C300: Most requested Cameras by clients - 2019-2020

[scorsesefan]

FS7/FS7 MKII and then the C300 MKII. Here in NY it's almost always an FS7/c300mkii, especially in reality TV. It's what producers know and they rarely take risks on gear they don't know. Also, in the past those have been the go-to cameras, so they're matching the looks of previous projects/seasons. In the future it will be the FX9/C300MKIII/C500MKII I believe...

 

[jramos]

I shoot a lot of stock footage and some clients require RAW, I also like the BMPCC 4k because they are small and I can use an small gimbal for some shots. I got tired of the RED and the ronin mx. For small projects, I use the GH5 handheld, I love the image stabilizer!
The problem with the dual camera small cameras is that I have to bring ND filters, audio recorder, sync time code....etc.

I think I will keep the BM cameras, I could sale the Gh5!

A few BMPCC 4ks and a few GH5s? Can you sell those?

Would the extra $$$ change the camera you're considering?

RED for mojo, C-series or fx9 for ease of use.

 

[Grug]

For run'n'gun work in 2020 I would find it really hard to opt for anything other than the C300iii if I were buying now.

The light weight, and compact (but functional layout); the super-fast boot times; the ability to assign every feature you actually need access to whilst shooting, to a button; the 2/4/6/8/10-stop internal NDs; the internal 10-bit and raw recording, up to 120fps in 4k.

Rigged up appropriately for the way you work, I just can't think of any camera that would be faster to work with, and reconfigure for different frame-rates/exposures/whatever-else-you-need through the day.

It's a camera that's clearly been designed to address a LOT of the functional irritations of earlier camera generations, so for only a little more than your $10k budget, I feel like it'd be well worth it.

It's also a camera that's going to be relevant and asked for, for a long time to come (which is well worth the slightly higher cost now).

 

[jramos]

Thanks scorsesefan,
That is some great info! I know many clients have gear requirements, and some clients just want the DSLR look!

Years ago, I shot a short project for Sports Illustrated, the producer wanted the DSLR look, I shot the project with the Canon 5d MKIII.
They were happy with the project. I'm really thinking about the C300 MKII because I have canon and nikon lenses. I also have Panasonic, fuji and some older Russian lenses. I just don't want to add more lenses to my collection.

FS7/FS7 MKII and then the C300 MKII. Here in NY it's almost always an FS7/c300mkii, especially in reality TV. It's what producers know and they rarely take risks on gear they don't know. Also, in the past those have been the go-to cameras, so they're matching the looks of previous projects/seasons. In the future it will be the FX9/C300MKIII/C500MKII I believe...

 

[jramos]

Thanks Grug,

It sounds like the C300 MK III could replace my red camera, I saw few reviews but the RAW at 120fps makes it a sweet camera for me.
I will read more about it.

For run'n'gun work in 2020 I would find it really hard to opt for anything other than the C300iii if I were buying now.

The light weight, and compact (but functional layout); the super-fast boot times; the ability to assign every feature you actually need access to whilst shooting, to a button; the 2/4/6/8/10-stop internal NDs; the internal 10-bit and raw recording, up to 120fps in 4k.

Rigged up appropriately for the way you work, I just can't think of any camera that would be faster to work with, and reconfigure for different frame-rates/exposures/whatever-else-you-need through the day.



It's a camera that's clearly been designed to address a LOT of the functional irritations of earlier camera generations, so for only a little more than your $10k budget, I feel like it'd be well worth it.

It's also a camera that's going to be relevant and asked for, for a long time to come (which is well worth the slightly higher cost now).

 

[scorsesefan]

Thanks scorsesefan,
That is some great info! I know many clients have gear requirements, and some clients just want the DSLR look!

Years ago, I shot a short project for Sports Illustrated, the producer wanted the DSLR look, I shot the project with the Canon 5d MKIII.
They were happy with the project. I'm really thinking about the C300 MKII because I have canon and nikon lenses. I also have Panasonic, fuji and some older Russian lenses. I just don't want to add more lenses to my collection.

I've seen some C300MKIIs out there used sub $5000. Also, keep in mind Sony's e-mount can be adapted to Canon/Nikon glass...

 

[Ben_Ericson]

I'm really thinking about the Canon C300 MKII.

I love the MkII... That camera definitely gets a lot of use in the Seattle area. Really nice looking skin tones and tons of options for really great looking baked in color profiles if you need it. Dual slot 4k recording.

The MKIII looks good on paper but from what I see online, but I think I like the images out of MKII more. I feel like you'd have to be shooting a fair amount of slow motion to justify that camera.

 

[rob norton]

I love the MkII... That camera definitely gets a lot of use in the Seattle area. Really nice looking skin tones and tons of options for really great looking baked in color profiles if you need it. Dual slot 4k recording.

The MKIII looks good on paper but from what I see online, but I think I like the images out of MKII more. I feel like you'd have to be shooting a fair amount of slow motion to justify that camera.

Do you like shooting with the mark ii? I really like the image but don't enjoy using the world's tallest camera.

 

[ozmorphasis]

Do you like shooting with the mark ii? I really like the image but don't enjoy using the world's tallest camera.

Yeah, that part always bummed me out about the older C series.

I do love how the c300mk2 weaves in and out of mixed and odd lighting situations with less gotchas than I've gotten with Sony and Panasonic cameras. It's been more forgiving in that regard, which can be important for RnG.

 

[ozmorphasis]

For run'n'gun work in 2020 I would find it really hard to opt for anything other than the C300iii if I were buying now.

