While most of the photography and videography world has been pining over the 5D Mark IV, Canon has released a second camera that promises a whole lot more. The C700 is the successor to the wonderful C500. It boasts some seriously impressive specs. But is it too late?
There isn’t anything new here. In fact, it’s almost like Canon saw what their competitors were coming out with in 2012 and have only caught up now. If this was indeed four years ago, this camera would be seriously big news. If it's not turning too many heads, then what is its purpose? And what is it packing under the hood?
- Global shutter is an optional add-on.
- Proxy recording to internal SD cards, which is handy for editing quickly.
- ProRes, XF-AVC, or raw.
- An available remote control unit, similar to Blackmagic's URSA.
- Optional Codex external recorder bumps 4.5K recording from 60p to 120p, along with 2K at 240p internally.
- Lens mounts (EF and PL) and the sensor are replaceable.
- Canon's own viewfinder, along with a shoulder-mounting system for ENG style shooting.
- $28,000 for the EF model, up to $35,000 for the PL model.
Who is this camera for?
They’re aiming at the broadcast industry. Sony’s F55, Blackmagic's URSA Mini, and Arri’s Amira are all capable for the job, but what’s to stop somebody from opting for any of these three amazing offerings? The F55 was released in early 2012, and Canon’s not necessarily beating it with the C700. Why would anybody choose Canon then? I’m not sure Canon knows the answer to that.
If they're aiming at the broadcast industry, they’re going to have a very tough fight against Sony. Albeit, the Canon C300 has proven to be a seriously popular broadcasting camera since it met BBC’s standards and brought an affordable film look to the table. This could make sense, since this announcement comes just days before IBC begins. The camera also works with B4 lenses, a staple within broadcasting.
However, that doesn’t mean that anybody has room for a $28,000 camera when they can shoot on the Canon C300 Mark II or even Sony’s FS5/FS7 cameras. This camera is for the bigger production who could afford to use the Canon C500. This isn’t frequent, and those that are in this space are already using trusted Sony or Arri systems.
Another market is the aftermarket. The C500 started out at this high price point, but is now only $7,000. If the C700 is cut by a third of the price, we could see a lot more of them around!
Can they compete?
They can try, sure. It will be an uphill battle when most of their competition is a step or two ahead and were in that position years ago. The C700 can’t record high frame-rate 4K without an external recorder, something Sony’s FS7 has been doing on XQD cards for a while now. The C700 also crops in when you want high frame rates. It doesn’t have a global shutter as standard and only has it with a PL mount option, which Sony’s F55 boasts proudly as standard. Beyond that, though, I’m certain that the new C700 will do an amazing job at replacing the C500. It probably won’t take over any industries, but at least it’s got more exciting specs than the 5D Mark IV.