The Canon C700: What Else Ya Got?

With new and significant camera announcements by Canon throughout many of their camera lines, there is one that certainly stands out — it’s the new “flagship”. In case you missed Nino’s announcement post on September 1st, the C700 is the new leading camera in Canon’s cinema line. Read on for my initial impressions of where the camera sits in the crowded cinema field.

canon-c700-broadcast

I’ll be the first to say I love Canon. I am a Canon fanboy. The Canon 1DC, C100 and C500 are all sitting on my shelf right now, and that’s the majority of the Canon “cinema” lineup.

There is just something about that otherwise intangible, slightly warmer Canon image that keeps me coming back again and again to their cameras. Like many Cinema5D readers, I fell in love with the Canon 5D Mark II and haven’t looked back since. Until now.

It’s clear that Canon listens to some feedback: the Canon C700 is unbelievable looking on the surface. With its 4.5K Raw sensor, better shoulder ergonomics, modular design, global shutter option, 4K 120fps capability (with an added attachment) and the same sensor as the Canon C300 Mark II, it all seems poised to produce a great image, and yet I find myself underwhelmed.

Why?

I’m underwhelmed because this feels like the camera I wanted two years ago. I love the Canon C500. They could have added a 6K sensor, better EVF, and better slow motion options and the camera would fly out the door as a true competitor to RED Cinema.

Today, I am duty bound to compare the Canon C700 spec list with other cameras around its price range such as the Sony F55, Arri Amira and several RED Cinema cameras, not to mention the folks over at Blackmagic Design. The Canon C700 falls behind in categories such as resolution, frame rate options, dynamic range (though only slightly) and usability. Having to add an external module to record anything higher than 4K 60fps is a major pain point. I want everything done internally without adding weight and another device that can break in the field.

What's in the box

What’s in the box

The price, currently sitting at $28,000, is for the camera body alone and doesn’t include the OLED monitor, CFast 2.0 media, shoulder mount or the Codex external recording module. It’s expensive. It’s so expensive, in fact, that if you are seriously considering buying this camera you are either a rental house used to making this type of purchase, or you are an operator who already owns a RED, Arri, or Sony F55, and are thinking of switching. I just don’t see the C700 being the camera that convinces cinematographers to switch to Canon, which is a personal disappointment for me because I’ve been raving to skeptics about the C500 for years.

If you review lists of the 2016 Oscar nominated films, you’ll note that the Best Picture nominees field is almost entirely dominated by Arri and RED. Sony is even struggling to make the cut. This tells us that Canon has a long way to go to break in to a very insulated group of filmmakers that stand by Arri.

The Canon C700 doesn’t give filmmakers who require a cinema camera a reason to switch, and that’s a problem. Canon needed to knock this one out of the park and establish itself as the innovator in the higher end cinema camera environment. So much money goes into developing new cameras, and we anticipate the release of those cameras for years, so Canon needs to use the resources at their disposal that matter most: the filmmakers outside of the Canon community. To become a kit staple for the top DPs, you need to find out what they find crucially beneficial in the camera bodies they’re already using, and what luxuries you can innovate to bring them over to your side.

Until I have this camera in my hands and I’m out in the field shooting, I’ll reserve my full judgement. But for now, take advantage of the price drop of the Canon C500 and grab an Odyssey 7Q+ for 4K and you’ll save yourself $20,0000+.

What do you think? Is the Canon C700 going to dominate the next round of films being produced? Or, is this camera too little too late. 

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 Beebee Lestr Reply
Beebee Lestr September 2, 2016

Canon is a worry.

It has great engineers. But it is missing the mark in so many product categories.

The C700, the 5D Mark IV are the latest.

A lot of Canon’s problem is getting the price and feature set wrong. You have to fork out for the C700 to get ProRes. No raw video or waveform on the 5D. Rejecting and not wanting anything to do with ‘full-frame’ video, the very feature that brought Canon into ‘cinema look’ video in the first place.

Canon will learn the hard way by suffering disappointing sales. I hope Canon can turn this around.

Graham Sheldon Reply
Graham Sheldon September 3, 2016

I wasn’t thrilled by the 5D Mark IV either. No reason yet for me to get rid of my trust Canon 1DC, which I love. The 1DC has no slow motion options in 4K, however.

Agreed. The crop factor in 4K on the new Mark IV is rough.

