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EOS C500 Mark II

Cinema EOS

Item Code: 3794C002

Find an authorized Canon dealer or rental house for Cinema EOS C500 Series.


5.9K Full Frame CMOS Sensor, with support for Super 35mm and Super 16mm crop modes

The Cinema EOS C500 Mark II features Canon’s high-resolution 5.9K (38.1 x 20.1mm) Full Frame CMOS sensor, which offers exceptional low noise and a broad range of tonality with over 15 stops of dynamic range. The sensor’s expansive native cinema gamut goes beyond that of current standards, including ITU-R BT.2020 and DCI-P3, helping the EOS C500 Mark II achieve more natural skin tones and allowing for greater freedom in color grading in both SDR and HDR productions.

The Full Frame sensor is capable of capturing footage in a wide variety of aspect formats, including DCI-4K, UHD and Anamorphic Widescreen. The Cinema EOS C500 sensor supports both anamorphic and spherical lenses. In addition to full-frame, the sensor can also be paired with conventional Super 35mm and Super 16mm lenses using appropriate sensor crop modes, lens mount and adapter.

User Changeable Lens Mounts which gives users freedom to use the lenses they desire


User interchangeable lens mounts and an available B4 mount adapter gives operators the freedom to make bold creative choices based on the subject matter.

The EOS C500 Mark II ships with an EF Mount that can be user swapped to an optional Locking EF (EF-C) or PL mount. Each mount swaps easily by simply removing four M3 hex screws. A shim set is provided with each mount kit in order to adjust back focus for the precision in focusing accuracy that professionals rely on.

*Dependent on the mount the user has in place

Newly developed DIGIC DV 7 Image Processor, which powerfully processes high-resolution image data

The EOS C500 Mark II uses a newly developed DIGIC DV 7 Image Processor that takes the extensive RAW information captured from the 5.9K imaging sensor and processes it for output. DiG!C is also the engine behind features such as high frame rate recording, Dual Pixel Auto Focus, Cinema Raw Light Recording, HDR(PQ and HLG) output, electronic image stabilization, proxy recording and oversampling 5.9K processing.

Canon Cinema RAW Light and XF-AVC Recording

Thanks to the powerful DIGIC DV 7 image processing platform, the EOS C500 Mark II can record Cinema RAW Light directly to onboard CFexpress cards, which keeps the data-rich signal captured by the 5.9K full-frame sensor intact. Cinema RAW Light offers plenty of freedom for grading in file sizes that are about 1/3 to 1/5 the size of Cinema RAW, offering a great combination in terms of codec efficiency and quality.

When recording in 5.9K Cinema RAW Light, 60 fps is available, which is an ideal range of high-quality slow-motion capture for typical human movements. In 2K (Crop) mode, frame rates up to 120fps are available allowing users to slow down the action even further, for more dramatic scenes and special effects. Two new buttons S&F(Slow and Fast Motion) and S&F FPS (Slow and Fast Motion – Frames per Second) have been added to gives quick access to desired speed settings, making it simple to utilize this creative tool quickly and spontaneously when the moment is right.

To accurately record the extensive data produced by the 5.9K imaging sensor and provide greater recording times, the EOS C500 Mark features two CFexpress recording slots. CFexpress is the future of onboard recording media providing write speeds needed for higher resolutions and frame rates. The dual card slots can be used to either create an instantaneous backup thorough simultaneous recording or extend record run times by relay recording.

Proxy Recording

Higher resolution, greater bit depths and faster frame rates provide versatility and greater image quality but come at the cost of much larger file sizes. Proxy files can greatly speed up the editorial process by providing a lower bandwidth alternative for the initial file sharing and edits.

Canon’s powerful, high-speed DIGIC DV 7 image processor makes it possible for the EOS C500 Mark II to simultaneously record 2K Proxy files. Cinema RAW Light (5.9K, 4K Crop, or 2K (Crop)) can be recorded to the internal CFexpress card while an XF-AVC 2K 4:2:0 8-bit Proxy can be recorded directly to an internal SD card.

