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Canon EOS C500 4K Cinema Camera with Odyssey 7Q (EF Lens Mount)

MFR# 6345B012
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Hunt's Guarantee
$11,999.00
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Included Items:

Canon EOS C500 Body (with Camera Cover), Odyssey 7Q Monitor, Monitor Unit (with Microphone Holder Unit and Screws for MHU), Handle unit, Thumb Rest, WFT Adapter, Tripod Adapter Base, Eye Cup, EVF CAP, SS-1200 Shoulder Strap, BP-955 Battery Pack (with Terminal Cover), CG-940 Battery Charger, CA-940 Compact Power Adapter, DC Cable for CA-940, AC Cable, XF Utilities Disc Ver.31, Instruction Manual


EOS C500 Cinema Camera (EF Lens Mount)

The Cinema EOS C500 4K Digital Cinema Camera capitalizes on the groundbreaking ergonomic design of the EOS C300 camera, and offers a Super 35mm, 8.85-megapixel CMOS image sensor, DIGIC DV III Image Processor and an expansive range of recording and output options specifically for 4K and 2K image acquisition. Addressing the discrete needs of cinema and TV, the EOS C500 offers two forms of 4K origination - productions can dynamically select DCI (SMPTE 2048-1:2011 standard) or the alternative television-centric Quad-HD (SMPTE 2036-1:2009 and ITU-R BT.1769 standards) source image formats.

The EOS C500 features uncompressed Canon RAW output for both 4K and 2K recording. The Canon RAW output is delivered to external recording systems via built-in dual 3G-SDI ports. Dual uncompressed HD-SDI out ports supports external live monitoring. HD content can be written to dual onboard CF cards simultaneously to provide proxy video for offline NLE systems.

Canon has collaborated with some of the most respected names in the industry to ensure the Cinema EOS C500's output works seamlessly with external digital recording units, portable and master monitors, and on set DIT systems. The Cinema EOS C500 provides flexibility in 4K and 2K recording to allow production teams to maximize the efficiency in their production and post-production workflows.

4K/2K Workflow

The EOS C500 fully supports both 4K and 2K image resolutions; as such, it is the ideal choice for demanding video productions across a wide gamut that ranges from high-quality commercials and TV dramas to motion-picture releases. A 4K workflow offers four times the resolution of standard high-definition acquisition, resulting in life-like theatrical presentations, a familiar, film-style workflow, full versatility during post-production, and added flexibility for visual effects.

Canon design engineers have developed a 4K/2K acquisition platform and matching workflow for the video and motion-picture industries. With 4K rapidly moving to become the de facto standard for theatrical projection, the need for high-resolution acquisition is a production reality. The EOS C500 is designed to fit seamlessly with projects shot entirely in 4K, or for mixed 4K/2K productions. Coupled to external data recorders, the EOS C500 is a true “4K powerhouse,” while still retaining the flexibility to handle standard HD workflows.

For enhanced creativity, and to accommodate a variety of workflows, the EOS C500 offers a range of 10- and 12-bit imaging modes. These comprise: 4K Output Priority Mode in resolutions up to 4096x2160 pixels; 2K Output Priority Mode in resolutions up to 2048x1080 pixels; and internal MXF File format recording up to 50 Mbps, utilizing MPEG-2 data compression at a variety of user-selectable frame rates and image resolutions.

Because the discrete needs of cinema and television production can vary from project to project, the EOS C500 offers two forms of 4K origination. Users can dynamically select either the DCI source-image format – SMPTE 2048-1:2011 standard – or the alternative, TV-centric Quad-HD source-image format – SMPTE 2036-1:2009 and ITU-R BT.1769 standards.

For added flexibility, the EOS C500 lets users select uncompressed Canon RAW output for use in both 4K and 2K productions. Instead of utilizing the built-in Compact Flash/CF storage media, Canon RAW-format output is delivered to external recording systems via built-in dual 3G-SDI ports. Dual uncompressed HD-SDI outputs support external monitoring. To provide proxy video sources for offline non-linear video editing systems, HD content can also be written simultaneously to dual, onboard CF cards.

