The New Canon C500 Mark II Camera

Its no secret that 2019 has been the year of the camera. It feels like a new camera has been either announced or released almost every month this year, and Canon looks like it is going to cap it all off this December by releasing the new C500 Mark II.

With the bevy of new DSLM cameras that have blurred the line between pro-sumer stills camera and professional video camera Canon’s Cinema EOS line has been given an increasingly intense run for its money.  Canon looks to be re-asserting it’s status as King of the Heap by releasing the C500 Mark II. The new camera offers some truly impressive specs and a high degree of modularity at a very competitive price point (compared to other similarly capable and similarly modular camera systems).

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Here is a list of official features that Canon has announced for the camera:

  • 5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes
  • User Changeable Lens Mounts which gives users freedom to use the lenses they desire
  • Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data
  • Canon RAW Light and XF-AVC Recording
  • Proxy Recording
  • Compatibility with EF and PL* Lenses
  • Anamorphic Lens Support
  • Electronic Image Stabilization
  • Modular Design with three available Expansion Units allows a high level of connectivity and interoperability
  • 3” LCD Touch screen Monitor LM-V2
  • Dual Pixel CMOS AF with support for Touch AF and Face Detection AF
  • Canon Log 2 and 3 Support
  • 4 Channel Audio Recording
  • Support for Custom User LUTs
  • 15 stops dynamic range
  • Cinema RAW light internal
  • Drone and gimbal size and weight

Let’s break down what some of these features mean.

  • 5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes
  • User Changeable Lens Mounts which gives users freedom to use the lenses they desire
  • Compatibility with EF and PL* Lenses
  • Anamorphic Lens Support
 
These features taken together point to Canon’s effort to make this camera just as comfortable shooting high budget narrative films as it is shooting run and gun docs and commercial work. The drone/gimbal sizing means that you with the right drone you can send this 100ft in the air while still maintaining all the advantages of the full frame sensor and advanced video codecs. The crop modes, user swap-able lens mounts, anamorphic lens support and EIS (Electronic Image Stabilization) make this camera truly lens agnostic.  As Canon’s own literature states, this camera can take anything from old servo zoom B4 lenses to vintage stills glass to PL cinema glass (especially their own Sumire Prime Cinema lenses, because y’know, synergy).
 
With Canon’s excellent Dual Pixel AF, EIS system, and support for custom user LUTs the C500 Mark II is a big boy cinema camera that still provides exceptional user assistance. The camera supports Continuous, Face Detect, and One-shot AF modes when using appropriate lenses. The EIS system is basically just Canon’s way of saying this camera has 5 axis IBIS, so you can use any non-OIS lens with impunity. 
  • Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data
  • Canon RAW Light and XF-AVC Recording
  • Proxy Recording
  • Canon Log 2 and 3 Support
  • 15 stops dynamic range
  • Cinema RAW light internal
 
The C500 Mark II is a lean, mean, media recording machine. The new DIGIC DV 7 Image processor allows you to record in a variety of frame rates, resolutions, bitrates, and codecs depending how much color flexibility you need in post or how much space you have on your hard drive. The ability to record 2K 8bit proxies to standard SD cards lets you streamline your transition into post-production and make your editor’s life just a little bit easier. With 15 stops of dynamic range and Cinema RAW light internal this camera is capable of producing footage that will make the hardest part of color grading be deciding what ‘film look’ best fits your quirky indie dramady about deconstructing the manic pixie dream-girl trope.
  • Modular Design with three available Expansion Units allows a high level of connectivity and interoperability
  • 3” LCD Touch screen Monitor LM-V2
  • 4 Channel Audio Recording
 
This one goes out to all you multi-cam users out there. The C500 Mark II system features a variety of expansion units that enable features to make the C500 Mark II a capable broadcast camera. The stand-outs in this section are the EU-V1 expansion unit and the EU-V2 expander. The studio-centric EU-V1 adds Ethernet ports for live-streaming, RS244 remote camera control, and genlock/sync-out. If the EU-V1 is the nerdy indoor kid little brother, the EU-V2 is the beefy, out on the football field big brother expansion unit. The EU-V2 adds a V-Mount battery plate, two additional XLR audio inputs for 4-channel recording, a lens control port, 24V and D-tap power outputs, Genlock, an additional RS422 port and an Ethernet port. 