Compatibility with EF and PL Lenses*

With optional mount kits, users can swap from EF to Locking EF-C or PL mounts on their own.

PL lenses are a cinema legacy. With a wide breath of options available to cinematographers choosing a lens is an important part of the creative process. The EOS C500 Mark II’s interchangeability now makes it possible to take any PL lens and pair it with Canon’s state-of-the-art sensor to meet the needs of any project.

Using Canon’s EF still lenses offer remarkable new possibilities for cinematographers including the use of specialty lenses like the fisheye zoom, tilt-shift and super-telephotos.

The amount of viable lens options can be further increased through an optional B4 lens mount adapter. This adapter is available for the PL or EF mount allowing 2/3” lensing options to be used with the camera.

Anamorphic Lens Support

The EOS C500 Mark II offers cinematographers anamorphic lens support. Users can now achieve wide cinematic looks and oval bokeh particular to anamorphic glass. It is a distinctly cinematic palette that is within reach for your next project.

Electronic Image Stabilization

The EOS C500 Mark II is the first Canon Cinema EOS camera to feature built-in five-axis electronic IS that works with almost any lens including anamorphic.

Modular Design with three available Expansion Units allows a high level of connectivity and interoperability

A new modular design allows productions to optimize and customize the EOS C500 Mark II to specific shooting needs. Accessories and expansion units can be easily attached to provide different levels of functionality. The camera is equally at home fully rigged with a large zoom lens, FIZ unit, audio accessories and rangefinder as it is stripped down flying on a drone.

EVF-V50 OLED Electronic Viewfinder

The EVF-V50 OLED electronic viewfinder is a tilting 0.46” approx. 1.77 million dot OLED EVF that offers outstanding visibility for single-operator applications, such as documentaries and outdoor interviews.

Expansion Unit 1 – EU-V1

This unit extends connectivity that benefits both remote operation and live uses of the EOS C500 Mark II. This expansion adds genlock/sync out, remote B (RS422) and Ethernet ports ideal for multi-camera, streaming and live television applications.

Expansion Unit 2 – EU-V2

Expansion Unit 2 – EU-V2

This unit converts the EOS C500 Mark II from a compact powerhouse to a full production camera system ready for anything. EU-V2 adds two additional XLR audio inputs, Lens port, 24-volt DC out, and D-Tap power, in addition to Genlock, sync out, Remote B (422) and Ethernet port. It also allows the camera to be powered using industry standard v-lock batteries.

4.3” LCD Touch screen Monitor LM-V2

The new LM-V2 4.3” LCD Monitor is an easy to view touch panel with approx. 2.76 million dots. The monitor easily attaches to the EOS C500 Mark II using included accessories and can be adjusted to different viewing positions. In addition to image framing and visual confirmation of camera settings, attached controllers make it easy to access and change camera settings.

Dual Pixel CMOS AF with support for Touch AF and Face Detection AF

The Cinema EOS C500 Mark II features Canon’s Dual Pixel CMOS AF Technology. For DAF, each pixel in the camera’s CMOS sensor is configured with two photodiodes. Two independent image signals can then be detected at each photosite and compared using phase-difference to provide autofocus with compatible lenses. DAF can survey the scene and recognizes not only whether the subject is in focus or not, but in which direction (near or far), and by how much. DAF also powers the intuitive Focus Guide for users who prefer to focus manually but enjoy the positive feedback DAF provides through the guide interface.

DAF technology can also be used to aid in manual focus. Focus information is translated to an on-screen guide that conveys to the operator the subjects current focus and direction to move in order achieve focus. When sharp focus is achieved the indicator turns green as a clear indication.

