C200: why does everyone think the c200 doesn"t have tc output?

A Canon C100 owner’s take on the pros and cons of upgrading to lớn the Canon C200 – who is this camera really for và what are its biggest strengths? Learn more in this hands-on overview where I discuss codecs, grading, outputs, modularity, and more.

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If you were a resident of the corporate, documentary or wedding worlds (realms? I like “realms” better. We’re going with realms from now on.), you can probably atchạy thử khổng lồ the fact that the Canon C100 was a popular camera. A relatively lightweight body toàn thân, great low light performance, và professional audio inputs made it a beast in that budget range. It certainly had its limitations. Most of them were easy enough khổng lồ work around. For me personally, it was a workhorse for years.

As of this writing, the C100 is more than five sầu years old. The realms in which it was once formidable are now want for things this camera can’t deliver. Clients are asking for 4K now. Post production workflows have become more tolerant of this extra resolution. As a C100 owner, the time has come to hunt for a new camera. There are a lot of options out there. But if you want to lớn stay in Canon’s ecosystem, an interesting option entered the market a few months ago: behold, the Canon C200!


The Canon C200 sits somewhere between a C100 & a C300 Mark II . Depending on who you talk to, it might just be the new hotness. Others have been a bit uncertain of who exactly the Canon C200 is for. In my opinion, it’s pretty clearly Canon’s replacement for the C100 line. I think it makes sense khổng lồ lay out the ways in which the C200 now occupies the seat the C100 has been sitting in for years. I’ll address how the C200 mirrors some of the aspects of the C100 và then move sầu into lớn some of the new tricks it has up its sleeve. This is not a comprehensive reviews but more a look at something new through the eyes of someone who used the old version a lot.

Body Talk: Build of the Canon C200 vs the C100

One of the most attractive features of the C100 is its relatively compact frame. It’s a camera that you can hand-hold with no rig và get usable footage. The C200 is a solid pound heavier. It does feel substantially beefier in the field. Is it still usable handheld? Absolutely, but you’ll fatigue quicker. The added heft is due to some of the image-making goodies that have sầu been packed inlớn the camera.

Depending on how you like to lớn shoot, the added weight might actually be point in the C200’s favor. If you like to lớn work shoulder-mounted or on something lượt thích an EasyRig, you might prefer the added weight of the camera. It can sometimes make operating the camera feel a bit more stable. This is purely subjective, so the best approach is to lớn get your hands on it và see how it complements the way you work.


Modularity of the Canon C200

The Canon C200 made a significant departure from the C100 in its modularity. The C200 has been designed khổng lồ be broken down to a completely bare-bones package for something like drone or gimbal work. This new design allows you lớn detach the side handle, top handle, and LCD monitor. Even with all this removed, you can still use the camera. This added modularity makes the camera far more adaptable to lớn a wide array of work. With a C100, if the rear LCD placement was inconvenient you just had to live sầu with it (or buy a monitor). The C200 allows you khổng lồ reposition the monitor anywhere you’d lượt thích – a small but welcome feature.

Learn lớn Love sầu that Compression. Or Don’t.

One of the biggest complaints about the original C100 was the limiting AVCHD compression. At 24mb/s, the bitrate wasn’t exciting. Granted: I’ve sầu personally never been EXCITED about bitrates to begin with. But I won’t judge anyone else for feeling otherwise. A lot of C100 users, myself included, got around this bitrate issue by pairing the camera with an external recorder, lượt thích the Atomos Nin-Ja Blade. Taking a clean, 8-bit 4:2:2 signal out of the camera’s HDXiaoMI port, you were now able lớn record lovely ProRes or DNxHD files that more or less matched something like a C300, which was very popular at the time. I used this exact thiết đặt for years, often as a B-camera operator on shows where the C300 was the A camera.

