| Camera Type | 35 format film-style digital camera with integrated shoulder arch and receptacles for 15 mm lightweight rods. |
| Sensor | 35 format ALEV III CMOS with Dual Gain Architecture (DGA) and Bayer pattern color filter array. 1.5x oversampling for 1920 x 1080 output. 1.78:1 (16:9) sensor area used for image out. |
| Frame Rates | “ProRes 422 (Proxy), 422 (LT), 422 and 422 (HQ): 0.75 – 60 fps |
| Shutter | Electronic rolling shutter, adjustable from 5.0° to 358.0° with 1/10 degree precision. |
| Exposure Latitude | 14 stops for all sensitivity settings from EI 160 to EI 3200, as measured with the ARRI Dynamic Range Test Chart (DRTC) |
| Exposure Index | EI 160 (+5.0 / -9.0), EI 200 (+5.3 / -8.7), EI 400 (+6.3 / -7.7), EI 800 (+7.4 / -6.6), EI 1600 (+8.4 / -5.6), EI3200 (+9.4 / -4.6) Values behind the exposure index are the number of stops above and below 18% grey. These values are for Log C. Rec 709 and DCI P3 have 0.5 stops fewer in the low end at EI 160, 0.4 stops fewer in the low end at EI 200 and 0.2 stops fewer in the low end at EI 400. Otherwise they are the same. |
| White Balance | Separate red/blue and green/magenta balance available through Auto White Balance or manual setting. Red/blue: 2000 to 11000 Kelvin, adjustable in 100 K steps, with 1 CC = 035 Kodak CC values or 1/8 Rosco values. presets of 3200 (tungsten), 4300 (fluorescent), 5600 (daylight), 7000 (daylight cool). Green/magenta: -8 to +8 color correction (CC), |
| Sound Level | Under 20 dB(A) at ≤ +30° Celsius (≤ +86° Fahrenheit) with lens attached and fan mode set to ‘Regular’, measured 1 m/3 feet from the image plane. Silent operation at higher temperatures possible with fan mode set to “Rec low’. |
| Power In | Three inputs: BAT connector, battery adapter back and battery adapter top. All accept 10.5 to 34 V DC. 85 W power draw for camera and EVF-1 in typical use recording to SxS PRO cards, without accessories. |
| Power Out | 12V connector: limited to 12 V, up to 2.2A. RS, EXT and ETHERNET: input below 24V is regulated up to 24V, above 24V: input = output voltage. Both RS and EXT connectors combined: up to 2.2A. ETHERNET: up to 1.2A. Maximum power draw is also limited by the power source. |
| Weight | ALEXA camera body + SxS Module: 6.3 Kg/13.8 lbs ALEXA camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + Center Camera Handle CCH-1: 7.7 Kg/16.9 lbs |
| Dimensions | Length: 332 mm/12.95”, width: 153 mm/6.02”, height: 158 mm/6.22” |
| Environmental | -20° C to +45° C (-4° F to +113° F) @ 95% humidity max, non condensing. Splash and dust proof through sealed electronics. System cooling through radiator/single fan. |
| Lens Mount | “ARRI Exchangeable Lens Mount (ELM) |
| Flange Focal Depth | 52.00 mm nominal |
| Viewfinder | Low latency (≤1 frame delay) electronic color viewfinder ARRI EVF-1 with 1280 x 784 F-LCOS micro display (image: 1280 x 720, status bars: 1280 x 32 above and 1280 x 32 below image) and ARRI LED illumination, both temperature controlled. Image can be flipped for use of viewfinder on camera left or right. Viewfinder Mounting Bracket allows movement of viewfinder forward/backwards, left/right, up/down, 360 degree rotation and placement on camera left or right. |
| Assistive Displays | On EVF-1 and MON OUT: frame lines, surround view, camera status, false color exposure check, peaking focus check, compare stored image with life image, RETURN IN video and optional anamorphic de-squeeze. |
| Control | Camera right: main user interface with 3” transflective 400 x 240 pixel LCD color screen, illuminated buttons and jog wheel. Camera left: operator interface with illuminated buttons and card swap button. EVF-1: viewfinder and basic camera settings, ZOOM button (2.25x pixel to pixel magnification), EXP button (false color exposure check) and jog wheel. |
| In-camera Recording | “Apple QuickTime/ProRes 4444, 422 (HQ), 422, 422 (LT) or 422 (Proxy) 1080p .mov files with embedded audio, timecode and metadata, recording to SxS PRO cards. ProRes 4444 is RGB 12 bit, all others YCbCr 10 bit |
| Recording Outputs | “2x REC OUT BNC connectors for uncompressed ARRIRAW or uncompressed HD-SDI video. Both with embedded audio, timecode and metadata.ARRIRAW: 2880 x 1620, 12 bit log signal without white balance or exposure index processing applied. Requires an ARRIRAW T-Link certified recorder.HD-SDI video: 1920 x 1080 4:4:4 RGB or 4:2:2 YCbCr |