TDAF can simulate a focus pull using preset locations. After setting two separate focus locations on screen, the cameras set button can be used to alternate between the two focus points. The focus racking effect can be fine-tuned by adjusting AF tracking speed and response. You can also set two different Focus Guide positions and use the SET button to toggle between the two focus points.

Canon Log 2 and 3 Support

The EOS C500 Mark II supports Canon Log 2 and Canon Log 3 Gamma. In post-production, Canon Log is designed to reproduce the entire tonal range that the CMOS image sensor is capable of. Log workflows provide the user with higher dynamic range, more highlight and shadow retention, and more flexibility in grading.

Canon Log 2 provides the largest dynamic range and image detail. While Canon Log 2 provides the most post-production flexibility and full dynamic range of the sensor, it typically requires more time in color correction.

For users looking for most of the benefits of log workflow, but with shorter turnaround times, Canon Log 3 provides an alternative with only a slightly reduced dynamic range of 14 stops.

4 Channel Audio Recording

With Expansion Unit EU-V2, the EOS C500 Mark II supports up to 4-channel audio recording. Audio input from the camera’s internal microphone, mini mic port, and XLR ports can be assigned to the 4 different audio channels. This flexibility allows a wide range of audio devices to be connected and mixed directly on the camera.

Support for Custom User LUTs

Users can upload and apply custom LUTs to the EOS C500 Mark II. LUTs can be assigned to specific output terminals and the LCD or viewfinder. Clients can be viewing one LUT, while production works from another, giving different production roles the ability to customize the look of the image to their needs.



Full-frame / Super 35mm (crop) / Super 16mm (crop)(6062 x 3432):
CMOS Sensor with DAF Technology:

Signal-to-noise ratio

In the 59.94 Hz mode: 66 dB (Typical)
[Full size/3840x2160/29.97P. Canon Log2 Base Sensitivity ISO 800 (Dynamic Range 1600%)]
In the 50.00 Hz mode: 66 dB (Typical)
[Full size/3840x2160/25.00P. Canon Log2 Base Sensitivity ISO 800 (Dynamic Range 1600%)]

Dynamic Range

Canon Log 2: 1600% / 15+ stops (at ISO 800)
Canon Log 3: 1600% / 14 stops (at ISO 800) 02

Horizontal resolution

Depends on the lens used


59.94 Hz f/10 (2048x1080/59.94P) or f/14 (1920x1080/29.97P)
50.00 Hz f/11 (2048x1080/50.00P) or f/16 (1920x1080/25.00P) 01

All values for ISO 800, 2000 lux, and reflections rate or 89.9%
*Some lens specification may not enable these f-numbers

Total Pixels

Approx. 20.8 Megapixels (6062 x 3432)

Number of Effective Pixels

Approx. 18.69 Megapixels (5952 x 3140):
When 5952 x 3140, 4096 x 2160 or 2048 x 1080 is selected

Approx. 17.52 Megapixels (5580 x 3140):
When 3840 x 2160 or 1920 x 1080 is selected as the resolution :

Lens Mount

Canon EF mount with support for EF and EF-S lenses
Optional Interchangeable Mounts: PL and EF-C Locking

Exposure Modes

(1) Manual exposure based on shutter setting, iris setting, ISO/gain setting and ND filter setting
(2) Push auto iris control, auto iris control
(Light metering system selection, shift possible)

Shutter Setting

Speed, Angle, Clear Scan, Slow, or Off mode selected
Either 1/3 or 1/4 steps selected as speed increment

Iris Setting

Can be set to 1/2-stop, 1/3-stop or Fine
(1) Push auto iris control
(2) Auto iris control

Lenses that support Auto Iris:

