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


RAW beauty


So having tried the RAW, it is beautiful. The camera sensor is the same as the C700 and it looks it. You can see the 15 stop range with detail all way to the blacks whilst holding the whites. In my small test, the files transferred fast from the CFast card and I was able to edit real-time in Resolve 14 beta 3, on a 2017 MacBook Pro, I did turn on the speed workflow and did have to wait for Resolve to render before playback, but it was usable in terms of editing.

I applied a LUT, which was off the shelf from Lutifyme and I had amazing looking 15-stop cinema release quality footage. At the time I did not have the Canon LUTS. 13 companies have announced support for Cinema RAW Light, but right away I was able to take in the proxy file, edit and then re-conform with the RAW in Resolve to grade. The other alternative is to use Canon’s Cinema RAW Development to convert with a LUT to an alternative codec.


In terms of use, I popped it on my Ronin to try. The camera balanced very quickly, sitting nicely over the centre point, using only EF lenses and the autofocus which Canon must have tweaked because now it feels human and not computer on the pulls; the sudden stop associated with computer control now seems to ease in and out.

I shot cinema quality on my own focus pulling close-up shots using a very trusty and old 50mm f1.0. I can’t focus that lens with my eyes and it nailed the focus every time. Another tweak appears to be that the focus works in much lower light; my little test shoot was dusk with candles and only a couple of times did it search, even at that low light the facial recognition could instantly recognise a person or two. The touchscreen on the camera is pure genius in terms of focus, the C300 MkII had similar control via WiFi, but it always seemed to have a delay. With the C200 it recognises two faces and a touch of the screen I can pull between them, and it looked like an organic pull.

This camera is the perfect entry level RAW 4K cinema camera. You can be a one man crew and using only EF lenses or the new autofocus Cinema lenses, shoot the quality that can be screened on the big screen in 4k, and when it becomes the norm supply in HDR, providing longevity to the images produced. If you have you ever tried to cut supplied client Betacam footage into even HD, let alone 4kK, then you know what I mean. If you shoot with a C300 or C700 this becomes the perfect partner, giving you a new skill set not available with either cameras, whilst providing back-up if required. And if you are a stills photographer crossing over this is the perfect choice to cut your teeth while retaining the quality of RAW you know.

If I was shooting a major production the combination of the 700 and 200 would give the flexibility to shoot in any situation, any rigging, or camera support I can think of whilst staying inside a RAW workflow, using the same sensor and colour science along with the option of using ACES. 

Over the next few months we will be producing a finished piece with several C200s and mixing in the C700 with a full DCI cinema finish. That I'm very much looking forward to sharing when it’s done….

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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