| Monitor Output | “1x MON OUT BNC connector for uncompressed HD-SDI video: 1920 x 1080, 4:2:2 YCbCr |
| Color Processing | For EVF-1, ProRes, REC OUT and MON OUT: Log C (film matrix off), Log C (film matrix on), Rec 709 or DCI P3. For Rec 709 and DCI P3 a customized look can be applied with ARRI XML Look Files. |
| Synchronization | Master/Slave mode for precision sync of sensor, processing and HD-SDI outputs for 3D applications. |
| Playback | QuickTime clips can be played back from the SxS PRO cards to the EVF-1, MON OUT and REC OUT outputs. Playback audio is available embedded on MON OUT and REC OUT and on the headphones jack. |
| Processing | 16 bit linear internal image processing |
| Audio | 1x XLR 5 pin AUDIO IN connector for 2 channel, line level balanced audio input, 24 bit/48 kHz A/D conversion, works at 23.976, 24, 25, 29.97 and 30 fps. Audio is recorded uncompressed into the QuickTime/ProRes file and embedded uncompressed in all HD-SDI outputs, including ARRIRAW T-Link. Max of 2.5 dBm output from AUDIO OUT headphones connector. |
| Connectors | 2x slots for SxS PRO cards (SxS) 2x BNC recording out HD-SDI, 1.5G/3G switchable (REC OUT 1 and REC OUT 2) 1x BNC monitoring out HD-SDI 1.5G (MON OUT) 1x XLR 5 pin audio in (AUDIO IN) 1x BNC return signal/sync in HD-SDI 1.5G (RET/SYNC IN) 1x LEMO 16 pin external accessory interface (EXT) 1x Fischer 2 pin 24 V power in (BAT) 2x Fischer 3 pin 24 V remote start and accessory power out (RS) 1x LEMO 2 pin 12 V accessory power out (12 V) 1x LEMO 5 pin timecode in/out (TC) 1x TRS 3.5 mm headphone mini stereo jack out (AUDIO OUT) 1x LEMO custom 16 pin electronic viewfinder (EVF) 1x LEMO 10 pin Ethernet with power (ETHERNET) |
| SD Card | Stores camera set up files, log files, frame line xml files and captured stills in ARRIRAW (.ari, 12 bit), TIFF (.tif, 16 bit), DPX (.dpx, 10 bit) and JPEG (.jpg, 8 bit) format. Also used for software updates. |
| Upgrades | The Storage Interface Module (currently available for SxS PRO cards) can be exchanged for future storage modules. The Electronics Interface Module (available as either regular ALEXA or ALEXA Plus versions) can be exchanged for future control electronics. Exchangeable Lens Mount (ELM) allows other lenses beyond PL mount lenses to be used. Simple camera software updates. Licenses available for purchase: Anamorphic de-squeeze. |
| Note: All technical data based on Software Update Packet (SUP) 4.0. All data subject to change without notice. | |
| Same as ALEXA, but with built-in support for the ARRI Wireless Remote System, cmotion lens control system and ARRI Lens Data System (including Lens Data Mount and Lens Data Archive for lenses without built-in LDS). Also has one additional MON OUT, one additional RS, two LCS, one LDD and three lens motor connectors, built-in motion sensors and Quick Switch BNC connectors. | |
| Weight | ALEXA Plus camera body + SxS Module: 7.0 Kg/15.4 lbs ALEXA Plus camera body + SxS Module + EVF-1 + Viewfinder Mounting Bracket VMB-2 + viewfinder cable + Center Camera Handle CCH-1: 8.4 Kg/18.5 lbs |
| Power Out | Same as ALEXA |
| Dimensions | Length: 332 mm/12.95”, width: 175 mm/6.89”, height: 158 mm/6.22” |
| Lens Mount | “ARRI Exchangeable Lens Mount (ELM) |
| Assistive Displays | On EVF-1 and MON OUT: electronic level. |
| Synchronization | Automated sync of lens settings for 3D applications in Master/Slave mode. |
| Note: All technical data based on Software Update Packet (SUP) 4.0. All data subject to change without notice |
1) Arri Alexa Plus Camera Body 1) Alexa Carry Handle
1) Alexa Handle Extension
1) PL Port Cap1- Antenna
1) Anton Bauer Battery Plate1- Alexa EVF
1) EVF Top Support Bracket1- EVF Short Rod
1) EVF Long Rod1- 19mm Balance Plate
1) Arri Cine Bridge Plate Sled Plate
1) 19mm Bracket
1) Arri Cine Base Plate
1) Dovetail
1) Arri Bridge Plate Adapter
1) Arri Leveling Block
1) Arri WA-1 Plate
1) Shoulder Pad
1) Noga Arm
2) EVF Short Cables
2) EVF Medium Cables
2) Arri 4pin XLR to 2pin Lemo Coil Cables
1) Alexa Ethernet Cable
1) AC Power Supply with Cable
2) Swiss Tools PB207 3mm
2) Alexa 24V Power Cables
2) SS cards with boxes
1) Arri Lexar 2GB SD card w/box
1) Sony SxS USB Card Reader
1) Power Supply with AC Cable
1) USB Cable
1) Body Case
Canon Super 35mm CMOS Sensor
