C300: C300mk2 real world footage and user reviews.

traviswears

traviswears

Well-known member
Thought this might be a good place to gather some of the latest footage.

Film Riot

Footage (incl 120fps) and Review: https://www.youtube.com/watch?v=UAtF1KA1f6M

Lens Rentals

Test Footage (incl 120fps): https://vimeo.com/140935059

WTS Broadcast series

Test Shoot: https://www.youtube.com/watch?v=l8gwLb9ClXc

DR and Color discussion: https://www.youtube.com/watch?v=R_54gR_hdJg

AF: https://www.youtube.com/watch?v=kguWsXNB3H0

Clog2: https://www.youtube.com/watch?v=Y6evP9ULAHI

Shooting 4k for HD: https://www.youtube.com/watch?v=R7WNfW6te1w

Newsshooter

AF face detection tracking sequence: https://www.youtube.com/watch?v=sH8gBFCK-ew
 
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The 120fps in the Film Riot review looks pretty good to my eye. Sharp enough.

The 120fps in the Lens Rentals review looks awful. Soft focus and it looks like the DR is affected, reminds me of early DSLR footage. Not sure why such a big difference, does anyone else see this?

AF face detection looks superb, though it has a tough time when the head turns.

Color is a lot different on this model. I don't really notice the "Canon look" on any of these videos. Maybe due to Clog2 or the grade, not sure.

I'm waiting for a direct comparison test between the original C300 and this to compare DR, color and HD res (4k down to HD for mk2) in the same shot.

What else are folks seeing here?
 
traviswears said:
The 120fps in the Lens Rentals review looks awful. Soft focus and it looks like the DR is affected, reminds me of early DSLR footage. Not sure why such a big difference, does anyone else see this?
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I would guess that the 120 fps footage would look like early DSLR footage since it is obtaining the image in basically the same way that Canon DSLR's get their video image. It should still be useable if used under the right conditions. Film Riot's shots were all low depth of field and fairly high saturation and contrast and that helps to make them appear sharper. The wide shots at in CLog 2 at 120 fps make it obvious how low resolution the 120 fps mode actually is.
 
Film Riot's slow motion looks totally fine by me and that is what I would expect. It's not about contrast and DoF. You see individual hairs clearly, both on the dog and later on the girl jogging. The resolution is there and that looks fine to me.

Lens Rental's test with the cheerleading (or whatever that is) is a mess. If that is the kind of footage people are referring to when they say its soft, well...
 
traviswears said:
Color is a lot different on this model. I don't really notice the "Canon look" on any of these videos. Maybe due to Clog2 or the grade, not sure.
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Look at the clip you describe as Clog2. It's borderline criminal in its lack of grading. The skintones of both the first guy and the second one in the suite... it's just 'ash and death'. No life, no color.

And honestly: this isn't a subjective decision or "art". It's just lack of understanding and/or skills. People REALLY needs to stop releasing footge like this. What good is Log to people who don't know how to de-log it?
 
AndreeOnline said:
Look at the clip you describe as Clog2. It's borderline criminal in its lack of grading. The skintones of both the first guy and the second one in the suite... it's just 'ash and death'. No life, no color.

And honestly: this isn't a subjective decision or "art". It's just lack of understanding and/or skills. People REALLY needs to stop releasing footge like this. What good is Log to people who don't know how to de-log it?
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Agree the color looks awful in those interviews but to my knowledge, that is not a C300 Mk2 in those shots. The first video WTS Broadcast "Test Shoot", with the girl at the piano, the Newsshooter music video and Lens Rentals test footage is what I'm referring to here.
 
If anything I would say the film riot shots have an over sharpened/extreme backlit feel which gives the perception of more detail, still unnacceptable for $16k though. The only place I see this level of quality useful is in medium/closeups/macros shots of organic/curved objects where the eye is tricked into thinking depth is the cause of the softness/lack of detail. The second you pull the camera back(where we typically see long straight lines or dense areas of detail) the illusion breaks and it looks like the operator missed focus or the image has been pixel binned/line skipped to death. The only circumstance I feel comfortable with this level of quality is if the clip has great lighting & is predominantly viewed on mobile devices. Pixel density & viewing distance can really level the playing field in terms of image detail.
 
Has anybody put up test footage that isn't in CLog2? Based on the Lens Rentals footage, the shadows in Clog2 with the internal codec are extremely brittle for grading. The noise doesn't look too bad ungraded, but as soon as you add saturation and try to push or pull it, it just falls apart. I'm wondering if any of the other internal profiles have increased dynamic range.
 
Almost every single video that has gone up for the Mark ii has been under exposed. So far I think the best video has been this one https://vimeo.com/135603642

You gotta ride your exposure to the point of breaking in HDR scenes. People just don't know what their doing with Clog2 yet.
 
cpreston said:
Has anybody put up test footage that isn't in CLog2? Based on the Lens Rentals footage, the shadows in Clog2 with the internal codec are extremely brittle for grading. The noise doesn't look too bad ungraded, but as soon as you add saturation and try to push or pull it, it just falls apart. I'm wondering if any of the other internal profiles have increased dynamic range.
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I'd love to see some stuff in Wide DR if they kept that profile. That's what I shoot 90% of the time on C300/C100.