EF Lenses
EF-S 10–18mm f/4.5–5.6 IS STM EF 24–105mm f/3.5–5.6 IS STM EF 70–300mm f/4–5.6 IS II USM
EF-S 18–55mm f/3.5–5.6 IS STM EF-S 18–135mm f/3.5–5.6 IS USM EF-S 35mm f/2.8 Macro IS STM
EF-S 18–135mm f/3.5–5.6 IS STM EF-S 18–55mm f/4–5.6 IS STM EF 85mm f/1.4L IS USM
EF-S 55–250mm f/4–5.6 IS STM
CN-E 18–80mm T4.4 L IS KAS S
CN-E 70–200mm T4.4L IS KAS S
CN7×17 KAS S/E1 CN20×50 IAS H/E1
CN7×17 KAS S/P1 CN20×50 IAS H/P1
ENG Broadcast Lenses
2/3 mount lenses which allow for 12-pin communication using B4 mount
HJ14ex4.3B IASES HJ18ex7.6B IASES HJ24ex7.5B IASES
HJ17ex7.6B IASE S HJ22ex7.6B IASE S CJ45ex9.7B IASE-V H
CJ45ex13.6B IASE-V H CJ24ex7.5B IASE S CJ14ex4.3B IASE S
CJ18ex7.6B IASE S


1 step, 1/3 step settings
[*100 - 160 - 25600 - 102400*]
*When the sensitivity is expanded

ISO Speed Displays: Users can select from the following 2 display formats:
1-stop display [100, 200, 400] 800, 1600, 3200, 6400, 12800, 25600, [51200, 102400]
[---] Displayed when ISO extended range is ON.
1/3 stop display [100, 125, 160, 200, 250, 320, 400, 500, 640] 800, 1000, 1250, 1600, 2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12800, 16000, 20000, 25600, [32000, 40000, 51200, 64000, 80000, 102400]
[---] Displayed when ISO extended range is ON.

Gain (dB) Displays
Normal [-6 dB, -3 dB, 0 dB, 3 dB, 6 dB, 9 dB] 12 dB, 15 dB, 18 dB, 21 dB, 24 dB, 27 dB, 30 dB, 33 dB, 36 dB, 39 dB, 42 dB, [45 dB, 48 dB, 51 dB, 54 dB]
[---] Displayed when Gain extended range is ON.
Fine When the extended range is OFF: Can be set from 12 dB to 42 dB in 0.5 dB increments
When the extended range is ON: Can be set from -2 dB to 54 dB in 0.5 dB increments

The minimum sensitivity need to obtain the recommended dynamic range depends on the gamma curve.
BT.709 Normal
BT.709 Wide DR/HLG
Canon Log 2 / Canon Log 3 / PQ
ISO 160 (Gain -2 dB) and more
ISO 400 (Gain 6 dB) and more
ISO 800 (Gain 12 dB) and more

ND Filter

Internal ND filters with 5 density settings (2, 4, 6, 8*, 10* stops)
*When expansion is selected

Focus Control

Dual Pixel CMOS AF (DAF), Manual Focus,
One-Shot AF, Continuous AF, AF- Boosted MF, Face Detection AF*
* Only lenses that support AF functions can be used in these modes

Focus Guide

Available; displays focus status or unfocused status using the AF signal.

LCD Monitor

LM-V2 LCD Monitor

White Balance

AWB, Kelvin setting (setting range: 2000K–15000K), Daylight, Tungsten, Set (A/B)

Standardized Frame Rates

59.94 Hz mode: 59.94i/59.94P/29.97P/23.98P
50.00 Hz mode: 50.00i/50.00P/25.00P
24.00 Hz mode: 24.00P

Slow and Fast Motion

If recording Is performed at a frame rate which is below the frame rate of the recording format, so-called “undercranking” shooting results, and a fast motion effect will be obtained. Conversely, if recording is performed at a frame rate which exceeds the frame rate of the recording format, so-called “overcranking” shooting results, and a slow motion effect will be obtained.

During Slow and Fast Motion Recording external timecode input is not permitted and Timecode output is disabled. If Timecode “Free Run” was specified before S&F is selected, the setting switches to “RecRun.” No sound is recorded.

