C300: C300 vs C300 Mk II

I'd imagine the C300 II is going to be much better than the C300 I, by virtue of 4K alone. What I'd like to see is a comparison of the C100 and the C300. I've often heard the C100 with a Ninja has as good an image as the C300.
 
I think the main difference is the workflow and broadcast standard. Honestly though, the codec aside, if you A/B the C100 and C300...the quality of image is pretty darn close. I think most people would not be able to tell the difference.
 
Off topic....what the heck is a Philip Bloom Certified Cinematographer?

Is this class you took or something? I've always wondered what that is all about? (not questioning with an arrogant tone. Genuinely asking)
 
ReelWorksMedia said:
Off topic....what the heck is a Philip Bloom Certified Cinematographer?

Is this class you took or something? I've always wondered what that is all about? (not questioning with an arrogant tone. Genuinely asking)
Click to expand...

The way it is mentioned in such bold letters, JoeJitsu may be getting some benefit out of that certificate. If nothing else, then show a rate card for the original (read Philip Bloom) and tell the client that you can't afford him, so take the guy certified by him. :D
 
Somehow this otherwise would be interesting thread continues about a signature and Mr. Blooms sense of humor.
 
Alrighty then, back on topic. The few who have already spent some time with the C300 MKII are reporting that it is better in every way, much cleaner signal at all ISOs, we all know the feature set is far superior. Not sure what more there is to say. If I was starting out in pro cameras today, the existing C300 is a great value right now or a lightly used one. If you need to deliver 4K, the C300 MKII is a highly superior camera that will cost you a lot more. I spent all day yesterday at a Varicam workshop at Panasonic Hollywood, it puts it all into perspective. The new Varicam 35 is an absolutely amazing camera system but with lenses and a Codex back, it is in the $100 to $150k range, obviously a rental for most people. The C300 MKII is much more of an owner/operator camera at $16k and will be capable of beautiful images too but not at the same level as the Varicam, RED Dragon, or Amira. The price will come down once it becomes established. I think it will become the predominant lower end pro camera in LA at least, but it seems that the real production is getting done more with the RED Dragons, Amiras, F55s and soon with the new Varicam 35 anyway. The C300 MKII will be very capable but it will mostly be relegated to the lower end world I mostly work in of EPK, doc, BTS, corporate, even though I think it will be capable of just as good pictures as most of the $50k to $75k cameras with good glass and a skilled DP. A lot of this business is perception, and while the C300 is and was a great camera and a huge value, talk to most working DPs, camera rental houses and larger budget TV and features aren't clamoring to shoot on Canons. Sure, some shows will be shot on Canons but I had lunch yesterday with half a dozen of LA's most working DPs, ACs, DITs and Denny Clairmont, Canons are not even on the map for a lot of real production that gets done in LA. Nothing wrong with the EOS cameras but they seem to be a niche camera lineup, unless Canon pulls a rabbit out of the hat with the new C500, whatever it will be.
 
@Puredrifting Completely agree. C300's rule the mid/low-range in LA and everything above is Arri/Red. Now the FS7 is popping up a lot on the lower end, but mostly on reality stuff from what I've seen.

C500 was getting some play on Amazon shows like Transparent, because Arri didn't have a 4k option at the time. I wonder if that show will switch to Amira or C300mk2?

C300mk2 has name brand recognition it'll be an easy sell for the mid-level work and a little bit of convincing before it shows up on bigger sets. With the 2k/12bit I think you'll likely see it on some mid-level commercial work and budget concious indie features. Canon cine primes are moving a lot and that 17-120mm is everywhere lately.

The Varicam-35 is really amazing. One of the best cameras out there now. But, I don't know anyone who's shot with it or any directors/producers wanting too. Honestly if I had the option, I'm not sure I'd chose it over the alexa/amira. It really needs a high end DP to champion it. I'm sure Hurlbut will do an extensive test when he has time.
 
If I was shooting an episodic show, high end like Homeland or Scandal, the Varicam 35 would make my life so much easier and more efficient than shooting with the Alexa. I love the Arri cameras but once you experience the power of the Varicam as far as post workflow and the dual native ISOs, game over. The picture is really beautiful too, definitely different than the Arri or RED, I suppose a touch less filmic than the Alexa, we watched Varicam 35 footage projected in 4k and it was spectacular, I couldn't find too much to not like. As far as the C300 MKII, I will be at Canon next week, trying it out, I am looking forward to it. I am pitching some shows at NATPE, if we are lucky enough to sell one, if we have the budget, we will shoot on the C300 MKII. If not, probably the FS7. Most of our show concepts though would go into the field with three cameras, we would need a fourth as a backup. Not sure if we'll have $80k plus glass rental, batteries and tons of CFast cards in the camera department budget. But we do know we will be required to shoot and deliver 4k masters so using my C100/Blade, older C300s is off of the table. I agree, it seems as if the C500 never really gained traction like the C300 and C100 did. It will be interesting to see what Canon replaces it with.

jm.gardiner said:
@Puredrifting Completely agree. C300's rule the mid/low-range in LA and everything above is Arri/Red. Now the FS7 is popping up a lot on the lower end, but mostly on reality stuff from what I've seen.

C500 was getting some play on Amazon shows like Transparent, because Arri didn't have a 4k option at the time. I wonder if that show will switch to Amira or C300mk2?

C300mk2 has name brand recognition it'll be an easy sell for the mid-level work and a little bit of convincing before it shows up on bigger sets. With the 2k/12bit I think you'll likely see it on some mid-level commercial work and budget concious indie features. Canon cine primes are moving a lot and that 17-120mm is everywhere lately.

The Varicam-35 is really amazing. One of the best cameras out there now. But, I don't know anyone who's shot with it or any directors/producers wanting too. Honestly if I had the option, I'm not sure I'd chose it over the alexa/amira. It really needs a high end DP to champion it. I'm sure Hurlbut will do an extensive test when he has time.
Click to expand...
 
C500 MK II (or C700 or whatever it will be called) will try to get some of that "lower end of the high end" market. On big budget - features and prime TV - productions, camera costs are just a pittance and the work flow trumps almost everything else.

My take is that "C500 MK II" will be full frame (Vista Vision and Red Weapon size sensor) and have at worst a 6K resolution.

Of course, by the time it comes out, Sony might have its own F5/F55 replacement too. F5 MK II will be likely the main competition for C300 MK II. As it is, I see C300 MK II doing well in the multi-cam, hand-held and small jib/slider/gimbal shoots.
 
DLD In most of the conversations I'm in Sony's aren't even in the conversation because of the inherent look of the cameras. They've never come up as an option for a narrative or music video. Doc and broadcast work yes, but not on creative story telling projects. They'll have to come out with something really organic to get my and other's attention in that department.

Indiawilds, yes I'm sure the crop will be great for many applications. Just wished they gave you another option on the crop factor like a 96fps with a 2.35 crop or something less extreme.
 
You must log in or register to reply here.
Back
Top