In this guest post, Netherlands-based freelance filmmaker and editor Richard van den Boogaard tells us why he thinks a solid 10-bit 4K codec should bridge the two internal recording options in the Canon C200. During a recent Masterclass held by Canon in Amsterdam, Canon heralded the latest rendition of its successful EOS cinema line – the C200. Although widely acknowledged for probably the best auto-focus system currently out there, coupled with that magic Canon color science, 100/120 fps non-cropped slow motion and 10 stops of internal ND, this thing should sell like hot cakes, right? However, Canon apparently feels the need to up the ante in sales events. Although official sales numbers are not publicly shared, nearly a year after introduction the C200 is not doing as well as it perhaps could – or should. If anything, this is all a direct result of Canon’s own marketing strategy, more specifically the deliberate lack of 4K 10-bit 4:2:2 internal (or even external) recording. Zacuto Shootout A few days ago, on March 14th, Zacuto organized a Facebook live event entitled the Camera Shootout 2018 in which ASC member Bruce Logan put the C200 through a series of tests in comparison to the Panasonic EVA1. Tim Smith from Canon accepted the challenge against Mitch Gross from Panasonic of a side-by-side comparison between the two competing platforms, although the EVA1 offers something the C200 does not. Essentially, you are comparing apples (EVA1 4K 10-bit 4:2:2) with oranges (C200 4K 8-bit 4:2:0) and mangoes (C200 4K Cineraw...
Published By: CineD - Tuesday, 20 March, 2018