Canon EOS C500 User manual

EOS C500

“How much can I push the envelope with the C500?
I really had nothing that stopped me in the most dramatic
way I could.”
Jeff Cronenweth, ASC / Director of Photography for “Man & Beast”
Above: Behind the scenes on the set of the 4K short film “Man & Beast.”
LEAVE NO STORY UNTOLD
– GO WHEREVER THE STORY TAKES YOU
The EOS C500 4K Digital Cinema Camera is a camera with few competitors. It capitalizes on the superb
ergonomic design and incorporates the same Canon-developed Super 35mm 4K CMOS image sensor as the
EOS C300, retaining identical capabilities in terms of in-camera recording of HD video onto Compact Flash (CF)
Cards. But it is there that the similarities end.
The EOS C500 oers significantly more contemporary high-resolution motion imaging choices. The camera
supports uncompressed 2K or HD 4:4:4 RGB video components – with an additional choice of 12-bit or 10-bit
depth for each – at up to 60 progressive fps, which are externally recorded. By employing the YCbCr component-
video set at a 10-bit depth, the EOS C500 can extend that picture capture rate up to 120 fps.
In addition, anticipating the inexorable march of 4K production, this same camera can be switched to a 4K
imaging mode that is user-selectable between the cinema-centric 4096x2160 format, or the television-centric
3840x2160 UHDTV format (sometimes called QuadHD). In this imaging mode, the camera delivers a 4K RAW
output to the external recorders. But what sharply distinguishes the EOS C500 from all other 4K-capable
cameras is that this RAW video output is uniquely configured to precisely comply to the SMPTE 424M and
SMPTE ST 425-1 3G-SDI video standards. In terms of systemization, this capability oers very significant
workflow advantages.
Canon has collaborated with some of the most respected worldwide manufacturers of solid-state digital
recording systems – no less than six, at this juncture – to help ensure that end users have a broad choice in how
they record the EOS C500’s 2K/HD/4K uncompressed video outputs and manage the associated workflows.
2 3

Canon EF Series Lenses – A Wide and
Varied Selection
Perfected in Canon laboratories and proven in the field,
Canon EF Lenses incorporate a rare array of the world’s
most advanced optical, micro-electronic and manufacturing
technologies. Many EF lenses utilize the advanced Canon
Peripheral Illumination Correction feature, which helps to
ensure beautiful, consistent color and brightness across the
entire image plane. In addition to oering full compatibility
with existing lenses, the EOS C500’s EF mount opens up
new, creative possibilities with Canon specialty lenses,
including Tilt-Shift, Macro and Canon’s exhilarating
EF 8–15mm f/4L Fisheye USM zoom lens.
Tilt-Shift Lenses — TS-E lenses incorporate tilt and shift
functions to extend the shooting advantages of technical-view
cameras to the EOS system. Tilt movements alter the angle
of the focal plane between the lens and image sensor,
modifying depth-of-field independently of the lens aperture.
Shift movements slide the lens’ optical axis along the plane
of the image sensor, enabling photographers to correct or
alter perspective to almost any angle, and help add
unimagined drama to a scene.
Macro Lenses — By revealing the finest detail and achieving
extraordinary edge-to-edge accuracy at very shallow
depth-of-field, macro photography can be an ultimate test of
optical performance. Canon EF specialty lenses include six
ultra-precise macro lenses and three screw-on, close-up
lenses. Accompanied by the Life-Size Converter EF and two
Extension Tube accessories, Canon’s macro lens array provides
valuable imaging options for the EOS C500 camera.
Fisheye Zoom Lens — Super wide-angle and special-eects
photography let you capture each subject from a unique
perspective. The Canon EF 8–15mm f/4L Fisheye USM is the
world’s first fisheye zoom lens to create circular images with
a 180-degree angle-of-view on full-frame DSLRs.
Canon L-Series Lenses
Canon L-series Lenses are highly regarded by video professionals
who demand uncompromising optical performance. These
specialty lenses incorporate a number of innovative Canon
technologies, including Ultra-low Dispersion (UD) glass,
fluorite and aspherical lens elements, plus Super Spectra
Multi Coating.
CANON CINEMA & EF LENSES
– A NEW WORLD OF HIGH RESOLUTION IMAGING
Canon Cinema Lenses
Canon oers a complete line of cinema lenses, including Zooms,
Compact Zooms and Primes. All of these lenses fulfill contemporary
4K production standards, further enhancing the performance of any
HD imaging system. And each lens features an 11-blade aperture
diaphragm to help ensure beautiful bokeh. Markings on both sides
of the lens barrel simplify focus reading and aperture setting from
behind or on either side of the camera, while torque of the control
rings maintains proper resistance. To enable film crews to change
optics quickly and without adjusting the rig setup, each category of
Cinema Lenses shares a uniform front diameter, rotation angle for
operational controls, and gear positions.
Canon Cinema Zoom and
Compact Zoom Lenses
Canon Cinema Zoom and Compact Zoom Lenses use new optical
glass materials, new optical coatings and powerful new design
techniques to oer extraordinary 4K optical performance. All Zoom
Lenses feature large aspherical lens elements that help achieve
sharp, consistent images, and a geared inner-focusing mechanism
helps minimize focus-induced changes in the angle-of-view, greatly
reducing focus breathing. All of these lenses are available with
industry-standard PL-mount or Canon’s EF-mount.
The wide-angle Cinema Zoom CN-E14.5–60mm T2.6 L S/SP
represents a masterpiece of contemporary optical design, with
a focal range that was chosen to meet a wide range of needs
in movie-making and high-end television production, and
resolution that exceeds 4K. The Cinema Zoom telephoto
CN-E30–300mm T2.95–3.7 L S/SP lens rivals best-in-class zoom
lenses, in a surprisingly low-weight, opto-mechanical housing.
Canon Cinema Compact Zoom Lenses oer 4K resolution in
form factors that enable more flexible, less intrusive shooting.
The CN-E15.5–47mm T2.8 L S/SP delivers a wide to medium
range of focal lengths, while the CN-E30–105mm T2.8 L S/SP
covers wide to modest telephoto shots. Both zoom lenses are
ideal for Steadicam™ and hand-held shooting.
Canon Cinema Prime Lenses
The flexible series of Canon Cinema Prime Lenses oers spectacular
4K-image quality and a full-frame image circle, in lightweight,
compact designs. This family of lenses features high optical speed,
produces exceptionally sharp images and superb contrast, and
maintains tightly controlled focus breathing and geometric distortion.
These EF-mount models oer consistent form factors and markings
that have been optimized for motion picture production, and
represent the beginning of an evolving family of cinema primes.
