C300: C300 or ENG camera

I'm in the "right tool for the job" camp. A 2/3 chip ENG camera from your favorite company is the right choice for ENG work. Shoot all your Broll with the a 2/3 cam and bring a large sensor camera for interviews and you can fool everybody. Heck. For the interview lock down the ENG camera as a wide or reverse for a two camera shoot.
 
It would be grand if they could design one of these larger sensor cameras where you could use a B4 broadcast lens with power etc... Lets face it, a lot of follks often need both types of cameras. It would make purchase decisions a lot easier if you could see the camera as your ENG and interview camera. Since the nature of ENG is not going to be as high of resolution, the sacrifice could take place on the B4 mount side (sensor windowing etc...).

Seeems like the natural next step to keep the news industry involved with new puchases.
 
It would be grand if they could design one of these larger sensor cameras where you could use a B4 broadcast lens with power etc.

Would also make me feel a lot better about the three old Ikegamis I have gathering dust in my barn. It would be nice to get some usage out of the $14K Fuji (or are they Canon?) lenses on those old soldiers.
 
Exactly. I have two "H" Varicams that are doing fine and are used the most in my work. At this time I can not justify the purchase of a C300 or F5 etc... If a large sensor camera came along that allowed the use of broadcast lenses I would have a path to justify the upgrade to have both shooting options. Hello, is anybody from Panasonic listening? :) :)
 
An all in one camera would be idea but in 10 years of stills shooting and a few years of video I've not come across a camera that does it all. The Canon 1Dx is very very close to ideal for stills photographers though.

From my perspective the XF cameras sort of do what an ENG cam does (of course not as well) whereas the C300 would add a style of shooting that I currently can't do with my XFs. For news it's fine but not being able to get too creative with the XF300 isn't ideal for some of the more documentary pieces I have done.
 
Well, if the C300 or the F5 allowed use of broadcast lenses (with 2/3" DOF & FOV) they would do it all for video. When I want to shoot any live, sports or fast paced etc... work I want a broadcast lens with its great reach and smooth servo motors. It is the lens & DOF, not the camera that makes it best for the syle of work.
 
Coming from stills we dicked about with digital till about 2008 - now the d4 and 1dx are really do it all tools (I say that owning a hassleblad and digi back)

.. And that is what I seek in a motion camera.. Good ergonomics top class files all of it.

and the f5 could be that but I'm not 100% convinced yeyet using for eng Sony are doing a b4 adapter then you get you eng and the cine stuff is all there too.

when I return from the job I'm ok going to test it.. Against stills from the Nikon d3 - if it passed ill buy..

and to me the c300 with no raw is not in that class
 
I did not know Sony showed a B4 adapter for the F5 at NAB. Looks like a possible answer but I do not know if the sensor is windowed and one can operate the camera as a true 2/3" camera or if it is meant to allow the use of broadcast lenses in s35 shooting. Anybody know this?
 
Basically the eng lens loses about two stops of light but given the extra sensitivity and narrower dof you kind of get back to the same place

so for example a 2:3 at f2 will look similar to s35 at 5.6

also the fov stays about the same

And that is what I find interesting with enough budget you kind of have two cameras in one..

of course c300 b4 is I think possible too but I think Sony are really trying to tie it up and probably have more space to do it well as their mount is s35 specific and i guess that leaves more room for better optics
 
I have seen the adapters that need an extender engaged on the lens basically making the 2/3" lens act like a s35 lens (with 1/2" the FOV). Is the Sony design different in not needing the 2x extender?
 
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