It’s rare for me to see other Canon C500 operators around. I definitely don’t see that changing with the C700.

James Bridges Reply
James Bridges September 2, 2016

As a F55 owner(for 3 years), I am glad Canon has released a more serious cinema camera, but my F55 can do more, the Varicam LT is close and much cheaper, GH5(if released) with a Metabones adapter is a great option as well.
Codex is an overpriced recorder, the Odyssey 7Q+ can do more for a fraction of the price. Not to mention, they promised a Varicam recorder, not sure if it was released.
Canon once again has released a great $20K camera for $28k. There will be a few purchases, I imagine there will be rebates this time next year. Canon’s pricing structure is way off…

Graham Sheldon Reply
Graham Sheldon September 3, 2016

The F55 is a great camera, just not too widely adopted in the major feature films currently. Not sure why that is other than Arri is just so dominant. Sony does seem to like adding external recording modules on their higher end lines as well. Engineers, can we make things work internally please?

I haven’t used the Varicam LT, James. Are you a fan? Just haven’t had an opportunity to use one.

Kirill Kripak Reply
Kirill Kripak September 2, 2016

An objective article from a canon fanboy: this is good news and may be what Canon needs to get their heads out of their asses.

David Michnowicz Reply
David Michnowicz September 3, 2016

Great camera, stupid price

Jeff Regan Reply
Jeff Regan September 3, 2016

Yeah, a $40k camera with a C300 Mk II sensor that I rate at ISO 400 due to noise. I have C300 PL’s and F55. This camera just doesn’t make me excited.

Graham Sheldon Reply
Graham Sheldon September 3, 2016

I had high hopes. The C300 Mark 1 and 2 is everywhere on doc productions in the US and I’m just so used to shooting with it now. The ergonomics never bothered me.

How far would you push the ISO on the C300 Mark II in a dark environment before it breaks down just too much for you, Jeff?

Reply
Jim Martin September 8, 2016

6400 ISO on the C300 MK II is clean like the 3200 ISO on the original, C100 & MK II, and the C500

Dave Annarino Reply
Dave Annarino September 3, 2016

If they bring this form factor to the C300 MkIII and shave off $4k, I’m in.

Graham Sheldon Reply
Graham Sheldon September 3, 2016

I could see that, but I need some resolution improvements and we need to be able to get 120FPS internally at this point. Sony has been doing it for years. 4K/60?!?

Also, I would love a full 5K sensor, versus the 4.5K on the C700. That would make me feel a bit better about picking one of these up versus a RED Scarlet at a dramatically lower price point.

Danny Kim Reply
Danny Kim September 3, 2016

And how much more does it cost to record in RAW? Tack on another 6-8K?

Reply
Caine Mitchell September 3, 2016

A falling share price…that’s what else they’ve got

Arbel Rom Reply
Arbel Rom September 3, 2016

I agree with everything you wrote. But I think even the rental houses don’t have a good enough reason to buy this camera,when they have stock of Alexas and Amiras flying out like hotdogs. The C700 can’t be priced higher per day, and it gives crews nothing more at the end of the day. Shame. Good competition is beneficial for everybody, especially us the customers.

Graham Sheldon Reply
Graham Sheldon September 3, 2016

Thanks for reading, Arbel. Yep, Alexas and Amiras both are very, very popular on sets right now. Especially since the 4K update for the Amira in late 2014.

Петър Петров Reply
Петър Петров September 3, 2016

Страхотна е ще я чакам да се появи на пазара в България…..супер е…..

Barry Goyette Reply
Barry Goyette September 3, 2016

I’m frankly not surprised by the un-ending stream of negative comments about the C700 here at C5d. But I was taken by Graham’s comment about “being duty bound to compare” the spec lists of competing cameras, followed by…no comparison, just his opinion. Well, I felt duty bound to compare the C700 directly to the product that it is clearly aimed at (the Amira), and I was surprised at what I found. The C700 kitted out with a grip, EVF and shoulder mount comes out almost exactly the same price as the Amira base package. About $40k. So at that price I’m looking hard to find any place that the Amira “beats” the canon. Of course it’s got that famous Log-C….ooops…no…that’s extra, rec709 only. But wait it’s also got 200fps…shit…no…..that’s extra too. In fact there are dozen ways the C700 out-specs the camera it is clearly modeled after. Log Gammas, Industry leading Autofocus, High ISO Range, Auto Iris, 444 recording, 4.5k capture, 4k output (Amira is UHD), WiFi remote control, in camera looks, built in ND range, EVF resolution and a few more. On the Amira, to get the most important-thing-on-the-planet-200fps-2k feature you’ve gotta pay an extra 5 grand, and to get 4444 recording well that’s 7000 samolians more. I don’t see anything about raw in the Amira tech sheet. That 12 grand oughta just about cover that codex, and then you’d have raw too (apparently RED style “real” raw at that) on the c700, plus the fancy frame rates.