Canon Cinema Prime Lenses are also compatible – under manual
operation – with all Canon EOS DSLR models, including the full-
frame EOS-1D X and EOS 5D Mark III, as well as the EOS 7D
and EOS 60D models that use APS-C sized image sensors.
The EOS C500 is intended to be a major production tool for high-end motion imaging – in the globally established 2K
motion picture production and HD television production arenas, as well as in the steadily emerging 4K motion imaging
sectors. With that in mind, Canon launched a large Cinema EOS project that encompassed a parallel development of four
Cinema EOS cameras and a family of Cinema Prime and Zoom lenses. The latter have been carefully designed to meet the
full optical performance expectations of 4K imaging. This unique strategy ensures the exceptional creation of HD and 2K
images, as well as the production of a flexible 4K lens-camera motion imaging system without peer.
The PL camera mount is recognized as the industry standard for large-format cinematography – for both motion picture film
and digital cameras. Cinema Zoom lenses are all available in PL mount and, accordingly, provide the most contemporary
optical performance to all Super 35mm digital and film cameras, as well as the Canon Cinema EOS C500 and C300 cameras.
But Canon also recognized the existence of a huge global constituency of still-image photographers using the extensive
range of Canon EF lenses, with many aspiring to transition to digital motion imaging. Therefore, Canon chose to make the
Cinema Zoom lenses available with the alternative EF mount, and has also developed a range of EF mount 4K Cinema
Prime lenses. In concert with this strategy, the EOS C500 camera is also available in PL mount or EF mount.
4 5

Recording Formats:
12-bit or 10-bit HD/2K RGB up to 60P
10-bit HD/2K YCrCb from 62–120P
External
Digital
Recorder
1080
2048
• ISO Setting and White Balance
• Sum the Two Green Components
• Apply Canon Log to Each of the RGB RAW Components
• Multiplex the Three RAW RGB Components into a 3G-SDI Serial Interface
-- According to SMPTE 424M and SMPTE ST 425-1
EOS C500
Camera
3G-SDI
High Speed Parallel Readout
RAW
R Gr Gb B
2K/HD RGB RAW
4096
2160
The EOS C500’s superb imaging abilities start with the highly innovative, 4K image sensor that was developed
by Canon specifically for high frame rate motion imaging. The 8.85 Megapixel sensor’s performance has been
acclaimed in the EOS C300 for its outstanding sensitivity, and that same range of ISO 320 to ISO 20000
– a product of the novel photodiode design and the larger photosite area – is fully maintained in the EOS
C500 for 2K/HD and 4K operation. The uniquely organic nature of the image sensor noise (devoid of any
fixed pattern noise) at high ISO settings has been widely commented upon as being evocative of motion
picture film grain. The 12-stop dynamic range imparts a superb tonal reproduction, as well as an exposure
latitude that helps ensure clarity in deeply shadowed areas of a scene while also preserving details in
overexposed portions. The rich color reproduction is a product of Canon’s mastery of Color Filter Array (CFA)
design and image sensor spectral response.
THE KEY TO SUCCESSFUL DIGITAL CINEMA
– SUPERB IMAGE QUALITY IN HD/2K AND 4K
HD and 2K Origination
A central design goal for the EOS C500 was to ensure that this
large-format single-sensor camera would produce the highest
possible quality HD or 2K over a broad range of frame rates.
The EOS C500 originates 1920x1080 HD in the same unique
manner as in the EOS C300. This entails direct readout of the
4K image sensor (operating in a 3840x2160 QuadHD sampling
mode), not as the traditional singular RAW signal but rather as
four parallel 1920x1080 video components. This capability
immediately creates an RGrGbB, 4:4:4:4 12-bit component set
without any debayering process whatsoever, thus totally
avoiding any reconstruction errors associated with that process.
The subsequent summation of the two green video
components – Gr and Gb – creates a uniquely enhanced
green that has exceptionally high sharpness and virtually
zero horizontal and vertical aliasing. This summed green
component is also endowed with an increased eective
dynamic range. The EOS C500 thus prepares an exceptionally
clean 12-bit 1920x1080 RGB 4:4:4 HD component set having
unrivalled overall image performance.
In the alternative cinematic 2K mode, this component set is
derived from the 4096x2160 photosite sampling of the
image sensor and becomes a 2048x1080 RGB 4:4:4 set,
with each component at full 12-bit depth.
2K and HD RAW Signal Outputs
It is important to recognize that the RGB video component
set that has been originated remains a genuine RAW signal
set. The components are directly originated in the image
sensor itself, and they fully preserve all of the wide dynamic
range and low noise of this unique image sensor, combined
with the excellent colorimetry of the special Canon Color
Filter Array (CFA). A significant extension to the performance
attributes of these 12-bit RGB components is the ability to
operate at high frame rates. The only processing baked into
these RAW signals are two gain settings: one related to the
camera ISO setting, and the second related to white balance.
Canon Raw is stored as file clips, and each frame is in a Raw
Media Format file. A specific take within a shooting project is
stored in a folder containing multiple file clips. From origination
within the image sensor to final playback through the digital
recorder, there is no loss in overall picture quality in either
HD or 2K modes. Full color space and exposure latitude are
preserved, and downstream digital image manipulations are
superbly supported.
Canon Log
One of the critical design goals of the EOS C500 was to
ensure that the uncompressed 2K or HD component video
set could be interfaced with multiple well-known digital
recorders via a standard serial digital interface. As such, the
total data rate over this interface had to be carefully managed.
A key element is that Canon Log is applied to the three RGB
component-video signals, as is ensuring that the full 12 stops
of dynamic range are protected in that recording process.
It is important to note that this is the only form of video
processing applied to these signals and, accordingly, their
RAW integrity is ensured. The associated mathematics and
coding levels of Canon Log are published on the Cinema EOS
website; this information allows restoration in post-production
of the RGB components to three linear video components at
bit depths of 14 or 16 bits. Traditional RGB video processing is
subsequently applied in the grading and finishing processes.
HD and 2K Recording
Because the Canon RAW signals are, in fact, a 4:4:4 RGB
component-video set, they are carefully multiplexed in the
EOS C500 in strict accordance with the SMPTE 424M and
SMPTE ST 425-1 3G-SDI video standards. (This standard lays
out how to multiplex four component RGB+A into a single
serial stream.) The EOS C500 features two separate 3G-SDI
interface connectors. At the internationally standardized
progressive picture capture rates of 23.97/24.0/25/29.7/50/60P,
only one of the 3G-SDI interfaces is required to transport the
12-bit 4:4:4 RGB video components to the relevant external
recorders.
