed at filmmakers who rent, which is the majority of filmmakers in LA, New York, and Atlanta. Usually I can get an Alexa Mini for $1500 a week, this will be less. Sure it will be a lot on lensrental.com but renting in a big city will be far less, probably around $1000 a week with media and batteries.

September 2, 2016 at 10:04AM

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Tyler, it's the color science. Canon camera's produce very pleasing results right of the camera which is crucial for a lot of high end productions. The unbeaten master of color science is Arri - that's why they can charge $40.000 for an Alexa mini. To achieve that result a high investment in R&D has to be taken in consideration and the internal parts are custom and very expensive.

September 2, 2016 at 12:07PM

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Jan Becker
DP, Director, Producer
307

Really? Do you really believe that?

September 1, 2016 at 6:26PM

8
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James Manson
Photographer
235

the footage was fine, but nothing new or yummy there, but that is also the DP. No 4x3 2x de-squeeze?? 28G's? this annoying price point will drop as product sits on the shelf. Eh.

September 1, 2016 at 2:19PM

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Adam R. Taylor
Director/DP
159

Or while filmmakers who don't obsess over specs are out shooting with it...specs mean absolutely zero to me, image is king. If specs mattered I would be shooting with an A7SII but after actually using that camera and seeing the image, I will stay away. Specs are deceiving, but I will let you continue to obsess over them.

September 2, 2016 at 10:08AM

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Looks great! I love the image out of canons cameras due to their great use of colour science. I totally agree with the c100 mk3, it's desperately needed!

September 1, 2016 at 2:35PM

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Jamie Sergeant
Selfshooting Filmmaker, Writer
196

Pretty impressive spec.s (especially the full set listed on BH Photo). I also hope that this has a trickle down effect- sooner than later! Though it's going to need to be more than a trickle to get into the realm of even dreaming of buying one. And really, the $28k isn't even the full price, once you add an eye-finder or external monitor, plus I assume you'd need an external battery pack as well.

That said, I think it could give RED and Black Magic some real competition. I have heard many DPs complain about Red and BM performance, overheating, ergonomics, and other issues that doesn't exactly make them as "loved" brands the way some others are. Also, as expensive as it is, it's a lot less than the big-boy Arri cameras, and of course many indie DPs have of their own Canon lenses, so there's that.

September 1, 2016 at 3:03PM, Edited September 1, 3:11PM

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Douglas Bowker
Animation, Video, Motion-Graphics
250

For the same price I could buy a Red Weapon MG that shoots 6K, or for $18K less I could buy a Scarlet-W that shoots 5K. As for the C700, the footage looks like a Canon DSLR to me, nothing special. Ergonomically it looks terrible as well, just a big black brick with a Canon logo. The camera also looks huge in the video. We all know the ergonomics of the Sony FS series was bad, and this looks even worse. I just don't understand where Canon gets their pricing on these cameras, they offer absolutely nothing when compared to other cameras in same price bracket.

September 1, 2016 at 3:04PM

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Kaster Troy
Director, DP, Editor
1134

And you think a Red Brain camera isn't a big black brick?

September 1, 2016 at 3:46PM

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Danny T
Photographer
496

You dont like the look of the RED brain? I think they're sexy and quite small. Light as well.

September 2, 2016 at 2:23AM

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Kaster Troy
Director, DP, Editor
1134

Wiht a shoulder mount the camera seems to be well balanced.
Don't forghet how many production still use the Alexa even if it shoots 2880x1660 raw files and even if it weights a lot compared to red or sony's cameras.

September 1, 2016 at 5:46PM

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Andrea Cassina
Filmmaker
140

What about high ISO and autofocus? You said they offer absolutely nothing compared to other cameras in this price bracket, tell me, which ones offer clean low light and autofocus?

September 1, 2016 at 7:02PM

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Derek Olson
Directomatographeditor
628

True, nice low light and auto focus are great, but at a cost of nearly $30k is it worth it for only those features?

September 2, 2016 at 2:25AM

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Kaster Troy
Director, DP, Editor
1134

I'm not saying this camera is appropriately priced, but remember with Red you have to deal with their proprietary, rip-off storage media and readers.

CFast is overpriced, but at least it's used by a few vendors. Its prices will never fall the way CF cards did a decade ago, because they'll never see mass consumer adoption. But the Red media are ridiculous.

