mrtreve

I think the C500II will do very will with high end docs. It will no doubt have a suitable look and good usability/reliability. Having owned a C300II and C200 (which I think are very good cameras) I think fundamentally the look doesn't translate all that well to narrative. We'll have to see if the C500II can do it. The specs are impressive, but if this just translates to the same Canon feel at higher resolution, I can't see it catching on in that world. I'd love to be proved wrong though. I think for TV/content production in the UK, Sony will continue to dominate due to the lower cost and the fact there are so many FS7s out there. You can put together a multi-camera shoot with owner-operators with relative ease and mix together FS7 and FX9 without too many headaches in post.

If you def need dual slots then C300II is your boy. I can't speak for the 1080 on the C200 but on the C300II it's definitely sharp. You should test it.

Well yes I suppose work out the recording time you'd need and go from there. The Alexa Mini has but one card slot & I've never had a cfast card fail from a Canon camera, so one card slot isn't as risky as the Youtubers would have you believe. Also unless you want to spend 2X on cards, you're unlikely to ever do dual recording anyway! In regards to C100/C300 having superior 1080p, I suggest you test them against the newer cameras to see for yourself. The newer chips have better DR and colour for sure. Even though I loved the C300II, I would hardly call it future proof as its almost EOL. I mean it'll make nice pictures for years, but on a technology front it's on its way out. I sold mine earlier this year because I believe the CRL is lowkey the best development Canon have made for a while... hence why its in the new C500II.

Hi there, I've owned both C300 MKII and C200 so can give you my advice for what its worth. I know that the spec boys will have their opinions, but this is based mainly on real-world use. I would almost certainly go for the C200. The C300II's 12bit mode has no off-speed option (I think max 30fps?), so you may not really be able to use it that much if you record slo-mo regularly. One workflow I use a bit is to treat the internal raw as an intermediate and transcode all of my rushes to 2k prores 4444. I find that Resolve does an excellent job at this and is very quick. Leave it going overnight after your shoot and away you go. You could potentially delete your CRM files to free up hard drive space. I usually keep them so I can re-link for the grade. Most of my work involves short takes so I use raw almost exclusively. However the 8 bit mp4 are very good and I would definitely use these if recording long interviews or events. I'd say if you're jobs are half stills/half video then 2 or 3 256GB cfast cards should get you through. They're very quick to download if you have an external SSD hooked up to your laptop, so you should be able to cycle through them fairly easily. I've also noticed less banding/artefacts in the C200 raw than in the C300II footage. The reason to go for the C300II would be features like genlock & timecode as well as the broadcast ready codec - which doesn't sound relevant for your work. I wouldn't consider the C100 line unless you're strapped for cash. The newer generation of Cinema EOS are just a league above IMO.