When higher frame rate operation is desired for slow motion
eects – up to a limit of 120P – then the two 3G-SDI interfaces
are required in order to transport the far higher data rates
entailed. And here, the component set will be switched from
12-bit RGB to 10-bit YCbCr. The EOS C500 can also be switched
to deliver an alternative 10-bit RGB via the single 3G-SDI
output serial interface if either the image recorder or the
post-production system operates at this lower bit depth.
Slow and Fast Motion Recording
In addition to the EOS C500’s operation over the range of
fixed, worldwide picture capture rates listed above, creative
flexibilities are dramatically extended when the camera is
switched into a mode called Slow/Fast Recording. This allows
selection of a range of progressive frame rates – starting as
low as 1 fps and increasing in incremental steps up to 120 fps
– to support eects shooting that seeks speeding up or
slowing down motion capture. From 1 to 30 fps, the selection
is in one-frame steps; from 32 to 60 fps it is in two-frame
steps; and from 62 to 120 fps the YCbCr component operation
is selectable in two-frame steps.
Canon Log Gamma
2K/HD RAW Data Signal Processing
2K Multiple Output Formats
2K Slow and Fast Motion Recording Chart
Mode Resolution Frame Rate
2K RGB 4:4:4 12-bit 2048 x 1080 /
1920 x 1080
59.94p / 29.97p / 23.98p / 50.00p /
25.00p / 24.00p
2K RGB 4:4:4 10-bit 2048 x 1080 /
1920 x 1080
59.94p / 29.97p / 23.98p / 50.00p /
25.00p / 24.00p
Mode Resolution Playback Rate Record Rates
2K RGB 4:4:4 2048 x 1080 /
1920 x 1080
60Hz / 24:00 1–30 in 1 frame increments
32–60 in 2 frame increments
50Hz 1–25 in 1 frame increments
26–50 in 2 frame increments
2K YCC 4:2:2 2048 x 1080 /
1920 x 1080
60Hz / 24:00 1–60 in 1 frame increments
62–120 in 2 frame increments
50Hz 1–50 in 1 frame increments
52–100 in 2 frame increments
Normal 1
Canon Log
INPUT
OUTPUT
Canon Log – Ensures tonal reproduction for both highlight and
lowlight regions during post-production.
6 7

1080
2048
• ISO Setting and White Balance
• Apply Canon Log to Each of the R Gr Gb B RAW Components
• Multiplex the Four RAW RGB Components into a 3G-SDI Serial Interface (RGB+A)
-- According to SMPTE 424M and SMPTE ST 425-1
EOS C500
Camera
3G-SDI
High Speed Parallel Readout
4K RGB DPX
Computer Canon Cinema RAW Development Software
Recording Formats:
10-bit 4K RGB Bayer RAW up to 60P
10-bit 4K Half RGB Bayer RAW up to 120P
External
Digital
Recorder
4K RAW
RAW
R Gr Gb B
4096
2160
4K Motion Image Origination
When switched to the 4K mode of operation, the EOS C500
originates a 4K RAW file that is output for external recording.
Either the cinematography-centric 4096x2160 format
standardized by SMPTE as ST 2048-1:2011 or the television-
centric UHDTV Production Format standardized by the ITU
as ITU-R BT.1769 (3840x2160 format) can be selected. In a
unique departure from the traditional single RAW file format
created in most 4K single-sensor cameras, the EOS C500
structures its RAW file as a multiplex of four separate 2K
components.
The readout of the 4K image sensor is always a direct
extraction of a 4:4:4:4 RGrGbB component set – each being
a 2K format. Those 12-bit parallel signals fully retain all of the
4K color-coded information from the 4096x2160 photosites
(which utilize a classic Bayer CFA).
4K RAW Power
Those four 2K signals form the basis of Canon’s RGB Bayer
RAW information. The high bit rate components are first
transformed by a Canon Log transfer function to 10-bit
signals. This step eectively protects the camera’s 12-stop
dynamic range capability, while also contributing to the bit
rate reduction strategy required to create a viable RAW total
interface data rate for the external digital 4K recorders.
These four components are then multiplexed in the
EOS C500 according to the SMPTE 424M and
SMPTE ST 425-1 3G-SDI video standards by slotting the four
RGrGbB components into the four RGB+A channels stipulated
within those standards. The resulting single serial digital file
becomes the Canon RAW output file.
This file has embedded audio files, complying with the BWF
standard, and an associated management file that contains
information about the RAW file, the audio file and Metadata
clips, etc. All details of the Canon 4K RAW file have been
shared with all collaborating recording manufacturers. This
is a RAW signal like no other in the 4K world, and it is
endowed with some stellar attributes – not the least of
which is that it constitutes a highly robust, uncompressed
RAW signal for recording.
4K Recording
The Canon RGB Bayer RAW serial interface is accepted by
various image recorders that operate with the EOS C500.
Each of these external recorders has its own unique design
and associated data-management strategy. Some record
uncompressed, some apply mild compression, while others
transcode to other industry formats prior to recording. With
each recording strategy, there is an associated workflow
that carries through to editing and final grading in post-
production. This diversity of workflows helps facilitate the
various workflow preferences for moviemaking, high-end
television origination, and TV commercial production.
The EOS C500 sends the 10-bit 4K RAW (in either format) via
one of the 3G-SDI interface connections at picture capture
rates of 23.97/24.0/25/29.7P. Because of the high overall
data rate necessary for 50P and 60P, two 3G-SDI interfaces
are required. Picture capture rates up to 120P are also
possible using two interfaces, but here the vertical is
decimated to 1080 lines to create a Half-RAW file that stays
within the total required 6 Gbps limit. These vertical lines are
then restored in post-production.
4K Slow and Fast Motion Recording
Just as in the EOS C500’s 2K/HD modes of operation, the
4K mode also facilitates Slow/Fast operation. This allows
selection of a range of progressive frame rates – starting as
low as 1 fps and increasing in incremental steps up to 120
fps – to support eects shooting that seeks speeding up or
slowing down motion capture. From 1 to 30 fps, the
selection is in one-frame steps; from 32 to 60 fps it is in
two-frame steps; and from 62 to 120 fps the system switches
to Half-RAW format and the picture capture rate is select-
able in two-frame steps.
Proxy Video Recording In-camera
While the EOS C500 camera is recording 4K, 2K or HD to
the external recorder, the internal MPEG-2 codec always
records an 8-bit 4:2:2 1920x1080 HD video conversion at
50 Mbps to create a high-quality proxy file. This data is
recorded to two Compact Flash (CF) cards using the industry-
standard Material Exchange Format (MXF) wrapper format.