September 2, 2016 at 5:28PM

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David Gurney
DP
1911

I'll pass on all those REDs. I'm sorry I prefer how this islaid about better than any RED. period. This resembles more of an Alexa XT, which is just more pleasureable to work with than any RED. I'm also going to bet the quality control is much tighter with the Canon C700.... and yes I have used a Weapon (Carbon Fiber actually) before

September 2, 2016 at 11:38PM, Edited September 2, 11:39PM

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Might be worth saying it shoots raw to CFast 2.0, not CF cards. I was confused for a second. It's like a more robust and useable Ursa Mini.

September 1, 2016 at 3:06PM, Edited September 1, 3:06PM

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Jeremiah Kuehne
Filmmaker
732

Not entirely sure why this camera exists. If this came out 3 years ago as a viable competition to the F55 or something, I'd get it. But now? What hole in the market does this fill, and at that price point? This camera is what the C500 should have been three years ago. But now... this looks DOA for me. Pass.

September 1, 2016 at 3:31PM

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Oren Soffer
Director of Photography
2075

I'm not quite as down on it as you, but I'm inclined to agree. None of those specs are anything special anymore, it costs a fair old wack and surely it just means when the new line of Sony's, Arri's etc come out Canon will be miles behind again.

September 2, 2016 at 8:15AM

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Jake Gorton
Producer
366

Better make sure to have that spec sheet handy when people are watching your films...That spec sheet though. Hahaha

September 2, 2016 at 10:33AM

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I don't see any mention here of the fact that it's a 4.5K sensor? (full access to that resolution in raw will be enabled in later firmware, evidently).

I expect it to be the usual canon story; somewhat overpriced for underwhelming specs, but robust and reliable and a joy to use with a lovely image. It probably won't make a lot of new friends on the feature film front, and this model is too bulky to become a documentary stable like its little sister.

It has the crazy good auto focus of the C300 mark ii though, so there might be a niche for that, for instance in reality shows that currently shoot on Amira's or F55's – reliable autofocus can mean larger F-stops, which can mean less lighting and better low-light etc. The autofocus could also be a major timesaver for a DP shooting an indie film with stolen locations and 7 pages a day, if he/she dares rely upon it...

September 1, 2016 at 4:14PM

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If I could shoot a feature with any camera - irrespective of price, but still taking into account the on-set hassle (so no IMAX, no 65mm, and I wouldn't personally be willing to sacrifice the digial monitoring for S35mm) I would probably go for either the 8K Weapon, or this C700. Those two have good color and features that set them apart. Yes, the Alexa is wonderful, but so overused and familiar at this point. I would also like to play around with digital zooming/manipulation, so I'm willing to sacrifice highlight roll-off for the extra resolution.

September 1, 2016 at 4:18PM

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what does "though the XAVC codec will be more comfortable in a broadcast environment than a narrative" mean?

September 1, 2016 at 4:21PM

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Narrative is probably willing to put the time into RAW shooting and color work. Depending on the kind of broadcast shooting something more ready to go without work in an XAVC container may be a better workflow.

September 5, 2016 at 7:50PM

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First, I think we should all appreciate the fact that the C500 is now $6,999 on B&H?! But I do think this is something good that will come from Canon! Undoubtedly, they have their color science down, and now into a much more professional package. Pricey? Yes. Will I be renting it? Probably not. But hopefully they'll lower that price soon enough to capture some of the lower market as well!

September 1, 2016 at 4:45PM

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Craig Douglas
Writer/ Director/ Editor/ Videographer
1751

URSA is getting better as we speak. RED sells for a lower Price and then there is the more cost effective Arri packages. So Canon, be real for a quick second.... you come with a camera for a crap load of money that don't even have no flavor of raw?. But as someone said... we'll watch these units gather dusts, then the prices may drop. Yawl slackin on your mac Canon..smh

September 1, 2016 at 5:33PM

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Wentworth Kelly
DP/Colorist/Drone Op
2577

"that don't even have no flavor of raw?"

Are you a native English speaker?

September 2, 2016 at 5:24PM

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David Gurney
DP
1911

I think this is a good camera.
Maybe canon is a little bit late on presenting the C700, but the specs are good enough for this camera to find a place in the market.
Even if someone said that the raw is not in the firts release, I remember when Arri lauched the first Alexa with only the prores 4444 FHD recording option.
"Drive" was shot in prores and none have argued that it was not raw....

The price tag is maybe a little bit high, but I don't think that Canon intended this camera as a new C300. But something more like an Arri Amira.

September 1, 2016 at 5:55PM, Edited September 1, 5:55PM

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Andrea Cassina
Filmmaker
140

It's basically 3 1/2 years late and double what it should cost. There's sadly no other way to put it.

