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C500 MK II Cinema Camera – Leading the Full-Frame Charge!

It’s here! The new Canon C500 MK II, the long anticipated sequel to the C500 and (current) successor to the ever popular C300 MK II. This time, it’s Full Frame! Canon fans have been waiting a long time for this update to the Cine series, so how does it stack up?

Right off the bat, the C500 II is leading the charge into the Full-Frame Cinema Camera landscape. This camera offers Full-Frame 5.9K RAW recording internally to the new CF Express media. Additionally, it will record 4K S35 RAW, alongside 4K S35 and 4K Full Frame XF-AVC. Did I mention it shoots 4K? It shoots a lot of 4K. 

For high-speed and XF-AVC modes, there is a crop employed, depending on your settings. Below, I’ve outlined the main differences, crop-wise, between RAW and XF-AVC formats. My findings have it at about a 10% crop between modes. 

Color-wise, the C500 II brings the same tried-and-true Canon color science, with options for Canon LOG2 and LOG3, as well as the same methods for adjusting between color profiles and matrices. I’m still partial to “Production Camera.” The color is very Canon-like, with dependable skin tones and great highlight retention. Canon’s biggest advantage was always its built-in color science and this is no different. 

For high-speed options, you’ve got 60fps at 5.9K RAW and 4K formats — and up to 120fps for the 2K cropped modes — similar to the C300 II. Canon cameras have traditionally struggled with high-speed options, and it would have been nice to see some better, non-cropped options in the C500 II, but it’s also no huge shock that there aren’t any.

The new camera also includes a few new expansion units — the most useful of which adds an additional 2 XLR ports, V-mount power options, and lens control. It builds out nicely, and it doesn’t add too much bulk to the body — but it adds the increased real estate to throw it on a shoulder more comfortably — aided by the counter weight of a larger battery. Large batteries may be the way to go with this one, as the camera sure does use a lot of power. Nothing unexpected, though, as we’re seeing all the new full-frame cameras slurp down batteries without a care in the world. Price of admission, it would seem.

The new LCD screen and menu layout are a welcome change from the C300 II, and it feels right at home with C200 users. A single cable connects the screen to the front of the camera, ditching the audio bundled to LCD that has been an issue with the previous cameras. Overall, the build quality is rugged, and if past cinema cameras are any indication, people will be putting that to the test. 

For outputs, we’ve got a 4K HDMI, a Monitor SDI out, and a 12G 4K SDI out, in addition to the video terminal for the LCD/EVF. One small issue is that when recording in 4K formats, the SDI out is stuck to outputting 4K. Most wireless transmitters and on-board monitors don’t accept a 12G 4K image, limiting users to using the Monitor Out for on-camera routing. Not a huge issue, but not having the ability to spit out a clean and overlay/LUT signal at the same time to two places will get on the nerves of the DIT. I expect this will be addressed in a future firmware update. 

Using the camera is easy, as one would expect from Canon. While the menu system is a lot longer than with previous Canon cameras, it’s still as easy as ever to find what you’re looking for. 

Overall, we expect this camera will meet the needs of the full-frame minded shooter, with plenty of S35 modes as well. While the XF-AVC looks great, it’s the Canon Raw that really sings. And while it’s compressed, it’s still a pretty hefty workflow at around 32 minutes per 512GB card. It’s helpful that this camera can occupy both higher budget shoots with RAW workflows, and more traditional C300 II style shooting with XF-AVC — looking great in either scenario.  Reach out to Rentals by email or phone at 800-rule-com (800-785-3266) to take it for a spin. Canon’s Ryan Snyder and Paul Hawxhurst will be here on March 18th from 10am-12n for a hands-on overview. Click here to RSVP. It’s FREE!

-Alex Enman, Engineer

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Now Taking Orders for the Canon EOS C200 Digital Cinema Camera

Coming Soon to Rentals and Now Taking orders for Sales! The Canon EOS C200 Digital Cinema Camera is the latest “ready-to-go” production camera from Canon that delivers outstanding image quality, performance and versatility, making it ideal for film, documentary and television production, corporate and event photography, and newsgathering.

Features include:

• 8.85 Megapixel Super 35mm 16:9 CMOS sensor that supports 4K (DCI) recording with a maximum resolution of 4096 x 2160 pixels

• Fully compatible with new and existing Canon EF-Mount lenses

• Built-in Viewfinder with LCD Touch Panel, Camera Grip and Handle Unit

• Dual DiG!C DV 6 Image Processors

• Dual Pixel CMOS AF Technology

• Internal 4K RAW Recording with New Cinema RAW Light

• Internal 4K UHD and Full HD Recording in MP4

• Full HD 120P / 100P Slow Motion Recording

• Professional Workflow

• HDR Viewing

• ACES 1.0 Support

• Wide Range of Connectivity Options

Sales is taking orders. Contact sales@rule.com or 800-rule-com for details. We’ll be adding the C200 to our Rental inventory as soon as it’s available. Stay tuned for more details.

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Canon Introduces New Firmware Upgrade for C300 + C300 MKII

Canon has announced a new firmware upgrade at NAB New York that is sure to please C300 shooters.  The main features for the Mark II are enabled audio recording in 2K crop mode and the ability to turn off the internal microphone.  The update brings an expanded Zebra range (5% to 100%) on the Mark II and shutter angle priority (keep your desired shutter angle as you change frame rates) on both the original C300 and the Mark II.