Now I get that there’s not a lot new about the C700. There’s no defining new feature (except that canon finally has a pro-style camera with all the trimmings). But when the Amira came out, there wasn’t a lot new about it either. It was simply a trimmed down Alexa at a remarkably lofty price. I don’t remember so much hate, other than the usual a7/gh4/fs7 owner price grousing.

Given the comments, it sure looks like Canon has it’s work cut out for it. But I think the press isn’t giving this camera a fair shake. Typical for Canon this looks to be a solid, conservative offering. It’s a camera that anyone really working in the industry will appreciate. Anyone expecting more hasn’t really been paying attention.

Graham Sheldon Reply
Graham Sheldon September 3, 2016

Barry, thank you for reading the article. You make some great points. This is definitely all opinions on my part. Once I start seeing tons of gorgeous C700 4K footage in the wild I might change my mind. It’s been known to happen! :)

I didn’t want to dive into a true specc comparison with this because we have so many other sources for that — including B&H. I had hoped to leave that up to the reader to go line by line though the framerate options on all four of these cameras if they wished.

You make a great point that it is clearly targeted at the Amira — a camera that was released in 2013. My hope is that a camera released in 2016 wouldn’t just stand up to a camera released in 2013.

As a big Canon fan, hopefully one of the takeaways people get from this is that you are better off spending your money on a Canon C500, an EVF, adding an Odyssey 7Q+ and going into the field. Spend that extra $22,000 on a great cinema zoom.

Barry Goyette Reply
Barry Goyette September 3, 2016

I completely agree with the wanting something “new”. And I think from a “marketing” point of view, Canon is probably going to pay for not having a few more headline features. But really…really…except for RED…this end of the market moves much slower than say the C300mkII segment. Most people shooting for broadcast are still shooting for 720p delivery. Shooting for Netflix, the Amira doesn’t even qualify, but this camera is certainly going to be popular among the red and sony haters. Truth is, the C700 fully out specs the Amira at the base level, and so even without a crazy new feature, this camera clearly isn’t the same as a 3 year old camera.

The problem is that Canon introduced most of the new features in the C300mkII, kinda backwards if you ask me. The Amira certainly had no “new” features when it came out. All it really offered was a taste of Alexa magic in an ENG/doc form factor. But it was the little brother getting the hand me downs. With the c700, it seems like the other way around, and that’s the problem.

Reality is that Arri, Sony, and now Canon have largely the same sensor tech and feature set across multiple models of widely varying price points, and they are all ready to shoot almost any project you can think of now. (RED makes sensors for the future…we know…but why anyone needs 6k/8k today, beyond special effects work is beyond me).

To be honest, his camera isn’t for me. I shoot in a small market where the C300mkII is a stretch for most productions, and rentals are non-existent. (I shoot with the C300mkII for me..not the clients). In some ways, I’m glad the C700 is pretty much just a C300mkII on steroids. I don’t need any more camera envy in my life. :-) Cheers.

Graham Sheldon Reply
Graham Sheldon September 3, 2016

Ha, I can certainly relate to this quote: “I shoot with the C300mkII for me… not the clients.”

 Beebee Lestr Reply
Beebee Lestr September 3, 2016

Barry, nobody is saying the C700 is a bad camera.

The problem is that the C700 is arriving late to market – 3 years late – and because of that it’s overpriced.

You compare it to the Arri Amira, a camera that debuted at IBC in December 2013. Arri is highly established in the high end. It comes from the same city as BMW and its own badge is esteemed like a German car brand.

Canon can’t expect to beat that by arriving with a similar spec’d camera three years later. Canon has only one option – to reduce price, like Sony does.

