C100: Canon C100 Mark II Announced 60P, New VF, & New OLED Panel Texas Media Systems

So, here's a question, with all the 24mbps/50mbps bit rate conversation going on about whether to upgrade to the c300 or c100 mkii.

Say a TV channel wants to air something you've shot, but you acquired in 28mbps or 35mbps. If they require 50mbps, is there no possible way to air what you've shot? Is there any potential conversion process, even with quality loss? (sorry, I don't quite understand all the technical broadcast requirements).

I'm asking because-- yeah, it's unlikely you'd acquire something on a c100 and not know if it's going to air, or what the requirements would be. But isn't that the dream? You shoot a short film, or a cheap documentary, or a web series and hope that somehow, someone at Fox or A&E gets a hold of it and says "This is amazing, we need it."

Yes, you could just use an external recorder on the c100, but film is a tricky business, you never know what's gonna happen and having 50mbps "built-in" might be enough to sway me, versus the allure of saying "Let's not worry about the bit rate, there's no way this is going anywhere but the web"

(on that same note, how many channels are likely to require 50mbps?)

and if anyone would like to explain if/why everything I just said is completely wrong, feel free! Always looking to learn.
 
sonofaresiii said:
So, here's a question, with all the 24mbps/50mbps bit rate conversation going on about whether to upgrade to the c300 or c100 mkii.

Say a TV channel wants to air something you've shot, but you acquired in 28mbps or 35mbps. If they require 50mbps, is there no possible way to air what you've shot? Is there any potential conversion process, even with quality loss? (sorry, I don't quite understand all the technical broadcast requirements).

I'm asking because-- yeah, it's unlikely you'd acquire something on a c100 and not know if it's going to air, or what the requirements would be. But isn't that the dream? You shoot a short film, or a cheap documentary, or a web series and hope that somehow, someone at Fox or A&E gets a hold of it and says "This is amazing, we need it."

Yes, you could just use an external recorder on the c100, but film is a tricky business, you never know what's gonna happen and having 50mbps "built-in" might be enough to sway me, versus the allure of saying "Let's not worry about the bit rate, there's no way this is going anywhere but the web"

(on that same note, how many channels are likely to require 50mbps?)

and if anyone would like to explain if/why everything I just said is completely wrong, feel free! Always looking to learn.
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If a TV network sees & wants to air content you shot, they don't care what you shot it on. Plenty of AVCHD, XDCam EX, and other "sub-broadcast" camera codecs are used in both OTA network and cable programming every day. That being said, if you are hoping to rent your camera to a television production or want to shoot something directly for television cable/broadcast, it's probably better to use a camera with a beefier codec. If you are shooting directly for a cable or broadcast channel, they'll likely give you a white paper with tech specs for acquisition and delivery.
 
brettsherman said:
It seems like now the only advantage of the C300 over C100 mkII is now just the codec. I understand those that may not like the screen placement as well with the C100 mkII. But honestly as a C300 owner that shoots without a shoulder rig, I think I'd prefer to shoot with the new C100 since it addresses the VF/EVF deficiencies of the original C100. I'd have to decide how much I care about the codec. Probably enough to keep the C300, but not enough that if I was buying now I'd choose the C300 over the C100 mkII. Of course, either way I'm going to wait for the C300 mkII.
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Actually, some the biggest advantage of the C300 is genlock, TC sync, and HD-SDI out. These are extremely important tools in the professional (read: TV & broadcast) production pipeline. The MXF files are also very friendly to established post workflows, and post likes to stick with the workflow it knows.
 
traviswears said:
I really want to stick with the Canon EOS-C lineup but I'm a little worried that the C300 Mk2 won't be enough of an upgrade to justify it's purchase over say, an FS7.
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And you know the C300 Mark II or C400 (whatever it's called) will be $15,000. You'll get 4K, but at a price! It will be one of the go to industry cameras (as it is today)!
 
ntouched said:
And you know the C300 Mark II or C400 (whatever it's called) will be $15,000. You'll get 4K, but at a price! It will be one of the go to industry cameras (as it is today)!
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Doubt the second version will be that expensive, they will want to undercut the f5 and since I doubt they will do it on specs their $ needs to make sense.

I think the modular DSLR rumors going around are largely inaccurate in that they are not a DSLR, but Canons next cinema(c300) offering. Guessing a price tag of around 10-12k with optional add-ons(highspeed recording, raw, VF, power module, etc) that will take it up into 20k range.

Guessing we will also see another cinema badged dslr at a much more realistic price point that will sit between the c100/300.

1DC mk ii @ $7499 sure sounds good to me :)
 
cowpunk52 said:
If a TV network sees & wants to air content you shot, they don't care what you shot it on. Plenty of AVCHD, XDCam EX, and other "sub-broadcast" camera codecs are used in both OTA network and cable programming every day. That being said, if you are hoping to rent your camera to a television production or want to shoot something directly for television cable/broadcast, it's probably better to use a camera with a beefier codec. If you are shooting directly for a cable or broadcast channel, they'll likely give you a white paper with tech specs for acquisition and delivery.
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Exactly. I mostly shoot 50mpbs 422 for television but I've shot national TV spots on both the C100 and a DSLR. I just shot 2 spots for Discovery Canada on the C100 this month and they turned out great. The key is to get the approval from the producer and/or post dept before the shoot to make sure they're ok with the lower bitrate and codec.
 
ntouched said:
Speaking of C100 MK II updates..... My son runs to my room last night, to show my wife and I an iPhone 6 video of him doing Wing Chun (kung fu) punching moves. First at regular speed, than SLOW MO (yes, slow mo on the iPhone 6)! Keep in mind, my wife and son have NO INTEREST in anything related to film/video. I stood there very proud to tell them "My New Canon C100 Mark II version" (that I just ordered) also has Slow Mo like your iPhone 6! OK, this may not sound like a big deal to you forum members, but it was one more thing I could share with my wife on why I'm dropping $5500 on another camera! Would have never thought I'd be so excited to finally get 60p on a camera. LOL!
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Great idea... My kids love slo-mo!! I'm texting my wife with the news now! ;)
 
I feel sorry for you all C100 users. My 2001 casio point and shoot does 600fps. And my phone does 4K. I am ditching the C100 and shooting with these they must be better, it's a higher number so it's better. 4 times better. :)
 
cowpunk52 said:
Actually, some the biggest advantage of the C300 is genlock, TC sync, and HD-SDI out. These are extremely important tools in the professional (read: TV & broadcast) production pipeline. The MXF files are also very friendly to established post workflows, and post likes to stick with the workflow it knows.
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True. I was just speaking for myself. As a single camera, short video producer/editor/cameraman, I have never once used genlock, TC sync or HD-SDI out and never will. Actually not 100% true - I stuck a terminator on the HD-SDI output which helps support a wireless receiver. :)

TV & Broadcast is a sub-set of professional uses for the C300s and C100s. And I'd guess a fairly small percentage of those require genlock or TC sync. And last time I checked, my paycheck is still arriving irregardless of whether I use those jacks or not. But, beyond that I think you'd be crazy to buy a C300 right now, as no doubt a mkII is coming down the pike.
 
For all professional use that needs to setup a monitor for either director client or agency, HD-SDI or a convertor to HD-SDI (another pain in the ass) is required. For any multi camera professional shoot TC sync is required. If you are being paid then these are usually necessary. I would say that the subset of Individual filmaker is a small subset of the professional world. No one knows what exactly Canon is planning.
 
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