Official Canon EOS C200 Promo, Behind The Scenes and Is It The Right Camera For You?

Canon just released a new promo video and behind the scenes for their new EOS C200 4K Raw camera, and I have also been reading the specs in further detail. In the process, I found out a few things I thought I’d share with you guys to hopefully make it easier for you to make a decision whether the C200 is right for your or not.

There are two official models available for sale – the Canon EOS C200 and C200B. The “normal” Canon EOS C200 comes with the top handle, back EVF eyepiece, top mounted touchscreen LCD and redesigned side handle – it is priced at $7,499 and is already up on B&H and Adorama.

Canon EOS C200

Canon EOS C200 EF includes:

  • EOS C200 Camera Body 
  • LCD Touch Panel Monitor (LM-V1)
  • LCD Attachment Unit (LA-V1)
  • Handle Unit (HDU-2)
  • Camera Grip (GR-V1)
  • Shoulder Strap (SS-1200)
  • AC Adapter (CA-A10)
  • Battery Pack (BP-A30)
  • Battery Charger (CG-A20)
  • Compact Power Adapter (CA-CP200B)
  • 50cm Unit Cables (UN-5)
  • Eyecup
  • Mic Holder Unit
  • Tape Measure Hook x1
  • Thumb Rest
  • Body Cap

The Canon C200B is literally a “body only” model – meaning you don’t get an EVF (like the back EVF is gone totally), no side handle, no top handle, and no top mounted touchscreen LCD – the price for the C200B is $5999. It is a stripped down version designed for gimba/crane work. Users are expected to either add a separate third party SDI/HDMI monitor or by the official Canon LM-V1 touchscreen monitor for $699.


Canon EOS C200B includes:

  • EOS C200B Camera Body
  • AC Adapter (CA-A10)
  • Battery Pack (BP-A30)
  • Battery Charger (CG-A20)
  • Compact Power Adapter (CA-CP200B)
  • Mic Holder Unit
  • Tape Measure Hook x1
  • Thumb Rest
  • Body Cap

canon eos c200b

Here is a list of accessories for those planning on getting the Canon C200B version.

  • Canon LM-V1 LCD Touchscreen monitor – $699 (B&H/Adorama)
  • LA-V1 LCD attachment unit (for LM-V1) – $199 (B&H/Adorama)
  • HDU-2 Top Handle – $199 (B&H/Adorama)
  • GR-V1 Camera Grip – $239 (B&H/Adorama)
  • CL-V2 Clamp Base for C700 EVF (EVF-V70) – $349 (B&H/Adorama)


Director Andrew Fried and DP Bryant Fisher team up for the first film shot on the brand new EOS C200. Fried — one of the filmmakers behind Chef’s Table — brings you “From Dock to Dish,” which follows a mackerel’s journey from the ocean floor to the restaurant door, tracking the many people, places, and atmospheres that flavor a culinary masterpiece.

The film showcases the many features of the versatile new EOS C200, including the ability to record 4K internally using Canon’s proprietary Cinema RAW Light, optimized for HDR. The EOS C200 is also capable of recording up to 60p in 4K and 120p in HD

Behind the Scenes:

Image by Canon/Twitter

Check out also the Canon produced EOS C200 highlights video by Canon’s Technical Advisor – Brent Ramsey:

Canon EOS C200 Summary / Features

  • 4K DCI Cinema RAW Light
    • 4K/60p – 10 bit onto CFast 2.0
    • 4K/30p – 12 bit onto CFast 2.0
  • Internal Compressed Codec options:
    • 4K/60p Long GOP 8bit 4:2:0 at 150 Mbps in MP4
    • 4K/24/25/30p Long GOP 8bit 4:2:0 at 100 Mbps
    • 2K/HD at 35 Mbps 8bit 4:2:0 in MP4
    • Full HD 120fps Continuous with no sensor crop
    • Records onto SD cards
    • Can do 2K/Full HD Proxies on SD card and Raw on Cfast 2.0
  • Up to 15-stops dynamic range (Cinema RAW Light)
  • Wide DR, Canon LOG & Canon LOG 3
  • Dual Pixel CMOS AF with touch control and extensive shooting functions
  • Built-in NDs – 2/4/6/8/10 stops (like on C300 II)
  • ACES 1.0 Support
  • BT.2100 (PQ) HDR support
  • HDR ST-2084 LUT (in EVF)
  • Uses BP-A30 and BP-A60 batteries (same as C300 MK II)
  • 8bit 4:2:2 XF-AVC 4K internal codec coming Q1 2018 as free firmware
  • NO Way to Output 4K Raw (has to be recorded internally)
  • HDMI Output:
    • 1920 x 1080p – 10bit 4:2:2
    • 3840 x 2160 – 8bit 4:2:2
  • SDI Output:
    • 2048 x 1080 / 1920 x 1080 – 10bit 4:2:2 – Raw Light
    • 1920 x 1080 – 10bit 4:2:2 

Here is a chart that shows what bit depth/resolution you can output via the SDI and HDMI outputs:

Canon C200 HDMI SDI 4K OUTPUT Chart

To say that there have been a few eyebrows raised at the omission of a broadcast-ready 10bit internal codec in a pro-level 4K camera announced in 2017 is a bit of an understatement. This has been quite a polarising camera announcement (as most Canon announcements as of the last three years IMHO), with plenty of people getting ready to sharpen their pitchforks, which I personally find ridiculous (just read some of the YouTube comments below the C200 video above), and the rest feeling quite alright about the inclusion of 12bit compressed raw internally – in a camera that doesn’t have a RED or BMD badge.

