when Canon first announced the C700 full-frame my mind immediately blow up because Canon announced a large-format upgrade to their flagship camera the C700. Canon has definitely packed the C700 FF with plenty of options.
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so this new sensor is actually a 5.9 K sensor and it’s a 17 by 9 aspect ratio which measures 38.1mm by 20.1mm which I can compete with Arri’s new Alexa LF and the Sony Venice definitely packed with plenty of options.
its new super 35-millimeter sensor captures an amazing 15 stops of dynamic range preserving incredible highlights and reaching far into the shadows.
the beauty of the C 700 is that has a full-frame sensor which means a couple of things firstly you get a fantastic shallow depth of field when you want it and also you can put anamorphic lenses on it.
When recording the full sensor to get the full-frame look you can shoot in 6K 12 bit at up to 30 frames a second or 6K 10 bit up to 60 frames a second.
C 700 FF features a 20.8 megapixel CMOS sensor having an active image area measuring 38.1 by 20.1 millimeters and this is an important variant on the traditional thirty-six by 24-millimeter full frame ratio that works so well.
It has the option to downsample to 4K or 2K up to 60 frames a second, which is actually one of the main features that really makes the C700 FF stand apart from the crowd.
You can get downsampled 4K images using the full sensor size at 60 frames a second, that’s something that neither the Arri or Sony cameras can currently do.
When you start cropping in the sensor you can get up to 72 frames a second in a 4K crop and 168 frames a second in a 2K crop.
If I compare with Sony Cinealta the highest frame rate Venice can get to currently is 60, so those high frame rates are very welcome here.
the skin tones for the images look really clear, with great results that it can deliver, I was all incredibly surprised at firstly how good the image looked before a grade.
The camera performing brilliantly and deliver some truly cinematic image.
C 700 FF full-frame looks exactly like the C 700 super 35 there’s no physical difference in the actual camera body it’s actually the sensor that’s being changed this new FF model switches out the super 35 sensor it’s a full-frame sensor.
the field of view for a 14 millimeter a 24 millimeter and the new 20 millimetres it has an 11 blade iris and as if it needed to be said like the rest of the EOS cinema primes.
this lens covers a full-frame sensor it’s color matched to that particular warm look found only in the cinema eos primes for the metadata obsessed.
it also delivers t stop and focal length information through the map so there it is the canon c 700 FF and the 20-millimeter t 1.5 cinema prime lens.
- On the shoulder, the camera felt great it has a good weight to it rather than a camera that’s too light.
the C 700 has an interesting array of recording options internally the camera can record to either X F ABC or ProRes, with 4k frame rates up to 60fps, ABC and 30fps and prores additionally.
this camera has two ways to record 2k either with full sensor readout that goes up to 120 fps or with a 2 x crop of the sensor allowing it to go up to 240 FPS for even higher in productions.
C 700 can be set up to use EF or PL mounts and even the b4 mount.
the C 700 comes in one additional configuration global shutter what’s really interesting is that on the pl model the sensor can also be swapped out by canon to replace the standard CMOS sensor.
the C 700 comes with a new industry standard GUI for easy setup of the camera and offers professional connections such as a 12 pin her OC connector for Sinha servo lenses for 3G SDI for raw output a 12 volt power connection XLR and more for high-end filmmaking.
C 700 has multiple SDI monitor ports it can output a raw signal it can also use HDMI simultaneously and it was designed to be used in a studio environment where you’re sending multiple outputs each one with a different lock applied for the client.
If I compare this camera with C200 C700 has a ton of format advantages over the C 200 because the C 200 has the upper level 12 bit internal raw and it has the lower level mp4 8-bit for 200.
the C 700 has both of those options including pro res and lots of middle flavors of 4.4.4. and 4.2 that are ideal for broadcast mediums.
it’s got a sensor that is tremendously sensitive in the toe of the curve features a full-frame 5.9 K CMOS sensor developed by Canon the EOC 700 FF offers an incredible range of shooting options image formats and system expandability.
C700 offers more shooting options with a full-frame because of its 5.9 K full-frame, 79 aspect ratio you can actually over sample that into a 4k image, so it has cleaner higher ISO cleaner image less chance and you also have a 2k crop mode too.
C 700 FF support Apple ProRes recording including 4 4 4 4 X you can also be recorded to the codecs CD x 36 150 in sensor modes full frame and super 35-millimeter cropped it achieve up to 60 frames per second in 4k and Ultra HD 72 frames per second in 2k and Full HD and the super 16-millimeter.
- 1x Canon CN-E18-80mm
- T4.4 COMPACT-SERVO Cinema Zoom Lens
- 1x Lilliput A7S Full HD Monitor
- 1x Sony MDR-7506 Headphones
- 1x SonyECM-VG1 Electret Condenser Shotgun Microphone
- 1x LED Light
- 2x SanDisk 128GB 128GB Extreme PRO CFast 2.0 Memory Card
- 1x Pro Camcorder Case
- 1x Deluxe Cleaning Set
- 1x HDMI Cable
- 1×6 Assorted Color Velcro Straps
- 35 millimeter sensor
- 15 stops of dynamic range
- 4K images
- 20 millimeter t 1.5 cinema prime lens
- up to 120 frames in raw format on an external recorder
- records in 4k internally up to 60 p
- shoot in 6K 12 bit at up to 30 frames per second
- shoot 6K 10 bit up to 60 frames per second.
- 72 frames a second in a 4K crop
- 168 frames a second in a 2K crop
- pl mount
- ef mount
- AF System
- super 35 global shutter
- 5.9 K CMOS sensor
- 20.8 megapixel CMOS sensor
- full-frame lenses
- 168 frames per second
- support Apple ProRes recording
- object tracking
- face detection
- fantastic OLED Viewfinder
- support for the codex
- 10 stops ND, XF-AVC dual C fast cards
- limitations in dynamic range when using global shutter
This camera has support for the codex back which enables raw and higher frame rates in prores files.
The OLED Viewfinder is fantastic, and of course, you get canons dual pixel autofocus technology from all their latest cinema cameras.
Now the difficult bit for most manufacturers when moving to full-frame cinema lenses.
All the 7 Canon Cinema Primes cover full frame, plus you can use canons L series stills lenses from their full-frame stills cameras.
One of the main features that I like is it has an option to downsample to 4K or 2K up to 60 frames per second, that really makes the C700 FF stand apart from the crowd and a camera that is designed to do something more than actually capable.
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