September 1, 2016 at 8:13PM

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I've never seen a company so willing to damage it's brand as Canon. They just released the 5D Mark IV - a camera so lacking in (video friendly) features that it's actually behind the times. As usual, it's to protect their high end (and overpriced) models like this C700. They must think we're stupid - and I'm offended. Sorry Canon, but I'm out - I won't reward this strategy - I wouldn't use this camera even as a rental.

September 1, 2016 at 7:59PM

1
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Ed Wright
Director, DP, Writer
347

Well written! They think we are stupid or something...

September 2, 2016 at 5:03AM

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Nico
D.P
234

The leak in the 5Dmk4 video features is just to protect the C100 line more than the C300 or C700.

Also the xc15 is a shame: 18-180mm f2.8-5.6 ... O_O ... You have to shoot in sunshine to use this camera when you zoom!!!

Canon have a strange policy I admit.

September 2, 2016 at 6:34AM

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Andrea Cassina
Filmmaker
140

This is a $28,000 camera the way the F5 would be a $9,000 camera if you bought the $13K package and then sold off the EVF, shoulder base plate, Resolve Studio, etc.

Getting this Canon blimp up and floating would absolutely put you near $40K.

September 1, 2016 at 8:11PM

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AMEN!

September 2, 2016 at 5:02AM

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Nico
D.P
234

Congrats Canon. You copied an F5 as best you could but with a mirky looking image (would like to think the camera can do better than that and it was just the grade in this case).

Way late to the party at that price.

September 1, 2016 at 8:19PM

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Expected availability: December 2016
No RAW for 28k?

September 2, 2016 at 5:00AM

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Nico
D.P
234

I reckon Canon should go for a full frame eos camera. Itd be a nice differentiator. All things considered this looks awesome. Just overpriced. Get it under 20k and it may turn heads

September 2, 2016 at 5:15AM, Edited September 2, 5:15AM

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Dean Butler
Writer Director Shooter Editor
480

Agreed!!!!

September 2, 2016 at 11:42PM

1
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OVERPRICED............

September 2, 2016 at 5:46AM, Edited September 2, 5:46AM

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Jerry Roe
Indie filmmaker
1031

Am I the only person thinking that this looks like a more expensive version of the Panasonic Varicam LT? And it doesn't have some of the more interesting features like Dual ISO.

September 2, 2016 at 11:09AM

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The article says, "Raw and ProRes records to CF cards internally"

But then the specs say it records to CFast. Which is it?

September 2, 2016 at 5:20PM

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David Gurney
DP
1911

This is quite a competitive camera.

The trouble is the camera is competing with is the RED One. No really... specs, form factor, the works. The RED One is what, ten years old now?

No RAW onboard. 60 fps max onboard. No swappable mounts. The form factor of a brick, even more so when you add the expensive third-party add on to record in RAW at 120 fps.

Canon colour science and built in ND is nice, but a lot of what this camera has feels like ENG rather then cine... but not in a nice ENG form factor.

It might be worth considering at a third the price. But for this money why would one opt for this over a RED or an Alexa? I just don't get it. I'm not sure I would have opted for this camera five years ago when I bought my Scarlet MX, let alone today when you can pick up a second hand Epic MX or a new Scarlet Dragon for significantly less money.

The camera Canon needs to make to tempt me is a C300 Mark III with touchscreen PDAF, internal 4K 10 bit 50 fps, built in ND, a decent codec... and priced at less than £6000.

September 3, 2016 at 1:36PM, Edited September 3, 1:36PM

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Hywel Phillips
Director / Cinematographer
185

Any Red camera always lost DR comparison tests against the Alexa or even the Varicam. The C700 will probably be way better in that regard. Red color science is terrible, that's the reason why they will launch a new one that seems not different so far. And Red is about compromises. They created this swappable OLPF things to fix some issues, the D.E.B function because there is some ugly red noise, the image is soft without any post sharpening, my varicam looks sharper than the 6k dragon. They launched the helium but what you gain in the shadows with smaller pixels is lost in the highlights with less DR there. Red always tries to transform the issues into advantages with marketing tricks and people swallow it. I would prefer a C700 anyday.

September 3, 2016 at 6:19PM, Edited September 3, 6:20PM

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JoachimV
517

I will politely disagree with you over RED colour science because I really like it and LOVE the flexibility of shooting and processing in a more stills-like colour flow.

