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Canon C500 MKII
5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes
The Cinema EOS C500 Mark II features Canon’s high-resolution 5.9K (38.1 x 20.1mm) Full Frame CMOS sensor, which offers exceptional low noise and a broad range of tonality with over 15 stops of dynamic range. The sensor’s expansive native cinema gamut goes beyond that of current standards, including ITU-R BT.2020 and DCI-P3, helping the EOS C500 Mark II achieve more natural skin tones and allowing for greater freedom in color grading in both SDR and HDR productions.
The Full Frame sensor is capable of capturing footage in a wide variety of aspect formats, including DCI-4K, UHD and Anamorphic Widescreen. The Cinema EOS C500 sensor supports both anamorphic and spherical lenses. In addition to full-frame, the sensor can also be paired with conventional Super 35mm and Super 16mm lenses using appropriate sensor crop modes, lens mount and adapter.
User Changeable Lens Mounts which gives users freedom to use the lenses they desire
User interchangeable lens mounts and an available B4 mount adapter gives operators the freedom to make bold creative choices based on the subject matter.
The EOS C500 Mark II ships with an EF Mount that can be user swapped to an optional Locking EF (EF-C) or PL mount. Each mount swaps easily by simply removing four M3 hex screws. A shim set is provided with each mount kit in order to adjust back focus for the precision in focusing accuracy that professionals rely on.
*Dependent on the mount the user has in place
Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data
The EOS C500 Mark II uses a newly developed DIGIC DV 7 Image Processor that takes the extensive RAW information captured from the 5.9K imaging sensor and processes it for output. DiG!C is also the engine behind features such as high frame rate recording, Dual Pixel Auto Focus, Cinema Raw Light Recording, HDR(PQ and HLG) output, electronic image stabilization, proxy recording and oversampling 5.9K processing.
Canon Cinema RAW Light and XF-AVC Recording
Thanks to the powerful DIGIC DV 7 image processing platform, the EOS C500 Mark II can record Cinema RAW Light directly to onboard CFexpress cards, which keeps the data-rich signal captured by the 5.9K full-frame sensor intact. Cinema RAW Light offers plenty of freedom for grading in file sizes that are about 1/3 to 1/5 the size of Cinema RAW, offering a great combination in terms of codec efficiency and quality.
When recording in 5.9K Cinema RAW Light, 60 fps is available, which is an ideal range of high-quality slow-motion capture for typical human movements. In 2K (Crop) mode, frame rates up to 120fps are available allowing users to slow down the action even further, for more dramatic scenes and special effects. Two new buttons S&F(Slow and Fast Motion) and S&F FPS (Slow and Fast Motion – Frames per Second) have been added to gives quick access to desired speed settings, making it simple to utilize this creative tool quickly and spontaneously when the moment is right.
To accurately record the extensive data produced by the 5.9K imaging sensor and provide greater recording times, the EOS C500 Mark features two CFexpress recording slots. CFexpress is the future of onboard recording media providing write speeds needed for higher resolutions and frame rates. The dual card slots can be used to either create an instantaneous backup thorough simultaneous recording or extend record run times by relay recording.
Proxy Recording
Higher resolution, greater bit depths and faster frame rates provide versatility and greater image quality but come at the cost of much larger file sizes. Proxy files can greatly speed up the editorial process by providing a lower bandwidth alternative for the initial file sharing and edits.
Canon’s powerful, high-speed DIGIC DV 7 image processor makes it possible for the EOS C500 Mark II to simultaneously record 2K Proxy files. Cinema RAW Light (5.9K, 4K Crop, or 2K (Crop)) can be recorded to the internal CFexpress card while an XF-AVC 2K 4:2:0 8-bit Proxy can be recorded directly to an internal SD card.
Anamorphic Lens Support
The EOS C500 Mark II offers cinematographers anamorphic lens support. Users can now achieve wide cinematic looks and oval bokeh particular to anamorphic glass. It is a distinctly cinematic palette that is within reach for your next project.
