miseducation

There's actually a video about Her's use of the C300, Canon interviewed Hoyte van Hoytema about it: He says they used it primarily in scenes where the actors had to hold the camera take shots of themselves and he was happy that he was able to do that with a camera that still has a decent amount of latitude. He says they shot on 800 ISO and up and realistically the c-series cameras were the only ones was out at the time that could go to toe-to-toe with the Alexa on low-light ability. Form factor is definitely Canon's strong suit in this generation of cameras so it's nice to see a cinematographer think backwards from the shot he wants to take. As for the C500 on the Wolf of Wall Street, NoFilmSchool had an article about how Scorsese used it primarily for the aerial scenes, thanks to its low-light advantages over film: http://nofilmschool.com/2012/12/martin-scorsese-loves-canon-right-camera-job/ Lastly, my comment on RED - I think Arri's dominance this year is more of a reflection of the MX sensor's relative obsolescence in terms of low-light ability when these films were shot (late 2012 to early 2013.) I'm no Red fanboy, but I would expect Dragon to help Red make its way back onto Hollywood productions.

This changes the game in so many ways, most practically in the versatility it allows on set.   And think about how interesting certain lenses become: my 50 1.2 is a 80 1.2 AND a 50 0.90. That's goddamn incredible.

Impressive test and write up Andrew, always interesting to hear how your relationship with each camera has evolved. In retrospect, a lot of what freaked us out about 5D3 initially was more endemic of the Japanese imaging industry. It's going to take someone like blackmagic to disrupt the expectations of consumers and I think most of us can gladly say its about damn time.

Potentially very stupid question for RED One: If I get a Nikon mount, can’t I just mount a Canon lens with a Nikon to Canon adapter?

A hack wouldn't cannibalize 1D-C sales from the high end shops that would be purchasing them anyway. I wouldn't be surprised if porting the firmware ends up being a relatively easy hack. Then again, its Canon.

I personally wasn't aware but the pre-order price at BH is $1299 - read some speculation earlier that it would be more and I'm pretty damn happy it isn't. [quote name='KarimNassar' timestamp='1347951588' post='18421'] Looks no better than the gh2 to me but I know I must not make a judgement on a single video, so I am not, and waiting for more footage. [/quote] Definitely looks better than GH2 to me and I think KahL is right in saying the footage looks more Canon-like. Its not a C300 or F3 but those ugly shadows seem fixed.

What do we know about the dynamic range? The French footage is the only non-graded stuff we've seen so far. It looks more like FS100 footage than GH2 but I can't really deduce anything specific from it. Also that really sucks about no peaking. Have we gotten a final confirmation on that?

No headphone jack on a 2k camera is despicable.

Do we know if it'll support autofocus on non STM lenses? A C100 with a 17-55 2.8 is a run and gun/corporate film dream. This announcement has thrown me for a loop, honestly.

At least one thing is for certain, my 5D isn't going to last the year as a part of my kit.

ND + Log + 4:2:2 (if that pans out) = really appealing little camera from Canon. If I had bought a C300 this year as an owner/operator I'd be furious. No 720p60 is a curious choice considering the FS700 as the main competitor but I guess that's Canon inability to give a fuck about its its competitors for you. Even if on paper there's no reason to like it over FS700 (hard to compare BMC for now, totally different beasts) I can't be the only person excited about being able to own a C300 I can afford.

While I appreciate the content Andrew, this comparison doesn't address a lot of the questions I have about the BMC. For all of its faults, my Mark III is predictable, easy to work with (especially compared to my hacked GH2 with some of the more space and SD card intense Driftwood patches) and I know how to make it sing. My clients still 'ooh' and 'ahh' as much as they ever did when they see my footage. Here's what I still want to know: What does a raw workflow really entail on a project by project basis? I can guess that I'm definitely going to need to increase the amount of media storage space. Does raw necessitate that I edit from an SSD to get any kind of usable speed? What about Resolve and rendering speeds associated with that? Am I going to have to upgrade my systems to handle it? I'll bear the burden for my shorts and music videos but is it worth working a corporate video in raw? I know the answer to those questions should be the ability to shoot in Pro Res and DNxHD but how does that performance compare to a MK3 or FS100? What about audio? Are the preamps quiet enough to work on their own or do they need a juicedlink beachtek type solution like MK3? Lastly - as amazing and exciting as a solution like the BMC is, I can't help but feel like this is only the beginning of the affordable raw revolution. I'm excited for the technology and what its going to do to our footage but does it make sense from a business standpoint to wait and see how the early adopters fare? And as fast as things are changing, will we see a sub-$5000 camera feature not only raw but maybe built-in ND and high speed capabilities in the next year?

[quote author=Andrew Reid link=topic=951.msg6952#msg6952 date=1341782777] [quote author=blindriver link=topic=951.msg6948#msg6948 date=1341781387] It does look pretty professional, but it indeed seems unlikely that a major manufacturer would give a prototype to EOSHD of all places[/quote] Why? [/quote] Take that as a compliment, your reviews can be pretty brutal. It's only hard to believe that a manufacturer would have the chutzpah to send a prototype to someone who wouldn't be afraid to tear it a new one.

Wishful thinking I know, but maybe updated firmware has something to do with it. Canon Rumors guy has said that new features are coming with the next firmware update. After the fiasco with the 650D clean HDMI time limit, its hard to believe the 5DIII's soft image is a technical limitation instead of a forced disadvantage.

AF makes sense considering the Facebook-loving parents that make up the Rebel line's target audience. That said, I think a lack of a headphone jack is a pretty clear signal to video enthusiasts Canon wants them to be purchasing something higher up the product chain. I'm guessing the 70D will have a headphone jack and at least some of the reduced noise/moire of the Mark III. Canon obviously want to start differentiating their product line between enthusiasts and people who will receive these cameras as a christmas gifts. I can't say that I blame them too much either, I made a good chunk of change with my old 550D and an AF-version of that entry-level DSLR look is more than enough for their target audience of Disney World documentarians. Here's hoping we see that C100 sooner rather than later.