Even still, I think the C300 Mk2 should be 12-13k and will be soon enough.
 
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If Alexa were priced 10k, then every joker would have had his hands on it and produced awful footage and we would have been discussing how bad the camera is. Let the camera be priced the way the manufacturer feels like. If there is lack of demand then obviously it will not sell. People just don't know what to do with log footage. If anyone wants to buy this camera, then go and test it and make your decisions. There will be lot of reviews as well. Better to use your judgment.
 
cpreston said:
I would guess that the 120 fps footage would look like early DSLR footage since it is obtaining the image in basically the same way that Canon DSLR's get their video image.
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Canon DSLRS pixel bin, or in simple terms, throws away line of information. The C300 MKII crops, so it goes into a true 2k or true 1080 section of the sensor. That's entirely different. The 120FPS shot from Film Riot, not sure but looks much softer than other 120FPS shots I've seen thus far. Not sure why so I cant offer any explanation. Will take a look at the camera myself this Wednesday and hoping for a few days hands on not long after as well. Interested to see it with my own eyes that's for sure.
 
Noel Evans said:
The 120FPS shot from Film Riot, not sure but looks much softer than other 120FPS shots I've seen thus far.
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Do you really mean the dog and the running woman is soft, or do you mean the LensRental's footage with the cheerleader girl out of focus? <--- That's the worst I've seen so far, but I'm thinking it was an auto focus issue or other setup error.
 
This is the first video where I've seen these cameras side by side and you can really see the color problems with the FS7. I haven't shot much with the FS7 but I've edited footage shot on it and in my experience it really accentuates the greens and blues as you can see in this video. To me this is a major problem unless you want all your footage to have this slightly cooler look with oversaturated greens. Lots of people have commented that with Slog you can get any look out of the camera you want but that hasn't been my experience with it at all. As much as I like the HFR and lower price point of the FS7 I just can't get over the look inherent in everything I've seen come out of it.
 
Noel Evans said:
Canon DSLRS pixel bin, or in simple terms, throws away line of information. The C300 MKII crops, so it goes into a true 2k or true 1080 section of the sensor. That's entirely different. The 120FPS shot from Film Riot, not sure but looks much softer than other 120FPS shots I've seen thus far. Not sure why so I cant offer any explanation. Will take a look at the camera myself this Wednesday and hoping for a few days hands on not long after as well. Interested to see it with my own eyes that's for sure.
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The mk II certainly doesn't perform a clean crop on the sensor. Judging from the footage currently available, It looks like its in the >720p ballpark. If you have ever used a c500 in 120p mode its blatantly clear that Canon is using the same old hat trick to get that frame rate the mk ii.
 
Noel Evans said:
Will take a look at the camera myself this Wednesday and hoping for a few days hands on not long after as well.
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Let us know if you get the chance to do any camera tests. I'm considering renting one myself and doing some comparisons with the original C300/C100.
 
LeoGrey said:
The mk II certainly doesn't perform a clean crop on the sensor. Judging from the footage currently available, It looks like its in the >720p ballpark. If you have ever used a c500 in 120p mode its blatantly clear that Canon is using the same old hat trick to get that frame rate the mk ii.
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I think the last 8-10 posts I've read from you here has been this same broken record. Is there a special reason you are hitting this crooked nail so hard? It is especially fascinating that this horse just won't stay dead, since there is an actual white paper describing exactly what the camera does!

So:
  1. Does someone not understand what the white paper says?
  2. Is Canon lying in the white paper?
  3. Was Larry Thorpe drunk when he wrote it, and no one ever checked what he was writing?


Even the best equipment can make fuzzy images if any number of things go wrong. This is probably especially true for rental gear that might not be familiar to the user.

The best slow motion footage I've seen is totally in line with a clean sensor crop, taken the smaller size into account. You'll never quite the same resolution with normal EF-glass on that small area as you would if the 2k pixels had been larger and spread over the S35 size.
 
bytorloveslerxst said:
This is the first video where I've seen these cameras side by side and you can really see the color problems with the FS7. I haven't shot much with the FS7 but I've edited footage shot on it and in my experience it really accentuates the greens and blues as you can see in this video. To me this is a major problem unless you want all your footage to have this slightly cooler look with oversaturated greens. Lots of people have commented that with Slog you can get any look out of the camera you want but that hasn't been my experience with it at all. As much as I like the HFR and lower price point of the FS7 I just can't get over the look inherent in everything I've seen come out of it.
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Who knows what the color profiles used in these shots (or your one off project) was. In 10 bit log you need a LUT for both cameras anyways, and I've seen gorgeous colors from the FS7. All versions of S-Log aren't even the same, and Cine EI is different than custom modes.

I get that's it is a trendy bandwagon to whine about colors, and I've done it before myself, but it just doesn't have a lot of merit with these cameras. It's fair to say that out of the box, comparing specific profiles, that you like ones colors more than the other. But the whole "Sony colors" argument is just marketing drilled in your head.

This video did a good job summarizing the actual differences. FWIW I don't own either camera, I have a C100 and A7s.
 
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