TOP 5 Things To Know About The C500 Mk2

[@jordanw24]

So does the false color INCLUDE their rec709 baked in? Or how do you even know it’s right when you need a LUT to show accurate false color?

[@aaronnardi]

The Luts issues are strange. But the one button playback tip can save sooo much time and frustration on set.

[@brstone7131]

Have u found a way for the false color or waveform to give you the readout of the Lut you have applied. Only shows log which isn’t very useful for pushing your look image.

[@benbadenhorst2423]

With what camera did you film yourself? It looks absolutely amazing!

[@ROBERTPOKONSKI]

Whats your opinion on the Sony FX9 and than compare to the Canon 300 III n c500 mark II

[@r.w.swanson9810]

I guess you didn't get a reply 'cos he's still waiting. on FX9's firmware update to unlock the. camera

[@Crimsonengine]

I think Sony people are going to buy Sony and Canon people buy Canon. It costs more than 10k of a professionals time to learn a new camera system, so as long as no camera has a killer feature that beats all the rest, most shooters are going to stay in the ecosystem they know.

[@BryanBenoitPhoto]

Very helpful. I assume these would also apply to the C300.

[@sickhcivc]

my waveform doesnt go near 100ire, any idea how to get it to show that at clipping?

[@jacoborlando8527]

Can you do a detailed youtube video on the difference between the Canon LM-V2 ( C500mk2 Monitor ) vs the LM-V1 ( C200 Monitor ) Thanks!

[@williamji]

they look very different.

[@legitimatejones]

季旭 lmbo 😂😂😂 that’s definitely a very accurate and detailed difference lol

[@hbmorris5558]

I am super interested in your c500 mii course. Can you hook me up with that?

[@Crimsonengine]

yes! It's currently $100 off: www.canonmasterclass.com/course/canon-c500-masterclass

[@edpr2244]

False color issue is a big problem and Canon needs to address it with their new upcoming firmware.

[@Crimsonengine]

Its going to be tricky, because you're able to load any LUT you want into the camera, so its more of a 'remove LUT, display false color' task.

[@edpr2244]

@@Crimsonengine The only problem is that one should never use false color on a flat file (raw file). Raw file does not have enough contrast baked into it and that would give you a wrong exposure index and a false reading. This is why when you apply a LUT after the fact some shots become over exposed or underexposed.

[@BenjaminRowlandTV]

I always find your videos very informative. Now that you have used the C500-2 and C300-3 a fair amount, it would be great to hear your thoughts on how they compare. Happy New Year!

[@Crimsonengine]

Great point! I think if you're shooting for cinema/tv commercial and don't need faster than 60p, c500 is the way to go. If most of your work is broadcast or doc, then c300 is a better option IMO.

[@BenjaminRowlandTV]

@@Crimsonengine thanks so much for your feedback. I appreciate your time!

[@JitDawgBruhDang]

One other thing is the c500 larger sensor means it’s taller and a better candidate for anamorphic lenses

[@BenjaminRowlandTV]

@@JitDawgBruhDang very good point!

[@creativeorstrange]

So do you manually adjust the audio in post because of the time code- sync issues ?

[@Crimsonengine]

yes. We had a reference track from camera so it was just matching the peaks.

[@markjob6354]

Canon has always made fantastic production cameras, and the C500 MK II is no exception, however, I just can't justify the price for a wonderful camera that's upwards of $15,995.00 USD that isn't 8K. At this point, anything less than 8K (As a an acquisition production shooter) doesn't seem practical. I can hardly wait for the new Canon EOS R5. To me, that, or the Kinefinity Mavo Edge 8K would be a camera which justifies the upward retail scale investment.

[@fffinish]

Mark Job What will you do with 8K that 6K can’t do? If an R5 can do what you need that’s great but I am always puzzled by comments like this

[@markjob6354]

@@fffinish I can punch in much more and re-frame with less quality loss with 8K versus 6K, because I have mathematically more pixels to bin and dither. I only see 8K as a practical (acquisition) format, not a delivery format. Dithering down to DCI 4K from 8K acquisition is currently the norm for digital Cinema production in Hollywood. Up until now 8K resolution digital cinema cameras have been financially out of reach for most independent, freelance, one man band shooters.

[@fffinish]

Mark Job I get what you mean, but Hollywood mostly captures at either 4448x3096 (LF) or 6560x3100 (65) and they seem to get acceptable quality from those low res Alexas.

[@queefreak666]

Anybody who thinks that $16K can't be justified for a camera of this measure, hasn't been in this business very long or doesn't make enough money to justify the expenditure. The most money I ever made in this business was with a $50,000 standard definition Betacam. If you can't pay off the full price of a piece of equipment in 24 months or less, you shouldn't have bought it