2K/Full HD images can be output as either RGB 4:4:4 12-bit/10-bit or YCC 4:2:2 10-bit data for both 59.94Hz and 50Hz projects at up to 50 Mbps rates; because of data-bandwidth restrictions, recording onto the EOS C500's built-in Compact Flash/CF card drive are made at Full HD resolutions. As well as serving as a primary source for video capture, HD images streamed onto the CF card can be used as proxies for off-line editorial.

Cinema RAW Capture

The EOS C500 lets you capture images in a choice of 4K Cinema RAW and 4K Half Cinema RAW modes at frame rates up to, respectively, 60 fps and 120 fps, with 10-bit resolution. For enhanced flexibility, these two Bayer RAW modes are offered in a choice of Digital Cinema Initiatives/DCI 1.895:1 or Quad Full High Definition/QFHD 16:9 aspect ratios.

4K RAW data output from the EOS C500 image sensor can be recorded using about one-third of the space required for 4K RGB data, and Cinema RAW-based recording systems offer an enhanced degree of creative freedom during post-processing.

Primary applications for Cinema RAW include video production for high-end commercials and major motion-picture releases, in addition to footage for high-quality visual effects. 4K Cinema RAW data output can be processed using the Cinema RAW Development software application, which is available through the Canon website.

Expanded EF Lens Communication

With the November 5th, 2015 firmware update, EF Lens communication has been expanded to allow servo lens control from the from the RC-V100 remote control. An external battery/power source is necessary to drive the lens, as power cannot be supplied by the camera.

Canon EOS C500 with EF-Lens Mount

To integrate easily into the working style and equipment array of film crews and production houses, the EOS C500 with a Canon EF-lens mount is completely compatible with all of Canon's EF lenses, including compact primes, super telephotos, specialty Tilt-Shift, Macro and Fisheye lenses - over 60 in all.

Canon MPEG-2 4:2:2 50 Mbps XF Codec

For trouble-free exchange of video and audio material, the EOS C500 uses the industry-standard Material Exchange Format (MXF) for its internal recording file structure. With MXF, video and audio are interwrapped into a single file, together with important metadata about the project. In addition to providing the highest level of compatibility with non-linear editing/NLE systems, use of MXF-format files offers integration with high-end, networked DAM (Digital Asset Management) and MAM (Media Asset Management) systems used by many TV networks and production studios.
When HD is required – either as the acquisition format, or as a proxy file system for 4K output – the EOS C500 supports the highest image quality, with Full HD 1920x1080 resolution, 50 Mbps bit rate and 4:2:2 color sampling. The system delivers outstanding results via its powerful built-in MPEG-2 XF codec and recording to Compact Flash/CF card installed within the camera body. MPEG-2 compression is fully compatible with existing industry infrastructures and non-linear editing platforms.
Canon 4K Super 35mm 16:9 CMOS Sensor

The EOS C500 features a Canon-designed Super 35mm, 16:9 CMOS sensor with full 4K resolution capable of delivering pristine-quality, 8.85-megapixel images needed for commercial applications with minimal moiré and other artifacts. Based on the same technology as the well-received EOS C300, the EOS C500's High-Sensitivity CMOS image sensor has the additional ability to directly output full 4K, 10-bit RAW Bayered data through two dedicated 3G-SDI connectors. The sensor's large, Super 35mm size lets you capture cinematic shallow depth-of-field imagery, yet maintain the enhanced image characteristics demanded by professional cinematographers.
During data transfer, the uncompressed information from the EOS C500's 4096x2160 Bayer-type CMOS image sensor is read out and transferred as RAW data to the 3G-SDI output. Prior to editing and/or image processing, this pristine RAW data is recomposed using a process known as de-Bayering to extract the highest amount of detail information from the camera's sensor, and capable of delivering truly breathtaking results for both film and TV projects.