4K Interval Recording and Frame Recording
The EOS C500 incorporates an Interval Recording function
that facilitates programming the camera to record a
specified number of frames at specified intervals for
time-lapse capture. For stop-motion animation and other
eects, the Frame Recording mode enables the EOS C500
to record a selectable preset number of video frames each
time the record button is pressed.
Mode Resolution Playback Rate Record Rates
4K RAW 4096 x 2160 /
3840 x 2160
60Hz / 24:00 1–30 in 1 frame increments
32–60 in 2 frame increments
50Hz 1–25 in 1 frame increments
26–50 in 2 frame increments
4K HRAW 4096 x 1080 /
3840 x 1080
60Hz / 24:00 1–60 in 1 frame increments
62–120 in 2 frame increments
50Hz 1–50 in 1 frame increments
52–100 in 2 frame increments
Mode Resolution Frame Rate
4K RAW 10-bit 4096 x 2160 /
3840 x 2160
59.94p / 29.97p / 23.98p / 50.00p /
25.00p / 24.00p
50 Mbps (CBR)
4:2:2 422P@HL
1920 x 1080
59.94i / 29.98p / 23.98p
50i / 25p
True 24 (24.00)
1280 x 720
59.94p / 29.98p / 23.98p
50p / 25p
True 24 (24.00)
35 Mbps (VBR)
4:2:0 MP@HL
1920 x 1080 59.94i / 29.98p / 23.98p
50i / 25p
1280 x 720 59.94p / 29.98p / 23.98p
50p / 25p
25 MBPS (CBR)
4:2:0 MP@H14 1920 x 1080 59.94i / 29.98p / 23.98p
50i / 25p
4K RAW Data Signal Processing 4K Slow and Fast Motion Recording Chart
4K and Proxy Multiple Output Formats
8 9

Digital Recorders – The Nerve Center of
2K/HD and 4K Workflows
File-based workflows have become the norm in contemporary
digital production, closely emulating Digital Intermediate (DI)
workflows developed for motion picture film origination that
has been scanned to digital. Canon is presently working
closely with six international digital recording manufacturers
to optimize 4K/2K/HD acquisition systems. These recorders
come in many flavors – some record the files directly
uncompressed and output the same upon playback, others
transcode the files to other alternatives like ProRes,
while still others debayer within the recorder and deliver
RGB DPX files.
In the case where the Canon 4K files themselves are
delivered, they can be played into a computer with Canon
Development Application software that will debayer and
output 4K RGB as DPX files.
2K or HD 4:4:4 Recording workflows
Production generally starts with a decision to work with
either of the 12-bit or 10-bit depth RGB outputs that can be
selected on the EOS C500 camera. Canon Log has been
applied to either format to ensure faithful capture of the
camera’s total 12-stop dynamic range. An external recorder
accepts this RGB 4:4:4 2K or HD output via a 3G-SDI input
and records it as DPX files onto SSD cards. The cards are
subsequently loaded into a reader that transmits these files
via fast Thunderbolt, Firewire or USB to a Mac or PC
workstation.
Another recorder directly records the RGB 4:4:4 to SSD
cards and then loads these into a compact, on-set media
management station that can, in turn, perform a variety of
transcodes and play back the programming as DPX files,
ProRes, and Open EXR, all of which can then go directly into
the grading process. Yet another recorder internally
transcodes the input to ProRes at a high level and records
those files and a secondary lower data rate proxy version.
Their associated reader plays these back into the post-
production grading system.
The 50 Mbps MPEG-2 proxy files recorded in-camera are
sent to a non-linear editing/NLE system. The EOS C500’s
compatibility with Material Exchange Format (MXF) for
MPEG-2 internal recordings to removable CF cards ensures
a high level of compatibility with a wide range of profes-
sional NLE systems, from such familiar vendors as Apple®,
Avid®, Adobe® and Grass Valley®. Final conform is done
directly on the DPX files.
The EOS C500’s workflow is almost entirely determined by the nature of the chosen digital recorder
operating with the camera at either 2K/HD or 4K. In the case of the former, there is an essentially
seamless transfer of 2K/HD component 4:4:4 RGB into the post-production suite – the primary variable
being the choice of 12-bit or 10-bit system operation. Transcoding to other industry file formats may be
desired, and some external recorders can handle this function; some deliver DPX files as their output. In
the case of 4K shooting, the unique four-component Canon RGB Bayer RAW signal faithfully transports
all of the 4K Bayer color encoding via 3G-SDI interfaces to the recorders. Within the various recorders,
these Canon files are managed in dierent ways.
Workflow varies between moviemaking and television production, and is even more dependent upon
the innovation and practices of all involved. How file backups are implemented, dailies prepared,
whether initial workflow is preferred on set or near set – all of these decisions are based upon technical
and creative philosophies. Flexibility is the key, and Canon reached out to the established recording
manufacturers. Each has quite dierent implementations within the recorders themselves. They oer
dierent outputs, and some have ancillary media-management stations.
PRODUCING A SEAMLESS AND
EFFICIENT 4K/2K WORKFLOW
Innovative Approach to 4K RAW Systemization
The fact that Canon chose to structure the 4K RAW file in
complete accordance with the universal 3G-SDI interface
standard adds a truly unique systemization strength to the
EOS C500 system. The 4K serial RGB Bayer RAW signal can
be passed directly though any digital router that embodies a
3G-SDI SMPTE interface, and can be input to any production
switcher that also utilizes such an interface.
When mobile hand-held shooting is used, the RAW signal
can be connected to a miniature wireless transmitter
mounted on the camera and the RAW file can be sent to a
recorder elsewhere on the set. In addition, the RAW signal
can be sent over a fiber link using 3G-SDI compatible
input-output encoders, and also sent to a transmission
encoder that accepts 3G-SDI inputs and then sent via
satellite, cable, or Telco link, depending upon the nature of
that encoder.
For live television production, the ability to pass the 4K RAW
file through an existing 3G broadcast infrastructure opens
up significant systemization degrees of freedom.
4K RAW Workflow
Again, it is the choice of 4K RAW recorder that will
predetermine much of the overall workflow. One recorder
will transcode the Canon files to 4K high level ProRes and a
lower data rate proxy, with both recorded on an SSD card.
The card reader takes these files directly into post-production.
Oering an alternative, this recorder will also record and play
back the Canon 4K file and output this via a Thunderbolt
interface to a Mac or PC workstation loaded with Canon’s
RMD software. The latter application debayers these 4K files
and converts them to RGB DPX files that then can go
straight to post-production.