Barry Goyette Reply
Barry Goyette September 3, 2016

@beebee

:-). You mean the Sony F55? The other similarly spec’d camera with slightly lower specs than the C700. The one that’s currently the same price as the C700? Not sure what you’re saying…Canon should come in with a camera with higher specs than the 3 year old competition, but deliver at a price that’s lower. Is that what you’re saying, Beebee?

My feeling is that cameras in this section of the market are more similarly spec’d than not. (red excluded), because that’s the area that working operators and DP’s play in. They want cameras that do what they need and work all the time. (the c700 had a tremendous amount of industry vetting..if the industry asked Canon for 6k or 8k or 720 fps, I can tell you confidently that canon would have given it to them). This camera, by canon’s description takes new tech from the C300 mark II and gives it a back-end similar to the other pro cameras on the market. Done. This gives Canon a place at the table they haven’t had until now. I don’t think anyone actually using an Amira or F55 is interested in 8k right now, but they might be interested in Canon’s look, it’s ecosystem, it’s low light capability or in DPAF. That’s certainly what Canon is counting on.

Canon has always been late to the table when it comes to “future” driven features. It’s just how they roll, and if you expected anything different, well…your bad.

And nobody said that anybody called it a bad camera.

Barry Goyette Reply
Barry Goyette September 3, 2016

And one more thing. The day that RED announced the Raven, I was sitting with someone pretty high up at Canon. He laughed, “They’re gonna sell a ton of them, But I’m going to make more profit from every lens than they do on that camera.” (Raven only comes with an EF mount.)

When Canon entered the “cinema” market with the C300, there was only 1 mount that mattered. PL. Today we see Arri, Sony, Red, and uh Canon cinema cameras all fitted with canon lenses and mounts. Not that it’s the only reason, but you might want to rethink about why Canon wants a seat at the big boy’s table.

All the way to the bank. All the way to the bank.

 Beebee Lestr Reply
Beebee Lestr September 5, 2016

Barry’s amusing anecdote about the Canon executive laughing about lens profits demonstrates the potential for Canon if it made a full-frame cinema camera, with the real possibility that if it caught on (which it would) it would make EF lenses a new cinema standard.

Barry Goyette Reply
Barry Goyette September 5, 2016

In some ways I agree..but that’s probably a C900 and who knows how far that is away. But back to the lens profit analogy. How much profit do you think Canon will make on a 28k C700? I have no idea, but I’ll bet it’s a lot less than they make on any of their excellent $30-50k zooms, all of which only cover Super 35/ aps-C. My guess is that vast majority of C300markII and lower C-EOS cameras have photo EF lenses on them 90% of the time, along with the occasional cinema prime. With the C700, canon has entered a product category that practically lives and breathes by these zoom lenses. So if a rental house has a couple of Alexa/Amira’s with PL mounts, canon isn’t really getting the lens business either. This camera, like all other EOS camera products is at least partly about selling lenses. (this has been the business models since proprietary interchangeable lenses were invented).

We’ll have to wait and see whether the industry takes a liking to this camera, but most people will tell you that canon’s lens line is one of it’s biggest advantages in this marketplace. The C700 is just one more piece in that puzzle.

 Beebee Lestr Reply
Beebee Lestr September 5, 2016

Re: Canon C700 vs Sony F55:

In the markets I’ve seen, the F55 is selling for thousands of dollars less than the C700. I think high-end users will appreciate uncropped faster frame rates rather then Dual Pixel autofocus (sole shooters will prefer the DPAF).

Re Canon “always” being late to the table with technology:

Canon wasn’t always behind with technology. It’s a recent phenomenon.

In the film days, Canon’s 8mm and 16mm ‘Scoopic’ cams were most innovative. In stills, the AE1+program was the first camera with totally electronic control. Canon was the first to use aspheric lens elements. Canon was the first with a totally electronic lens mount (EOS). They used to be trailblazers.

I’m actually a Canon fan. I’ve got many EF lenses. It’s just disappointing that right now Canon isn’t making the camera that I want. I’m sure others feel likewise.

I hope Canon wakes up to itself soon and changes this.