By maintaining a wide pixel pitch, the sensor maximizes the amount of light that falls on each photo site, thereby enhancing the EOS C500's sensitivity and reducing image noise. By using a single CMOS sensor to capture individual Red, Green and Blue channels for each Full HD 1920x1080 frame, the EOS C500 produces color performance that is comparable with conventional three-chip designs. Of course, during 4K recording, the EOS C500 uses a debayering algorithm to process and output a full-resolution 4096x2160 image.

Canon Log Gamma

The EOS C500 features a log gamma setting that sets the camera to maximize dynamic range and provide wide exposure latitude. The files produced using log format are ideal for post-production processes where corrections, color matching and grading are applied. It provides users with a high level of creative freedom in post-production without substantially degrading the image quality. When using Canon Log, the EOS C500 can provide a dynamic range up to 800%. Canon Log Gamma can be applied in any EOS C500 recording or output mode.

Terminal Connectors

The EOS C500 comes complete with essential I/O interfaces via professional-grade BNC and multi-pin connectors.

  • Two 3G-SDI connectors output the Canon Log Gamma and audio signals at resolution and frame rates established within the EOS C500's 4K/2K priority modes.

  • Two Monitor connectors can be used to feed a video signal to an external monitor in 4K/2K priority mode, with a choice of either Rec709 or Wide DR color-adjustment, look-up tables (LUTs). (Marker, zebra and peaking signals can be set to output to only one of the monitor ports.) Signal format is YCC 4:2:2, 10-bit.

  • A Sync Out connection carries a choice of HD Sync/HD-Y or SD black burst/composite signals.

  • A Genlock Input can be used for synchronizing the camera with an external video device.

  • A Timecode In/Out connector enables the EOS C500 to either lock to external timecode or feed its internally generated timecode to external systems.

  • An HD/SD SDI connector serves as a standard interface for commercial HD equipment, with multiplexed audio and video signals in a digital format.

  • Two XLR Audio connectors are provided on the modular monitor control unit. The audio inputs provide 2-channel audio recording with the ability to switch between line-level, mic-level and mic-level with phantom power supply.

Versatility, Reliability and Durability

Designed from the ground up to maximize shooting comfort and usability, the EOS C500's modular design enables different components to be added or removed as required to meet the needs of a particular shooting scenario, and also to increase the comfort of a camera operator. In addition to the core camera body, the EOS C500 features a low-angle, camera-handle extension plus a removable LCD Monitor and control panel with XLR audio inputs. (However, to accommodate the EOS C500's 3G SDI outputs, the handgrip is fixed in a single position and not removable.)

The EOS C500 features an Ultra-High Resolution 1.55 Megapixel EVF with approximately 100% field-of-view coverage for comfortable viewing and accurate image composition, focus and color adjustment. The viewfinder's angle is adjustable for additional user comfort. The Camera Control Unit features a 4-inch, 1.23 Megapixel rotating LCD screen that offers approximately 100% field-of-view coverage. Mounted onto the camera control pad, the display panel can be freely rotated to provide the operator with flexible viewing angles and convenient access to the control panel. For added flexibility, the panel can also be mounted in different positions to accommodate different viewing positions required by the operator, director or producer. Such flexibility and ease of movement makes the display easier to use than a rigid design that can be easily bumped during a shoot.

Full Manual Control

The EOS C500 incorporates a number of built-in features that camera cinematographers and camera operators need to ensure accurate exposure and color levels during production.

  • A versatile waveform monitor provides detailed analyses of both overall image brightness and RGB Components.

  • To check color balance and view the effects of white-balance adjustments, an on-board vectorscope displays real-time image hue and saturation analysis.