- Modeled on the Super 35mm 3-perf motion picture film standard, the Canon CMOS sensor has an effective resolution of 4096 x 2160. The image sensor employs an innovative readout technique that delivers full-bandwidth individual RGB video components without the need for any de-Bayering algorithms
RAW 4K Output
- Using a single 3G-SDI output, the C500 is able to output a full 4K RAW (4096 x 2160-pixel) data stream in 10-bit color space, with full Bayer encoding and frame rates up to 60 fps. Using both of the camera’s 3G-SDI outputs, the frame rate can jump as high as 120 fps, but with the horizontal resolution reduced by half and then interpolated back in
Canon Log Gamma
- Shooting in Canon Log mode, cinematographers can set the camera exposure value using their customary light meter practices. This nonlinear transfer function is specifically designed to facilitate the post-production of digital images originating in Cinema EOS in a manner similar to the post-production of images digitally transferred from motion picture film (the contemporary DI process). By managing the disposition of quantization bits, Canon Log ensures excellent tonal reproduction within both highlight and low-light regions of a given digital image
Canon EOS C500 with PL Lens Mount
- To integrate easily into the working style and equipment array of film crews and production houses, the EOS C500 with a Canon PL lens mount is completely compatible with all of Canon’s PL lenses, including compact primes.
Designed with Filmmakers in Mind
- With everything a cinematographer needs, the EOS C500 comes ready to produce. A logical layout of buttons and dials make operation simple. A lock switch turns off all controls except the recording button and function buttons. Small ridges between the buttons help prevent activating functions by mistake. A backlit display panel is great for low-light viewing. A tally lamp is clearly visible from the side or behind the camera
Comfortable Ergonomic Controls
- The moment you pick up the EOS C500, you’ll feel right at home. Four separate start/stop buttons and 15 other customizable buttons distributed over the camera body mean quiet and intuitive access
Accommodating File-Based Production
- The Cinema EOS system creates full HD proxy files in the internationally standardized Material eXchange Format (MXF), wrapping video and audio with metadata in a single file that maintains access to critical information throughout the production process
Description
The Canon C500 Cinema EOS Camcorder Body (PL Lens Mount) represents Canon’s first foray into the world of 4K digital cinema production. Sharing a sensor with the earlier EOS C300 camera, the Canon C500 fulfills the potential of the large (Super 35mm-size), high-resolution (8.8 Mp effective) CMOS imager by offering full 4K RAW output via 3G-SDI.
The C500 also has a body type in common with the C300. Featuring large, accessible buttons with ridges dividing them, the EOS C500 has been designed expressly for the craft of digital cinema. Its signal output is similarly appropriate: At rates up to 60 frames per second, the 10-bit 4K RAW data stream output can be recorded to an approved external device (sold separately) at full resolution. Using a format called 4K half RAW, which halves the horizontal resolution, you can capture up to 120 fps to the external recorder by using both of the C500′s 3G-SDI outputs.
The Canon EOS C500 integrates with time-tested feature film production workflows. As 4K RAW data is being recorded externally, you can record proxy files at 50 Mb/s to the camera’s internal CF card so rough-cut or dailies editing can begin immediately after a scene is complete. For the widest latitude for color correction in post-production, the camera offers Canon’s Log gamma mode, which results in excellent tonal reproduction in the highlight and lowlight regions of an image, and a greatly expanded dynamic range.
The EOS C500 features an PL mount for compatibility with the burgeoning line of EF Cinema Zoom and Prime lenses. These lenses are designed to match up perfectly with the 3-perf Super 35mm-size CMOS sensor of this camera. Like the camcorder, these lenses (sold separately) were developed specifically for digital cinema, with engraved markings on angled surfaces in meters and feet and uniform front diameters for easy lens switching without having to reconfigure a matte box or follow focus gearing.