 Steven Bailey Reply
Steven Bailey September 3, 2016

A fully kitted, raw-ready C700 will rent for less than Alexa Mini and Amira kits. Even without the raw recorder, it is more feature capable for base price than Arri cameras. The price is perfectly competitive, and there are plenty of shooters (myself included) who welcome Canon’s longstanding ease of use and great image in a more robust body. Let’s not forget that Arri’s chips must have their signal up scaled in order to achieve UHD recording, whereas this is a proper 4K+ chip, and in that sense Canon has had Arri beat since their very first cinema camera.

 Rogue Bison Reply
Rogue Bison September 4, 2016

I think the problem here is people look at the price and think it’s a lot of money for the specs. And it is. It’s also a lot of money for a car and many other things. The reason I wrote the last sentence is that I know a lot of dops that will want to test and possibly shoot with this camera and guess what, none of them will buy one. None of them own any cameras other than stills. The only price that they need to know is the daily rental price.

Outside fx plates no one care about res over 4K and I’m saying this as a colourist. We do need 4K as Netflix demands it and that is spooking others. Furthermore, arri look has been around so long that people are shooting on it after taking a break to go with the red look. So canon raw in a system geared to shooting with a proper crew is going to be very popular.

Anthony browning Reply
Anthony browning September 8, 2016

Scratching my head wondering who would shoot with this over the red or alexa Cam? Canon needs to wake up and really work on their dynamic range.

Reply
Jim Martin September 8, 2016

What?…it has 15 stops…more than enough.

Barry Goyette Reply
Barry Goyette September 9, 2016

C’mon Jim. RED has 16 1/2 stops. Says so on their website!

Reply
Jim Martin September 9, 2016

Barry, Don’t make me pull the car over!

PiDicus Rex Reply
PiDicus Rex September 9, 2016

Lets just add a little perspective, with a like-for-like specifications comparison.

Two cameras, both have,.

4K Global Shutter.
PL or EF mounts.
ProRes recording.
Up to 120fps to external recorder.
Raw to external recorder.
No viewfinder included.
Over expensive media instead of SSD’s.
Quad-SDI output.
Class leading Ergonomics.

Raw recording bypasses both camera manufacturers ‘colour science’.

Now ask,.. Is two stops of dynamic range worth a price difference of FIVE Zeiss CP2’s, for the Canon C700GS over the Aja Cion ?

You can make the same comparison for the C700 vs the 4K Ursa, if you skip the latter’s questionable ergonomics.

Reply
Jim Martin September 9, 2016

HaHa…bringing up the Cion & the Ursa, very funny;)

PiDicus Rex Reply
PiDicus Rex September 9, 2016

Makes my point on the pricing rather accurately, no? :D

And don’t forget, if you’re recording Raw, the majority of the complaints made about Colour Science disappear.

They have 12 stops range according to the manufacturers, and Canon is claiming only two more.

So, is two stops dynamic range worth $25,000 US ? – going off the pricing at B&H.

Barry Goyette Reply
Barry Goyette September 9, 2016

:-) Mr. Pidicus. I think you should compare specs between the Fs7, the F5, and the F55 and ask the same question. Are any of the minute differences between those cameras worth 25k? Well, to you they aren’t, and of course there are many differences that you’re just glossing over. But there are productions that use cameras like the F55, the Amira, and Varicam that would never shoot with a Cion (I’m not sure anyone actually shoots with a Cion, but that’s another matter). That’s where the C700 lives, those are the camera’s it is competing with on features and price, not some wannabe Ursa.

…and really… none of the cameras I mentioned in competition with the C700 is about shooting RAW, because who has time for that, although it’s nice to have it when you need it.)

PiDicus Rex Reply
PiDicus Rex September 10, 2016

Okie, now it’s some real lulz for me,…

Y’see, I’ve shot on and worked with Canon C-series, BMD, FS7, F5, a whole raft of DSLRs & MILCs, Red’s, and the Bolex D16, and the Cion.
(Time on Alexa, sadly missing :( )

Frankly, on all of those, when you’re shooting for HD output, if you can’t get good quality imagery out of the camera, it’s not the fault of the camera.
Especially in locations with well controlled lighting.
Ditto for those that shoot 4K, compared to the rest of the 4K cameras and not the HD cameras.

Maybe it’s more a Melbourne thing then an L.A. thing, but shooting Raw is very popular here, for everything from Indie’s to music videos too commercials and to S/Fx shots.