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The other updates coming with the firmware relate to Canon’s Cine Servo Zoom lenses in EF mount.  Auto and push iris are now available for Cine Servo EF 17-120mm and EF 50-1000mm, as well as the new 18-80mm that will be released shortly.  Dual Pixel autofocus will also be supported for the EF 17-120mm and 18-80mm on the Mark II and original cameras with dual pixel capability.  We currently do not carry these lenses (we have the 17-120mm available in PL mount only), but we will have an 18-80mm once it is released later this month.

Check out this video with Canon Technical Advisor, Brent Ramsey, for more information about the upgrade.  We’ll be updating the C300 Mark II EF Mount and PL Mount cameras in our rental inventory when the firmware is released on December 13th. Interested in buying the C300 Mark II? See links below and contact us at sales@rule.com or 800-rule-com.

Canon EOS C300 EF 24-70 Kit

Canon EOS C300 with Dual Pixel CMOS AF Feature Upgrade

Canon EOS C300 MK II 

-Grace Deacon, Engineer, deacon@rule.com

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Multiple Canon C300 (and C300PL) in our Shop for New England’s big unveiling Thursday night!

Picture this… I am sitting in a staff meeting and I see, through the glass door, a cart with 4 cardboard boxes from Fed Ex roll by headed my way. I know that I am expecting a delivery of 4 Canon C300 cameras for our Special January Pub Night with Larry Thorpe. For those of you not aware, Larry is Senior Director of Professional Engineering and Solutions at Canon.  He will be presenting  an overview of the C300 followed by Q&A.  By the way, if you are interested in joining us, it goes from 6-8pm. and you can RSVP to events@rule.com Just like a kid on Christmas day, I rush to open these boxes.  I was fortunate to be invited by Canon to attend their grand unveiling in Hollywood on Nov. 3rd so I already had my hands on the camera but I knew that today, I would be able to spend some real time tinkering with these and in quantity! We received two EF mount and two PL.  We will be showing them in various configurations – from bare bones DSLR-like handheld configs to fully built-up studio style cinema rigs with Optimo zoom cinema lenses. Very shortly I will follow this up with a more detailed blog about my observations, but in summary, the C300 is a winner for sure!  It is elegant, logical, sturdy and tight.  Its modular design does not feel like you are taking apart a child’s toy and the more I played with it the more I understood that a lot of consideration was given to each module. The pistol grip side handle has a 4 pin electronic connector cable that plugs in before you set your angle for mounting. The mount itself is a very sturdy metal thread which gives you confidence in its reliability. The menu and controls are straightforward in intuitive.  You have options to label in ISO or Gain, Shutter in Degrees or fractions, White balance  presets displayed in iconic sun or light bulb form or in kelvin (K) The base sensitivity is shown at [850], for use when utilizing Canon Log, and as most of you have already heard it goes up to an astounding 20,000 ISO!  This of course doesn’t mean that you should always shoot this way nor does it mean that there is no amplifier noise but when the judgement of “acceptable”  is yours to make for some shots, its is nice to know you’ve got it when you need it. The EF mount with one of our 24-70 EF lenses looked great and of course an Optimo on the PL version looks stunning. –  Tom Talbot Director of Technology

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Zacuto Z-Finder Pro 2.5x in the field

If not using an on-board monitor for your HD-SLR camera, the Zacuto Z-Finder Pro 2.5x (Z-FIND-PRO2) is essential for Live View shooting with the Canon 7D and 5D Mark II. Zacuto has constantly improved their viewfinders based on feedback from users. It’s good to see that they are implementing features that professional shooters have craved since the initial version of the finder. Many would say to simply use the magnification button on the camera when setting-up your shot for focus, but if you shoot professionally (be it documentary, commercial, corp, etc.) you are dealing with moving subjects / objects, etc., so this doesn’t work accurately. Having a proper viewfinder and being able to focus with magnification (without taking your eyes off the frame) is a huge asset. Personally, I found the 3x version of the viewfinder to be too much magnification, and it was a distraction when shooting. Most shooters I have worked with and talked to seem to agree that the 2.5x is the perfect solution for handheld and rig shooting when or if an LCD is not viable. First thing I noticed about the Z-Finder Pro 2.5x over the V2 of the finder was the mounting system. The Gorilla Plate with DSLR mounting frame is very adjustable and can be easily mounted to a Canon 7D or 5DMKII without worry of it popping off or using bands like the older Z-Finder. Using the 2.5X on the 5D required a bit of tweaking to the frame in order to position it but once centered, it was secure. Using the 2.5x on the 7D seemed to have the best fit with minimal adjustment needed to center the finder over the LCD. The second major improvement I noticed is that the new Pro finder did not fog up when used. This is a huge improvement, so much to the point that Zacuto now has an anti-fog upgrade kit for the Z-Finder V2. This upgrade is $22 and worth every penny if you have the older finder. The Gorilla Plate comes with the 2.5x and the 3x. It has several taped 1/4 20 holes in the bottom, but I suggest getting the plate adapter (Z-GRP-ADPT) for $17.50. This adapter will center your tripod mounting hole which will keep your pan axis point accurate. For under $400 the Z-Finder 2.5x is a great deal. Unlike monitors, you do not have to deal with power, cables, conversions (HDMI to HDSDI) etc. You also do not have glare to contend with or other reflections on the monitor. The Z-Finder will block out all extraneous light sources so you can see your frame accurately. This is a must for doc filmmakers (where power and excess equipment can be an issue) who plan on using the 7D or 5DMKII camera in the field. For the 5DMKII this will be even more of a must as monitoring the HDMI signal is only standard definition and getting critical focus is not happening with an on-board monitor. This is where the Z-Finder 2.5x saves the shot. You can achieve focus which, for this full-frame camera, is critical especially when using long lenses and wide open apertures. Mike Sutton, Senior Account Manager