Canon has a tendency to sometime make some really strange decisions – such as not initially including Log in the 5D Mark IV, and then announcing a paid for upgrade, or as in the case of the brand spanking new EOS C200 – having a choice of only a high data rate 12bit/1obit Raw codec and a lousy “2010” non-broadcast ready 35Mbps 8bit 4:2:0 Long GOP codec!?

A 35 Mbps codec makes sense – but only when you also have a 50Mbps 8bit 422 or higher option already; sure it will mostly get used by folks shooting long form conferences, events and the sort, but it is an option that gets you more mileage from your cards. But come on, we’re not living in 2011 anymore, a 256GB SD card doesn’t cost the moon any more…

For some the omission of either an 8bit 422 codec or a solid 10bit 422 Intra codec upon release is a deal breaker. I am in this camp. However, for those who don’t shoot for broadcast – the wedding guys and gals, the low budget corporate promo or those creating predominantly for web exhibition – which is a HUGE market – then for those the C200 offers significant benefits – mostly the DPAF and the new touchscreen. This is a killer combo, that cannot be underestimated; these guys dont need a 10bit 422 codec, and they don’t even need Raw light.

So, I won’t expect to see any FS7 shooters to all of a sudden flock their kit on ebay and buy a C200… Maybe Canon are protecting the C300 Mark II, which makes sense in a way – the C300 II peeps don’t have touchscreen, internal Raw or 120fps slow mo without a crop, but on the other hand the C300 II has a very solid 10bit and 12bit internal codec, Dual SDI outputs, Dual CFast slots etc… all these things make it more – broadcast friendly for a lack of a better word…

Or is there a C400 coming at IBC in September?….

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  • More I read about it and check online example, more I start to understand the Canon idea.
    I like the concept of the B version, but the price is a bit surprising for something without any screen or handle that can’t be upgraded (can’t add the viewfinder after)
    I almost thing people will by a second B body to get a slider or second static camera head for office interview, using a external recorder as preview monitor.
    As an owner of a FS7, I already got a full rig and viewfinder to complete my camera, so offering a body only is a great price saver. Having the proxy on broad is also interesting as uploading from China 4K is simply impossible. When I shoot a corporate project, my client will be able to start editing on his side as I work on assignment, while waiting his drive with the raw/good footage.
    I’m wondering if they can offer a C300 Mark 1 cable adapter to use you “old screen”?

    The really big downside is the lack of strong codec: 15 mn / 128 GB recording makes impossible to work interview or conferences.
    Even some industrial process will required a new card per takes when the robots don’t start as planned and you need to start recording and leave the room. I’m doing a lot of factories visit in China and appreciate the small size of the body, making it easy to travel all over the country.
    I guess the external recorder will be the only way to use this camera for the next 8 months…

    • theo m antoniou

      If this camera is aimed at these so-called “mid tier” users, then having RAW is of no value at all. Then it’s just a gimmick. (Anyway, the term “light” is also a misnomer. Getting 15 minutes of record time on an expensive 128gb CFast card can hardly be termed “light” for a “mid tier” user. Not to mention the post nightmare that will ensue.)

      In my opinion, the only users who will need this camera’s RAW capability, will be those “pro tier” users needing B and C cams for RAW shooting requirements.

      The HD is “pro-sumer.” (Really? in 2017) And the 4k specs are not good enough for broadcast. Even the output to an external recorder will be limited to 8 bit.

      Canon’s pro-mo video, “From Dock to Dish” needs perspective as well. It’s basically a “magazine” type insert. In reality, no one is going to shoot RAW for that type of program. And, to add insult to injury, take a look at the “making of” video. It’s a “full-on,” high end type shoot. If anyone out there is getting budgets for magazine programs which allows for RAW and a full crew – please call me. I’m available!


      • Well, I will be agree that they should have implement a 10Bit 4.2.2 4K on the SDI for a decent external recorder. 100% agree. This is not the perfect camera, period.
        Instead, it’s a 8 bit 4.2.2 4K on a not secure HDMI.

        But, according to my experience with Canon color, 8 bits in Full HD with my C300 Mk1 looks gorgeous. (and was wideli accepted as broadcast even at a only 50Mbs)

        I will said that you have raw on board for your green screen and very specific project and you can still use a external recorder for the half broadcast (8 bits 4,2,2 in 4K is not something so bad)

        Soon 256 GB card (or even 960 GB SSD adapter) will be affordable, and maybe shooting light raw 10 bit will not sound so crazy in 3 months. and in 8 month, you will have a decent codec on board….