Canon colours are usually very nice out of the camera, which is why I said that was a definite selling point for the C700. I've not used the Varicam, it looks nice and seems to me to offer more than the Canon does for a lower price (for the LT).

Which was my point- I just don't see anything compelling on the Canon compared with the other options already on the market.

September 4, 2016 at 8:30AM

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Hywel Phillips
Director / Cinematographer
185

So you prefer a camera that's not even out and no one's even seen any footage of, compared to one of the industry standards?

September 4, 2016 at 2:54PM

0
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I'm just bored with Red fanboyism and blindness. I owned 2 Red cameras, they are not the perfect cameras people are talking about, far from it. Many people buy them because they are cheaper than an Alexa. Now we have some cameras coming with better DR and colors than Red, almost on par with Arri, enough resolution for any project, and even great lowlight with the Varicam which is the price of a scarlet-W. The C700 has probably better DR than the Red one, better colors, better lowlight and better resolution with full 4.5k, so no need to compare them. The Varicam is just 2x better than my Scarlet-D. Of course Red guys talk a lot about other cameras without never testing them.

September 4, 2016 at 4:34PM, Edited September 4, 4:34PM

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JoachimV
517

I'm calling user error I work with Red footage on a daily basis. I've never once thought the color science was off or that the image was soft. Not sure what you were shooting with but I'm almost certain it wasn't a Red camera. This isn't even fan boy critique (personally even with all their flaws I'm a Blackmagic fan).

September 4, 2016 at 8:02PM

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Charles C.
Editor/ Director/ Director of Photography/ Wannabe Thinker
1013

Whatever.....

September 5, 2016 at 1:55AM

0
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JoachimV
517

September 4, 2016 at 6:59AM

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For 28k I could have a fully rigged and operational Red Scarlet-W and probably like 5k left over for a decent zoom. And I don't understand why is it that people always complain about the lack of built in ND filter slots. It's called a matte box people.

September 4, 2016 at 2:52PM, Edited September 4, 2:52PM

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Two cameras made for slightly different purposes. Although theres a lot of crossover. I'd suggest for owner / operator the Scarlet W is probably a better option.

Matte boxes are for far more than holding your filters. Internal ND's are a god send.

September 15, 2016 at 3:51AM, Edited September 15, 3:51AM

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Noel Evans
Director / Director of Photography / Cinematographer
220

Canon just made 2013's most awesome camera.

September 13, 2016 at 4:30PM

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Micah Taylor
Writer | Director | DP
133

This has died down a bit, so time to comment.

Very interested to use this camera and see it in action. I'm curious how close the sensor is to the C300MKII technically. I'd assume quite as they've implemented Canon Log 3 on both models. That being the case the MKII didn't thrill me with its colours or highlight roll off. It's good, however I thought at 1080, in Canon Log and side by side the original C300 was better. (Yes I did that test for myself).

Just want to add, I've seen so many comments saying the URSA / MINI does the same for X % of price or similar. I'm sorry but they are completely different and saying otherwise suggests inexperience. They are a world apart. That doesn't have anything to do with the quality you can pull out of an URSA / Mini. I would suggest the list of this is high in its bracket though. Canon have never been the cheapest.

September 15, 2016 at 3:49AM, Edited September 15, 3:49AM

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Noel Evans
Director / Director of Photography / Cinematographer
220

Hi Noel,
Please take a look at a short we put together a few weeks ago. Would love to get some technical feedback on it.
Thanks.

March 1, 2017 at 12:15AM

3
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Jason Providence
Director of Photography
81

March 1, 2017 at 12:16AM

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Jason Providence
Director of Photography
81

It a very nice camera and its comparable to the Amira but better. Log2 look very similar to Arri Log. Check out this short that we did a few weeks ago.
https://www.youtube.com/watch?v=FIMvaxCZLsE

Shot at:
4.5K
Log2 ( very basic grade in adobe premiere)
640 ISO
On Cooke Anamorphic lenses.
Let me know you thoughts please.

February 28, 2017 at 10:45AM

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Jason Providence
Director of Photography
81

I heard that Canon was aiming this camera at the Netflix original market, specifically the ones who want to shoot on the Alexa but can't because of Netflix's camera and workflow requirements. They want cameras that allow at least 4K raw. It makes sense to me, and I think it would do well in that market. We need more options for digital cinema cameras than Alexa and Red.

August 20, 2017 at 11:58AM, Edited August 20, 12:10PM

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Chandler Goodrich
Actor/Writer/Director
8