  Resolution Sensor Mode/Available Frame Rates
XF-AVC 4096x2160/3840x2160
(810/410 Mbps)
[Full Frame / Super 35 mm (Cropped)]
59.94P / 29.97P / 50.00P / 25.00P : 15 - 60
24.00P / 23.98P : 12 - 60

(310/160 Mbps)
[Full Frame / Super 35 mm (Cropped)]
59.94P / 29.97P / 50.00P / 25.00P : 15 - 60
24.00P / 23.98P : 12 - 60

[Super 16 mm (Cropped)]
59.94P / 29.97P / 50.00P / 25.00P : 15 - 120
24.00P / 23.98P : 12 - 120

(35/24 Mbps)
59.94P / 29.97P / 50.00P / 25.00P : 15 - 120
24.00P / 23.98P : 12 - 120
RAW 5952x3140/4096x2160 59.94P / 29.97P / 50.00P / 25.00P : 15 - 60
24.00P / 23.98P : 12 - 60
2048x1080 59.94P / 29.97P / 50.00P / 25.00P : 15 - 120
24.00P / 23.98P : 12 - 120

Setting Frame Specifics are shown below:
59.94P: (15, 30, 44, 48, 52, 56, 60, 90, 120)
29.97P (15, 22, 24, 26, 28, 30, 32, 36, 40, 44, 48, 52, 56, 60, 90, 120)
23.98P/24.00P: (12, 16, 18, 20, 22, 24, 26, 28, 30, 32, 36, 40, 44, 48, 52, 56, 60, 72, 96, 120)
50.00P: (15, 25, 34, 38, 42, 46, 50, 54, 58, 60, 75, 100, 120)
25.00P: (15, 17, 19, 21, 23, 25, 26, 28, 30, 34, 38, 42, 46, 50, 54, 58, 60, 75, 100, 120)

CFexpress™ Cards (2 slots)

Recording of movies (Cinema Raw Light/XF-AVC), custom pictures, metadata

CFexpress™ Card Recording Time
Cinema RAW Light
2.1 Gbps
250 Mbps
810 Mbps
410 Mbps
310 Mbps
160 Mbps
512 GB
30 minutes
64 minutes
256 minutes
79 minutes
156 minutes
207 minutes
401 minutes

Media Capacity (GB)
SanDisk Extreme Pro 512
Sony TOUGH 512
ProGrade Digital COBALT 650

SD Card

Recording of movies (XF-AVC (proxy)), photos (JPEG), custom pictures, metadata, menus and other data


(1) XF-AVC/ MPEG-4 AVC/H.264
(2) RAW: Cinema RAW Light


Linear PCM (24 bit - 48kHz; 4-channel recording)


4096 x 2160 / YCC422 10 bit
3840 x 2160 / YCC422 10 bit
2048 x 1080 / YCC422 10 bit
1920 x 1080 / YCC422 10 bit

Bit Rate

810/410/310/160 Mbps Intra-frame


2048 x 1080 / YCC420 8 bit

Bit Rate

35/24 Mbps Long GOP

Bit Depth

12/10 bit


5952 x 3140
4096 x 2160 (cropped)
2048 x 1080 (cropped)

Time Code

Drop frame* or non-drop frame
*Only in the 59.94 Hz mode
Rec Run, Free Run, Regeneration


Canon Log 3, Canon Log 2, Wide DR, Normal 1, HDR-PQ, HDR-HLG

Color Space

Cinema Gamut, BT.2020 Gamut, DCI-P3 Gamut, BT.709 Gamut

In-Camera LUTs

BT.709, BT.2020, DCI, ACESproxy, HDR-PQ, HDR-HLG, HDR1600%, HDR400%, and 4 user uploadable

