Canon EOS C200/C200B Review

I’ve had a good play with an EOS C200 over the past 48 hours. When I first opened the package, I was pleasantly surprised by the size. The height is significantly less than that of the C300, and with the double-mount top plate, everything should be quite sturdy.

It’s a well-made device with the same high level of build quality as the other Cinema EOS cameras that you would expect from Canon.

When I first picked up the camera, it felt comfortable in my hands, and the major controls were located in locations I was already familiar with thanks to using a 500, 300, and now a 700. This is something I believe Canon is doing better than competitors at than others in terms of consistency in developing a product range with standardization across models.

If you’ve had the pleasure of switching between multiple cameras while on location, it can mean the difference between capturing the photo and not, saving you the trouble of fumbling for the button or (when renting) the embarrassment of not appearing to know what you’re doing.

If you deal with the professional line of Canon stills cameras, you are probably already familiar with the idea that you may rapidly switch between them. Additionally, the user can choose a button mapping for the buttons.

Canon EOS C200/C200B Ergonomics

I like the front hold with the side grip for ergonomic reasons. This size unit and the grip it may be used with make complete sense; they can result in more dynamic photos and the ability to move the camera about a little more. Perhaps this is because I have a background in still photography. For those who would choose to shoot that way, third parties like Vocas have already revealed several really cool shoulder setups.

The Canon viewfinder, which is now the best I’ve used, was the other optional accessory I had. Although you can’t use it at the same time as the touchscreen, it is highly useful when installed on the camera, especially for one-man shooters who employ autofocus.

With my arms pulled in and pressed to my eye, it felt wonderfully secure. When shooting outdoors in bright sunlight or other challenging conditions, the external finder elevates the quality of the image in the rear viewfinder. This makes using the camera a complete pleasure.

Additionally, if you shoulder mount, you now have a complete viewfinder that works with both a 300 and a 700.

Let me start by saying that the mount for the touchscreen is overengineered. I get what the designers were going for, but for me, it falls short.

I have no doubt that outside parties will resolve this fast. The CFast card flap was the other; in my opinion, it made removal difficult. Apart from that, full-size XLR inputs and strategically placed sockets with easy access felt appropriate.

The fact that this camera can shoot RAW internally and has a tiny form factor is what appeals to me about it. It is a stripped-down version (referred to as “Light” by Canon) yet it still uses RAW data.

In my opinion, Canon has always possessed the best color science. The C700 I use has one of the nicest looks available; all you need to do is apply a LUT and you’re finished unless you want to go farther, in which case you may do so without significantly degrading the image. I’ve always taken still photos in RAW format, first with the C500 and now with the C700.

The opportunity to use a compact, lightweight, all-in-one camera with exceptional image quality, particularly for handheld or gimbal work that can be done on your own if necessary, was lacking for me.

The C200 is a compact, up to 50/60P, 4K DCI cinema camera with internal RAW recording and the ability to simultaneously build a proxy for editing. I believe some people are missing this.

The Alexa Mini is the only other camera I can think of that does this, but it lacks autofocus and is not even close to the same price. Connect an external recorder if you wish to make a rapid, usable recording.

I utilized external recorders with the 500 to obtain RAW, and it’s a nice alternative because it provides you a second screen, the main screen with the viewfinder attached, and a tool to view rushes without the camera.

Canon EOS C200/C200B Pure beauty

Having tried the RAW, I can say that it is lovely. It appears to have the same camera sensor as the C700. While holding the whites, you can see the 15-stop range in detail all the way to the blacks.

In my brief test, the files from the CFast card transferred quickly, and I was able to edit in real-time in Resolve 14 beta 3 on a 2017 MacBook Pro. I did activate the speed workflow, and I did have to wait for Resolve to render before playing, but it was workable for editing.

I used a LUT that was pre-made by Lutifyme, and the result was a stunning 15-stop cinema release quality film. I didn’t have the Canon LUTS at the time.

Although 13 firms have stated that they will accept Cinema RAW Light, I was able to import the proxy file, alter it, and then re-conform with the RAW in Resolve to grade it straight away. The other option is to convert with a LUT to a different codec using Canon’s Cinema RAW Development.

I put it on my Ronin to try it out in terms of usability. Using only EF lenses and the autofocus, the camera balanced fast, sitting comfortably above the center point. Canon must have tweaked the autofocus because it now feels human, rather than a computer, on pulls; the abrupt stop associated with computer control now seems to relax in and out.

I used a highly dependable and vintage 50mm f1.0 to capture high-quality close-up images on my own while pulling the focus. Since I can’t focus the lens with my eyes, it consistently achieved the desired focus.

Another improvement seems to be that the focus now functions in much lower light; my small test shoot was conducted at night with candles, and only a few times did it search. However, even in that dim setting, facial recognition could still rapidly identify one or two people.

When it comes to focusing, the touchscreen on the camera is pure genius. The C300 MkII had a WiFi control that was comparable, but it always seemed to have a delay. With the C200, it can distinguish between two faces, and with a touch of the screen, I can move between them in a way that appears natural.

The ideal entry-level RAW 4K cinema camera is this one. You can shoot in 4K resolution that can be seen on a large screen as a one-man show while only using EF lenses or the new autofocus Cinema lenses, and when HDR becomes standard, supply it to ensure the lifespan of the images created.

If you’ve ever attempted to convert client-supplied Betacam footage into even HD, let alone 4K, you understand what I mean. This makes the ideal partner if you shoot with a C300 or C700 because it gives you new skills not possible with either camera while also acting as a backup if necessary.

And if you are a stills photographer transitioning to video, this is the ideal option to get started while maintaining the RAW quality you are accustomed to.

The 700 and 200 together would give me the freedom to shoot any scenario, with any rigging or camera support I could imagine, while maintaining a RAW workflow, using the same sensor and color science, and having the option of using ACES.

Canon EOS C200/C200B Specs

Exposure Control

Video Capture

Interface

Monitor

Viewfinder

Focus

General

Packaging Info