planet5D reader and co-founder of Cloakroom Media Daniel De Silva loved the C100 (with 1300 hours of recording time under his belt with it, you can say he knew it intimately) and was excited to get his hands on its successor, the Canon EOS C100 Mark II – and shoot with it.
He loves the upgrade, especially the improved viewfinder and swiveling LED, higher frame rates, and now standard dual pixel auto focus.
He sees differences in the footage, too, from truer color to lower noise (the high ISO footage is pretty impressive up to 32,000, though he does use in-camera noise reduction at the higher settings). In any event, it works.
But while Daniel also notes improved detail, I have trouble seeing any visible changes when viewing the footage on my Apple 27” Thunderbolt display.
Chalk up this last one, perhaps, to the difference between the discerning creator and a less-discerning web viewer and audience of one – though I remember early comparisons of footage from the Panasonic GH4 and original C100 and the GH4 blew me away. Then again, I know more than one DP who finds the GH4 image too “TV-like.”).
To each his own.
In either case, what’s clear is that the Mark II is a nice set of ergonomic upgrades at the very least, though some would argue (myself included) that the Mark II is what the original should have been; still doesn’t have a pile of functionality it should; and is still too expensive. For comparison, the Sony A7s, with superior codec, frame rates, low light sensitivity, dynamic range, and external 4K, coupled with the Atomos Shogun to capture that 4K and a TASCAM DR-70D for audio, costs $700 less than the C100 Mk II alone.
But the flip side of THAT coin is that there are plenty of people who prefer the ergonomics and workflow of the C100 line and are making beautiful films — and much more money than I — using either one.
But what's up with that “IMPORTANT NOTICE: This item is non-returnable” line for the C100 (original AND Mk II) on the B&H web site?
Daniel, thanks for the vids– and continued success! [bctt tweet=”Does the Canon EOS C100 Mark II beat version 1?”]
From Daniel / Cloakroom Media:
You get 50/60p, better color reproduction / noise / detail and of course the ergonomics have stepped up massively with the new View finder borrowed from the C500, and the 270 degree OLED is amazing.
The Camera has so many strengths, and I'm kinda happy it doesn’t have 4K, because that would disrupt what is a great economical camera, long battery life, long record times on cheap media, dual redundancy recording etc.
The image is essentially a down scaled 4K image, just done in camera.
The Dual pixel Auto Focus is really leading the way here, no other camera can do what this can do, for the Gimbal guys out there, its impossible to change to another camera system without this feature.
Totally worth the upgrade, considering the wide range of uses, solid image – in turn it pays itself of in a month or two!
Canon EOS C100 Mark II MP4 vs AVCHD
One of the burning questions with the MK2; is the quality better in AVCHD or MP4. Not too sure if there is any real point of difference worth noting, but here it is.
Non-scientific test between MP4 and AVCHD on the Canon C100 MK II
Camera Settings [Captured Internally] C-LOG – ungraded
MP4 35MBPS 1080p conformed to 50% speed
AVCHD 28MBPS 1080p conformed to 50% speed
Jessica Lee // Road Trip: Great Ocean Road
We ventured out for a 5 hour drive to uncover some cool locations for a skin care TVC we are shooting later this month, and we decided to bring along some talent for tests. Turns out we managed to put together a little teaser.
Shot on the new Canon C100 MK2 in C-log / 50p
Graded with Film Convert CLOG profile
The Freefly Movi M10 helped us out with some nice movement
Edited in FCPX
Talent: Jessica Lee (Melbourne, Australia)
Location: Otway Ranges Victoria, Australia
Chantelle // A short visit to Black Rock
We headed out to Black Rock, Victoria to have a play around with Chantelle in 50p 🙂
Canon C100 MKII // Simple Detail Test vs C100 MK1
See other tests here on this camera:
Another simple detail test between the two cameras both shot in Cinema Locked Profile (except female shots – Wide DR)
Using the same glass focused on the center of the frame.
Camera Settings identical on both except for AVCHD on the MK1 and Mp4 on the MK2.
Recorded in highest bit-rate on both cameras (available for 25p)
Canon 70-200 2.8L MK1 @F6.3
(cover photo credit: snap from Daniel / Cloakroom Media)
And always with the ambition of authenticity, humanity and wit.
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