C300: C300 Mk III Coming Soon
- Thread starter lovecameras
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Matt Turner
Well-known member
This 4K broadcast field trial list has most listed at 50/60p.
https://en.wikipedia.org/wiki/Ultra...ision#Field_trials_of_UHDTV_over_DTT_networks
There's a high chance that will be the standard, meaning that the C300 MKII might not meet broadcast 4K standards.
Of course by the time 4K broadcast actually arrives we will have a C300 MKIII available, though that won't help the MKII owners.
https://en.wikipedia.org/wiki/Ultra...ision#Field_trials_of_UHDTV_over_DTT_networks
There's a high chance that will be the standard, meaning that the C300 MKII might not meet broadcast 4K standards.
Of course by the time 4K broadcast actually arrives we will have a C300 MKIII available, though that won't help the MKII owners.
The US broadband is undergoing a massive upgrade (many to the long existing DOCSIS 3.0; a few selected areas to 3.1). All one needs to do is to upgrade the modem (and sometimes pay a little extra in monthly fees). Technically, that should bring a real time 4K into a lot of homes.
jm.gardiner
Well-known member
I think we're okay for a while. I shot pieces for NBC, ABC, ESPN and Discovery-ID in 720 late last year.
Matt Turner
Well-known member
Yeah, a major AUS broadcaster has started advertising they are going to go FULL HD!
Many don't even get to 720, they are 576.
Bassman2003
Veteran
Yes.
And yes again to the 720p maybe 1080p as being "real world" and 4k being extra right now and into the future. Higher acquisition resolution is kind of a luxury for many, many situations while increasing the post load.
I posted this on the Sony F65 thread (which makes it redundant for some) but the 4K players are already shipping (discs themselves are coming out March, 1) and both YouTube and Vimeo are 4K enabled for anyone over 30'ish Mbps.
PS. As a side note - a DVXUser member posted a video recently in 1080p. Looking at it from a small DVXUser window vs. a full screen Vimeo page, Vimeo looks very soft by comparison.
The F5 maybe not, but that camera never sold well enough to find it's niche.
The FS7 and the C300 II occupy the EXACT SAME market - reality, events, docs, corporate, run and gun - low end type work which is why the FS7 at 1/2 the price has it's appeal. You want the next step up - music videos, indy films, scripted network promos, mid-range type jobs - go with the new Red Scarlet-W which is the same price as the C300 II.
The one underrated party trick that the FS7 has is custom 3D LUTs, which is quite amazing in that any number of color sciences can be achieved in camera. The new ArriLook LUTs are completely amazing and changes the color game on the FS7 dramatically - in camera and in post.
I can use almost any camera priced much lower than even the FS7 for the same work, but that does not mean it was meant for the same market(price point).
Hey Gene, can you use the Premiere CC ARRI LUTs with the ArriLook LUTs? The C300 II using CLog2 and Producition Camera matrix looks fantastic with the PP CC ARRI LUTs. The big plus the C300 II has over the FS7 and even Alexa is the AF and assisted MF via DPAF. The FS7 and Alexa are better for slomo (kept the FS700 for slomo).
There's currently no DPAF focus aids on C300mk2 PL, just on the EF version. So not entirely relevant as comparison with Alexa. Canon has been hinting that it might be coming (although that was a while ago...)
Also: The sensor size is not the same on C300mk2, FS7 and Scarlet-W. Might not matter a lot, but to some it does.
Jim Martin
DVXuser Sponsor
"The FS7 and the C300 II occupy the EXACT SAME market - reality, events, docs, corporate, run and gun - low end type work which is why the FS7 at 1/2 the price has it's appeal. You want the next step up - music videos, indy films, scripted network promos, mid-range type jobs - go with the new Red Scarlet-W which is the same price as the C300 II."
Just to clarify, the Mk II is doing features, music videos, scripted network promos, the new Chelsea Handler show on NetFlix and more....and the Scarlet will cost more when you get all that is needed for the full package.
Jim Martin
EVSonline.com
Just to clarify, the Mk II is doing features, music videos, scripted network promos, the new Chelsea Handler show on NetFlix and more....and the Scarlet will cost more when you get all that is needed for the full package.
Jim Martin
EVSonline.com
telecam
Active member
Most HD work calls I got in the past few years requested C300s. If another camera was mentioned, I could easily talk the production into shooting on C300. These days, 4K calls are more frequent and most require Sony F5/F55 or FS7. I am afraid Sony has won Phase 1 of the 4K wars...
I considered an Amira before the C300II, however the battery/energy cost and size/weight and no option at all for DPAF-level AF or assisted MF means nothing from ARRI can currently compete with what the C300II offers. While the ultimate skintone quality of an ARRI may be better than Canon (is it?), and the dynamic range and noise quality is slightly better on ARRI (slomo is a lot better (not used very often); have the FS700 for that), these differences aren't large enough to offset the advantages of the C300II for what I shoot (doc, interview, ultra low budget narrative).
Directly comparing Alexa/Amira/Mini with the C300II is fair game- EF mounts are available for ARRI
. Doesn't seem like there's many AF PL mount lenses currently out there. However, the future is computer controlled AF or computer assisted MF (AMF). A servo controller wired into the camera could make all MF lenses AF/AMF. After using the C300II AF and AMF and being able to continuously and accurately nail 4K focus, there's no going back. The 1DX II, A7RII, and 6300 all have advanced focusing systems too (PDAF or variants). Advanced focus technology is the next big thing for camera systems. Hopefully ARRI is working on it too.There are various third party auto focus systems out there. Some are laser based (that one comes from the ARRI Flex team and used to cost as much as an Alexa), some are sonar based, some are magnet detection based (where the subject of focus has to wear a small magnet). One would think that Canon and Sony will reused their consumer tech onto the pro market beyond what Canon has done already with C100 and C300 MKII's.... Directly comparing Alexa/Amira/Mini with the C300II is fair game- EF mounts are available for ARRI
PedroAquiles
Active member
I just want a c100 m3 with the same specs as the sony fs5 but with the canon colors...for 5000usd
I'd pay 6000 for the same specs + same lens 18-105 with motorised zoom and rocker on the handle
Hypothetically speaking - in a competitive market, it should be priced at $2,500 right now. If you use Sony A6300 ($1,000) as the standard on the low end and Z150 ($3,600) on the high, it'd slot right in between. Or, on the garbage-in-garbage-out (an accounting term) basis, put in an APS-C sensor from A6300 for the 1" on Z150; remove the zoom from Z150. There's your C100 MKIII.