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External Recording

I think that the C200 is designed lớn be used with an external recorder, especially if you’re shooting in 4K. The camera is able khổng lồ record 8-bit 4:2:0 internally, which isn’t great (especially if you’re shooting LOG). Luckily, the C200 can output 10-bit 4:2:2 in HD over HDMI và SDI (8-bit 4:2:0 for 4K). So if you’re in need of a robust 4K image for color grading, all you need is an external recorder & you’re good to lớn go!


In addition to lớn the bit depth of the camera, it’s also important to lớn mention the LongGOPhường. codec that the internal recording of the C200 uses. I’m not a codec expert, but the tl;dr on LongGOPhường. codecs is that they require a lot of computing power when editing. As I understand it, it largely comes down lớn the fact that a LongGOP. compression doesn’t actually record every discrete frame. It instead records reference frames at certain intervals. That allows 4K material khổng lồ be recorded at relatively low bitrates. The burden is then transferred to your computer to interpolate the frames in between the reference ones that were recorded.

Depending on the specs of your computer, this footage might be very difficult khổng lồ edit smoothly. In my case, on a 2017 iMac, I notice a momentary stall when I first play back a clip in the timeline. I also get the occasional hiccup when scrubbing around. If you’re working on an older or less powerful machine, you might find that you’ll need to transcode the footage to get smooth playbaông xã. Here is another area where having a monitor/recorder will solve a little headabịt for you.

Canon C200’s Cinema RAW Light

In a big departure from the C100, the C200 allows you to lớn record a new flavor of Canon RAW khổng lồ CFast 2.0 cards. They gọi it Cinema RAW Light but be prepared for some pretty heavy truyền thông media consumption. I got about 15 minutes per 128GB thẻ, recording 4K 12-bit files at 24 FPS. Canon claims that recording in Cinema RAW Light gives you the best out of the sensor, và I have lớn agree. I found that I had a lot more color depth and flexibility in post production, which allowed me to lớn more subtly affect the color và tonality of the image in the grade.

The workflow lớn get these big, pretty images khổng lồ play nice with your computer is a little finicky. When it comes lớn working with the RAW files, you’re limited khổng lồ two options: Canon’s proprietary software or DaVinci Resolve. If you’re looking to lớn have complete control of ISO, White Balance and màu sắc Space, you’re going lớn need to lớn use Canon’s software. At the time of this writing, DaVinci Resolve sầu is able to read the RAW files but does not tư vấn making those kinds of adjustments. I also found that playback was a bit stuttered in Resolve. I ended up transcoding khổng lồ ProRes 4444 XQ. Once transcoded, post production was a breeze và I still found that I could push & pull the image a great khuyến mãi.

In general, I also found that RAW was a little less forgiving of underexposure, which you can see in the screenshot below. If you look in the shadow detail inside the bowl, you can see some noise. I didn’t find the noise khổng lồ be unacceptable and it’s certainly something that you can reduce with a plugin like Neat Video if you find it distracting.


A Documentary Sensor

One of the most impressive sầu aspects of the original C100 was that the sensor (lượt thích its big sister the C300) was great, especially in low light. This made the camera great for documentaries & weddings because it could get you a good exposure in most lighting conditions. Though I wouldn’t want lớn vì chưng so frequently, I’ve sầu shot usable material on the C100 up khổng lồ ISO 8,000. Is it noisy at that value? Sure. Given the scene & circumstances, I didn’t find it to lớn be excessive.


The C200 continues this tradition. It sports a very flexible sensor that I was pushing as high as ISO 5000. The clips below were shot between ISO 3200 và ISO 5000. While there’s certainly some noise, I think it held up reasonably well. If you’re shooting in CLog2 or CLog3, the shadows will appear noisier before grading. Those picture profiles are flatter than original recipe CLog, so if you’re used khổng lồ that sensor, use a little caution when exposing the camera. If you use a monitoring LUT, you can help yourself in this regard. A LUT should crush a lot of the shadow detail và show you something that’s closer to lớn what a final graded image might look like. I find it’s best to lớn keep the Log image viewable on the camera’s LCD & use some sort of LUT on an external monitor so you can swap between the two.