Canon C300 has landed in Canada

Thanks for the footage and thoughts, Nigel. Looks great! The colors do look more saturated in Canon log than S-log, which looks really flat.

According to Canon, view assist isn't available in HDMI or HD-SDI because they didn't want people to accidentally think they were recording log gamma (link). Maybe Canon will change this in a firmware update if there's enough demand. But there might be a potential workaround in the future: Canon plans to release the specs to the EXT 1 and EXT 2 connectors, which has the video feed to the LCD monitor. So in theory a third party could tap into EXT 1 and EXT 2 with a breakout box that gains access to the LCD/VF video feed with view assist.
 
One thing I think really shows here is the separation in the blacks that you don't see on a lot of cameras, that's really impressive. Nigel, thanks for sharing.

Also, pertaining to Vimeo, it VERY MUCH affects your footage. I would not be using anything on Vimeo (or YouTube) to compare resolution, noise, or compression artifacts, as all of these are heavily modified by the H.264 encoding.
 
Its a pretty much unanimous vote of approval in this thread so far, my vote included !

But I do want to go back to that one highlight I noticed (it was the only harsh one I saw).
Nigel, what are your thoughts on the in-focus highlight on the table edge at 0:10 ?
for reference: LINK We only have the compressed vimeo, how does the original footage look ?
 
J Davis said:
Its a pretty much unanimous vote of approval in this thread so far, my vote included !

But I do want to go back to that one highlight I noticed (it was the only harsh one I saw).
Nigel, what are your thoughts on the in-focus highlight on the table edge at 0:10 ?
for reference: LINK We only have the compressed vimeo, how does the original footage look ?
Click to expand...

My personal opinion is that I think the Vimeo encoding is affecting that high spatial frequency on that highlight. I've noticed that one big difference when looking at footage at Vimeo with HD and non-HD settings is the amount of aliasing that gets introduced. Given that the C300 is much higher resolution than most 1080p cameras (and this I believe no question) that I think the compressor isn't doing a great job at the boundaries of that highlight, and probably causing the bit of fringing look there. With lower resolution footage that I have uploaded (meaning, lower REAL resolution) the blurred edges don't get hit as bad since they don't have as much resolution anyways.

This, of course, is just a guess, but that would have been my first thought.
 
vincent thomas said:
What kind of pretentious answer is this?

I was only speaking about the GH2 has like a little joke... First you don't know me at all, neither my experience in cinematography, and for your knowlegde, im a professional and i have enough cash right now to buy 5 x C300 if i want. So man... Before speaking about camera, try to no judge people or assume things you don't know anything about...
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So, what you're saying is that you came to purposely disrupt the thread? Is that what you're telling me?

Because, you posted the same "little joke" IN TWO THREADS.

If you don't want to be judged the wrong way, behave like how you'd like to be accepted.
 
Rick Burnett said:
One thing I think really shows here is the separation in the blacks that you don't see on a lot of cameras, that's really impressive. Nigel, thanks for sharing.

.
Click to expand...

Heck yes. I saw that, as well. There is a WELL defined black point on up. That immediately caught my eye.

Can't wait for more footage, thanks Nigel.
 
Kholi said:
So, what you're saying is that you came to purposely disrupt the thread?
Click to expand...
That's the textbook definition of trolling. And we're not fans of trolling. Whether it was *intended* as trolling or not, that's how it came across.

Posts deleted, let the valid conversation continue...
 
dustylense said:
I'm not. Out of the box and without any upgrades, the C300 is ready to go with all your existing gear (NLE, lenses, 50m/bit log codec, ......).
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I believe the Scarlet is EOS mount as well, and supports autofocus if you use it. When I started looking at the Scarlet, what keeps it out of my price point is battery life and SSD cost, and then ultimately weight. I personally like the quality of images from both the Scarlet and the C300 and would be satisfied with either, but for a 15 hour days of shooting and not having a DIT to swap footage or charge batteries in some of the more remote locations we shoot, I decided not to order the Scarlet. The cost for 15 hours of battery life and enough SSD space is quite high for me.