Another recorder records the Canon 4K files to SSD cards
that are then loaded into their own media management
station. Here the files are cloned and directly output for
connection to a computer while being separately converted
to 4K DPX files during playback. This workflow oers the
choice of creating the 4K DPX files in the computer with
Canon Cinema RAW Development (CRD) software, or using
the 4K DPX files created in the media station itself. While
recording, this recorder simultaneously debayers the 4K and
outputs it as a quad 3G-SDI for live monitoring.
“From camera to mobile to DI bank the
look is controlled the whole way through
and we get to start coloring right away
creatively.”
John Daro / Senior Colorist for “Man & Beast”
EOS C500 4K Production Workflow (Generic Workflow)
EOS C500 2K RGB 4:4:4 Production Workflow (Generic Workflow)
Color Grading
NLE
EOS C500 External Recorder
CF Card
(For Reference) Proxy File
EDL
3G-SDI
Delivery
Color Grading
EOS C500 4K RAW Recorder
• AJA
• Codex Digital
• Convergent Design
• S. Two
• Finish Astrodesign
• Keisokugiken(KGC)
CF Card
(For Reference) Proxy File
EDL
3G-SDI
Delivery
Develop Software
(Cinema RAW Development)
NLE
10 11

A pivotal goal in the design of the EOS C500 was to achieve a dramatically superb ergonomic design
that, first and foremost, supported both mobility and superb hand-held maneuverability in order to
facilitate shooting from fast moving vehicles and in very confined spaces, as well as allow dramatic low
shots and flexible Steadicam™ operation.
A conceptual model was the compact 16mm film camera that had been honed after decades of design
– but the digital cine camera of today has been given far more powerful 2K/4K digital imaging capabilities.
While low weight was a particular priority, it was tempered by the need for an exceedingly rugged
design that anticipates multiple shooting modes in challenging environments.
The central camera body is accompanied by accessories that can quickly empower the camera operator
to manage a diverse range of shooting modes. A high-resolution EVF, electronic focus aids, a waveform
monitor to aid exposure, a vectorscope and wireless remote control all add to that empowerment.
FILM-STYLE VERSATILITY AND
FAMILIARITY ON THE SET
Compact, Modular, Lightweight Design
The EOS C500 features a compact, fully-modular design for
enhanced mobility and expandability; the robust, splash-
resistant body features a special magnesium alloy for
additional rigidity and toughness. In addition to a low-angle
Camera-Handle Extension, a removable LCD Monitor and
Control Panel with XLR audio inputs help ensure maximum
maneuverability.
Compatibility with Third-party Accessories
Canon has collaborated with a number of third-party vendors
to help ensure full plug-and-play compatibility with a range
of matte boxes, flag shades, support rods and follow-focus
systems, including geared control rings, marking discs and
adjustment knobs. Geared control rings are a must-have for
use with pitchless still-camera lenses; a wind-around gear
mounted on the focus ring lets the chosen lens function with
familiar follow-focus rigs. A marking disk provides space for
pre-measured positions when shifting focus.
EF and PL Mount versions
The EOS C500 is available with the industry-standard
PL mount that accepts a wide range of options from the
large global inventory of cinematography lenses, especially
the new Cinema Zoom lenses developed by Canon as an
integral part of the Cinema EOS family. For enhanced
versatility, the EOS C500 is also available with an EF mount;
Canon’s Cinema Zoom and Prime lenses are available with
this mount.
In addition, EF version cameras feature full compatibility with
over 60 EF and EF-S lenses, including specialty lenses such
as fisheye and tilt-shift.
Professional Audio
The EOS C500 includes a pair of audio inputs equipped
with professional-grade, XLR-format connectors, coupled
with flexible recording controls for the camera’s pair of linear
PCM channels that operate at 16-bit resolution and a 48kHz
sample rate. Automatic and manual level settings
accommodate both microphone- and line-level inputs, plus
mixing between the two source channels; channel reverse is
also provided. Switchable mic-level trim is available at -12dB,
-6dB, 0dB or +12dB, plus 48V phantom power for condenser
microphones. A built-in limiter controls sudden signal peaks
that can cause overload and distortion. A 1kHz test tone
switchable to -12, -18 or -20dB levels enables system setup
and alignment.
Full Manual Control with Customization
The EOS C500 oers 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 shooting. For
maximum customization, access is provided to Custom
Picture Settings, Custom Functions and Custom Display
Options to tailor the EOS C500 precisely to specific
shooting needs.
Ultra-high Resolution EVF, Focus Aids,
Waveform Monitor, Vectorscope and
Edge Monitor
The EOS C500 features an ultra-high resolution 0.52-inch/1.55
Megapixel electronic viewfinder/EVF with a widescreen 16:9
aspect ratio. An approximately 100% field-of-view coverage
ensures comfortable and accurate image composition, focus
and color adjustment. The supplied Monitor Unit’s 4.0-inch
LCD panel oers a 1.23 Megapixel resolution for enhanced
viewing convenience; it rotates forwards and backwards
through 270 degrees with an optimal position for shoulder-
mounted shoots. Enabling easy checking of scene
composition while using the camera at low angles, the LCD
panel can also be rotated for monitoring from one side of
the camera.
For added flexibility, the LCD panel can also be mounted in
various positions to accommodate dierent 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, which can be easily bumped or jarred during a
shoot.
Two peaking modes and a magnify-focus assist that are
available in both standby and record mode make it extremely
easy to check and confirm critical focus. 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.
A versatile waveform monitor provides detailed analyses of
both overall image brightness and RGB components, while
an on-board vectorscope displays real-time image hue and
saturation analysis while checking color balance, and lets
you view the eects of white balance adjustments.
Wireless File Transmitter WFT-E6A Unit
with Remote Capabilities
To provide unique capabilities, the EOS C500 can be used
with an optional Canon Wireless File Transmitter WFT-E6A.
Via a web-enabled laptop PC, smartphone, tablet or similar
device, users can control and adjust a number of the EOS
C500’s operational functions, including camera start and
stop plus shooting parameters, as well as monitor a remote
video feed and input session metadata. A built-in Bluetooth®
sensor also communicates automatically with external GPS
units to access precise location data that can be embedded
within video footage.
WFT-E6A
Wireless File Transmitter WFT-E6AEF and PL Mount
EF Mount Model PL Mount Model
12 13

The Canon EOS C500 is completely reliable in the world of feature film creation, high-end television
production, and television commercial shoots. Built to withstand the most adverse conditions encountered
on location during film and video shoots, the EOS C500 delivers pristine-quality images and full-fidelity
audio. The camera body is compact and lightweight – yet superbly rugged and durable – and can be taken
anywhere and mounted in countless configurations that open up endless creative possibilities. This is the
camera intended to meet the most imaginative aspirations of the creative community.