The light weight, and compact (but functional layout); the super-fast boot times; the ability to assign every feature you actually need access to whilst shooting, to a button; the 2/4/6/8/10-stop internal NDs; the internal 10-bit and raw recording, up to 120fps in 4k.

Rigged up appropriately for the way you work, I just can't think of any camera that would be faster to work with, and reconfigure for different frame-rates/exposures/whatever-else-you-need through the day.

It's a camera that's clearly been designed to address a LOT of the functional irritations of earlier camera generations, so for only a little more than your $10k budget, I feel like it'd be well worth it.

It's also a camera that's going to be relevant and asked for, for a long time to come (which is well worth the slightly higher cost now).

I want to rent one for a project to get an intimate sense of what it can do image wise. On paper, there is no denying that everything you say makes perfect sense. It really does check a LOT of boxes.

So weird to have so many worth-talking-about cameras coming out when so many are hurting for work.

 

[ahalpert]

I want to rent one for a project to get an intimate sense of what it can do image wise. On paper, there is no denying that everything you say makes perfect sense. It really does check a LOT of boxes.

So weird to have so many worth-talking-about cameras coming out when so many are hurting for work.

I can quit buying cameras whenever I want to. I just dont want to.

 

[QuickHitRecord]

This is such a dilemma for me and I think about it often. I don't think I have ever been hired for my camera kit (C70 on preorder, currently C200, formerly two C100s). Most of my clients know nothing about cameras and don't seem to care what I use. But maybe the clients who do care are working with higher budgets and I often wonder if owning an industry staple like the C300ii (or an FS7) would be a smart move, even though these are older cameras that may not be as easy to work with as the newer (but lesser known) models. Is it worth walking away from the C70 to find out? I'm certain that the C70 would be a LOT easier to use. I wish the C300iii was in my price range, but it's not. It's such a gamble. Switching or upgrading camera systems is always very cost and time intensive.

EDIT: Just saw this posted by Grug over in another thread:

I think there's a very good reason we aren't seeing producers clamouring for FX9s/C500iis and the latest generation of large-sensor cameras, in the same way they did for the original C300, and then the FS7 after that - we're already at a point of good enough.

For most online or broadcast work, people simply can't see any appreciable difference in the end deliverables. So they just don't really care that much any more.

It's why I think camera choices today, should be driven more by ergonomic and functional motivations - which camera is going to make your shooting days easier to get through? Because that's the decider now, rather than any particular image quality considerations.

 

[puredrifting]

Do you like shooting with the mark ii? I really like the image but don't enjoy using the world's tallest camera.

If you get rid of the clamshell and add on the audio interface and the C200 screen, it's MUCH better. That's what we did with ours. C200 still wins for cradled shooting though.

 

[jramos]

Thanks puredrifting,

I have use the C300 only a few times and I think I heard something about the XLR connection problem.
Can you please explain what you mean by audio interface? Are you talking about adding a better top handle and audio recorder?

If you get rid of the clamshell and add on the audio interface and the C200 screen, it's MUCH better. That's what we did with ours. C200 still wins for cradled shooting though.

 

[NorBro]

He means moving any audio inputs/outputs/controls straight to the body rather than having external parts/accessories that need to be attached to the body thus unnecessarily growing it to an unwieldy Frankenstein rig.

Just a nice little compact camera with everything including a LCD...something like the new C70.

 

[puredrifting]

Thanks puredrifting,

I have use the C300 only a few times and I think I heard something about the XLR connection problem.
Can you please explain what you mean by audio interface? Are you talking about adding a better top handle and audio recorder?

I was talking about this version of the 300 MKII. Much better than the original.

 

[Run&Gun]

Honestly, that looks like as much or even more of a mess. At least the PITA pods are one piece. That set-up is two-separate pieces.

 

[ahalpert]

I never use the top handle on my C300 because I dont use top handles that much anyway. I still dont like the design, but at least it's not so damn tall without it

 

[puredrifting]

Honestly, that looks like as much or even more of a mess. At least the PITA pods are one piece. That set-up is two-separate pieces.

Functionally, it's better and the C200 screen is leagues better than the crappy clamshell screen. Newer technology.

 

[niki]

This is such a dilemma for me and I think about it often. I don't think I have ever been hired for my camera kit (C70 on preorder, currently C200, formerly two C100s). Most of my clients know nothing about cameras and don't seem to care what I use. But maybe the clients who do care are working with higher budgets and I often wonder if owning an industry staple like the C300ii (or an FS7) would be a smart move, even though these are older cameras that may not be as easy to work with as the newer (but lesser known) models. Is it worth walking away from the C70 to find out? I'm certain that the C70 would be a LOT easier to use. I wish the C300iii was in my price range, but it's not. It's such a gamble. Switching or upgrading camera systems is always very cost and time intensive.

EDIT: Just saw this posted by Grug over in another thread:

"
I think there's a very good reason we aren't seeing producers clamouring for FX9s/C500iis and the latest generation of large-sensor cameras, in the same way they did for the original C300, and then the FS7 after that - we're already at a point of good enough.

For most online or broadcast work, people simply can't see any appreciable difference in the end deliverables. So they just don't really care that much any more.

It's why I think camera choices today, should be driven more by ergonomic and functional motivations - which camera is going to make your shooting days easier to get through? Because that's the decider now, rather than any particular image quality considerations"


+1

I have a super 16mm film camera (for commercials, feature work) bigger budget

and a red scarlet x and C 300 which just about covers everything else

(and for rentals.. Alexa mini and LF about 10 percent of the time)

I think what you have now is fine

Grug 's post sums it up