Canon EOS C500 MARK II User Manual

WHITE PAPER

Digital Cinema Camera

EOS C500 MARK II

FULL FRAME DIGITAL CINEMA CAMERA

EOS C500 Mark II

Written by Larry Thorpe, Senior Fellow, Canon USA

For more info:

pro.usa.canon.com

Contents Page

ABSTRACT

1.0 INTRODUCTION 1

2.0 EOS C500 Mark II – WITH FULL FRAME IMAGE SENSOR 2

3.0 WORKS WITH A RANGE OF CINEMA LENS IMAGE FORMATS 3

4.0 ANAMORPHIC SHOOTING 4

5.0 EOS C500 Mark II – THE BASE MODEL 6

5.1 Internal 10-Stop ND Filter System 6

6.0 CONNECTIVITY OF BASE MODEL EOS C500 Mark II 7

7.0 FUNCTIONALITY OF THE BASE MODEL EOS C500 Mark II 8

8.0 EXTENSION UNITS – FOR EOS C500 Mark II 9

9.0 EXTENSION UNIT 1 – FOR EOS C500 Mark II 10

10.0 EXTENSION UNIT 2 – FOR BASE MO DEL EOS C500 Mark II 11

11.0 USER INTERCHANGEABLE LENS MOUNTS ON EOS C500 Mark II 13

12.0 HIGH DYNAMIC RANGE (HDR) AND WIDE COLOR GAMUT (WCG) 14

12.1 Management of Simul taneous HDR and SDR Capture 15

12.2 On-board and external recording opt ions for HDR / SDR / 4K / 2K 16

13.0 NEW SHOOTING ASSISTS THAT ENHANCE FINAL IMAGERY 17

13.1 In-Body Image Stabilization 17

13.1.1 Operating with Lens without IS 18

13.1.2 Operating with Lens Having Built-in IS 20

13.2 Diffraction Correction System 21

13.3 Enhanced D ual Pixel CMOS Auto Focus 23

13.4 Extended range of the alternative Focus Gui de 24

13.5 Recreation of manual focus control as used by professional directors of photograph 24

14.0 EOS C500 Mark II – ON-BOARD RECORDING FORMATS 25

15.0 RECORDING MEDIA FOR EOS C5 00 Mark II 25

16.0 ON-BOARD RAW RECORDING 27

17.0 ON BOARD RECORDING 29

18.0 ON-BOARD RECORDING IN XF-AVC Intra 30

18.1 Full Frame Sensor Capture Mode for 4K / UHD / 2K / HD Recording 30

18.2 Super 35mm Crop Mode 31

18.3 Super 16mm Crop Mode 31

19.0 SLOW AND FAST MOTION RECORDING 32

20.0 AUDIO RECORDING 33

21.0 VIDEO CONNECTIVITY – OUTPUT SIGNAL FORMATS 32

22.0 OUTPUT VIEWING LUTS 36

23.0 REMOTE CONTROL OF EOS C500 Mark II 37

23.1 Remote Video Control Panel 37

23.2 Browser Remote Operation 38

23.3 GPS Operation

24.0 IP STREAMING 39

25.0 POWER CONSUMPTION 40

26.0 SUMMARY 41

27.0 REFERENCES 42

Abstract

It has been a seven-year march for Canon in their progressive roll out of a broad Cinema EOS portfolio, including families of Cinema EOS lenses, cameras, and reference displays. At IBC 2019 Canon introduced the EOS C500 Mark II camera – positioning it squarely between the EOS C700 FF and the EOS C300 Mark II. This new Full Frame camera capitalizes on the globally accumulated experiences of the EOS C300, EOS C300 Mark II, EOS C200, and the EOS C700 – offering an important step forward in the ongoing evolution of the Cinema EOS system.

Expandability is central premise of the EOS C500 Mark II camera. The countless configurations that innovative production teams built around the four listed Cinema EOS cameras over the past seven years spoke to the enormous diversity of shooting needs for theatrical motion picture production, documentary, and episodic television production. Multiple recommendations and suggestions were made to Canon based on these experiences, and the EOS C500 Mark II reflects the incorporation of many of them. EOS C500 Mark II features a novel modular design intended to support multi-faceted shooting configurations.

A singular design feature of the EOS C500 Mark II camera is the incorporation of on-board 5.9K RAW recording – a response to widespread international requests. With a compact base model weighing only

3.8 lbs. this powerful integrated Cinema RAW Light recording capability significantly extends high-end production options – offering interesting possibilities in moviemaking. That basic lightweight camera offers imaging empowerment to single operator shooting, while also facilitating dexterous operation within gimbals, and support of shooting flexibility from drones.

Separately, a range of compact modular Extension Units are available that expand configuration options and system interfaces required for multiple movie and television production styles, including multi-camera operation – that are outlined in the paper.

Responding to widespread requests, the EOS C500 Mark II facilitates user interchangeable mounts – between PL, Standard EF, and EF Cinema Lock. This paper will furnish details on this.