Utterly dependable in capturing the highest possible HD or 2K digital imagery for today’s programming
needs, the EOS C500 also future-proofs your investment by embodying full 4K capabilities. This is a
camera the production team can depend on. With its complete range of 50 and 60Hz based frame rates
(and up to 24 fps) for all its formats, it is ready to shoot anywhere in the world. And because it is supported
by multiple international recording manufacturers, the EOS C500 is not bound to any recording format or
recording media – that choice remains squarely in the hands of the production team.
FROM START TO FINISH
– ENHANCED DURABILITY AND DEPENDABILITY
Rugged, Durable and Quiet
To help ensure reliable operation, the EOS C500 features
a dust-resistant, splash-proof design intended to withstand
hostile environments when in use in the field, with sealing
flaps around edges of access covers, and control dials fitted
with a sealing O-ring on the axis of rotation. Button key-tops
are also sealed with rubber boots to keep out moisture.
A carefully designed cooling system with fans and vents at
three separate positions on the side of the camera draw
unwanted heat out of the EOS C500’s body.
Dual-slot CF Cards
To provide proxy video sources for use in o-line NLE
editing systems, an HD version of the 2K or 4K origination
can be written simultaneously to the EOS C500’s pair of
on-board Type 1 Compact Flash/CF cards – a versatile, readily
available choice of recording media for a wide range of video
applications. The use of twin card slots for Relay Recording
or continuous recording further extends the time available
for continuous shoots. The second CF card takes over
automatically after the first becomes full.
To further help reduce your workload during editing,
Canon’s free Data Import Utility software application –
available in both Windows®- and Macintosh®-compatible
formats – automatically recognizes divided media as a single,
continuous file. A 64GB card oers 160 minutes of recording
time at a 50 Mbps record data rate.
Terminals
The EOS C500 comes complete with essential I/O interfaces
via professional-grade BNC, XLR and multi-pin connectors.
A pair of 3G-SDI connectors output the Canon Log Gamma
data and audio signals at resolutions and frame rates
established within the EOS C500’s 4K/2K priority mode
settings. Two additional Monitor BNC connectors can be
used to connect a 2K/HD video signal to an external monitor
mounted on the camera, as well as possibly to an on-set
master monitor, with a choice of either Rec709 or Wide DR
color-adjustment look-up tables (LUTs).
A Sync Out connection carries a choice of HD Sync/HD-Y or
SD black burst/composite signals, while a Genlock Input
allows the EOS C500 to synchronize with external video
systems. A dedicated timecode In/Out connector enables
the camera to either lock to external timecode or feed its
internally generated timecode to an external system.
Designed to be fully Local Application Control Bus/
LANC-compatible, the EOS C500 can be remotely controlled
during situations where the operator cannot secure access
to user controls and functions, or when using a tripod
handle or jib arm that places the camera body beyond
convenient reach.
PreREC
Pre-Record/PreRec mode constantly records approximately
three seconds of video images to the EOS C500’s internal
buer memory, helping ensure that you never miss a unique
shooting opportunity on location.
Custom Pictures
In addition to full manual control of all functions, including
iris, shutter speed, gain, zoom and focus, the EOS C500
provides access to Custom Picture Settings, Custom
Functions and Custom Display Options that let users
customize the camera to precisely their specific needs.
Black Balance Adjustment
If RGB black levels incur minor osets – due perhaps to
operation in very high environmental temperatures – they
are automatically rebalanced when the lens is capped and
the camera powered up.
Terminals and CF Card Slots
Two Monitoring Ports
Dual CF Card Slots
4K / 2K RAW Output Ports
Behind the scenes on the set of the film “Man & Beast.”
14 15

Dedicated Service for Professionals
The Canon Hollywood Professional Technology & Support
Center was established to bring our world-class service
directly to motion picture studios, the television industry,
plus independent producers and videographers. Located in
the heart of Hollywood, CA, our facility is staed with expert
technicians who are fully prepared to take care of all your
Cinema EOS products. We can accurately adjust cameras and
lenses, repair both cinema and still-photography equipment,
and meet the needs of professionals like yourself who are
working with tight and often inflexible deadlines.
With our industry-leading turnaround times and substantial
service-parts inventories, we aim to get you back in action
fast. And while working on location, you can count on Canon’s
nationwide service centers for factory-quality repairs and
available 24/7 Call Center support. And this is just part of
our two-way relationship with you, the end user. Canon not
only makes certain that all of your equipment is functioning
perfectly when delivered, but we also use your valuable
feedback and suggestions to help develop new and even
better products. In fact, the Cinema EOS system was
developed as a direct result of such industry feedback.
Support Programs Customized for
Your Needs
Cinematographers, production companies, film schools and
other industry professionals can take advantage of optional
service programs tailored to meet their specialized needs.
We oer service partnerships for full-service dealers as well
as rental houses, thereby providing additional flexibility to
Canon’s industry partners. We tailor our custom training
packages to the needs of your specific film and TV productions,
with expert sta available to deliver training at our Hollywood
facility or on location throughout the USA. Whether you
require fast repair turnaround times, loaner equipment or
equipment maintenance, Canon has a program to keep your
business and equipment up and running. We will be expanding
these important service oerings as the Cinema EOS
production community expands.
You can learn more at: pro.usa.canon.com/support
Unsurpassed Educational Resources
Education is another important cornerstone of Canon’s
commitment to professional cinematographers. Whether
working online, at a production lot or as part of a remote
shoot, we are here to provide you with all the essential
resources that you need to remain current and keep your
creative passion alive.
Canon Live Learning (CLL) seminars and workshops are
conducted nationwide and in our Hollywood Professional
Technology and Support Center, with classes taught by both
industry experts as well as Canon’s renowned and experienced
Explorers of Light. Covering a wide range of still and cinematic
topics, ranging from techniques through equipment selection
to in-depth system configuration, CLL events oer professionals
and enthusiasts alike the opportunity to sharpen their skills
in a number of immersive hands-on settings.
Schedules are available at: usa.canon.com/canonlivelearning
The Canon Digital Learning Center, our web-based
education and information portal, is targeted at busy, working
professionals. It is widely recognized for its depth of available
information, which is presented in a friendly, compelling
format. The Canon Digital Learning Center’s comprehensive
online resources include tutorials, interviews, QuickGuides
and downloadable White Papers; it continues to grow with the
addition of information in support of the new Cinema EOS
family of video products. Available assets range from
comprehensive system FAQs, technical articles by professional
cinematographers, interactive menu and button simulators
to tutorials, sample videos, behind the scenes and much
more. And because the Canon Digital Learning Center is
tablet friendly, our encyclopedic online materials are always
accessible 24/7 via the internet, anywhere in the world. Think
of it as the “Anytime, Anywhere” resource for professionals,
enabling you to hit the set running with the confidence and
know-how to make the very most of the Cinema EOS system.
