Canon’s Latest Cinema EOS Cameras: The C200 and C200B
With top-shelf features at prosumer-targeted pricing, Canon’s C200 and C200B cameras join the Cinema EOS line with up to 4K DCI capture.
Making their debut at Paramount Studios in Los Angeles during the recent Cine Gear Expo, Canon announced the EOS C200 and C200B, “sweet spot” models situated as a more affordable pro option between the C300 Mark II, whose sensor it shares, and the HD-only C100 Mark II. Targeted at lower-budget users looking for higher-end features, the production-ready EOS C200 is the more expensive of the two. It comes with LM-V1 LCD Monitor and LA-V1 LCD Attachment, GR-V1 Camera Grip and HDU-2 Handle Unit, as well as internal 1.77-million-dot OLED EVF.
Constructed as a more lightweight system for drone and gimbal users by sacrificing the rear EVF, the C200B is a bare-bones, mountable configuration that still incorporates the same internal features as the C200. The LM-V1 LCD Monitor, LA-V1 LCD Attachment, GR-V1 Camera Grip and HDU-2 Handle Unit will also be available separately for C200 purchasers who only want LM-V1 LCD Monitor.
Both models have Wi-Fi and Ethernet connectivity for remote operations, as well as 8.85 MP CMOS sensor, capable of up to 4K DCI video capture. Canon’s latest DIGIC DV 6 image processors are provided in a dual configuration to address the needs of such large resolution, HDR-capable image capture, as the C200/B systems supports ACES 1.0 and other emerging HDR standards.
For up to a remarkable 15 stops of dynamic range, the C200 also sports Canon’s new Cinema RAW Light format (4K 60p/50p at 10 bit and 30p/25p/24p at 12 bit), which provides internal RAW capture to CFast cards thanks to file sizes at roughly one-third to one-fifth that of a standard Canon Cinema RAW file. With 60/50/30/25/24P at 8-bit, MP4 and MP4 Proxy capture at up to UHD resolution is also available for offline and other editing needs via dual-slot SD cards.
For single operators, the C200 also offers several other features of the Cinema EOS line, such as Canon’s highly regarded Dual Pixel CMOS AF, which is touchscreen-capable when using the LM-V1 LCD Monitor. With continuous autofocus tracking and face detection for roughly 80% of the screen, focus pre-sets can also be programmed for automated focus racking.
There are a number of other highlights, like slow motion capture in HD at 100 and 120 fps, Over Sampling HD Processing to enhance sensitivity while minimizing noise, Wide DR Gamma curve to prevent blown out highlights and overexposure, an ISO 100-102400 range of sensitivity, in-camera ND filter, support of the ACESproxy, and much more.
Priced at $7,499 and $5,999, respectively, the C200 and C200B join the Cinema EOS line below the recently discounted $11,999 C300 Mark II, which has 4K RAW output internal XF-AVC capture in your choice of Intra- or LongGop compression rates. (Canon’s XF-AVC video format is planned for the C200 in a future firmware upgrade.) The flagship Cinema EOS C700 is capable of up to 4.5K RAW when using the optional Codex CDX-36150 recorder, as well as internal 4K ProRes and XF-AVC recording. The C700 and C300 Mark II also have PL mount options, while the C200 does not. With full HD capture at 1920x1080, the lower-end EOS C100 starts off the line at $5,499.
Canon also recently announced the COMPACT-SERVO 70-200mm Zoom Lens (above) at $5,800. The Canon C200 models are compatible with Canon CINE-SERVO and COMPACT-SERVO zooms as well as more than 100 currently-available EF mount focal lengths (see below), including the Canon lines of 4K-capable CN-E Cinema prime and zoom lenses.