NAB 2018 saw the formal introduction of the Full Frame EOS C700 FF digital cinema camcorder. This image sensor has an image circle of 43.1mm – but it is the standardized DCI aspect ratio of 1.896: 1 (also identified as 17:9) as contrasted with the traditional 3:2 FF in photography – in recognition that the intent is for digital motion imaging. The EOS C500 MkII camera deploys this same image sensor.

Two new imaging innovations are incorporated within this digital cinematography camera – one, being 5axis electronic image stabilization (EIS), and the second is electronic diffraction compensation. Both are described in the paper.

A new generation digital video processing system is central to the extended operational capabilities and the enhanced image performance of the EOS C500 Mark II. Both Canon Log2 and Canon Log3 are selectable, as is both PQ or HLG functionality for HDR productions.

Enhanced network functionality – in the form of IP streaming, FTP file transfer, and Browser Remote – are incorporated.

1.0 INTRODUCTION

The Cinema EOS product family was first announced in September 2011 and was followed in September 2012 with the 4K EOS C500 camera. The second-generation EOS C300 Mark II made its debut in 2015. The EOS C200 and 200B made their formal debut at Cinegear 2017 – being the first Cinema EOS cameras to incorporate on-board RAW recording.

The Cinema EOS family transitioned into the full frame era with the debut of the EOS C700 FF at NAB 2018. Now, an important step forward in the evolving Cinema EOS family is the introduction of the EOS C500 Mark II camera at IBC 2019. This camera reflects a significant accumulation of global inputs and suggestions from the countless users of the EOS C300 Mark II, C200, and C700/700 FF. Prominent within all of these marketplace urgings were: (a) more flexible configurability and (b) higher-performance onboard image capture. EOS C500 Mark II is intended for program origination in both moviemaking and high-end television production. It recognizes the multiplicity of shooting configurations associated with such program capture in an innovative modularity accompanied by extensive connectivity.

Specific attributes that distinguish the EOS C500 Mark II are:

• Compact lightweight and rugged Base Model

o Weight 3.8 lbs. o Full frame 5.9K / 4K / 2K on-board RAW recording o User exchangeable lens mounts between PL, EF, and EF-C o In-Body electronic Image Stabilization o Electronic Diffraction correction o Alternative on-board XF-AVC recording of production formats of 4K / UHD or 2K / HD.

• Three plug-in Extension Units -- that support configurations extending from single person shooting to fully configured high-end cinematography systems.

2.0 EOS C500 Mark II – WITH FULL FRAME IMAGE SENSOR

For many years, in the digital DSLR camera domain, the Full Frame 35mm image format signifies a 1.5:1 aspect ratio determined by the 36mm x 24mm active image dimensions – shown in Figure 1. This image format has formed the basis of the newly emerging full frame digital cinema cameras that have entered the marketplace during the past few years. The image sensor used in the EOS C500 MkII is a novel variant on the Full Frame sensor:

• Large format CMOS image sensor having the DCI aspect ratio of 1.896:1 (or 17:9) but having 2.11 times more photosites than the EOS C500 Super 35mm image sensor

• Image circle diameter equal to that of the 1.5:1 Full Frame DSLR

• Active image is wider than that of the traditional 1.5:1 full frame

• ALL of the active photosites contribute to the 17:9 frame (compared to reduced

number if cropped from a 1.5:1 frame)

Figure 1 Full Frame image sensor used in the new EOS C500 Mark II has an aspect ratio of 17:9 compared to the traditional Full Frame image format has an aspect ratio of 1.5 : I

Figure 2 The red outline defines the active image area – with active and total photosite counts shown

3.0 WORKS WITH A RANGE OF CINEMA LENS FORMATS

The EOS C500 Mark II can be used with a range of cinematography lenses – that include full frame lenses, Super 35mm lenses, Super 16mm lenses, and even 2/3-inch broadcast zoom lenses (using Canon B4 mount to PL / EF optical adaptors) – as shown in Figure 3.

Figure 3 The Full Frame EOS C500 Mark II can be used with all image formats of cine and broadcast lenses

When used with a full frame cine lens the EOS C500 Mark II has a menu selection that switches Image Sensor Readout modes between the following:

1. Full Frame 5.9K with 17:9 aspect ratio

2. 4K (either DCI or UHD) – downsampled from the 5.9K original

3. 2K (either DCI or HD) – downsampled form the 5.9K original

4. Anamorphic modes – including 2 x and 1.3 x

Depending upon the lens image format size that is selected the Image Sensor Readout menu selection delivers the appropriate cropped digital production format – selected as either 4K DCI or 4K UHD or 2K DCI or full HD – as outlined in Figure 4. The Super 35mm lens can deliver a choice of 4K / UHD / 2K / HD.

Figure 4 Showing the three native image formats that are selectable depending upon the image circle size of

the chosen cinema lens – the Sensor Readout mode can select between 4K DCI or UHD and 2K DCI or HD

4.0 ANAMORPHIC SHOOTING

The EOS C500 Mark II camera supports anamorphic shooting – offering a choice of 2x or 1.3x horizontal squeeze. For the 2x anamorphic many directors and cinematographers prefer to capture a slightly wider compressed image – favoring the use of a 4:3 (or 1.33:1) image capture rather than the 6:5 (1.195 : 1) aspect ratio that defines a precise 2 x squeeze on a 2.39 : 1 (2.39 / 2 = 1.195 ) image format. This practice allows some image margin on either side that will accommodate small repositioning within the postproduction work. This anamorphic choice entails an effective input image to the lens having an aspect ratio of 1.33 x 2 = 2.66 : 1 as shown in Figure 5.