ARRI ALEXA MINI
Compact, lightweight, and self-contained – ARRI ALEXA Mini is the small and versatile allrounder in the ARRI camera family.
The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, ALEXA Mini comes with a series of interchangeable lens mount, allowing the use of B4 video, EF mount stills lenses.
Specs
Sensor Type:
Super 35 format ARRI ALEV III CMOS sensor with Bayer pattern color filter array
Sensor Maximum Number of Photosites and Size:
3424 x 2202
28.25 x 18.17 mm / 1.112 x 0.715″
⌀ 33.59 mm / 1.322″
Sensor Frame Rates:
0.75 – 200 fps
Weight:
∼2.3 kg / ∼5 lbs
(camera body with titanium PL lens mount)
Photosite Pitch:
8.25 μm
Sensor Active Image Area (photosites):
S16 HD: 1600 x 900
HD: 2880 x 1620
2K: 2868 x 1612
3.2K: 3200 x 1800
4K UHD: 3200 x 1800
4:3 2.8K: 2880 x 2160
2.39:1 2K Ana.: 2560 x 2145
HD Ana.: 1920 x 2160
ARRIRAW 16:9 2.8K: 2880 x 1620
Open Gate 3.4K: 3424 x 2202
Sensor Active Image Area (dimensions):
S16 HD: 13.20 x 7.43 mm / 0.520 x 0.292″
HD: 23.76 x 13.37 mm / 0.935 x 0.526″
2K: 23.66 x 13.30 mm / 0.932 x 0.524″
3.2K: 26.40 x 14.85 mm / 1.039 x 0.585″
4K UHD: 26.40 x 14.85 mm / 1.039 x 0.585″
4:3 2.8K: 23.76 x 17.82 mm / 0.935 x 0.702″
2.39:1 2K Ana.: 21.12 x 17.70 mm / 0.831 x 0.697″
HD Ana.: 15.84 x 17.82 mm / 0.624 x 0.702″
ARRIRAW 16:9 2.8K: 23.76 x 13.37 mm / 0.935 x 0.526″
Open Gate 3.4K: 28.25 x 18.17 mm / 1.112 x 0.715″
Recording File Container Size (pixel):
S16 HD: 1920 x 1080
HD: 1920 x 1080
2K: 2048 x 1152
3.2K: 3200 x 1800
4K UHD: 3840 x 2160
4:3 2.8K: 2944 x 2160
2.39:1 2K Ana.: 2048 x 858
HD Ana.: 1920 x 1080
ARRIRAW 16:9 2.8K: 2880 x 1620
Open Gate 3.4K: 3424 x 2202
Recording File Image Content (pixel):
ProRes S16 HD: 1920 x 1080
ProRes HD: 1920 x 1080
ProRes 2K: 2048 x 1152
ProRes 3.2K: 3200 x 1800
ProRes 4K UHD: 3840 x 2160
ProRes 4:3 2.8K: 2880 x 2160
ProRes HD Anamorphic: 1920 x 1080
ProRes 2.39:1 2K Anamorphic: 2048 x 858
ARRIRAW 16:9 2.8K: 2880 x 1620
ARRIRAW Open Gate 3.4K: 3424 x 2202
ARRIRAW 4:3 2.8K (OG 3.4K): 3424 x 2202
ARRIRAW 2.39:1 2K Ana. (OG 3.4K): 3424 x 2202
ARRIRAW 16:9 HD Ana. (OG 3.4K): 3424 x 2202
Dynamic Range:
14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure Index:
Adjustable from EI 160-3200 in 1/3 stops
EI 800 base sensitivity
Shutter:
Electronic shutter, 5.0°- 356° or 1s – 1/8000s
Recording Formats:
MXF/ARRIRAW
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 HQ
Apple ProRes 422
Apple ProRes 422 LT
Recording Media:
CFast 2.0 Cards
Recording Frame Rates:
ProRes HD: 0.75 – 200 fps
ProRes S16 HD: 0.75 – 200 fps
ProRes 2K: 0.75 – 200 fps
ProRes 3.2K: 0.75 – 60 fps
ProRes UHD: 0.75 – 60 fps
ProRes 4:3 2.8K: 0.75 – 50 fps
ProRes 2:39:1 2K Ana.: 0.75 – 120 fps
ProRes HD Ana.: 0.75 – 120 fps
MFX/ARRIRAW 16:9 2.8K: 0.75 – 48 fps
MFX/ARRIRAW 3.4K Open Gate: 0.75 – 30 fps