Other Features

Slow & Fast motion recording, pre-recording, relay recording, double slot recording, custom picture settings, color bar, peaking display, zebra display, My Menu settings, waveform monitor display, assignable buttons, key lock, marker display, enlarged display, custom display, control via browser remote, peripheral illumination correction, diffraction correction, built-in monaural microphone, fan control, geotagging and other functions

Playback Operations

Normal playback, fast forward (at speeds of 5x), fast reverse (at speeds of 5x), frame forward, frame reverse, forward skip, reverse skip, rec review

Clip Display

3 x 4 (clip) index display (RAW, XF-AVC, XF-AVC proxy, photo index)

Clip Information Display

Clip metadata display, custom picture data display


Clip deletion


MIC jack, INPUT terminal (1/2)*, REMOTE terminal (A)
* Digital input (AES/EBU standards) supported


HDMI, headphone jack, MON. terminal, SDI OUT terminal*, VIDEO terminal
* 12G-SDI supported

Input/Output Control

TIME CODE (in/out), Expansion System terminal, USB (for GPS units)
* For the EVF-V50, EU-V1 or EU-V2 Expansion Units

Power Input

DC IN 12V jack (DC 11.5V–20V), Battery terminal (DC 14.4V), DC 12–20V*
* When using a V-mount battery with the EU-V2 Expansion Unit

Maximum recording times with battery/power consumption. All values given are approximations only. CFexpress™ card single recording, using the LCD monitor LM-V2, MON. and SDI OUT terminals, and using EF50mm f/1.8 lens
Sensor Mode/
Bit Rate:
Frame Rate
Power Consumption
Approx. (W)
(3100 mAh)
(6200 mAh)
Continuous Recording Minutes
RAW Full size/
5952 x 3140
2.1 GB:
Super 16mm/
2048 x 1080
XF-AVC Full size/
4096 x 2160
Super 16mm/
2048 x 1080
310 Mbps:

Image Processing Platform

DIGIC DV 7 Image Processor

Related Accessories

Battery Pack BP-A30/BP-A60 (provided with camera)
Battery Charger CG-A10/CG-A20 (provided with camera)
Remote Controller RC-V100
Compact Power Adapter CA-CP200B (provided with camera)
Shoulder Strap SS-1200 (provided with camera)
Tripod base TB-1
Wireless Transmitter
GPS Receiver GP-E2
Unit Cable UN-5 (provided with camera)/UN-10 (sold separately)
Canon OLED Electronic View Finder EVF-V50/EVF-V70
Extension unit 1: EU-V1
Extension unit 2: EU-V2
EF Cinema Lock Mount Kit CM-V1
PL Mount Kit PM-V1
B4 Mount Adapter MO-4E/MO-4P
LCD Monitor LM-V2 (included)/LM-V1
LCD Attachment Unit LA-V2 (included)/LA-V1
Camera Grip GR-V1 (included)
Shoulder Support Unit SU-15
Shoulder Style Grip Unit SG-1
Clamp Base CL-V2
Rod Clamp RD-1
Handle Unit HDU-2
8-pin Remote Cable RR-10/RR-100
Canon EF/EF cinema lens group, Canon PL cinema lens group and accessories designed for these lenses

IP Streaming

Streams video to decoder transmission device or computer over the network

Compression Method

MPEG-4 AVC/H.264 8 bit

Bit Rates

9 Mbps/4 Mbps (1920 x 1080)

Frame Rates




Audio Rate

256 Kbps

Transfer Media

Wi-Fi® ,Ethernet


(1) UDP: Prioritizes transfer speed. Lost or lagging packets ignored.

(2) RTP: Standard system for sending videos and audio online. Lost or lagging packets ignored.

(3) RTP+FEC: Error correction (FEC) control during RTP transfer enables recovery of lost or corrupt packets on the receiving side.

(4) RTSP+RTP: Real-time data streaming control via RTSP (Real Time Streaming Protocol) and transfer via RTP. The receiving side can start or stop streaming.