The EOS 500 offers full manual control of all functions, including iris, shutter speed, gain, zoom, focus and audio levels, thereby allowing the camera operators to adapt to both technical and artistic challenges during the shooting. For maximum customization, you have access to Custom Picture Settings, Custom Functions and Custom Display Options to tailor the EOS C500 precisely to your specific needs.

For situations in which conditions require critical focusing, the EOS C500 offers several focus aids. A pair of Peaking Modes and a Magnify Focus Assist are available in both standby and record mode, making it extremely easy to check and confirm critical focus settings. An Edge Monitor Focus Assist system, which was first introduced with the Canon XF Series camcorders, shows overall focus of the image plus focus status of focus-check boxes.

Slow and Fast Motion

During internal CF recording mode, the EOS C500 provides a Slow and Fast Motion Mode that can be used to record at a different frame rate than the playback frame rate, thereby resulting in either a fast or slow motion effect. Because the EOS C500 is recording real frames, and simply modifying the data playback rate, there is no overall quality loss due to interpolation; maximum image quality is maintained. In HD 1080 mode, fast motion is supported at up to 30-times normal rate and as slow as 1/1.25 sec.; in HD 720 mode, fast motion is supported up to 60-times the normal rate, and as slow as 1/2.5 seconds. In 4K/2K output modes the camera provides variable frame rate control that can be output to external recorders.

The EOS C500 incorporates an interval recording function. With this feature set, users can program the camera to record a specified number of frames at specified intervals for time-lapse capture.

WFT-E6 Wi-Fi® unit with Remote Capabilities

The EOS C500 can be used with the optional WFT-E6A Wi-Fi transmitter to provide unique capabilities not found in competitive units. Using any web-enabled devices such as a laptop PC, smartphone or tablet, you can control and adjust a number of the EOS C500's operational functions, including camera start and stop plus shooting parameters, in addition to monitoring a remote video feed and inputting session metadata. A built-in Bluetooth sensor will communicate automatically with external GPS units to secure location data that can be embedded with your video footage.

Covergent Design Odyssey 7Q

Apple ProRes & DPX RECORDING

The Odyssey7Q is able to record more formats and signal types than any other recorder in the world. Included in the Odyssey7Q is Apple ProRes recording in HD/2K up to 60p and UHD/4K up to 30p. Also included is Uncompressed DPX video recording in HD/2K in 10/12-bit up to 60p.

RAW RECORDING

The Odyssey RAW Bundle is an upgrade that allows recording of ARRIRAW (ALEXA), Canon Cinema RAW (C500) Sony FS RAW (FS7/FS700), POV RAW (IO Industries, Indiecam) and CION RAW (Available with upcoming firmware release). FS RAW and Canon Cinema RAW also feature the ability to convert RAW signals into virtually-lossless Apple ProRes video files. Canon RAW, ARRIRAW and POV RAW are each available for daily rental at $99/day. Additional recording formats will be added via firmware releases.

Dual/Multi-Stream Recording

With upcoming firmware releases Odyssey7Q+ and Odyssey7Q will be upgradeable to Dual-Stream recording of two simultaneous 1080p signals via dual SDI connections or a combination of HDMI and SDI.

Shortly after the Dual-Stream Record Option Upgrade is introduced we will be introducing a Multi-Stream Record Option Upgrade which will enable the recording of up to four simultaneous 1080p signals. Files will be recorded as Apple ProRes MOV files, including a live-switch file and an edit decision list (EDL) in an XML file. Both options will be available as paid upgrades through our online store.

Monitoring

The Odyssey7Q features a 7.7” OLED screen with 1280x800 resolution. The OLED display provides true blacks and accurate colors. A full complement of image analysis tools include a waveform (luma or RGB parade), a histogram (luma or RGB parade), zebra, programmable False Color, Pixel Zoom with finger drag, a three-mode Focus Assist and LUTs.

