Conclusions: the RAW and the cooked
The C200 is a very likeable camera, and with the addition of XF-AVC, an increasingly practical one. It is, perhaps, a slightly specialist tool, with Cinema RAW Light but no internal, compressed, 10-bit 4K. But Canon’s rationale seems to be: C300 mkII for broadcasters, and the C200 for independent film makers, documentary work, and even lower-budget commercials.
There is also the appeal of a smaller, lighter camera for drone or gimbal use.
Leaving Cinema RAW Light aside, Canon is charging slightly more for the C200 than the Sony FS5 mkII – also limited to 8-bit internal recording – but 10-bit 4K externally. It’s also more expensive than the Panasonic EVA, which can record 4K 10-bit internally, and output 4K and RAW over SDI.
Canon, though, has its Dual Pixel CMOS AF – still the best video autofocus out there – and, of course, Canon colour science.
But the real draw has to be RAW. The C200 is one of the few cameras out there that record RAW internally. For most other systems, RAW means an external recorder, compromising ergonomics and adding expense. For the film maker who is set on RAW, the C200 will not disappoint.
[vimeo width=”480″ height=”270″]https://vimeo.com/293912726[/vimeo]
- With thanks to all at Brooklands Museum, Surrey, for hosting our camera test.