After browsing the Canon website a little, we found a very informative and educational comparison chart of the entire Cinema EOS family. This information will help illuminate Canon’s cinema lineup better. Explore it below.
The Canon Cinema EOS family.
Prior to the announcement of the C300 Mark III, we wrote an article summarizing the history of the Cinema EOS. Be sure to read it (From C300 to C500 Mark II: The History of Canon Cinema EOS Cameras). The article scans all Canon cinema cameras (except C300 Mark III) and the reason for their development taking into account their defined market segment. The Cinema EOS Party started in 2011 with the C300 and continues to this day with the great C300 Mark III announced two months ago.
DP Steven Holleran with the Canon C300 Mark III. BTS from Boneyard Ballet. Image: Canon
In fact, 2011 was the year Canon entered the cinema camera era. This strategic decision was a consequence of the understanding that DSLRs have their limits when it comes to cinema production. In addition, Canon realized that a whole new branch of cinema-related products was needed instead of sharpening the video capabilities of still cameras. Take a look at the table below which shows a rough schedule of Cinema EOS cameras (excluding the new C300 Mark III, which launched in 2020).
From C300 to C500 Mark II – The History of Canon Cinema EOS Cameras
Canon’s research and development toyed with several parameters related to the Cinema EOS range: sensor size, codec, and frame rate. The line was introduced in the sensor size Super 35, then expanded to full format and back to Super 35 with the brand new C300 Mark III. In addition, a new technology has been developed to improve the cinema images (such as the Dual Gain Output (DGO)). By the way, the comeback of the smaller sensor size (Super 35) in modern cinema cameras is interesting (even ARRI is developing a new ALEXA S35 – read: ARRI confirms the launch of the ALEXA Super 35 4K in 2021).
The Canon Cinema EOS C300 Mark III. Image: Canon
Sensors
Let’s explore the Cinema EOS sensor options in terms of size and resolution:
- C100 Mark II: Super 35mm. 9.84 megapixels (4206 x 2340)
- C300 Mark II: Super 35mm. 9.84 megapixels (4206 x 2340)
- C200: Super 35mm. 9.84 megapixels (4206 x 2340)
- C700 FF: Full screen. 20.8 megapixels (6062 x 3432)
- C500 Mark II: Full screen. 20.8 megapixels (6062 x 3432)
- C300 Mark III: Super 35mm. 9.84 megapixels (4206 x 2340)
As you can see, there is a very simple game between full format and Super 35. The main difference is implemented in the C300 Mark III, the Dual Gain Output (DGO), which enables the DR (Dynamic Range). can be increased to 16 f-stops (claimed by Canon). You can find more about this technology here: The new Canon C300 Mark III is a Super 35 beast with lots of goodies.
Codecs
The Canon Cinema EOS gives you the privilege of choosing between several codecs depending on your requirements (DR, workflow and compatibilities). There are basically three main codecs: the powerful XF-AVC, the mainstream ProRes and the unique Cinema RAW Light. Check out the list below:
- C100 Mark II: AVCHD: MPEG-4 AVC / H.264, MP4: MPEG-4 AVC / H.264
- C300 Mark II: XF-AVC: MPEG-4 AVC / H.264, RAW (external)
- C200: RAW: MP4: MPEG-4 AVC / H.264, Compressed RAW (Cinema RAW Light)
- C700 FF: XF-AVC, MPEG-4 AVC / H.264, ProRes, RAW (external)
- C500 Mark II: XF-AVC: MPEG-4 AVC / H.264, compressed RAW (Cinema RAW Light)
- C300 Mark III: XF-AVC: MPEG-4 AVC / H.264, compressed RAW (Cinema RAW Light)
The only cameras that we can use to capture internal RAW are the C500 Mark II, C300 Mark III and C200. This codec was announced in 2017 with the C200 and has since been implemented in Cinema EOS in order to offer a decent compressed RAW alternative internally.
Upgrading the Canon C500 Mark II
These are the prices of these models for June 2020:
- C100 Mark II: $ 2,699 at B&H
- C300 Mark II: $ 7,500 at B&H
- C200: $ 5,500 on B&H
- C700 FF: $ 33,000 on B&H
- C500 Mark II: $ 16,000 on B&H
- C300 Mark III: $ 11,000 at B&H
Most Cinema EOS cameras are Netflix approved. However, the C200 is not due to a missing TC (time code). Nevertheless, the C200 can possibly be used as a second camera in Netflix productions (The Canon C200 can be used in Netflix productions (under certain circumstances)). In February of this year, the Canon C500 Mark II with the new Cinema RAW Light codec was added to this prestigious list. For now, the all-new C300 Mark III isn’t on the list. However, I suspect it will be a matter of a month or two before it is approved as it has the Cinema RAW Light features and the best cinematic images in the EOS family.
Canon Cinema EOS approved by Netflix
Canon has released an update to its Cinema EOS comparison sheet, which now includes the C300 Mark III. The sheet shows and compares the following parameters: image sensor, lens mount, exposure, focus control, LCD monitor, viewfinder, recording media, file formats, codec, video formats, terminal, related accessories, third-party products, dimensions and weight.
Check it out below. The table can also be downloaded from the Canon website.
The Cinema EOS comparison sheet (June 2020)
The Canon EOS Cinema range was launched in 2011. Since then, this family has flourished and expanded by offering new options and technologies. Canon EOS Cinema cameras are popular with independent professional productions. However, these beasts are less popular on Netflix because, for some reason, cameras like ARRI and RED are chosen for these productions. In my opinion, that should change with the approval of the C300 Mark III.
What do you think of the Cinema EOS cameras? Comment below!
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