The included LUTs provide proper viewing of the LOG and RAW modes available from numerous popular cameras, with programmable LUTs coming in the future. These tools are controlled by the easy to use touchscreen interface and are available to view on the OLED or optionally on the SDI and HDMI video outputs of the Odyssey7Q.

MULTI-STREAM Monitoring

View up to four HD video signals at once as a quad-split screen, or live-switch between inputs. Great for multi-camera shoots and live streaming.

Playback

All formats are available for immediate playback directly on the Odyssey7Q. Full deck controls or tablet-style touchscreen scrubbing through clips makes playback quick and easy. On ProRes files, clip markers are available to quickly pinpoint important material. Image Analysis Tools are also available in Play Mode.



Imaging Sensor

Effective Pixels

4096 x 2160 pixels; Approx. 8.85 megapixels

Total Pixels

4206 x 2340 pixels; Approx. 9.84 megapixels

Sensor Type

CMOS

Sensor Size

Super 35; 26.2 x 13.8 (29.6 mm diagonal); 6.4 µm cell pitch

Scanning System

Progressive

Number of Sensors

1

Filter

RGB Primary Color Filter (Bayer Array)

Imaging Processor

Digic DV III

Lens System

Interchangeable Lens System

Choice of PL or EF mounts for compatibility with a wide variety of lens systems.

Zoom/Focus Preset

N/A

Shockless Zoom

N/A

Digital Teleconverter

N/A

ND Filter

Mechanical ND filter system with option of clear, 2, 4, and 6 stops

Iris Dial

Iris Dial located on camera body for use with EOS EF Lenses with electronic Iris control (EF Camera version only)

Peripheral Illumination Correction

Available on EF Mount model only

Exposure and Metering

Exposure Modes

Manual

Metering Modes

N/A

Gain

Normal Setting -6dB to 30 dB TBD
Fine Setting 0dB to 24 dB in 0.5 dB increments

ISO

320 to 80,000

Auto Gain Control (AGC)

N/A

Shockless Gain

N/A

Exposure Compensation/AE Shift

N/A

Shutter Modes

3 Modes: OFF; Speed; Angle; Slow Shutter; Clear Scan
Speed Mode is selected in 1/3 or 1/4 stop increments

Shutter Speed Range

59.94i/59.94p: 1/60 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/4 , 1/8, 1/15, 1/30; CS: 59.94 Hz - 250.27 Hz
29.97p: 1/30 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/4 , 1/8, 1/15; CS: 29.97 Hz - 250.27 Hz
23.98p/24p: 1/24 to 1/2000 in 1/4or 1/3 stops; SLS: 1/3, 1/6, 1/12; CS: 23.97 Hz - 250.27 Hz
50i/50p: 1/50 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/3, 1/6, 1/12 1/25; CS: 50.00 Hz - 250.78 Hz
25p: 1/25 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/3, 1/6, 1/12; CS: 25.00 Hz - 250.78 Hz

Shutter Angle Settings

59.94i/59.94p: 360, 240, 216, 180, 120, 90, 60, 45, 30, 22.5, 15, 11.25
29.97p: 360, 240, 216, 180, 120, 108, 90, 60, 45, 30, 22.5, 15, 11.25
23.98p/24p: 360, 345.6, 288, 240, 180, 172.8, 144, 120, 90, 86.4, 72, 60, 45, 30, 22.5, 15, 11.25
50i/50p: 360, 300, 240, 180, 150, 120, 90, 60, 45, 30, 22.50, 15, 11.25
25p: 360, 300, 240, 180, 150, 120, 90, 75, 60, 45, 30, 22.50, 15, 11.25

Iris (Aperture) Range

EF Lens only - 1/2 . 1/3 stop or fine setting can be selected
Smooth Manual control on Cinema Lenses

Focus

Focus Settings

Manual

Autofocus System

N/A

AF Modes

None

External Recording Output

Resolution

Resolution

Recording/Codec

Compression

8 Bit MPEG-2 Long GOP

Maximum Bit rate

50Mbps (CBR)

