canon c500 mark ii dynamic range test
Latitude is the capability of a camera to retain detail and colors while over- or underexposing the image. Two weeks ago Canon Philippines lent us the brand new Canon C500 Mark II, here are some images we filmed one afternoon with the camera. Thank you Dr. for the results! EF locking (CM-V1) 2. To make the story short, the Canon EOS C300 Mark III Digital Cinema Camera features a Super 35mm Dual Gain Output sensor with up to 16 stops of high dynamic range capability for HDR recording and low noise. Which led me to think – does all in camera noise reduction inherently look better than using a NLE program since the NR algorithm is searching for a specific fixed noise pattern from a sensor’s circuitry versus a universal one? If you’re using cine lenses or heavier zoom lenses then definitely yes. Still almost perfect. Theoretically the result would be much better than the 5.9k full frame readout, correct? Plus you should make the list of links to all your tests and results easier to reach because they are extremely thorough and useful and now they are spread over the years. 2: Waveform plot of the Xyla21 stepchart from the Canon C500 Mark II at 25fps, UHD, 10bit XF-AVC codec (CLOG2 / C.Gamut) at ISO 800 – about 13 stops can be identified above the noise floor! Dear Pablo, no, we have not tested this camera yet. For full frame sensors we haven’t seen a value below 20ms yet, 22ms was quite good already (e.g. Higher res would be useful for stability options in post and always wanting for better dynamic resolution. Having tested now various mirrorless full-frame cameras for the last 2 years in our cinema5D lab, I was really curious to put a “real” cinema camera with a full-frame sensor through the paces one day. Really like Canon color science. No camera so far has survived this torture test. The dynamic range of the C500 Mark II using the internal 10bit XF-AVC codec at UHD 25fps using Canon Log2 / C.Gamut (Color Matrix “Neutral”) shows a very strong 13.1 stops at a signal to noise ratio of 2, see figure 1 below (noise reduction “off”). Check out the BTS clip: The Canon C500 Mark II. Finally, we are reaching now the 5 stops of underexposure. RED Dragon vs Canon C500 Test. 3: Canon C500 Mark II rolling shutter for 17:9 5952×3140: very good 15.8ms are measured. 9: The Canon C500 Mark II at 5 stops underexposure, pushed back to 0 using CLOG2 with the XF-AVC 10bit codec at ISO800. Enregistrement Cinema RAW Light 5,9K interne. The dynamic range of the C500 Mark II using the internal 10bit XF-AVC codec at UHD 25fps using Canon Log2 / C.Gamut (Color Matrix “Neutral”) shows a very strong 13.1 stops at a signal to noise ratio of 2, see figure 1 below (noise reduction “off”). 7:00. Oh, great to hear – you won’t be disappointed by your new baby! Fig. It depends on the lenses you are going to use it with. 7: The Canon C500 Mark II at 4 stops underexposure, pushed back to 0 using CLOG2 with the XF-AVC 10bit codec at ISO800. Secondly, the larger sensor … Advertisement. From the tests, it looks like the C300 Mark II is achieving that extra dynamic range by giving you extra stops in the shadows and mids. Behind the Scenes . I know many existing workflows are not using RF, but Canon’s own brilliant RF to EF adaptors solve 99% of these issues. In September we published our lab results of the Canon C300 Mark II dynamic range. Fig. Now you may ask why I have not used the internal 6K RAW (5952×3140) to test the dynamic range? Looking at the waveform from the XYLA chart it appears that step 11 is smeared all the way from step 10 to 12. 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. Most interesting about this test was the fact that according to our own parameters the dynamic range was closer to 12 stops, while Canon markets 15-stops of dynamic range … No Reds tested yet? Lens. Deux logements de carte CFexpress. It would be nice to have a dedicated section where we can just go to and reference at any time. You need to pay $2,199 extra for a locking EF mount (called EF-C) from Canon. Is there a database for all your results? What are your experiences with the Canon C500 Mark II so far? Read on … A lot has been said and done on the Canon C500 Mark II already, for example by my colleagues Nino or Ollie here or here. Exceptions so far: BMPCC6K using BRAW 3:1 and Panasonic S1 (using ProRes HQ via an external recorder) which retain a usable image at 4 stops under. 4: base exposure of our studio scene for the Canon C500 Mark II, using CLOG2 with the internal XF-AVC 10bit codec at ISO800. From there we successively underexpose the studio scene by increasing the shutter speed to 180°, 90°, 45°, 22.5° and finally 11.25° (5 stops underexposure). Well, I did. This day had finally arrived when the Canon C500 Mark II was available in the cinema5D headquarters earlier this year. Canon C500 Mark II Lab Test: Dynamic Range, Latitude and Rolling Shutter. Browse more videos. The standard EF mount is non-locking. If you’re just using Canon still lenses then probably not. Filmmaker Brett Danton. Regarding the other cameras, would love to test these too – let’S see what we can do! Canon EOS C500 Mark II. In addition, the internal XF-AVC encoder manages to encode the noise as finely dispersed grain, hence you can add noise reduction in post production and you get a very usable image – for examplethe noise in the lower right hand side of figure 6 cleans up well – see figure 7: Fig. Most cameras break apart at 3 to 4 stops underexposure. We have been told that the next cinema camera from Canon will be the Cinema EOS C300 Mark III.
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