Learn more at: learn.usa.canon.com
Motion picture and video production is not just an artistic endeavor. It’s also a business, with targeted
budgets, profit requirements and inevitable deadlines. Professionals want to know they are dealing with
professionals; while dealing with Canon, you can count on a proven creative partner. Our service is
world-class, with Canon support programs specially customized to meet your needs. And, to help ensure
that you remain current with new technologies and techniques, our educational commitment spans the
range of live and online resources.
OUR CONTINUING COMMITMENT TO
SERVICE, SUPPORT AND EDUCATION
16 17

Lenses
Cinema Prime Lenses
(Available in EF-mount only)
Cinema Zoom and Compact Zoom Lenses
(Available in EF- and PL-mount)
EF Lenses
EOS C500 Specifications
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 (29.6mm diagonal); 6.4μm 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: Not Available
Shockless Zoom: Not Available
Digital Teleconverter: Not Available
ND Filter: Mechanical ND filter system with option of clear, 2, 4, and 6 stops
Iris: 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: Not Available
Gain: Normal Setting -6 dB to 30 dB / Fine Setting 0 dB to 24 dB in 0.5 dB increments
ISO: 320 to 20000
Auto Gain Control (AGC): Not Available
Shockless Gain:Not Available
Exposure Compensation/AE Shift: Not Available
Shutter Modes:5 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: 59.94Hz – 250.27Hz
29.97p:
1/30 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/4, 1/8, 1/15; CS: 29.97Hz – 250.27Hz
23.98p/24p:
1/24 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/3, 1/6, 1/12; CS: 23.97Hz – 250.27Hz
50i/50p: 1/50 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/3, 1/6, 1/12 1/25; CS: 50.00Hz – 250.78Hz
25p: 1/25 to 1/2000 in 1/4 or 1/3 stops; SLS: 1/3, 1/6, 1/12; CS: 25.00Hz – 250.78Hz
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 Lenses only – 1/2, 1/3-stop or fine setting can be selected
Smooth Manual Control on Cinema Lenses
FOCUS
Focus Settings: Manual
Autofocus System: Not Available
AF Modes: None
EXTERNAL RECORDING OUTPUT
Resolution:
Mode Resolution Frame Rate
4K RAW 4:4:4 10-bit 4096 x 2160 / 3840 x 2160 59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
2K RGB 4:4:4 12-bit 2048 x 1080 / 1920 x 1080 59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
2K RGB 4:4:4 10-bit 2048 x 1080 / 1920 x 1080 59.94p / 29.97p / 23.98p /
50.00p / 25.00p / 24.00p
Color Space: 4:2:2 or 4:4:4
Canon Log: Yes
RECORDING/CODEC INTERNAL
Signal System: 59.94Hz and 50Hz
Compression: 8-bit MPEG-2 Long GOP
Color Space: 4:2:2
Maximum Bit rate: 50 Mbps (CBR)
Canon Log: Available
Recording Options:
Mode Resolution Frame Rate
50 Mbps (CBR) 4:2:2 422P@HL 1920 x 1080 59.94i / 29.98p / 23.98p 50i / 25p
True 24 (24.00)
1280 x 720 59.94i / 29.98p / 23.98p 50p / 25p
True 24 (24.00)
35 Mbps (VBR) 4:2:0 MP@HL 1920 x 1080 59.94i / 29.98p / 23.98p 50i / 25p
1280 x 720 59.94i / 29.98p / 23.98p 50p / 25p
25 Mbps (CBR) 4:2:0 MP@H14 1440 x 1080 59.94i / 29.98p / 23.98p 50p / 25p
Recording Time:
Card Capacity
(CF Card)
Bit Rate (VBR)
50 Mbps 35 Mbps 25 Mbps
2GB 5 Minutes 5 Minutes 10 Minutes
4GB 10 Minutes 10 Minutes 20 Minutes
8GB 20 Minutes 25 Minutes 40 Minutes
16GB 40 Minutes 55 Minutes 1 Hour 20 Min.
32GB 1 Hour 20 Min. 1 Hour 50 Min. 2 Hours 35 Min.
64GB 2 Hours 40 Min. 3 Hours 45 Min. 5 Hours 10 Min.
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 are not compatible with data from other 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; 48kHz
Built-in Microphone: None
External Audio Inputs: 2 – XLR inputs (Auto and Manual level settings)
External Microphone Terminal: (3.5mm diameter)
Recording Chanel 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; -12 dB, -6 dB, 0 dB or +12 dB
Limiter: Available
Recording Level Adjustment Range: - Infinity to +18 dB
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
Slow and Fast Motion Recording:
4K RAW – 4096 x 2160 / 3840 x 2160 (Playback Rate: 60Hz / 24:00) Record Rate: 1–60. 32–60
in 2 frame increments (Playback Rate: 50Hz) Record Rate: 1–50. 26–50 in 2 frame increments
4K HRAW – 4096 x 1080 / 3840 x 1080
(Playback Rate: 60Hz / 24:00) Record Rate: 1–60. 62–120
in 2 frame increments (Playback Rate: 50Hz) Record Rate: 1–50. 52–100 in 2 frame increments
2K RGB 4:4:4 – 2048 x 1080 / 1920 x 1080 (Playback Rate: 60Hz / 24:00) Record Rate: 1–60. 32– 60
in 2 frame increments (Playback Rate: 50Hz) Record Rate: 1–50. 26–50 in 2 frame increments
2K YCC 4:2:2 – 2048 x 1080 / 1920 x 1080 (Playback Rate: 60Hz / 24:00) Record Rate: 1–60. 62– 120
in 2 frame increments (Playback Rate: 50Hz) Record Rate: 1–50. 52–100 in 2 frame increments
50 Mbps – 1920 x 1080 (Playback Rate: 29.97p/23.98p/24.00p) Record Rate: 1–30
(Playback Rate: 50i/25p) Record Rate: 1–25
50 Mbps – 1280 x 720 (Playback Rate: 59.94p/29.97p/23.98p/24.00p) Record Rate: 1–60
(Playback Rate: 50p/25p) Record Rate: 1–50
35 Mbps – 1920 x 1080 (Playback Rate: 29.97p/23.98p/24.00p) Record Rate: 1–30
(Playback Rate: 50i/25p) Record Rate: 1–25
35 Mbps – 1280 x 720 (Playback Rate: 59.94p/29.97p/23.98p/24.00p) Record Rate: 1–60
(Playback Rate: 50p/25p) Record Rate: 1–50
25 Mbps – 1440 x 1080 (Playback Rate: 29.97p/23.98p) Record Rate: 1–30
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/6m/7m/8m/9m/10m)
59.94i/29.97p/23.98p/24.00p: Selectable between 1, 3, 6, 9 frames
59.94p: Selectable between 2, 6, 12 frames
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
59.94i/23.98p/24.00p: Selectable between 1, 3, 6, 9 frames
59.94p: Selectable between 2, 6, 12 frames
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.