Recording Options

Recording Options

Recording Media

CF Card (Type 1 Only); 2 Slots (Movie Files); UDMA supported
SD Card (Still Images (JPEG), Custom Picture Data*, Clip Metadata, and menu settings); SD/SDHC/SDXC Supported; MMC Cards are not supported
*Custom Picture Data and settings is not compatible with data from others Canon models

File Format

MXF (OP-1a)

File System

FAT 32

Maximum Clip Number

999 (per media)

Audio

Recording Format

Linear PCM; 2-Channel; 16-Bit; 48 kHz

Built-in Microphone

None

External Audio Inputs

2 - XLR inputs (Auto and Manual level settings)
External microphone terminal: (3.5 mm diameter)

Recording Channel Selection

This is used to set the allocation of the audio channels:
CH1/CH2: The CH1 signals are allocated to the L output channel, and the CH2 signals are allocated to the R output channel.
CH1/CH1: The CH1 signals are allocated to the L output channel, and the CH1 signals are allocated to the R output channel.
CH2/CH2: The CH2 signals are allocated to the L output channel, and the CH2 signals are allocated to the R output channel.
ALL CH/ALL CH: Signals obtained by mixing the CH1 and CH2 signals are allocated to the L and R output channels.

XLR Mic Trimming

Available; -12dB, -6 dB, 0dB or +12 dB

Limiter

Available

Recording Level Adjustment Range

- Infinity to +18dB

Phantom Power

Available; +48V

Headphone Adjustment

16 Settings; Volume is muted at lowest setting

Built-in Speaker

None

1KHz Tone

Available; -12, -18, or -20 dB

Features and Performance

Playback

Clip Display: 3x4 Index Display, Original, OK Mark, Check Mark, Shot Mark, Expand, Photo (SD Card), Clip Metadata
Clip Playback: Forward Search (x5, x15, x60), Reverse Search (x5, x15, x60), Forward frame Advance, Reverse Frame Advance, Record Review, Skip to next clip, skip to previous clip
Clip information Display: Clip Metadata display, custom picture settings Playback Functions: Inter-media Copy (Single Clip, All Clips, Last Clip); Clip Delete (Single Clip, All Clips, Last Clip)
Still Image Playback: index, single playback, erasure, protect

Special Recording Functions

Relay Recording*; Double-Slot Recording**; Copying between Media
* Not available during Slow Motion 50 Mbps recording
** Not available in combination with Slow and fast motion recording
NOTE: Special features other than Slow and Fast Motion Recording are not available in 4K and 2K modes

Photo Recording Mode

Available; Images captured to SD Card

Waveform Monitor

Available; 2 Modes (Standard and RGB Component)

Vectorscope

Available

Exposure/Focus Aids

Peaking (2 types), Zebra Pattern*, Magnify, Edge Monitor Focus Assist, Black and White Mode
*Can be output via the SDI or HDMI Jack (HD Only)

Interval Record

Available; ability to set time interval and number of frames to record
Interval can be set in 25 levels ranging from 1 second to 10 minutes.
(1s/2s/3s/4s/5s/6s/7s/8s/9s/10s/15s/20s/30s/40s/50s/1m/2m/3m/4m/5m/6 m/7m/8m/9m/10m)
NTSC 59.94i/29.97p/23.98p/24.00p: Selectable between 1, 3, 6, 9 frames
NTSC 59.94p: Selectable between 2, 6, 12 frames
PAL 50i/25p/50p: Selectable between 2, 6, 12 frames

Frame Record

Available; Records a set number of frames each time the record button is pressed
NTSC 59.94i/23.98p/24.00p: Selectable between 1, 3, 6, 9 frames
NTSC 59.94p: Selectable between 2, 6, 12 frames
PAL 50i/25p/50p: Selectable between 2, 6, 12 frames

Pre-Record

Yes, 3 seconds cache (Audio and Video)

Scan Reverse

When using a Depth of Field Converter or other lens adapters it flips or reverses the image automatically so it is recorded correctly.

