C300: Canon C300 mkII

For me in the price range of the 3000$-9000$ nothing have better color science in the raw footage than canon c100 and c300 (c100 markII have much better specs, but the color look more digital ou cold, 300-400 kevin), the files, detail and colors are amazing for a 8 bit codec.
 
There is an old saying, "you get what you pay for". The C300 is a proven workhorse. You see so much c300 footage every time you watch TV. The canon C cams just plain work, day in day out. Now when your in production, that piece of mind comes in handy. The C300II will just carry on that piece of mind.

Im glad all of these cameras exist. Canon, Sony, red, BMD, panny, gopro. They all have their place. But when I've used a c300 or shot with my C100, there was just a nice reassuring feeling about the camera knowing it would always perform.

Not it directed at anybody, but if the price of the c300ii throws you off, too me it says you're not selling your work well enough. Lots of well seasoned pros don't look at a cameras price. They look at a camera and device how much money they will make selling their images and if that camera fits their expectation.
 
Yep. Feature-wise, the C300.2 is pretty much a yawn like the C100.1 and C100.2, and they're certainly not priced "competitively"... but as I'm hired more as a freelance owner/op where C-cams seem to reign, I may just have to suck it up and resign to coughing up way too much for way too little... which I suppose dovetails nice with my use of Apple products.
 
FWIW, the 4.6K URSA Mini is $4,995. The 4K version - which, I assume, houses the old 4K sensor that we all know and love - is $2,995.
 
DLD said:
FWIW, the 4.6K URSA Mini is $4,995. The 4K version - which, I assume, houses the old 4K sensor that we all know and love - is $2,995.
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For narrative and controlled environment shooting their camera lineup is becoming very strong.
 
I don´t understand this movie, with all eyes on this model why in the hell not just post some raw footage...he don´t need no video story just some raw shots showing the new specs of the camera shinning.
 
ade4all said:
what are peoples thoughts on this new c300 mk2 film? Think it will be a great camera for docs, fast moving stuff but doesnt seem to have any of the 'cinematic' mojo the new ursa 4.6k footage has

https://vimeo.com/124750526
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Mixed bag. But more because of the lighting. It's not Alexa or F35 "cinematic", but if you can get this look with a 15K camera you can own, why bother? Further: At least Canon cares to put the camera into a real production and doesn't just assemble various "it-was-a-pre-release-model-and-I-only-got-it-for-a-quick-spin" random shots. We now know, the MII will deliver.
 
ade4all said:
what are peoples thoughts on this new c300 mk2 film? Think it will be a great camera for docs, fast moving stuff but doesnt seem to have any of the 'cinematic' mojo the new ursa 4.6k footage has

https://vimeo.com/124750526
Click to expand...

I'm not sure how to say this, but Mobius done on the C300 by Laforet looks like the successor to the C300 MK II based on this video. I'm sure C300 MKII will do great. Image doesn't really do anything for me though.
 
ade4all said:
what are peoples thoughts on this new c300 mk2 film? Think it will be a great camera for docs, fast moving stuff but doesnt seem to have any of the 'cinematic' mojo the new ursa 4.6k footage has

https://vimeo.com/124750526
Click to expand...

Considering we saw Cronenweth (C500) & Hurlbut (1DC) last time around I was hoping for Deakins for the C300 II this year. Wishful thinking. Can we see the Varicam s35 demo made with the C300 MK II? Please.

Chris
 
Not a very good show piece. Looked almost "soap opera-ish" (read:video instead of film). And they kinda lost me after breaking the plane/crossing the axis in the early bar scene.
 
I'm not sure what went wrong with that horrible test film, though I've seen garbage and gold shot on every camera out there. I try to not give too much attention to test films anymore.

One of the most exciting things about this camera for me, outside the 15 stops, is the gamma/color luts for matching to Amira and F55. That makes this camera a bit of a chameleon. As much as I love canon color some shoots I try to dial it out of the camera with mixed results. Hopefully they'll have matching LUT's for the Amira's LoCon709 and Red Dragon Color.

Other things:
- They kept the ISO to a reasonable level. I've shot next to the FS7 a lot lately and I when you lower the ISO on that camera the highlight headroom evaporates. Shooting both cameras at 800 the C300 mk1 wins.
- New Wide DR profiles. More and more I shoot wide DR for TV clients and documentary work. Great color and great latitude. Tooling around on the Sony's I can't find a good balance. It's either log with a need to color or color with limited DR.
- Swappable lens mount which is amazing, but I'm very concerned about the turn around time and cost of doing this on a regular basis. Could be problematic when I have little to no time between shoots.
- Price, certainly should be a bit lower given the competition, but if you're Canon and you look at what happened to the C300 MK1, being the #1 rented camera in the world, would you sell it for less?

I can't even consider Black magic as an option. The features are great, but with their poor track record I'll give them another year or two. There seems to be a huge push for these companies to churn out multiple cameras every year. I have to say as an owner operator I respect that Canon doesn't spit out a dozen models every month. They are conservative with specs and timing, but looking back over the past 15 years they're camera's always rise to the top due to out of the box image quality. I'm still getting full rate on my C300 with tv clients and I haven't seen a Scarlet/F3/AF100/FS100/FS700/BMCC/BMPC in quite a while.

Someone mentioned it already, but with these specs on the C300mk2 the C500mk2 should be spectacular.
 
I don't consider a lens mount truly 'swappable', unless it can be done in the field by the operator during a shoot(and without screwing something up). Otherwise we can include the Canon Cine Primes in that category, since Duclos can now change them from EF to PL, and I've heard, back too. But it's not quick, simple or cheap. If he could come up with a system to allow the user to swap EF and PL mounts on the cine primes in the field and during shoots like the zooms now have, he would have people lined up out the door.
 
jm.gardiner said:
... with these specs on the C300mk2 the C500mk2 should be spectacular.
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Interestingly the XF-AVC press release shows a maximum 4K 4096x2160 10 bit 4:2:2.

This is already the maximum internal recording capability of the C300MKII, which might be interpreted to mean recording in-camera the C500MKII cannot be any better than the C300MKII, except for higher frame rates (which are not mentioned in the XF-AVC spec list)

Unless they are holding back on showing the full XF-AVC specs, or the C500MKII is so far off being released it will use a new XF-AVC v2.0

It's only a press release so I wouldn't read too much into it tho at this stage:
http://www.canon.com/news/2015/apr08e.html
 
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