Full Frame vs Super 35 vs Super 16 on the Canon C700 FF
Brand: Canon Model: C700 FF Learn More: https://s.sharegrid.com/BBVgt9 The Canon EOS C700 FF can record many different fields of view, all either subsampled or cropped from its 5.9K Full-Frame sensor. Classic Super 35mm lenses and even Super 16mm or B4 broadcast lenses are on the table. This gives the Canon C700 FF a huge range of flexibility lacking in its lower-tier C series brethren. Its modular form factor and surprisingly light body (only 7 pounds!), wide range of codec options, and access to a broad spectrum of lens options make the Canon C700 FF one killer all-around camera. Not to mention Canon’s continued excellence in designing lenses for all ranges of shooters and productions, which is nothing but an asset to the ecosystem. But if this camera CAN do it all, then the real question is: what should YOU do? Full-Frame - For Cinema The Canon C700 FF is, by name and by rights, a full-frame cinema camera. But a lot of its potential in this area is dependent on a full build-up of the camera, making for a heavier, more expensive package that is right at home in a cinema environment. Super 35 - For Docs and Broadcast As is demonstrated so clearly in Newsshooter’s review of the original C700, this is a workhorse camera that can compete easily with Sony’s CineAlta series on high-end and high-volume broadcast work. It fits on the shoulder and can be hauled around all day fairly comfortably. Canon’s excellent native Cine Zooms make good use of the EF mount, drawing power and returning metadata and AF control. This camera’s Super 35 mode mimics the behavior of the original C700. You can record 4K or downsample the sensor to 2K internally. ProRes and XF-AVC are available internally, and with the Codex recorder you have access again to higher frame rates and Canon’s Cinema RAW. Super 16 Super16mm was a trusted format for many decades before video, serving as the lighter and cheaper alternative to 35mm that could go anywhere, do anything, and capture it all in high enough quality. It wasn’t perfect, but that grainier texture gave it character. Think of Super16 mode here the same way. For high frame rate filmmaking on the C700 FF, your options are somewhat limited. Especially when looking for a Full-frame or even Super 35 field of view, you are limited to a maximum of 72fps, even in Cinema RAW recording with the Codex attached. Super16 is where you find the real power. In any codec you choose, Super16 mode will allow you to record a 10-bit 2K image at up to 168 fps - more than double what is available in Super 35. ShareGrid | https://s.sharegrid.com/wYekdS Blog | https://blog.sharegrid.com Facebook | https://www.facebook.com/sharegrid Twitter | https://twitter.com/sharegrid Instagram | https://instagram.com/sharegrid Unsplash | https://unsplash.com/@sharegrid
Brand: Canon Model: C700 FF Learn More: https://s.sharegrid.com/BBVgt9 The Canon EOS C700 FF can record many different fields of view, all either subsampled or cropped from its 5.9K Full-Frame sensor. Classic Super 35mm lenses and even Super 16mm or B4 broadcast lenses are on the table. This gives the Canon C700 FF a huge range of flexibility lacking in its lower-tier C series brethren. Its modular form factor and surprisingly light body (only 7 pounds!), wide range of codec options, and access to a broad spectrum of lens options make the Canon C700 FF one killer all-around camera. Not to mention Canon’s continued excellence in designing lenses for all ranges of shooters and productions, which is nothing but an asset to the ecosystem. But if this camera CAN do it all, then the real question is: what should YOU do? Full-Frame - For Cinema The Canon C700 FF is, by name and by rights, a full-frame cinema camera. But a lot of its potential in this area is dependent on a full build-up of the camera, making for a heavier, more expensive package that is right at home in a cinema environment. Super 35 - For Docs and Broadcast As is demonstrated so clearly in Newsshooter’s review of the original C700, this is a workhorse camera that can compete easily with Sony’s CineAlta series on high-end and high-volume broadcast work. It fits on the shoulder and can be hauled around all day fairly comfortably. Canon’s excellent native Cine Zooms make good use of the EF mount, drawing power and returning metadata and AF control. This camera’s Super 35 mode mimics the behavior of the original C700. You can record 4K or downsample the sensor to 2K internally. ProRes and XF-AVC are available internally, and with the Codex recorder you have access again to higher frame rates and Canon’s Cinema RAW. Super 16 Super16mm was a trusted format for many decades before video, serving as the lighter and cheaper alternative to 35mm that could go anywhere, do anything, and capture it all in high enough quality. It wasn’t perfect, but that grainier texture gave it character. Think of Super16 mode here the same way. For high frame rate filmmaking on the C700 FF, your options are somewhat limited. Especially when looking for a Full-frame or even Super 35 field of view, you are limited to a maximum of 72fps, even in Cinema RAW recording with the Codex attached. Super16 is where you find the real power. In any codec you choose, Super16 mode will allow you to record a 10-bit 2K image at up to 168 fps - more than double what is available in Super 35. ShareGrid | https://s.sharegrid.com/wYekdS Blog | https://blog.sharegrid.com Facebook | https://www.facebook.com/sharegrid Twitter | https://twitter.com/sharegrid Instagram | https://instagram.com/sharegrid Unsplash | https://unsplash.com/@sharegrid