Follows the specifications of WFT

Wi-Fi® Setup Methods

(1) WPS [Wi-Fi® Protected Setup] (push-button system, PIN code system)
(2) Manual Setup
(3) Search for Access Points

Authentication Systems

Open system, WPA-PSK, WPA2-PSK


WEP-64, WEP-128, TKIP, AES

IP Address Settings

Auto (automatic switching between DHCP and AutoIP), Manual

Dimensions (W x H x D)

Approx. 6.0 x 5.8 x 6.6 in. (153 x 148 x 168mm)


Approx. 3.8 lb. (1750g)

EOS C500 Mark II

EOS C500 Mark II Canon EOS C500 Mark II 5.9K Full-Frame Camera Body (EF Mount) Canon GR-V1 Camera Grip Canon LM-V2 4.3" LCD Monitor Canon LA-V2 LCD Attachment Unit Handle Unit SS-1200 Shoulder Strap Battery Charger CG-A20 CA-CP200 B Compact Power Adapter for Battery Charger AC Power Cable US for Battery Charger Canon BP-A60 Battery Pack For EOS C300 Mark II, C200, and C200B Extension Unit Attachment Bracket Canon UN-5 Unit Cable 1/4" Hex Wrench M3 Hex Wrench M4 Hex Wrench 1/4" Hex Socket Head Bolt M3 Hex Socket Head Bolt Bolt Stopper Microphone Holder Unit M4 Screw for Microphone Holder Unit CFexpress Card Reader 512GB CFexpress Card Limited 1-Year Warranty

Compatible Supplies & Accessories

Canon offers a wide range of compatible supplies and accessories that can enhance your user experience with you EOS C500 Mark II that you can purchase direct. Scroll down to easily select items to add to your shopping cart for a faster, easier checkout. Visit the Canon Online Store



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Behind the Scenes: Count Me In

Join us for a behind the scenes look at the "Count Me In" music video shot by Worship Filmmaker Nick Dillard from Life Church. Nick explains the production and post production of this video using the 5.9K EOS C500 Mark II.

Autumn Dream

The short film 'Autumn Dream' aka The Beekeeper creates a painterly universe of childhood imagination where three kids dressed as a beekeeper, ladybug, and a bee climb a set of stairs to an autumn world of frolic and fun.

Behind The Scenes: Count Me In

Join us for a behind the scenes look at the "Count Me In" music video shot by Worship Filmmaker Nick Dillard from Life Church. Nick explains the production and post production of this video using the 5.9K EOS C500 Mark II.

Introducing the Canon EOS C500 Mark II

Impressive usability and imaging power combine in the EOS C500 Mark II, the customizable full frame cinema camera that’s built for creative freedom. The lightweight body comes equipped with Canon's 5.9K full-frame CMOS sensor capable of over 15 stops of dynamic range. The newly developed DIGIC DV 7 Image Processor expands functionality and flexibility by enabling features such as 5.9K recording, internal recording of Canon Cinema Raw Light and Dual Pixel Autofocus. The Canon EOS C500 Mark II is the perfect expression of form and function, exceptionally adaptable to virtually any production with its modular design. Three expansion units and user changeable lens mounts enable operators to build their ideal cinema system.

Canon Dual Pixel Autofocus

Even with today’s advancements in digital photography and cinematography, being precisely in focus isn’t that easy – especially when doing it alone.

This is to make Misc appear on the page when needed.


White Papers


10.2 MB

EOS C500 Mark II Full Frame Digital Cinema Camera

19.1 MB

Canon Log Gamma Curves

0.81 MB

This is to make Misc appear on the page when needed.


*Dependent on the mount the user has in place.


*Canon is an authorized licensee of the CFexpress2.0™ trademark owned by CompactFlash Association, which may be registered in various jurisdictions.



* Does not include 4 Pin XLR AC Adapter

† Prices and specifications subject to change without notice. Actual prices are determined by individual dealers and may vary.

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