Autor: Redaktion

Canon Cinema EOS C500 Mark2

Introduced at IBC 2019, the C500 Mark 2 extends the successful Cinema EOS series.

It offers full format in a compact, modular housing and positions itself in the gap between the inexpensive S35 and the expensive full format cameras.

Features and Design

The C500 Mark2 accommodates the same 5.9K full frame sensor as the Canon EOS C700 FF . But this is now combined with the new DIGIC DV 7 processor. The effective sensor area is 38.1 x 20.1 mm with a maximum of 5952 x 3140 pixels.

The camera supports the internal recording of 5,9K Cinema RAW Light and 4K 4:2:2 10 Bit XF-AVC. It is the first camera in the Cinema EOS family to offer the option of recording 5.9K Cinema RAW Light onto the new and considerably faster CFexpress storage medium. Two CFexpress card slots allow simultaneous recording in the same file format, an additional SD card slot serves for recording proxy files.

The possible formats are: XF-AVC/ MPEG-4 AVC/H.264 and Canon Cinema RAW Lite. 5.9K are possible with up to 60p, 4K , UHD and 2K recordings with up to 120p.

The camera also offers anamorphic recording modes and an adjusted, equalized monitor image for 2x and 1.3x lenses. Independent of the monitor signal, the image is recorded anamorphically.

The fact that Canon now also offers its Cinema RAW Lite, introduced with the C200, with the C500 Mark 2 is to be emphasized. This is a proprietary RAW format, which most NLE's can read with plugins.

Despite the large amount of data Cinema RAW Light is relatively small compared to most other RAW formats of digital cameras. The Cinema RAW Light files are about 1/3 to 1/5 the size of Canon's Cinema RAW format, which can be recorded externally by the EOS C300 Mark II and EOS C700 . The advantage of these smaller RAW files is that they can be recorded internally on the CF Express cards.

Canon's Cinema RAW Light is not uncompressed, but the files still contain more than enough information to give you very clean images, good color accuracy and fewer image artifacts. Unlike traditional RAW recording, Cinema RAW Light does not record in a frame-by-frame file structure. Instead, RAW information is combined into a single Canon RAW movie file (.CRM).

Probably for licensing reasons, there are no ProRes recording options and no ProRes RAW available.

The sensor can operate in 3 different modes. Full size, Super35 (Crop ), Super16 (Crop).

It should be noted that the C500 Mark 2 offers a 5-axis image stabilizer. This is technically borrowed from the EOS R , but was adapted for the C500 Mark 2.

Unlike comparable systems from other manufacturers, the stabilizer does not work with an optical stabilization mechanism or a movable sensor, but uses excess edge pixels for the digital calculation of camera shake compensation. Canon calls this Digital Image Stabilization.

If a compatible optical system is used, data, including the focal length used, is sent to the camera. The digital stabilization is then optimized according to the focal length. It is also possible to manually enter the focal length used in order to provide information corresponding to the digital stabilisation.

In addition to full format lenses, S35 or S16 lenses can also be used via adapters. The sensor can be set to the appropriate crop mode.

The C500 Mark II has an exchangeable lens bayonet that can be switched between EF and PL mounts.

The sensor of the C500 Mark 2 has an image circle of 43.1 mm. This is comparable to the Sony VENICE (43.14 mm) and slightly smaller than the ARRI Alexa LF (44.71 mm) in open gate mode.
This information is important when choosing the optics. For comparison: the sensor of the ARRI ALEXA LF has 36.7 x 25.54mm, the Sony VENICE has 36.2 x 24.1mm, and the MONSTRO 8K VV sensor, which is used in the RED WEAPON and Panavision Millennium DXL2, has 40.96 x 21.60mm.

The EOS C500 Mark II uses an oversampling process in full frame mode to generate 4K (DCI or UHD ). This increases image sharpness, reduces moiré effects and the visibility of noise at higher ISO settings.

The camera is equipped with a rugged, built-in, electronically controlled ND filter system that supports 2/4/6 and extended 8/10 apertures. 

The 4-inch LCD monitor touchscreen is compatible with the EOS C200 and EOS C300 Mark II.

Canon offers optional modules that mount on the back of the EOS C500 Mark II. They are connected to the camera body via a three-pin Fisher connector.

Module 1 (EU-V1) supports Genlock/SYNC, REMOTE B (RS-422) and Ethernet and connects to the camera's expansion device.

Module 2 (EU-V2) adds Genlock/SYNC, REMOTE B (RS-422), Ethernet, 2x XLR connectors, a V-mount battery plate, a 12-pin lens mount and DC OUT 24V-2A support.

Other optional modules include the electronic viewfinder, clamp base, shoulder rest, handle and remote control.
The control of the sound unit has now been moved from the left to the right side. The reason for this is that the two card slots are now positioned on the left and the plug-in modules are attached at the back.


Users can create their own LUTs and load them onto the camera to control the precise look. In addition, different LUTs can be used for each signal output.

The EOS C500 Mark II supports ACES 1.0 (Academy Color Encoding System). With the IDTs supplied by Canon, images taken with the EOS C500 Mark II can be imported directly into ACES compatible systems. In addition, the video output of the camera can be checked on compatible monitors via ACES Proxy.

The EOS C500 Mark II is visually not a radical departure from what Canon has done so far. Everyone who has used Canon Cinema EOS cameras is familiar with the style and layout of the buttons.

But the camera has been designed to be much more modular than previous EOS Cinema cameras.
The camera can be adjusted to suit your needs to be quite small or quite large. 

It weighs about 3.9 lb. (1,750g) and has physical dimensions of 153 x 148 x 168mm (W x H x D).

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