MPR Says — Canon EOS C500 Mark II Cinema Camera
The The Canon C500 Mark II rental covers a specific range of productions that need full-frame sensor performance, internal RAW recording, and a modular body that scales from a stripped gimbal build to a fully rigged cinema system — without committing to a fixed form factor. The 5.9K full-frame CMOS sensor (38.1 x 20.1mm) delivers over 15 stops of dynamic range in Canon Log 2 and a native cinema color gamut that exceeds both DCI-P3 and BT.2020. For a narrative feature shooting in Miami or a commercial in Orlando, the C500 Mark II gives the DP the sensor and codec flexibility of a larger cinema camera in a body that can fly on a drone or mount to a gimbal.
Internal ND is built in — 2, 4, 6, 8, and 10 stops — which is the single most practical differentiator for Florida exterior work. No matte box, no screw-on filters, no exposure stop when clouds move. The mount is field-swappable from EF to PL or locking EF-C, which means the same body takes Canon L glass one day and Cooke S4/i primes the next. Dual Pixel CMOS AF is native and works with compatible EF lenses — real phase-detection AF, not contrast-based hunting.
If you need a 1st AC, DIT, or full camera crew, our crewing department staffs from the same booking. Request a quote with your shoot dates and we will hold the body and spec the full package same day.
Who Books a Canon C500 Mark II Rental
Three primary use cases. The first is high-end narrative and commercial work where a full-frame sensor and Cinema RAW Light are the brief — independent features, agency commercials, and music videos that need maximum grading latitude without an external recorder. The 12-bit RAW Light files are roughly 1/3 to 1/5 the size of Cinema RAW, which keeps the workflow manageable on a lean crew. The second is documentary and single-operator work where Dual Pixel AF, internal ND, and a compact body matter more than a dedicated focus puller. The third is multi-cam production — the C500 Mark II is a legitimate A-camera that pairs cleanly with the C500 Mark II or steps down as a high-quality B-cam alongside an ARRI.
Note: the C500 Mark II body ships body-only in most configurations. If you need follow focus, wireless lens control, or a monitor, spec it at booking. The modular expansion units (EU-V1, EU-V2) add XLR audio, V-lock power, genlock, and SDI outputs — they are available as add-ons. Call 305-522-1361 and we will build the package around your workflow.
Canon EOS C500 Mark II Technical Specifications
All specs verified against the official Canon spec sheet. Manufacturer reference: usa.canon.com / EOS C500 Mark II.
| Specification |
Details |
| Sensor |
Full-frame CMOS, 38.1 x 20.1mm (5.9K) — approx. 18.69 MP effective; Super 35mm and Super 16mm crop modes available |
| Image Processor |
DIGIC DV 7 |
| Lens Mount |
Canon EF (ships standard); user-swappable to PL or locking EF-C mount |
| Dynamic Range |
15+ stops (Canon Log 2) / 14 stops (Canon Log 3) |
| Base ISO |
ISO 800 (Canon Log 2, dynamic range 1600%) |
| ISO Range |
ISO 100 – 25,600 (expandable to 102,400) |
| Color Science |
Canon Log 2, Canon Log 3, Wide DR, PQ, HLG |
| Internal Recording — RAW |
Cinema RAW Light (12-bit): HQ / ST / LT modes; 5.9K up to 59.94fps, 4K DCI up to 59.94fps, 2K crop up to 120fps |
| Internal Recording — XF-AVC |
4K 10-bit 4:2:2 XF-AVC up to 810 Mbps; simultaneous XF-AVC 2K 4:2:0 8-bit proxy to SD card |
| Slow Motion |
Up to 60fps in 5.9K Cinema RAW Light; up to 120fps in 2K crop mode |
| Internal ND Filter |
2, 4, 6, 8, 10 stops (expanded) |
| Autofocus |
Dual Pixel CMOS AF (DPAF) — One-Shot AF, Continuous AF, AF-Boosted MF, Face Detection AF (compatible EF lenses) |
| Image Stabilization |
5-axis electronic IS (works with most lenses including anamorphic; no optical IBIS) |
| Media |
2x CFexpress (Type B) for RAW/XF-AVC; 1x SD card for proxy recording |
| Video Outputs |
12G-SDI, HDMI (body); genlock/sync, SDI, Ethernet via expansion units |
| Audio |
Built-in mic + 3.5mm mini jack (body); 2x XLR inputs via EU-V2 expansion unit |
| Netflix Approved |
Yes |
| Anamorphic Support |
Yes — 4:3 and 6:5 sensor crop modes for anamorphic glass |
Canon C500 Mark II vs. Canon C300 Mark III — Which Body Should You Book?