Oh! and also this camera supports IP streaming. You can pair the camera with a separately available transmitter or stream to your computer via Wi-Fi or Ethernet to allow an off-set producer or a nosy client to view your capture at rates of up to 1080p XF-AVC at 9 or 4 Mb/s.

Getting down to the nitty gritty, the Canon Cinema C500 Mark II is scheduled to be available in December 2019 for an estimated retail price of $15,999.00. 

If you are are in the market for a camera system that can do everything from low budget docs to real cinema work and have a spare $16k burning a hole in your pocket the new Canon Cinema C500 Mark II is a pretty solid value proposition. 

 For more information, including accessory prices and availability, call or email us today!

New Lumix Full Frame Mirrorless Camera!

In what seems like the endless stream of Full-Frame Mirrorless camera announcements this summer a new contender has just entered the ring!

Exciting New Specs

Earlier today at Photokina Panasonic announced the Lumix S1 and S1R. Similar to Sony and Nikon’s recent offerings the new Lumix camera will come in two flavors. The S1 will feature 24 megapixel resolution and the slightly up-spec’d  S1R will have 47 megapixel resolution.

Other key spec’s that Panasonic is touting for the camera is it’s dual image stabilization, 3-axis tilty-flippy LCD screen, Dual XQD/SD card slots, 100% weather sealing and of all things resistance to low temperatures (Panasonic appears to be trying to shake Canon and Nikon’s strangle hold on the nature and adventure photographer market).

One last feature that the New Lumix will feature is 4K 60p recording (50p for all you PAL folks). The S series is the first, and so far only, full-frame mirrorless to feature 4K 60p recording. THE WAIT IS FINALLY OVER!

New Collaborative Mount

Panasonic will also be introducing a new mount to go along with the new cameras. The L-mount is relatively new product of a collaboration between Leica, Sigma and Panasonic. The mount is 51.6mm in diameter and has a 20mm flange distance. The new specs puts it squarely between Sony’s E mount and the new Nikon Z and Canon RF mounts in terms of size and ability to use adapters.

Outside of 4K 60p recording  and 24/47MP sensors not many other details have been released about the new camera’s features. Given the camera’s Lumix lineage it’s safe to assume that the S1 and S1R will have similar max shutter speed and other video modes to the GH5.

Exact Release date and Pricing TBA

Panasonic has announced that the S1 and S1R will be released in early 2019.

Pricing for the camera has not been announced. Going by the competition it is safe to assume the bodies will be around $2000 for the S1 and $3000 for the S1R.

They did not confirm any lenses that will be releasing with the cameras. However, they did announce a commitment to expand the lineup of S-series compatible lenses to more than 10 by 2020. They mentioned 3 lenses in this expanded lineup specifically.

So far a 50mm f1.4, a 24-105mm, and a 70-200mm lens were included in the press release. (No max aperture for the 24-105 and the 70-200 were announced.) Based on some of the photos used during the Photokina presentation, it is safe to assume that these lenses will be released with S1 and S1R. The 24-105mm will likely be a kit option.

Currently, the only L-mount lenses are from Leica. They have 11 full-frame L-mount lenses in production at the time of writing.

Final Thoughts

With Panasonic entering the game it is now undeniable that full-frame mirrorless is (or at least will soon become) the new standard in Photography. Panasonic has lead the way in introducing rock solid video performance in a small package with it’s Lumix GH series cameras.

It’s too soon to say if there will be any major video improvements over the GH5 and GH5s, but the introduction of a full-frame sensor will make the new cameras much more appealing to crossover shooters.

Without official confirmation on pricing and a few other key video features (looking at you 4:2:2 10bit internal) it’s hard to tell how these will stack up against the A7iii and A7riii. If the S1 and S1R come in within a few hundred dollars of the current A7 series lineup, Panasonic will be rocking Sony’s full-frame boat pretty hard.

Overall the Lumix S1 and S1R pack a lot of great features into a single camera which will make Panasonic an increasingly viable alternative for professional photographers who want to switch to mirrorless and videographers who need rock solid video in a full-frame package.

 

The Full Photokina Panel

 

If you have any questions give us a call at 512-440-1400 to speak with a sales rep today or shop Texas Media Systems online here