Recording Modes:
Standard real-time recording
Pre-recording
Intervalometer
Stop Motion
Viewfinder Type:
Multi Viewfinder MVF-1 with 3,2″ flip-out monitor
Camera Control Panel (CCP-1) with option to daisy-chain MVF-1
Viewfinder Technology:
OLED viewfinder display
LCD fold out monitor
Viewfinder Resolution (pixel):
1280 x 720
Viewfinder Diopter:
Adjustable from -5 to +5 diopters
Color Output:
Rec 709/ Rec 2020/ Log C/ Custom Look (ARRI Look File ALF-2)
Look Control:
Import of custom 3D LUT
ASC CDL parameters (slope, offset, power, saturation)
Knee, gamma, saturation, black gamma, saturation by hue
Support of ARRI Look Library
White Balance:
Manual and auto white balance, adjustable from 2000K to 11000K in 10K steps
Color correction adjustable range from -16 to +16 CC
1 CC corresponds to 035 Kodak CC values or 1/8 Rosco values
Filters:
Built-in motorized ND filters 0.6, 1.2, 2.1
Fixed optical low pass, UV, IR filter
Image Outputs:
1x proprietary signal output for MVF-1 viewfinder
2x SDI Out: 1,5G (SMPTE ST292-1), 3G (SMPTE ST425-1, ST425-3), 6G & DL 6G (SMPTE ST2081-10, ST2081-11)
uncompressed video with embedded audio and metadata
Lens Squeeze Factors:
1.00, 1.30, 2.00
Exposure and Focus Tools:
False Color/ Zebra/ Zoom/ Waveform/ Aperture and Color Peaking
Audio Input:
1x LEMO 5pin balanced stereo line in
(Line input max. level +24dBu correlating to 0dBFS)
Audio Output:
SDI (embedded)
Audio Recording:
2 channel linear PCM, 24 bit 48 kHz
Remote Control Options:
Web-based remote control from phones, tablets and laptops via WiFi & Ethernet
Camera Access Protocol via Ethernet & WiFi
GPIO interface for integration with custom control interfaces
WCU-4 hand-unit with control over lens motors and operational parameters via built-in white radio
Interfaces:
1x LEMO 5pin LTC Timecode In/Out
1x LEMO 10pin Ethernet for remote control and service
1x BNC Sync In (optional activation through ARRI Service)
1x LEMO 7pin EXT multi purpose accessory interface w. RS pin and unregulated power output (outputs battery voltage)
1x LEMO 4pin LBUS (on lens mount) for lens motors, daisy chainable
1x USB 2.0 (for user setups, look files etc)
Wireless Interfaces:
Built-in WiFi module (IEEE 802.11b/g)
Built-in White Radio for ARRI lens and camera remote control
Lens Mounts:
Titanium PL lens mount with LBUS connector
LPL lens mount with LBUS connector
PL lens mount with Hirose connector
EF Mount (LBUS)
EF lens mount
B4 lens mount with Hirose connector
Leitz Cine Wetzlar M lens mount
Flange Focal Depth:
PL mount – 52 mm
LPL mount – 44 mm
Power Input:
LEMO 8pin (10.5-34 V DC)
Power Consumption:
min. 43 W
max. 84 W
(Camera body with MVF-1)
Power Outputs:
LEMO 7pin EXT unregulated power output (outputs battery voltage) with max. 1.1 A
Measurements (HxWxL):
140 x 125 x 185 mm / 5.5 x 4.9 x 7.3″