Same Canon cinema DNA, different sensor and codec tier. The C500 Mark II has a larger full-frame sensor (5.9K), internal Cinema RAW Light recording, and a user-swappable mount. The C300 Mark III is a Super 35mm body with Canon Cinema RAW Light as well but in a more ergonomic ENG-style form factor with built-in XLR audio on the body. If your production is full-frame-first — wide looks, shallow full-frame depth of field, PL glass — book the C500 Mark II. If your production is run-and-gun with a priority on ergonomics and built-in audio, the C300 Mark III is the more practical call.
| Feature |
Canon C500 Mark II |
Canon C300 Mark III |
| Sensor |
Full-frame, 5.9K (38.1 x 20.1mm) |
Super 35mm, 4K |
| Internal RAW |
Cinema RAW Light 12-bit to CFexpress |
Cinema RAW Light 12-bit to CFexpress |
| Internal ND |
Yes — 2, 4, 6, 8, 10 stops |
Yes — 2, 4, 6, 8, 10 stops |
| Lens Mount |
EF (ships); swappable to PL or EF-C |
EF (ships); swappable to PL or EF-C |
| Built-in XLR |
No — requires EU-V2 expansion unit |
Yes — 2x XLR on body |
| 12G-SDI |
Yes |
Yes |
| Slow Motion |
60fps at 5.9K; 120fps in 2K crop |
120fps in 4K crop |
| Best For |
Full-frame narrative, commercial, PL glass |
Run-and-gun, doc, ENG, built-in audio |
Not sure which body fits your shoot? Call us at 305-522-1361 and we will walk you through it.
The C500 Mark II on a Florida Set
The internal ND is the practical win on a Florida production. Five stop increments (up to 10 stops expanded) — dialed from the camera menu, not a matte box — means the DP can hold a wide aperture on an exterior and control exposure without stopping down for every light change. That matters on a Miami beach exterior at noon or a Fort Lauderdale rooftop at golden hour where the light is shifting every few minutes.
The 5.9K full-frame sensor in Super 35mm crop mode pairs with standard S35 PL glass without vignetting — Cooke S4/i, ARRI/Zeiss Ultra Primes, Master Primes. In EF mode with Canon L glass, DPAF is fully operative. The body is modular by design: expansion units attach at the rear for genlock, additional XLR inputs, V-lock power, and remote control — or you strip it down and fly it on a gimbal. Native EF-mount glass and PL S35 primes are both in our inventory. Crew books through the same desk via our crewing department.
Canon C500 Mark II Rental FAQ
What productions is the Canon C500 Mark II best suited for?
High-end commercial, narrative features, and documentary work where full-frame imaging and internal Cinema RAW Light recording are the brief. Also strong for Netflix and streaming productions — the C500 Mark II is on the Netflix approved camera list. Not the first call for run-and-gun work where built-in audio and a compact ENG form factor matter more than full-frame sensor size.
Does the Canon C500 Mark II have internal ND?
Yes. Built-in internal ND with 5 density settings: 2, 4, 6, 8, and 10 stops (8 and 10 stops require expanded ND mode). This is one of the C500 Mark II’s most practical advantages for Florida exterior shoots — no matte box or screw-on filters required to hold a wide aperture in bright conditions.
What lens mounts does the C500 Mark II support?
The camera ships with a Canon EF mount. The user can swap it in the field to a PL mount or locking EF-C mount using an optional mount kit (four M3 hex screws, no tools beyond an included hex key). A shim set is included with each mount kit for back-focus adjustment. This makes the C500 Mark II compatible with virtually any cinema lens library. We carry EF-mount lenses and PL S35 primes — specify your glass at booking.
What is Cinema RAW Light and how does it compare to XF-AVC?
Cinema RAW Light is Canon’s 12-bit RAW recording format — it preserves the full sensor data for maximum grading latitude, at file sizes roughly 1/3 to 1/5 of standard Cinema RAW. XF-AVC is Canon’s compressed 4K 10-bit 4:2:2 codec — broadcast-ready, smaller files, faster post turnaround. The C500 Mark II can record both simultaneously: RAW Light to CFexpress and a 2K proxy to the SD card.
Is the Canon C500 Mark II Netflix approved?
Yes. The C500 Mark II meets Netflix capture requirements and has been approved for use on Netflix productions when recording in Cinema RAW Light.
Can I get same-day delivery of the Canon C500 Mark II in Miami or Fort Lauderdale?
Yes, subject to availability and time of booking. We deliver 7 days a week across all five Florida locations. Call us to confirm same-day windows or request a quote for a multi-day booking.
Complete Your C500 Mark II Rental Package
Request your quote today and we will build the package around your shoot.
Lenses — EF Mount: EF-mount lens inventory — Canon L primes and zooms with full DPAF cooperation, including the Canon 24-70mm f/2.8L II, Canon 70-200mm f/2.8L IS II, and Canon 50mm f/1.2L. The natural glass choice when you want AF and a compact footprint.
Lenses — PL Mount: PL S35 prime lenses — ARRI/Zeiss Master Primes, Ultra Primes, and Cooke S4/i primes. Swap the mount at booking and the C500 Mark II becomes a fully capable cinema prime body. Specify the mount kit in your quote request.
Lighting: Lighting inventory — Aputure and ARRI LED packages available. The C500 Mark II’s internal ND handles exterior control; for interior setups and key lighting, browse our LED and HMI options.
Logistics and Florida Availability
Moving Picture Rental delivers 7 days a week to productions in Miami, Fort Lauderdale, Orlando, Tampa, and Fort Myers. Every Canon C500 Mark II leaves our facility fully inspected and ready to shoot.
Request your quote today — confirm your dates, mount preference, lens package, and any expansion units. We will have it specced and confirmed same day.
5.9K full-frame, internal RAW, swappable mount — the C500 Mark II rental is the body you book when the project demands a cinema camera that doesn’t lock you into one lens ecosystem.
