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Why we switched to the Canon C200

Why we switched to the Canon C200


A while back we posted an article about how we thought the Sony FS5 was the best camera on the market. And while we still think that’s an amazing camera, we switched it up and bought a Canon C200. For those of you who aren’t gear heads, this won’t be the most fun thing you see today.

It’s all about the color

We used to shoot on a Canon C100 Mark II and that camera always delivered exactly what I thought it would. And a big part of that is Canon’s color science. Things looked how I wanted them to, it was a better connection between my brain. That’s not to say people don’t shoot amazing stuff on the FS5. We shot some stuff we were really proud of, but this was the right move for us.

No more adapters / monitors / recorders

This is another big one for me. I’m the kind of person who needs a backup or two. So shooting Canon EF Glass on a Sony E-Mount meant Metabones adapters. But then I needed a backup for that adapter. Then there was the thing I loved about the FS5, the ability to put a monitor/recorder on and get ProRes and RAW. But at the same time it restricted me. The setup was large. 7” monitors are huge and the FS5 LCD is garbage. With the C200 I get internal RAW with a comparable (to the Sony) internal non RAW Codec.

One other thing that’s important to note and helpful for us is that our office is 20 minutes from a Canon repair facility. With our still cameras, we get them cleaned and checked and back in our hands by the next day. That’s a huge bonus for a piece of gear like this.

But what about the C300 Mark II

This was my biggest debate. I knew I was going back to Canon but I didn’t love the non RAW codec on the C200. After looking at footage and testing some stuff I’ve come to realize that the codec issue isn’t really one. But I had looked at the C300 Mark II, only down side? To get the 10 bit 4:2:2 codec you need to spend $1k more than a C200 on a camera with way more hours.

It’s about where we’re going

Sure, we do corporate work and will always do that. But the RAW on the C200 and the cinema camera feels more in line with where we want our company to go.