Ultimately, I cannot wait to get my hands on the C300 myself and test it. I'm going to rent one for a weekend just to play with it and see for myself how it performs.

If you are on the fence on both, I'd say hold off and rent both. With that sort of price point, getting them in your hand and putting them through tests of your shooting style, expectations, etc, might be the best thing to do.
 
J Davis said:
Its a pretty much unanimous vote of approval in this thread so far, my vote included !

But I do want to go back to that one highlight I noticed (it was the only harsh one I saw).
Nigel, what are your thoughts on the in-focus highlight on the table edge at 0:10 ?
for reference: LINK We only have the compressed vimeo, how does the original footage look ?
Click to expand...

I looked at that part again. I missed it when we were shooting. The ladies withe the silver hair behind her go over 100 but missed that on the waveform. It has a little of that yellow cast that we've seen in the F3 when it goes over 100 before s log, but I had a mix of daylight and some of the tungsten practicals in the restaurant on. There are some wall sconces around, so I'm not sure if some of that's not the reflection of that light. I feel it is because the quality of the hit changes as we slide. I had an HMI style 1200 backlighting the scene and we were balanced for 5600 so that would explain the difference in colour on that highlight. That's my theory with what we were working with.
 
Rick Burnett said:
I personally like the quality of images from both the Scarlet and the C300 and would be satisfied with either
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Has there been a release of Scarlet footage that i've missed, that isn't the person shooting the beach/seagulls/city?

I think the price combined with the picture coming out of the c300 can finally be justified, definitely worth it.
 
I'll add to Rick's post. What are you shooting? What are your client expectations of file size, turnaround to use the footage.....it's a different world were in now where one camera is not used for everything, but I've tried to find solutions that work in most situations, cover a wide range of things I'm shooting, meet and exceed my clients expections, and have a good ROI. Return on my investment. The balance of being in a creative field, but also running a business, because next year there will be something else that's new.

Love my F3, can't wait for a C300. I'll use them together, as well as the project dictates. As a side note I barely broke even on the Pro 35 I owned for 3 years and change. Price tag $27 000. Plus my Panasonic HDX 900. Things change quickly.

Edit. Anyone want to buy a Letus extreme with a B4 relay. Great price:)
 
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LiamR said:
Has there been a release of Scarlet footage that i've missed, that isn't the person shooting the beach/seagulls/city?

I think the price combined with the picture coming out of the c300 can finally be justified, definitely worth it.
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If you are talking about the 'Tonaci Tran' tests, then yes, I am referring to those, and the screen cap he made on a test of skin tones he was doing:

http://500px.com/photo/3401436

From what I've seen so far, I like the footage out of both. Sure, I've got concerns with both the C300 and Scarlet-X for different reasons, but overall I am pretty impressed with what I have seen. They both surpass the quality of anything I currently own.
 
Interesting perspective since you already own an F3 -- under what circumstances do you imagine using a C300 instead of the F3? Or, using the F3 instead of the C300?
 
Barry_Green said:
Interesting perspective since you already own an F3 -- under what circumstances do you imagine using a C300 instead of the F3? Or, using the F3 instead of the C300?
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There's been a lot of times where I've used the 5D as a second camera. The C 300 slides in there. On this commercial I had the F3 built in my full Cine package, and kept the C 300 lightweight for mobility. The size works for interesting angles or tight spaces, or quick b roll. I've shot a few docs with the 5D and 7D. I liked being stealthy, this plus the low light capability, recording internally helps the C 300. I like the travel aspect as well. Packing less, but not sacrificing quality. I have to go to Vancouver tomorrow. (west coast, 5 hr flight from Toronto for the day for one interview)

I think all these new cameras over the last couple of years has challenged us in how we shoot and how we light. Where we can go, and at what time. I like the idea of my F3 in its Cine package, and the C 300 playing different positions. Like a sweeper in soccer. Going forward to support offence, but getting back to defend. Good memories from my youth.
 
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