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    #11
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    Totally agree Kholi, Ian T....it's too high for what it is. The images are nice, but so are a lot of AF100, FS100 images....which is what I think a lot of people were hoping Canon would have been trying to compete with.... just makes no sense to me at all. They will sell some of these...but if they could have come up with a product for half or less, they would have made a killing. This prices SOO MANY out of the possiblity of ownership, it's mind blowing.


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    #12
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    It might be the Vimeo compression ( I've viewed them fullscreen without stretching ), but I'm not that impressed with the skin-tones, especially for the footage shot inside the car. The darker mid-tones have that "compressed" look to them, which makes me wonder if this is the result of the C300 being an 8-bit camera. Even the SDI out is 8-bit, which sucks in a major way. You would expect a $20K camera to output 10-bit 4:2:2 at the minimum.
    Cameras : Panasonic GH4 with factory audio fix, GH3 with Grip
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    SpeedBoosters : Metabones Nikon G, Mitakon Zhongyi Nikon F


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    #13
    Senior Member cowpunk52's Avatar
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    Quote Originally Posted by TheDingo View Post
    It might be the Vimeo compression ( I've viewed them fullscreen without stretching ), but I'm not that impressed with the skin-tones, especially for the footage shot inside the car. The darker mid-tones have that "compressed" look to them, which makes me wonder if this is the result of the C300 being an 8-bit camera. Even the SDI out is 8-bit, which sucks in a major way. You would expect a $20K camera to output 10-bit 4:2:2 at the minimum.
    What you're seeing on Vimeo is highly compressed, and not indicative of the actual quality of the picture. You'd have to come to LA to see it yourself, but everyone that has agrees that the C300 puts out amazing quality images.


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    #14
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    Vincent Laforet:
    A downloadable version of the final film (5GB) will be made available shortly courtesy of Apple and iTunes.
    Then, I guess, we'll get decent HD version of the film to judge.


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    #15
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    I think low-budget directors are going to flock to this camera once people get a chance to play with it. Awesome S35 4K imager with CRAZY GOOD low-light performance, 4:2:2 recording to cheap-ass CF cards, a small, lightweight body with everything on it – XLR for sound, timecode, SDI-out, etc. Not to mention that it has great battery performance.

    The only thing not to like is the price ($20K MSRP, less at B&H), but thanks to the Scarlet-X, rental prices should be low ($200/day or less).

    My prediction is that more films at Sundance 2013 will be shot on this Canon than on the Scarlet-X. It's just a hell of a lot more practical, and the images are just beautiful right out of the camera.


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    #16
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    What a great film by Laforet. Like most intriguing stories, it doesn't matter WHAT it was shot on--I don't care if it was Alexa or T2i. I'm blown-away by some of the camera movements, the difficult shots, the emotion.
    I want more rigs, not more cameras! ;-)


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    #17
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    Quote Originally Posted by LeavingTheCandy View Post
    What a great film by Laforet. Like most intriguing stories, it doesn't matter WHAT it was shot on--I don't care if it was Alexa or T2i. I'm blown-away by some of the camera movements, the difficult shots, the emotion.
    I want more rigs, not more cameras! ;-)
    Totally. Was watching the behind the scenes... salivating.


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    #18
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    Looks like a very powerfull camera.


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    #19
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    Quote Originally Posted by TheDingo View Post
    It might be the Vimeo compression ( I've viewed them fullscreen without stretching ), but I'm not that impressed with the skin-tones, especially for the footage shot inside the car. The darker mid-tones have that "compressed" look to them, which makes me wonder if this is the result of the C300 being an 8-bit camera. Even the SDI out is 8-bit, which sucks in a major way. You would expect a $20K camera to output 10-bit 4:2:2 at the minimum.
    Philip Bloom just posted an article on his blog about his first hands-on with the C300. Article here. Evidently, one of the developers explained to him why Canon's 8-bit output ends up being equivalent to 16-bit quality. Bloom says that it was all very technical discussion that went over his head (the developer had to diagram it out on napkins) so I don't know if it's just technical jargon but judging by the footage, I'd buy it.
    Sean Ryan Finnegan
    Director + Cinematographer @ IGN.com
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