Author: Álvaro Bernal
The Canon C200 is the latest camera in Canon’s Cinema EOS lineup with a super 35 sensor. This camera covers the market gap of those seeking 4K recording with super 35 aesthetics without breaking the bank. It is also the first camera in this price range to include internal recording in RAW format.
We will begin by talking about the recording formats it offers, as this is a determining factor for each type of audiovisual project. In 4K you can record, as we say, internally at 25/30 p in 12-bit or at 50/60 p in 10-bit. In MP4 4.2.0 long GOP at a flow rate of 150 Mbps 50/60 p. Here is where the debate arises. Why doesn’t Canon offer an “intermediate” 4:2:2 codec? I don’t have the answer to this, but perhaps the existence of the C300 range explains why. The C200 is probably aimed at those who would normally go for an agile MP4 workflow with 4K resolution and all the good things of the EOS line, which is an image that we can’t describe but is very natural and credible, on top of it offering an excellent performance with low light, a good dynamic range and an ergonomics designed by professionals and not by engineers in an office and who have never recorded professional video in their lives. That is the natural market, but it brings that extra 4K in RAW that will allow us to play in the real image post-processing league from time to time. Having said this, we must not forget that when we record in RAW, the costs increase considerably. The specific “Compact Fast” cards are currently much more expensive than the SD cards that allow recording in 4K MP4, the volume of gigabytes generated is significantly higher and the computer we need to process the RAW and then edit them must be really powerful. This is why I insist in saying that normal use will be MP4 4K with the options of the curves, sometimes LOG and sometimes in “WIDE RANGE”, where we get much of the good EOS philosophy without too much complication. As an approximation, in 128 gigabytes you will be able to record 15 minutes in RAW 4K and 110 minutes in MP4 4K.
In HD, we can reach about 100/120 continuous frames, this time without cutting the sensor. Canon has yet to position itself at the forefront of maximum performance in slow-motion cameras, but it already offers statistics that allow us to consider this option narratively. It is worth mentioning that when recording at 50p, we can achieve a subtle, slow motion in editing without a 50% loss, which offers a subtle change in many planes that accompanies the emotional intention of the edition to perfection. This is the case of slowing down the movement of people, elements of nature, etc. Finally, in this aspect, we can say that by recording in 4K RAW, we can simultaneously record a file in 4K with high compression on an SD card to visualise it on a not very powerful equipment while having access to the powerful PC that will process the RAW.
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