Time code

*Drop Frame (DF) and Non-Drop Frame (NDF)
*Dropframe works with NTSC models only and is not available in 24P

Time Code Modes

Regeneration, Record Run, Free Run and External Source

Auto White Balance (AWB)

Not Available

White Balance

Kelvin Setting 2,000K to 15,000K in 100K increments

White Balance Presets

Daylight (5,400K); Tungsten (3,200K); Kelvin
White balance shift is available within Presets (-9 to +9)

Auto Black Balance

Available

Custom Picture Settings

23 Custom Picture settings
A total of nine 9 Customized Pictures are available in the camera and up to 20 can be saved to an SD card
Custom pictures can be adjusted using the following settings and saved for later recall:
Gamma, Black, Black Gamma, Low Key Saturation, Knee, Sharpness, Noise Reduction, Skin Detail, Selective Noise Reduction, Color Matrix, White Balance, Color Correction, Setup Level
Custom Pictures CP8 and CP9 ship with the following presets:
C8: Cinema - Suited for giving recorded media a film tone.
C9: EOS Standard - Used to match the quality of DSLR video shot in EOS standard mode

Custom Functions

Available, 9 total functions

Custom Display

Yes; LCD panel and EVF information display can be customized
Total of 27 display and icons that can be turned on and off

On Screen Markers

Yes

Assign Buttons

15; Can be assigned functions as desired (37 functions Available)

Color Bars

Color bars compliant with SMPTE, EBU, or ARIB standards can be selected.

Minimum Subject Illumination

59.94 Hz Mode: 0.3 Lux
(f/1.2, 24 dB, 29.97p, 1/30 sec.)
50.00 Hz Mode: 0.25 Lux
(f/1.2, 24 dB, 25p, 1/25 sec.)

Sensitivity

59.94 Hz Mode: F9
(1920 x 1080/59.94i, ISO 640 (0 dB), 2000 lux, 89.9% Reflection)
50.00 Hz Mode: F10
(1920 x 1080/50i, ISO 640 (0 dB), 2000 lux, 89.9% Reflection)

S/N Ratio

59.94 Hz Mode: 54 dB (Typical)
(1920x1080/29.97p, Canon Log, ISO 850, Dynamic Range 800%)
50.00 Hz Mode: 54 dB (Typical)
(1920x1080/25p, Canon Log, ISO 850, Dynamic Range 800%)

Dynamic Range

During Normal Shooting: 300%
*With Canon Log Gamma: 800%
*ISO 850 or above - gain 2.5dB or above

EVF

Viewing Angle Adjustment

Available; Viewing Angle can be adjusted up and down 60°

Diopter Adjustment Range

+2.0 to -5.5

EVF Adjustments

Brightness, Contrast, Color, and Backlight (Normal or Bright)

LCD Monitor

Display Adjustments

Brightness, Contrast, Color, Sharpness, and Backlight (Normal or Bright)

Input/Output

HD/SD SDI

Yes; (with embedded audio);
HD 8-bit 4:2:2 (YPbPr) 1920x1080: 59.94i/50i/23.98/24.00, 1280x720: 59.94p/50p/23.98/24.00
SD 8-bit 4:2:2 (YPbPr) 480: 59.94i, 576: 50i BNC Connector, output only
SD-SDI:
NTSC 480i/PAL 576i: Compliant with SMTPE 259M
Embedded Audio: Compliant with SMTPE 272M
Time Code Standard: (VITC/LTC) SMTPE 12M
HD-SDI: (Compliant with SMTPE 292M)
1080i/720p: Compliant with SMTPE 292M
Embedded Audio: Compliant with SMTPE 299M
Time Code Standard: (VITC/LTC) SMTPE 12M

