06 Jun 2017

Canon EOS C200: The first full hands-on review

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48 hours in and the C200 is living up to expectations 48 hours in and the C200 is living up to expectations Brett Danton

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RedShark Review: Brett Danton has been using a Canon EOS C200 for a couple of days now. His verdict? This is the perfect entry-level RAW 4K cinema camera.

I have had an EOS C200 for 48 hours now and have had a good play. On first opening the box I was pleasantly surprised at the size, the height is much shorter than the C300 my instant thought was gimbal and drone use, also with the double mount top plate which should make everything very stable.

It’s a well-made unit and has all the quality feel of the other Cinema EOS cameras, something you would expect from Canon.

Something I feel Canon is achieving over others is a constancy in developing a product range with standardisation across models; when I first picked up the camera it felt familiar to hold, the major controls were placed in spots I already know, and this came from using 500, 300 and now a 700. If you have had the pleasure of jumping between different cameras on shoots this can make the difference in getting or not getting the shot, fumbling to where you think that button is or was, or (when rented) the embarrassment of not looking like you know what you’re doing. If you work with the professional line of Canon stills cameras this concept is familiar, you can go from each and operate very quickly. The buttons can also be programmed to a user mapping choice.

Ergonomics and options

In terms of ergonomics, I like the side grip front hold. Maybe it's because I come from a stills background, but in this size unit and, because of the grip it can be used with, it makes total sense; it can lead to more dynamic shots and the ability to throw the camera around a little more. Third parties like Vocas have already announced very neat shoulder setups for shooting that way if preferred.

The other optional piece I had was the Canon viewfinder, the best I have used to date. You can’t use this at the same time as the touchscreen, but when mounted on the camera it makes everything extremely usable, especially for the one man shooter using autofocus. Pressed to my eye and arms tucked in it felt incredibly stable. The rear viewfinder has a great image but the external finder takes it to the next level, if you shoot outdoors in full sun, extreme environment or anything tricky, this makes using the camera an absolute joy. Also, should you shoulder mount you now have a full viewfinder that can also be used with a 300 and 700 as well.

Let me get my couple of dislikes over with, the mount for the touchscreen is over engineered; I can see what they were trying to do, but for me just does not hit the mark. I am sure third parties will sort this out quickly. The other was the flap for the CFast card — to me it made removal awkward. Aside from that everything else felt right, full-size XLR inputs, and easy access well-positioned sockets.

The appeal of this camera for me comes down to shooting RAW internally in a small form factor. It’s a lite version (‘Light’ as Canon style it) but still using the RAW data. Canon, in my mind, has always had the best colour science. The C700 I use has one of the best looks on the market: apply a LUT and its done, unless you want to go further, which you can do without image degradation to extremes. I have always shot RAW in stills, and then with the C500 and now the C700. But lacking for me was the chance to use a small footprint, small weight, all-in-one unit of extreme image quality; especially for drone, gimbal or handheld work that you can use on your own if needed.

I think some people are missing the point with the C200: this is a tiny up to 50/60P 4k DCI cinema camera with RAW internal recording and the ability to create a proxy at the same time for editing. The only other camera I can think of that does this is the Alexa Mini, and that has no autofocus and is not even close to the same price point. If you want to record a quick usable format then plug in an external recorder. With the 500 to get RAW I used external recorders and it’s a good option: gives you a second screen, or a main screen with the viewfinder attached and a device to view rushes without the camera.



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Brett Danton

I’ve been travelling the world to capturing the stories of some of the world’s most iconic brands for more than 20 years – think Emirates, Virgin and the like.

Artistry sits at the heart of everything I do. For me, it’s not just about capturing motion and stills, it’s in adding a new dimension to the visual aesthetic to tell a brand’s story in a way that’s truly unmistakable while possessing the technical know-how to seamlessly bring it all together. I'm always looking for new technology to push the boundaries.

I also lecture for some of the most respected global creative agencies and photographic brands.

My work has received awards in various elements of creativity or technical achievement in both stills and motion.

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