First Impression

Kholi said:
I'd like to see a still of the moire/aliasing... that's my biggest concern with this camera.
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Hey, Kholi - while I've no doubt that it's possible to coax some moire out of the C300 in very specific circumstances, you should download and watch the test footage done by Echo Productions (Mike McNeese, in the thread with his review). There are a lot of framings in that test that show no moire in shots that I wouldn't have even attempted with other large-sensor cameras.

https://vimeo.com/36490272

Most notably, check out the brick path at 0:14, mesh netting at 0:49, arena seats at 1:12, brick buildings at 2:32 & 3:01 (along with the roof shingles), and the pedestrian walkway fencing at 2:34.

Also, this video has many wide shots of fine patterns on buildings and shows no visible moire that I could find: https://vimeo.com/36463509

I think that if Canon had used a stronger OLPF, the C300 would have lower resolution images like the FS100 and AF100 give. It seems like, along with the new sensor, they put in an OLPF that hits a sweet spot for performance and moire/aliasing safety.
 
telecam said:
Good to know. On the other hand, I got the camera to record quite a bit of moirée yesterday shooting a fine pattern fabric but once uploaded to Vimeo, gone.
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You guys have to be careful, because moire and aliasing can appear after shooting if the post process workflow causes them. Viewport in FCP is always somewhat aliased if it's set to less then 100% for example.
 
maarek said:
You guys have to be careful, because moire and aliasing can appear after shooting if the post process workflow causes them. Viewport in FCP is always somewhat aliased if it's set to less then 100% for example.
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That's true of any camera, any sensor, any resolution. Once you go below 100% of image resolution, those missing lines will still try to be represented. Typically, it shows up as moire. The camera can only try to minimize the issue at 100% resolution. The C300 does a stellar job at this.
 
I have yet to see the camera alias, though it can probably happen in a every specific worst case scenario. One thing I need to do is throw on some sharp L glass and aim it perfectly focused at a window screen. The FS100 had pretty bad luma moire there. I wonder if the C300 will. My guess is it will be minimal but present. Most cameras do it to some extent. It just seems the C300 is exceptionally good at minimizing it, possibly the best 1080 cam yet.

The camera definitely can alias, but it's a extremely rare event. When I shoot I will know more, but the only place I ever saw it was on the most finite detail of a slanted bamboo shade that moved though the frame. It was very slight, but it was there. (Look for the C300 short Parallel - https://vimeo.com/groups/c300/videos/34751772 - made in Japan - and download the original file and watch. There was extraordinary sharp fabric detail in it with no moire, but the opening shot showed a little aliasing. And this test was some worst-case-scenario stuff!)

The Fs100 was far worse with aliasing than the C300, and that's saying something because it was vastly better than a Canon DSLR in that respect. I pointed the C300 at a light, overexposed, with a lens wide open showing some CA. The FS100 turned into a multicolored aliased mess around the edges where the CA showed. The C300 showed the color, but with very little to no aliasing. It's a big difference, never mind how nice the highlights rolled over the FS100 (to be expected with 2 more stops of DR)
 
The highlight rolloff on the FS100 is not a problem of dynamic range, it's a problem with how they clamp the values as any of the channels approaches max value. The 7D has less dynamic range yet it rolls off MUCH better. Canon just has much better special sauce in their algorithms (which I have passed back to Sony engineering to ask them to fix)

In terms of colored moire, the AF100 is the best 1080p camera I've see yet, it has ZERO colored moire. That said, it still aliases, but it's pretty amazing. (The GH2 also does not have colored moire, but it aliases sooner than the AF100). Now grated, the resolution of the AF100 is much lower. I just find it fascinating that they've eliminated the colored moire but no one else has.

And yeah, a screen is THE WORST possible shooting scenario I've seen. :)
 
Finally got my grubby mitts on this thing today, spent hours with it from daylight to early night. Shot a lot of torture material, and just plain-ol goofing off in a 12 Camera comparison.

At least with EF glass, moire/aliasing isn't something to be concerned about at all. If it's there, I'm not seeing it, what I am seeing is a damned fine image that I wish I could afford.

Congrats to those that purchased.
 
yes, pretty much everything I have seen so far was looking good and without any issues like DSLRs had.
Seems to be near or at the level of the F3 plus the advantages of Canon-lens-implementation.
 
alpi69 said:
yes, pretty much everything I have seen so far was looking good and without any issues like DSLRs had.Seems to be near or at the level of the F3 plus the advantages of Canon-lens-implementation.
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In terms of moire performance, it pretty handily beats the F3
 
Rick Burnett said:
The highlight rolloff on the FS100 is not a problem of dynamic range, it's a problem with how they clamp the values as any of the channels approaches max value. The 7D has less dynamic range yet it rolls off MUCH better. Canon just has much better special sauce in their algorithms (which I have passed back to Sony engineering to ask them to fix)
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Yes you're right I should have qualified a my comments more but I was rushed as usual lol. Even the 60D rolls off nicer on highlights. That always made me upset about the FS100 (the F3 is better, but not by much without S-Log).

What the DR in the C300 buys you is the ability to pull more detail out of your highs/lows, shoot in contrasty situations and get more picture info to work with, etc. For example, I couldn't get the opening shot in the car of my short "the Cost" with natural light on the 60D and still expose for the highlights. The inside would have just been too dark.
 
Speaking of that shot: did you bounce light in the car or was the C-Log good enough there? If so that is impressive.
 
C300 sharpness settings are -10 to +50. I'm just locking it in log which is at -10. I'm sure at +50 with super sharp glass you could coax the moire a little. In canon log it's crazy sharp - sharper than Alexa on an MTF chart and better on Nyquist , essentially meaning in canon log it's sharp and there's absolutely NO moire. In fact it's out of the Nyquist scale it performs so well. Alexa is just better so those pints aren't the be all end all but it's what's being discussed here.
 
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