3G SDI

Available; 2x BNC
Output Modes: RAW (10-bit); RGB 4:4:4 (10-bit/12-bit); YCC 4:2:2 (10-bit)
Frame Rates: 23.98p/24.00p/25.00p/29.97p/59.94p/50p

Video Monitor Out

Available; 2x BNC
Resolution: 2048x1080 / 1920x1080
Frame Rates: 23.98p/24.00p/25.00p/29.97p/30p/59.94p/50p/60p
Color Space: YPbPr: 10-bit

Time code In/Out

Yes; BNC Connector (Input and Output)

Genlock

Yes; BNC Connector (Input Only)
Adjustment range: -1023 to +1023

Synch Out

Yes, BNC Connector
(1) HD tri-level signal (HD Sync) 1920x1080: 59.94i/50i/23.98/24.00, 1280x720: 59.94p/50p/23.98, 24.00; The HD standard analog component Y signal with the black muted is output.
(2) HD-Y signals (HD-Y) 1920x1080: 60i, 59.94i/50i, 1280x720: 60p/59.94p/50p; Only the HD standard analog component Y signal is output.
(3) Black burst signal 480: 59.94i, 576: 50i; The SD standard analog composite signal with the black muted is output.
(4) Composite 480: 59.94i, 576: 50i; The SD standard analog composite signals are output.

HDMI

Yes (Type A)
HD 8-bit 4:2:2 (YPbPr) 1920x1080: 60i/59.94i/50i, 1280x720: 60p/59.94p/50p
SD 8-bit 4:2:2 (YPbPr) 480: 59.94i, 576: 50i

Audio Input Terminal

2 - Balanced 3-pin XLR on Monitor Unit (Mic Level, Mic Level with phantom power and Line Level)
3.5mm Microphone terminal

Headphone Jack

Available; 3.5mm stereo mini-jack

Remote Terminals

Available (Fully LANC Compatible)
Remote control through WFT-E6A accessory is also possible

USB Connector

N/A

CCU

N/A

Power

Supply

DC 7.4 V (Battery Pack) / DC 8.4 V (DC In)

Power Terminal

DC in on camera (no need for Dummy Battery)

Battery

BP-9 Series (Excluding BP-925)

Compact Power Adapter

CA-940N

Accessories

Tripod Adapter

Canon TA-100

Tripod Adapter Base

Canon TB-1

Zoom Remote Controller

Canon ZR 2000

Wi-Fi Adapter

WFT-E6A

Dimensions

Approx. 6.3 x 7.0 x 6.7 in (160 x 179 x 171 mm)
C500 + Monitor Unit: Approx. 7.3 x 9.8 x 7.4 in (185 x 249 x187 mm)
C500 + Handle Unit + Monitor Unit: Approx. 7.3 x 11.2 x 11.9 in (185 x 284 x 301 mm)

Main Unit Weight

C500 Body: Approx. 4.0 lb. (1820 g)
Monitor Unit: Approx. 1.4 lb. (645 g)
Handle Unit: Approx. 6.3 oz. (180 g)

Total Equipped Weight

C500: Approx. 6.0 lb. (2705 g)*
C500: Approx. 6.4 lb. (2885 g)**
* Weights include the monitor unit, BP-955, 2x CF cards.
** Weights include the monitor unit, handle unit, BP-955, 2x CF cards.

Temperature and Humidity

Performance requirements: 0°C to 40°C, 85% (relative humidity)
Operating requirements: -5°C to 45°C, 60% (relative humidity)

Language Support

English, Japanese, Chinese, German, Spanish, French, Italian, Polish, Russian

Time and Date

Automatic Calendar range January 1st, 2010 through December 31, 2031 selectable in American, Japanese and European Date formats.

World Clock

World Clock support - UTC time setting: Setting range from +14:00 to - 12:00

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