Figure 5 Showing the photosite sampling of the active image (in yellow) for 2x anamorphic squeeze

The 1.3x compression anamorphic lens was developed to accommodate the wider 1.896 : 1 (17:9) aspect ratio specified by DCI for digital cinema cameras. The squeezed image that is sampled and recorded is very close to that DCI aspect ratio (2.39 / 1.3 = 1.84 : 1). This works especially well with the full frame sensor as it has more height than the legacy Super 35mm film (20.1 mm versus 18.67 mm).

Figure 6 Showing the photosite sampling of the active image (in yellow) for 1.3x anamorphic squeeze

5.0 EOC C500 Mark II – THE BASE MODEL

The compact nature of the Base Model of EOS C500 Mark II is shown in Figure 7.

Figure 7 Showing the front and rear of the Base Model EOS C500 Mark II

The Base Model is slightly lower and shorter in length than the original EOS C500 camera. A radical difference between the two is underscored by the on-board RAW recording capability of the new EOS C500 Mark II. In addition, as will be detailed in this paper, the operational functionality of the EOS C500 Mark II extends significantly beyond the original EOS C500.

Figure 8 Showing the dimensions of the Base Model of EOS C500 Mark II

The EOS C500 Mark II maintains precisely the same optical axis as both the EOS C700 and the EOS C200.

Figure 9 The aligned optical axis of the three Cinema EOS cameras facilitates accessory sharing

5.1 Motorized Internal 10-Stop ND System

The EOS C500 Mark II features an internal motorized ND unit whose simple construction makes for easy maintenance and which is durable. Two modes support selection of Clear / 2 / 4 / 6 / 8 / 10 stops. This range enables imaging using more shallow depth of field and bokeh effects even in bright sunlight.

Figure 10 Showing the simple methodology for selection of a wide range of ND filtering

6.0 CONNECTIVITY OF BASE MODEL EOS C500 Mark II

The Base Model of the EOS C500 Mark II is well-endowed with critical connectivity that supports a range of single operator style shooting. Prominent among these is the ability to connect the uncompressed 4K video to an external recorder or to an on-set 4K reference display using a single cable – via the 12G SDI interface or the HDMI interface.

Figure 11 Showing the Connectivity options in the Base Model

Figure 12 EOS C500 Mark II features 12G-SDI and HDMI terminals supporting transfer of uncompressed 4K

7.0 FUNCTIONALITY OF THE BASE MODEL EOS C500 Mark II

Base Model EOS C500 Mark II camera delivers impressive functionality supporting specialized shooting situations – such as gimbal mount or remote drone shooting – that include internal RAW recording.

Figure 13 Illustrating two of many specialized shooting applications that can capitalize on the lightweight

compact Base Model

The EOS C500 Mark II camera has a broad array of accessories supplied with the basic camera – a small selection of which are shown in Figure 14. Those accessories support configuration of a handheld camera that is tailored for single operator shooting – seen on the right.

Figure 14 Showing the selection from the supplied accessories with the EOS C500 Mark II camera that configure a compact single operator acquisition system

8.0 EXTENSION UNITS – FOR EOS C500 Mark II

Three optional Extension Units can be separately purchased – that offer a range of flexible options in system configurability. All three attach to the rear of the Base Model camera – sharing a single common connector and mounting screws as shown on the right in Figure 15.

Figure 15 Showing the three Extension Units that facilitate different configurations to address multiple shooting styles

The simplest of the three Extension Units is the OLED EVF and it helps configure a basic Run & Gun system.

Figure 16 Attaching the tilting OLED EVF to the camera rear supports a flexible single operator system

9.0 EXTENSION UNIT 1 – for EOS C500 Mark II BASE MODEL

The very compact Extension Unit 1 adds further connectivity that configures the camera for remote control and for multi-camera shooting.

Figure 17 Extension Unit 1 attaches in the same manner as the optional OLED EVF – as shown in the image on the right (circled in red) mounted to the camera rear

Extension Unit 1 broadens the connectivity of the EOS C500 Mark II camera while still maintaining a compact physical system as shown in Figure 17. Genlock, Remote Video Control, and IP Streaming functionalities are added to the Base Model.

Figure 18 Connectivity that Extension Unit 1 adds to the Base Model C500 Mark II – image on the right shows a fully configured camera with that Extension Unit mounted

10.0 EXTENSION UNIT 2 – for EOS C500 Mark II BASE MODEL

The alternative Extension Unit 2 adds important additional connectivity that configures the EOS C500 Mark II camera for fully-systemized cinematography. It uses the same camera body connector as Extension Unit 1 and the OLED EVF.

Figure 19 The Extension Unit 2 attaches in the same manner as the Extension Unit 1 OLED EVF

Figure 20 Outlining the connectivity that Extension Unit 2 adds to the Base Model camera

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