(camera body with PL lens mount)
Operating Temperature:
-20° C to +45° C / -4° F to +113° F @ 95% relative humidity max, non condensing, splash and dust proof through sealed electronics
Storage Temperature:
-30° C to +70° C / -22° F to +158° F
Sound Level:
< 20 dB(A) at 24fps
Software Licenses:
ALEXA Mini 4:3 License Key
ALEXA Mini ARRIRAW License Key
ARRI Look Library License Key
ARRI ALEXA MINI LF
Combining the compact size and low weight of the popular Alexa Mini with the Large-Format Alexa LF sensor, Alexa Mini LF brings exciting new creative possibilities to ARRI’s Large-Format camera system. Featuring 16 recording formats, the Mini LF can be universally used for Large-Format and Super 35 Productions
Specs
Sensor Type:
Large Format ARRI ALEV III (A2X)
CMOS sensor with Bayer pattern color filter array
Frame Rates:
0.75 – 90 fps
Dynamic Range:
14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)
Exposure Index:
Adjustable from EI 160-3200 in 1/3 stops EI 800 base sensitivity
Shutter:
Electronic shutter 1s – 1/8000s
Recording Media:
Codex Compact Drive 1TB
(CA08-1024)
Codex Compact Drive 2TB
(CB16-2048)
Recording Formats:
MXF/ARRIRAW
MXF/Apple ProRes 4444 XQ
MXF/Apple ProRes 4444
MXF/Apple ProRes 422 HQ
Recording Frame Rates:
ARRIRAW 4.5K LF 3:2 Open Gate-4.5K: 0.75-40 fps
ARRIRAW 4.5K LF 2.39:1-4.5K:
0.75-60 fps
ARRIRAW 3.8K LF 16:9-UHD: 0.75-60 fps
ARRIRAW 2.8K LF 1:1-2.8K: 0.75-60 fps
ARRIRAW 3.4K S35 3:2-3.4K:
0.75-60 fps
ProRes 4.5K LF 3:2 Open Gate-4.5K: 0.75-40 fps
ProRes 4.5K LF 2.39:1-4.5K: 0.75-60 fps
ProRes 4.3K LF 16:9-UHD: 0.75-48 fps
ProRes 4.3K LF 16:9-HD: 0.75-75 fps
ProRes 3.8K LF 16:9-UHD: 0.75-60 fps
ProRes 3.8K LF 16:9-2K: 0.75-90 fps
ProRes 3.8K LF 16:9-HD: 0.75-90 fps
ProRes 2.8K LF 1:1-2.8K: 0.75-60 fps
ProRes 3.2K S35 16:9-3.2K: 0.75-75 fps
ProRes 2.8K S35 4:3-2.8K: 0.75-75 fps
ProRes 2.8K S35 16:9-HD: 0.75-100 fps
CANON C300 MKII
Bringing Canon’s expertise and decades of experience designing sensors, lenses, image processing and design to the world of motion picture capture, the EOS C300 camera has been designed to meet the demanding needs of cinema industry professionals, providing a modular, portable and eminently adaptable system of cameras, lenses and accessories built for moviemaking in the 21st century.
Featuring a unique Super 35mm Canon CMOS sensor, revolutionary Canon DIGIC DV III Image Processor and 50 Mbps 4:2:2 codec, the EOS C300 provides outstanding cinema quality movie capture. Compact, modular and compatible with Canon’s existing line-up of EF and new EF Cinema lenses as well as accessories from third parties, the stunningly simple to operate EOS C300 is designed to please cinematographers for any production large and small, on location or in the studio, from shoestring to Hollywood budgets.