Side Note – The Cion really shines when you need the camera to move fast, on a rig or on the shoulder, it’s popularity (or lack thereof) is more related to the dynamic range rating it got on C5D tests then to whether or not its a good camera.
I’ve used it, I loved it, and the Only reason to dismiss it, is that potential clients don’t know about it in the same brand-awareness way like all those old ‘must have 5d, must have Red’ gigs, rather then ‘must be good cinematographer’.

Sure, the differences between FS-7, F-5 and F-55 are minute, image wise those three are all good cameras, the real difference came down to which one was faster to get good images from, in my experience, that’s the FS-7.
But the moment the cameras moving sideways,… You really want that Global Shutter.

Where I’d rate the Canon’s ahead of the pack, is when you’re shooting baked in looks. If you want to get it right in camera, light for it, and plan on minimal post work outside of the cutting, the C-series cameras are great.
They All still come with Canon’s over inflated pricing.
Let’s face it, Canon is the Apple of the camera world, they believe their own hype even more then Steve Jobs did.

Perhaps why the Canon’s, here at least, are more often seen doing red carpets then adverts. They fit in to a broadcast chain easier then the rest of the large sensor crowd. And broadcasters can absorb that cost.

And outside of broadcast and the Canon fanboys, I really don’t see how the C700 is going to make sales at its current price point.
It’s pitched in amongst a rarefied crowd, and it’s specs don’t show where the value is for that spend, nor does the one promotional film seen from it yet.

Reply
Jim Martin September 10, 2016

good points from your experience and side of the world.

 Steven Bailey Reply
Steven Bailey September 19, 2016

“Raw recording bypasses both camera manufacturers ‘colour science’.”

No it doesn’t.

PiDicus Rex Reply
PiDicus Rex September 23, 2016

That’s hardly a useful reply, care to cite more information?

Afterall, that’s the whole point of recording Raw sensor data, it’s raw, with no manufacturer applied colour science or corrections applied, giving the greatest flexibility in Post.

 Steven Bailey Reply
Steven Bailey September 23, 2016

What information? Different image sensors look different. They render color differently, treat gradients differently, are rated at different dynamic ranges, whatever you like. Red chips look and behave differently than Alexa, and Cion looks and behaves differently than Sony. Raw isn’t magic. The image sensor is still engineered to record information in a subjective way, and that information will always be processed in a subjective way.

There’s no useful information to cite. Your original statement is just simply and unequivocally false. Anyone who’s shot raw on different systems knows this. There’s no magically bypassing an image sensor’s characteristics.

Barry Goyette Reply
Barry Goyette September 23, 2016

It may be the “whole point”, but in fact, Arri, Canon, and Sony, definitely apply some color science (WB and ISO/gain) prior to raw output. RED supposedly doesn’t. Don’t know about BM or Cion. Raw simply means the image hasn’t been debayered and compressed. What the manufacturers do before that step is anyone’s guess.

Reply
Jim Martin September 9, 2016

putting two cameras with a dubious history, using chips that are not from one of the big three and are nowhere near as good in low light, to a camera with a strong, proven pedigree ….is funny to me. There are no shows here in LA or companies out of LA that are using those cameras to shoot shows for any network….so to compare those to a C700(or C300 MK II) is really inaccurate. Spec sheets never tell the whole story.

Claire McHardy Reply
Claire McHardy September 11, 2016

They have targeted the wrong end of the market and will miss wildly with this one. Where is the 4k C200? As a C100 mk1 owner and long time Canon customer I am frustrated and disappointed that after many years of talking to them they still close their ears to the customers. This has been another bad year for the Canon faithfull. A shakeup is in order. I am still not investing in the competition this year, but I am also not able to buy Canon… I am stuck in limbo.

A very disappointing and pointless product at that price, that will not dethrone the king or any of the others in the kings court.

 Beebee Lestr Reply
Beebee Lestr September 19, 2016

I agree with you, Claire. Canon doesn’t understand its market.

Canon is missing the mark in every category, in both stills and video. The C700 is just the latest to aim at a market that doesn’t exist. It seems to be trying to take Arri’s market but won’t.

Even the C100 has nothing going for it, as competitors offer Log recording at a lower price point.

I’m a Canon fan from way back, with lots of EF glass, but I’m feeling disappointment with every Canon release.

Claire McHardy Reply
Claire McHardy September 20, 2016

We should make a support group. ” The Canon Club for the Distressed and Disillusioned “