Anyway, we’re getting off track here. Do you know if there’s aspect ratio guidelines in the menus? Nice review Sebastian. You’ve mentioned Ursa mini and main advantage as PRORES and I was wondering about how DR compare between C200 and Ursa. This gives us a pretty good idea about a camera’s strengths and weaknesses in order to recommend the best tool for the job. Currently the Cinema RAW Development tool by Canon lets you set white balance, Color Space and Gamma. Some people also say they like the color, I don’t. I have no doubt some new RF lenses and accessories will come pretty soon. First thing I noticed in that the dynamic range doesn’t look so hot in any of these shots. But it’ll sell to Canon fan boys until they lower the price. No data rate, bit rate or color space specs confirmed or denied. From our previous tests, the C300 mkII can indeed fit on a Helix Jr, but it’s so tight that it barely works. My sourse is a friend who just attended Cinegear in LA and thats what he asked Canon at the show, and that is what they told him. No, we don’t. It’s billed as the gimbal version of the C200. how does the raw on the c200 match up with the 5d3 magic lantern raw? It works. There is no doubt that if this camera had internal 4K 10-bit 422, it would eat a huge chunk out of the C300 market. In direct sunlight I couldn’t see and I was forced to use the small EVF at the back. Thinking about which ND strength we use the majority of the time on our C100/C300, the middle of the road 1.2 (4 stops) seems to be our most used filter. For now, however, it feels a little strange to include it in the C200, but not provide higher quality compressed recording in 4:2:2 10-bit to an MP4. GH-5 lacks built in ND filters, XLR audio is not integrated, GH-5 AF is lacking, C200 has Canon’s DPAF with Face Tracking and works very well. Canon have been doing this for a while and in particular with … If the C200 is any indication, the new C300 might be pretty great. The footage (all shot at native ISO 800) is so clean, that I can push the material without risking a noisy image. Slow motion in 120fps works very well too. What will they give to the C200 in order not to destroy the C300 mk II, or will they update the C300 II to make it more capable in another way? How many do you get? If so I’m sure it would be possible to adapt a CFast to SSD adapter just like the Ursa Mini which would make raw shooting even more viable. I’m just curious how much space this will save, how streamlined it will be, and how much Raw quality (obviously WB and ISO changes) you’ll lose by doing this. The quality is organic, the rolloff is soft and most importantly, there is a lot of shadow information. I was told that Adobe apps will support CRM natively in the near future too. The C200 color looked very different, more yellow than the C300II. You are right, the 5D is definitely not a video camera for me, I hate shooting video with them. However, the C200 doesn't currently support RAW output onto an external recorder. Touchable dual pixel autofocus means you can use it on a number of gimbals, and simply touch the screen to focus, rather than having to figure out how to attach the hand grip to the gimbal, or rig up remote follow focus and monitoring accessories. Not wanting to disturb or interrupt the interview, we were able to use the camera completely by itself, without any attachments (except the lens of course), and steal a dozen slide shots without re-rigging the camera. Also new is support for Canon's Cinema RAW Light format, which Canon first announced alongside the EOS C200. No spam, guaranteed! In a pinch, you can quickly take the C200 off the gimbal and use it as a regular camera, without having to reconnect the monitor and hand grip. So to put things in perspective, in order to get RAW quality from the Canon C200 you need about 10 times as much storage space as when recording 8 bit on a Sony a7S II and about 2-3 times as much space as when recording 10 bit on the Panasonic EVA1. The majority of owners will simply shoot UHD 150mpbs as the base resolution, without having to ask themselves if the resolution is worth the media space and processing power. To start, I’ve shot 99% of OWL BOT’s content on a C100mkII, so I’m already familiar with the body type and workflow. Working on this and expecting an answer by Monday. Canon recommends to use their own conversion tool, which allows you to select one of their log gamma profiles. We were told by Canon that it is:SDI and HDMI output in 4:2:2 10 bit in 2K/HD. So, having the controls at the back of the camera is a huge improvement. A lot of people are already referring to the C200 as a “RED Lite” as far as the built in Cinema RAW Light ability and post ability. Do you get one large size and use step-up filters for all your smaller lenses? By any chance would you (or anyone who tested the camera) know whether it records when the CFast card door is left open? I wonder if It’s better to use directly Da Vinci without transcoding or first the Cinema RAW Development. GH-5 is a M43 imager, C200 is a S35 imager, the M43 imager is much noisier, cannot shoot at high ISOs without getting really grainy, it’s FOV and DOF options are limiting compared to an S35 imager. They are down-sampled from a full sensor readout and they look very nice at first glance. I was sent the Canon C200 to review, and while there are a handful of pretty comprehensive reviews from a more clinical perspective, in an effort to shed light on its usability I just grabbed the thing and started shooting. Not sure I’d scrap the Ninja. Depending on your computer, it can take several hours to transcode that 16 minutes of footage. 150 mbps, not 100. After Shooting with a A7RII and and A7s for the last year and half or so I am coming to the same conclusion. With the new C200, fine detail in the images is well preserved, even in 1080p mode, creating much nicer imagery than the C100. We've used a pair of C100s on hundreds of shoots, and it's still one of our favorite cameras. Based upon my experience with the C100, C300, C300 MKII…. But there are still some things that caught my attention in a negative way. We're definitely much more into user experience and image quality than simple specs. That would be the realm of Sony A7 series. thanks! If there was a guarantee, we’d all pay whatever we had to pay, for dependability. We are working filmmakers, not armchair bloggers. The first thing most people will be interested to see is the RAW footage out of the Canon C200. And in a surprise move, Canon has recently updated firmware to enable this monitor to work fully on the C300 mkII. That’s perhaps one benefit to using the C200 on narrative shoots, with the RAW Light codec, as opposed to tackling IR issues on a RED or Black Magic camera.