The EOS C300 has a Canon EF lens mount and is compatible with all of Canon’s new EF Cinema lenses and current EF lenses, including compact primes, super telephotos, specialty tilt-shift, macro and fisheye – over 60 in all. Designed with SMPTE HD production standards, its MPEG-2 codec is an internationally recognized standard compatible with major NLE applications while additional features such as Canon Log ensure seamless integration with existing production workflows, making post-production easy. And with an entire support infrastructure designed to help you get the most from your equipment before, during and after production, the EOS C300 is ready to go to work.
SONY VENICE
Sony proudly introduces its next-generation motion picture camera system with forward-thinking full frame sensor, phenomenal color science and user-friendly operation. Usability and reliability of the camera is one of the major concerns for operators, especially in tough or time-critical filming conditions. With a user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction, VENICE lets you simply concentrate on filming, and not the camera.
Imaging Device Pixel Count:
24.7M (total), 24.4M (effective)
Imaging Device Size:
36.2×24.1mm. 43.5mm (diagonal).
Imaging Device:
Full-Frame CMOS
ISO Sensitivity:
ISO500
Latitude:
15+ Stop
Lens Mount:
PL Mount
E-mount (lever lock type, without supplied PL lens mount adaptor)
Built-In ND Filters:
Clear, 0.3(1/2), 0.6(1/4), 0.9(1/8), 1.2(1/16), 1.5(1/32), 1.8(1/64), 2.1(1/128), 2.4(1/256)
Recording:
Recording Format (Video)
XAVC 4K Class480: 23.98p, 24p, 25p, 29.97p
XAVC 4K Class300: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
XAVC QFHD Class480: 23.98p, 25p, 29.97p
XAVC QFHD Class300: 23.98p, 25p, 29.97p, 50p, 59.94p
MPEG HD422(1920×1080): 23.98p, 24p, 25p, 29.97p, 50i, 59.94i
HD ProRes 422HQ*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 60i
HD ProRes 422*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
HD ProRes 422 Proxy*: 23.98p, 24p, 25p, 29.97p, 50p, 59.94p, 50i, 59.94i
Recording Format (RAW/X-OCN) *required AXS-R7
RAW SQ:
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 25p, 29.97p, 50p, 59.94p
X-OCN ST/LT:
6K 3:2(6048 x 4032)*: 23.98p, 24p,
6K 2.39:1 (6048 x 2530)*: 23.98p, 24p, 25p, 29.97p
6K 1.85:1 (6048 x 3270)*: 23.98p, 24p, 25p, 29.97p
6K 17:9 (6048 x 3190)*: 23.98p, 24p, 25p, 29.97p
5.7K 16:9 (5672 x 3190)*: 23.98p, 25p, 29.97p
4K 6:5(4096×3432)*:23.98p, 24p, 25p, 29.97p
4K 4:3(4096×3024) :23.98p, 24p, 25p*, 29.97p*
4K 17:9 (4096 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
3.8K 16:9 (3840 x 2160): 23.98p, 24p, 25p, 29.97p, 50p, 59.94p
Recording Format (Audio):
LPCM 4ch , 24-bit 48-kHz
DC Output:
12V: Hirose 4pin x1
24V: Fischer 3pin x2
SDI Output:
BNC×4, (12G, 3G, 1.5G-SDI)
HD MONI Output:
BNCx1 (1.5G-SDI)
HDMI Output:
Type A ×1
VF:
LEMO 26pin
Audio Input:
XLR-type 5pin (female) x1 (LINE/ AES/EBU / MIC / MIC+48V selectable)
Timecode Input:
BNC x1
Genlock Input:
BNC x1
AUX:
LEMO 5pin (female) x1 (Timecode Output)
Media type:
ExpressCard/34 slot×2
SD card slot ×1
Operating Temperature:
0 ～ 40℃