        So, as the price is interesting, and the firmware always changing, this is not a so bad camera choice after all..

    • Steve Staffan

      And guess what? Even with an external recorder, you can’t get the raw signal to it! yay!

      • RoiseTouv

        Why would I will be doing that?
        I have raw on board!

        • Steve Staffan

          Because you will be spending thousands of dollars on CF cards that can record for only minutes compared to something external that has a way longer limit.

          • mmm.
            Ok, got your point.
            But a raw recorder + SSD in Full raw will quite make the same price at the end.
            A 128GB CFast in light RAW will record the same amount that a uncompressed RAW 512 SSD and you have to add the price of the recorder + weight + power supply + insecured HDMI lock.

            On the URSA, they used this one as Cfast and SSD is very similar. please google Atoch as I can’t post a link here…
            Best of both worlds, SSD in place of Cfast card.

            Again, I just bought a FS7M2, so I’m not looking back and I’m glad I did this choice. But the C200 is not a so bad option if you accept 8bit 4.2.2 4K as recording for your client on external recorder + Proxy on board + RAW in case you need.. for a very low price compare to the market right now.. (let see what Panasonic do in the coming day)

            I was so in love with my C300 8 bit 4.2.2 Full HD that I can’t say it’s not usable moving to 4K …

          • Steve Staffan

            I’ll never argue about a camera not being good, because it’s all on the skill of the person using it. This IS a great camera, I don’t think anyone can really argue against that.

            You also have to step back and look at how different people film different things. I personally shoot weddings, so having raw really wouldn’t matter to me, unless there is some really special shot I would use it on, but then again, there’s people that are shooting short films, and need a raw option, which in that case I would say you would probably end up fully rigging the camera up, so I would expect to have a larger battery, monitor, etc.

            I guess I am rambling on now lol. I get your point too. I have the FS5, and would love the options from the Inferno, but like I said, for shooting weddings, it’s not very practical.

  • theo m antoniou

    To be honest, I also like the images produced by Canon cameras, whatever the bit rate. The fact is that some broadcasters, not all, stipulate requirements up front. And some do require 4k to be shot 10 bit with a 422 colour space.

    So, at the end of the day, one has to make a choice. And, unfortunately, I think many people will look elsewhere, regardless of how enticing this camera may seem at first.

  • Piotrek Naumowicz

    I’m always shocked how people react to new canon cameras or even new cameras in general. There is a lot of hate for the camera that can shoot raw up to 4k 60p and some long gop for 4k 8bit for smaller stuff like weddings and corporate and so on. And in the near future there will be an update to broadcast codec – little bit more than half a year. When black magic gived us an ursa 4.6k everyone was shocked and happy and there was a lot of warm words about the company – and btw I’m fan of black magic i’ve own two of their cameras. Now canon join the rode giving us choice – if this camera isn’t for you just don’t buy it 😉 And discussion about price of cfast cards is also weird to me – there is no 4k raw to sd cards, you need cffast – that’s part of the deal if you can afford 7500$ camera then you should also afford to buy more than one 128gb cff card. And if you don’t need raw onboard, but you need solid 10bit codec just pick one fs7,gh5,c300mkII, ursa mini and be happy about it. None of them except ursa has raw onboard – and me for example I shoot mostly raw. But let’s wait for panasonic. LT has very nice image – if new panny new camera will enherit it from the older brother then who knows, who knows.

    • Ogy Stoilov

      Be sure the check out the blog later tonight… the new Panasonic may surprise you 🙂 and anger some of you no doubt…

  • Bob Ross

    I see this as a Raw camera that can shoot proxies. If you can afford to spend enough money on CFast cards, then this camera is amazing. There are a lot of people that will deal with workflow inconveniences to capture the best image possible. People that shoot Red know what I’m talking about. And if you are someone that shoots on the higher end of things and are used to sacraficing convienence for image quality, the C200 looks like a dream. Having 10 stops of ND, an autofocus that will let you shoot at 1.4, a sensor that can shoot in extremely lowlighting, tiny batteries you can slide in your pocket, no blackshading, a touchscreen, built in EVF, a 12 bit compressed Raw image, all with everything fitting in the palm of your hands for under $10k… well… that is AWESOME. It makes Red cameras suddenly look less appealing.

    That being said, I can see why people that are coming from the lower budget realm would be upset. They want more effecient codecs that don’t result in more work on the backend and more storage space. Raw sounds like a burden to them. I felt this way when I first moved to Red. And it has been a pain in the butt dealing with Raw. But man, that image! It just looks so good! I’ll deal with whatever curveballs I have to deal with to get the best image. If the C200 delivers in image quality, I’ll deal with Canon’s quirks as well. David Stump from the ASC once told our class at GCI, “To normal audiences without trained eyes, 8 bits and 10 bits is not noticeable. 12 bits and beyond are absoltely noticeable.” This man is a technical genius and I believe every word he says.

    • the Plants Official