Canon EOS C300 – Review & short film. Incredibly wanted to have a go on our Canon C300 footage to do a grading test, and of course we let him!! He’s that kind. Canon EOS C300 with EF-Lens Mount. Solid state, and easy to find, 2 hours of 4:2:2 50 Mbps footage can be recorded on two reusable and hot swappable 32 GB CF cards with ease. It's even possible to record to two CF cards simultaneously and relay-record for uninterrupted shots and copy from one card to another. Gamma, Black, Black. INTRODUCTION Starting with the EOS 5D Mark II in 2008 and continuing with additional models like the EOS 7D and EOS-1D Mark IV, Canon's EOS HD-SLRs have taken the film industry by storm. In a short period of time, they have been used not only for smaller productions on a budget, but also for television, documentary and specialty shots on Hollywood features. As a result, it is not unfair to say that many professional DPs working today have at one time or another either used a Canon EOS HD-SLR for motion picture capture or considered it as an option. Since the introduction of EOS HD, the professional cinematographer has had a love/hate relationship with HD-SLRs for movie production. Because there were limitations and restrictions that prevented seasoned DPs from shooting in the ways they were used to, HD-SLRS were tools that occasionally frustrated high-end video users. Over time, however, it was undeniable that there were several strengths to the system including some that were not immediately apparent. EOS HD-SLRs have changed the way DPs and videographers shoot, and they have also changed what clients have come to expect from modern cameras in terms of image quality, speed of delivery and price. Canon is uniquely positioned to capitalize on the strengths of EOS HD-SLRs while creating a true professional video camera system that can fulfill the needs of working cinematographers. After much research and thoughtful planning, Canon is proud to introduce the EOS C300 and EOS C300 PL digital cinema cameras as our first entry into the world of professional cinema cameras. (The EOS C300 is compatible with Canon EF and CN-E lenses, while the otherwise identical EOS C300 PL is compatible with PL mount lenses. For the rest of this document, we'll refer to both models as the 'EOS C300' except when describing the few features that are exclusive to one camera or the other.). PRICE AND TARGET AUDIENCE Both the EOS C300 and EOS C300 PL are expected to be available at dealers in early 2012, at an estimated selling price of less than $20,000 – an extremely competitive price range versus established high-end, professional HD video cameras. Actual start of sales and pricing is TBA. As Canon's flagship 1080p HD cameras, the EOS C300 and EOS C300 PL are designed to fit a wide variety of production needs. They are at home as A Cameras for Independent Films, Commercials, Television and Dramas as well as B Cameras on Major Motion Pictures, offering in addition to the more common 23.98P frame rate, several selectable frame rates including a straight 24.00P setting for intercutting directly with film originated material. Full HD 1920x1080 (1080p) is currently the most used and needed deliverable frame size for these applications. The EOS C300 and EOS C300 PL provide easy adoption and simplified workflow that 4K cameras currently cannot deliver. ISO SENSITIVITY The EOS C300 has higher ISO sensitivity than any Super 35-size sensor camera in its price category, as of fall, 2011 (even higher than our highly-regarded EOS 7D HD-SLR), improving upon low light performance in a game-changing way. It maintains an excellent signal-to-noise ratio throughout the entire range of options – even up to a staggering ISO 20,000. No other camera with a similar Super 35mm sensor size approaches this level of sensitivity, and none of our EOS HD SLRs approach similarly high ISOs with as little image noise as the EOS C300. Now that HD-SLRs have made large sensors and high ISOs accessible to the masses, it has become popular to shoot in near darkness with high-speed lenses at very large apertures like f/1.2 or f/1.4, resulting in extremely shallow depth of field.
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