Timecode: Drop Frame (DF) and Non-Drop Frame (NDF)
Drop Frame works with 59.94Hz mode only and is not available in 24P
Timecode 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);
White balance shift is available within Presets (-9 to +9)
Auto Black Balance: Available
Custom Picture Settings: 23 Custom Picture settings
A total of 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
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: 59.94Hz Mode: 0.3 Lux (f/1.2, 24 dB, 29.97p, 1/30 sec.)
50.00Hz Mode: 0.25 Lux (f/1.2, 24 dB, 25p, 1/25 sec.)
Sensitivity:
59.94Hz Mode: F9 (1920 x 1080/59.94i, ISO 640 (0 db), 2000 lux, 89.9% Reflection)
50.00Hz Mode: F10 (1920 x 1080/50i, ISO 640 (0 db), 2000 lux, 89.9% Reflection)
S/N Ratio: 59.94Hz Mode: 54 dB (Typical) (1920 x 1080/29.97p, Canon Log, ISO 850, Dynamic Range 800%)
50.00Hz Mode: 54 dB (Typical) (1920 x 1080/25p, Canon Log, ISO 850, Dynamic Range 800%)
Dynamic Range: During Normal Shooting: 300%
With Canon Log Gamma: 800% ISO 850 or above – gain 2.5 dB or above
EVF
Type: 0.52-inch Color (1,555,000 dots: 960x540)
Aspect Ratio: 16:9
EOS C500 System
EOS C500 Kit Contents
Viewing Angle Adjustment: Available; Viewing Angle can be adjusted up and down 60°
Diopter Adjustment Range: +2.0 to -5.5
Field of View Coverage: 100%
EVF Adjustments: Brightness, Contrast, Color, and Backlight (Normal or Bright)
Special Features: Black and White Display, and setting for viewing concurrent images on display
LCD MONITOR
Type:
Rotating 4-inch Wide Screen Color LCD Display (1,230,000 dots: 854x480) on detachable controller
Aspect Ratio: 16:9
Field of View Coverage: 100%
Display Adjustments: Brightness, Contrast, Color, Sharpness, and Backlight (Normal or Bright)
Special Features: Black and White Display, and setting for viewing concurrent images on display
INPUT/OUTPUT
HD/SD SDI: Yes (with embedded audio);
HD 8-bit 4:2:2 (YPbPr) 1920 x 1080: 59.94i/50i/23.98/24.00, 1280x 720: 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
Timecode Standard: (VITC/LTC) SMTPE 12M
HD-SDI: Compliant with SMTPE 292M
1080i/720p: Compliant with SMTPE 292M
Embedded Audio: Compliant with SMTPE 299M
Timecode 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: 2048 x 1080 / 1920 x 1080
Frame Rates: 23.98p/24.00p/25.00p/29.97p/30p/59.94p/50p/60p
Color Space: YPbPr: 10-bit
Timecode In/Out: Yes; BNC Connector (Input and Output)
Genlock: Yes; BNC Connector Adjustment range: -1023 to +1023
Synch Out: Yes, BNC Connector
(1) HD tri-level signal (HD Sync) 1920 x 1080: 59.94i/50i/23.98/24.00, 1280 x 720: 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) 1920 x 1080: 60i, 59.94i/50i, 1280 x 720: 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) 1920 x 1080: 60i/59.94i/50i, 1280 x 720: 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 Terminal: Available (Fully LANC-compatible) Remote control through WFT-E6A accessory is also possible
USB Connector: Not Available
CCU: Not Available
POWER
Supply: DC 7.4V (Battery Pack) / DC 8.4V (DC-in)
Power Terminal: DC-in on camera (no need for “Dummy Battery”)
Battery: BP-9 Series (Excluding BP-925)
Compact Power Adapter: CA-940
ACCESSORIES
Tripod Adapter: Canon TA-100
Tripod Adapter Base: Canon TB-1
Zoom Remote Controller: Canon ZR2000
Wireless File Transmitter: WFT-E6A
OTHER
Dimensions (W x H x D):
C500 Approx. 6.3 x 7.0 x 6.7 in. (160 x 179 x 171mm)
C500 PL Approx. 6.3 x 7.0 x 7.0 in. (160 x 179 x 177mm)
The following is the same for both models:
C500 + Monitor Unit: Approx. 7.3 x 9.8 x 7.4 in. (185 x 249 x 187mm)
C500 + Handle Unit + Monitor Unit: Approx. 7.3 x 11.2 x 11.9 in. (185 x 284 x 301mm)
Main Unit Weight:
C500 Body: Approx. 4.0 lb. (1820g), C500 PL Body: Approx. 4.3 lb. (1930g)
Monitor Unit: Approx. 1.4 lb. (645g), Handle Unit: Approx. 6.3 oz. (180g)
Total Equipped Weight:
C500: Approx. 6.0 lb. (2705g)*, C500 PL: Approx. 6.2 lb. (2815g)*
C500: Approx. 6.4 lb. (2885g)**, C500 PL: Approx. 6.6 lb. (2995g)**
* Weights for both models include the monitor unit, BP-955, 2x CF cards.
** Weights for both models 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
Handle Unit Monitor Unit
EOS C500 / EOS C500 PL
Tripod Base TB-1 XF Utilities Disc Ver. 3.1
Battery Charger
CG-940
Battery Pack
BP-955
Compact Power Adapter
CA-940
Shoulder Strap
SS-1200
• EOS C500 Body
(with Camera Cover)
• Monitor Unit (with Microphone
Holder Unit and Screws for MHU)
• Handle Unit
• Thumb Rest
• WFT Adapter
• Tripod 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.3.1
• Instruction Manual
†Also available as optional accessory
18 19

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and brand names are trademarks, or service marks of their respective owners and are hereby acknowledged.
Canon makes no representations or warranties with respect to any third party accessory or product mentioned herein.
Use of genuine Canon accessories is recommended; these products are designed to perform optimally when used with genuine Canon accessories.
Warning: Unauthorized recording of copyrighted materials may infringe on the rights of copyright owners and be contrary to copyright laws.
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Emmy® Award for Technology &
Engineering for 2012
Improvement to Large Format CMOS
Imagers for Use in High Definition
Broadcast Video Cameras