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EOS C300

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Bueno pues ...estoy deseando que cante el Laforet de una vez....


vincentlaforet :

FYI - because I am under NDA, I will have 2 wait 4 the press conference 2 start b4 officially posting, expect post 2 hit @ 5pmPST

[on blog 1 hour ago ]

Edited by interactive
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Tiene un sensor 4K pero graba 1080p con el codec de Canon 50 Mb/s 4:4:2


En enero por 16.000$



Edito: a ver si empiezan a trascender las características técnicas, parece que el sensor Super-35 tiene 8 Mpixels... pues debe tener unos pixels grandes como centollos :D

Edited by nickeditor
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Y luego decian que las 1D X era cara jejeje.


Me ha dejado un poco frio por especificaciones y precio, no os voy a engañar que todo lo que me gustó la 1D X en su anunció y me pareció un golpe en la mesa en la foto pro, ahora en esta se queda un poco en tierra de nadie, ya que no es la opción barata ni es la opción "transgresora" que puede ser R3D ofreciendo RAW, buen codec, slowmotion... a buen precio.

Edited by MaPo
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.... pelín mas barata que la Sony PMW-F3K Super 35mm .


No termino de comprender muy bien THE STORY BEGINS y todo el tinglado y expectativas creadas...


y entonces , después de un gran estruendo, de la montaña salió un ratoncín...

No solo es la cámara, es el firme propósito de establecerse en Hollywood, de ahí el Technology and Support Center de Canon en Hollywood


Canon tiene los sensores, los procesadores y las ópticas, en cualquier momento (lease próximos años) puede hacer cosas importantes



No te envidio por abrir el tema, vaya "kuri" de Canon :P

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Vincent Laforet (uno de los directores de los cortos) postea en su blog acerca de las EOS C300 y EOS C300PL: 3 Years later… “Mobius” and the Canon C300 / C300PL


SPECS: For those of you who are dying for the specs here they are - with my commentary in italic:


Sensor: New Canon 8.29 Megapixel Super 35mm Cinema CMOS Sensor – 3840 x 2160 effective pixels


Native 1920×1080 capture with 3 separate 2.0 megapixel color channels – 2.0mp G, 2.0mp R, 2.0mp B) without the type of interpolation required by most cameras in this price range.


Ergo this is in effect a 4K sensor creating a 1080p image. This results in what I would say is easily one of the best digital cinema sensors on the market - at least that I have worked with (I have worked with all of the digital cinema cameras released within the past 2-3 years.*) The camera’s only competition right now are the Arri Alexa and Red Epic – although each of the 3 sensors and cameras have distinct advantages over one another - there is no perfect camera.


The Canon C300 produces an INCREDIBLY sharp image at 1080p on a 60 foot screen. There is ZERO aliasing or moire – goodbye forever!!!


It should be said: DSLRs are FAR FROM DEAD. Their price point, size, and accessibility to the "masses" will allow them to thrive for years to come in my opinion. The above mentioned cameras are in a different price league. I have not heard of an official price yet from Canon, but it is safe to say that the price will be north of the Canon 1Dx.


*(I haven’t tried the Sony F65 and I haven’t been able to test the new Phantom Flex – the Phantom Gold’s sensor is quite impressive.)


New DIGIC DV IIII Processor


This proccesor allows for unbelievable low light performance and color / image quality. If you love the Canon 5DMKII’s image quality – prepare to be blown away by this sensor. Both in terms of dynamic range and the richness of the image. The image quality coming from this camera is incredibly organic – alpha channels show a noise pattern incredibly reminiscent of film. In fact I had to walk up to the 22 foot screen at EFilm during the grading session on several occasion to examine what I swore looked like a Tri-X negative being projected onto the screen.


Low light performance:


High Sensitivity/Low Noise – Peak Dynamic Range of 800% or 12 stops (using Canon Log Cinema Mode at ISO 850 and higher.)


Signal Processing equivalent to a 3-chip RGBCamera system without the need for any debayering algorithms.


Although I have not had a chance to do en empirical test at this point with side by side results – it’s fair to say that this camera performs better than the Alexa and perhaps even the Sony F3 in low light. It’s hard to compare the F3 because the noise of that camera is different (I have done side by side tests - but the C300′s noise pattern at high ISOs is so organic that it looks like film and isn’t a distraction.) I would say that the C300 is 1&1/2 to 2 stops better than the Alexa in low light – which is incredible. That being said – the Alexa is top dog in terms of highlight retention – and likely has a 1-2 stop advantage in retaining highlights (Again, given that no empirical tests have been done yet – take this paragraph as a whole with a grain of salt. Alexa does claim a 14 stop range versus the C300′s 12. The Red Epic has been reported at around 13.5 stops.) The RED Epic is hard to judge against these as well given that the resolution of its sensor naturally makes noise more apparent (due to the higher resolution.) I have processed the 5K imagery with post noise reduction software and gotten impressive results. Comparing a 5K camera to a 1080p camera is not something I’m willing to do at this point – to me the two are like Apples and Oranges. Comparing the two would be the equivalent of comparing the same lens on a 1080p vs 5K sensor – the 5K sensor will show every optical flaw of that lens in crystal clear detail due to the incredible relative resolution.


Resolution and frame rates:


1~30 fps at 1080p


1~60 fps at 720p


The lack of additional faster frame rates at 1080p is one of the few disappointments of this camera – but expected given its expected price point. This is one of the areas where the Red Epic shines at up to 300fps at 2K, and up to 120fps at 5K. The Alexa also will also eventually go up to 120fps at 1080p.


ISO Range:




We shot the entire film at 850 ISO to get the maximum dynamic range. The image is incredibly clean. Once we pull up the shadows the blacks have a pleasing granular structure to them. More to come on that in the next few days. I did do some tests at 3200 ISO and 6400 ISO and was amazed by what I saw. One of the films Canon is showing today had a few scenes shot at 20,000 ISO – and the footage holds up on a 60 foot screen (with obvious grain/noise.)


Manual Gain: -6dB to 30dB


EF and PL versions


I wish that there were interchangeable lens mounts as with the RED Epic. SPAM SPAM SPAM SPAM between the two models is going to be incredibly difficult for all out there… in fact that is probably going to cause many to debate which camera to buy – for days…. if not weeks. I love my Canon EF lenses. But Canon’s new PL Lenses as well as the current lineup of available lenses will likely have me go to the PL version first.


Rotatable and removable handgrip.


Monitor Unit/Control Panel can be mounted on the camera’s accessory slot or in a variety of different ways.


4-inch 1.23 Megapixel LCD is rotatable and removable.


We found ourselves using Zacuto EVFs with the camera and the new Marshall monitors with built in waveform graphs with excellent success.


Body weight:


EF Version – 3.2 lbs


PL Version – 3.6 lbs


Don’t overlook this spec. This is HUGE – or in this case small and light. The size and weight of this camera is incredible. This will be a huge factor when SPAM SPAM SPAM SPAM between this camera and the Epic and Alexa. This is a significant advantage that Canon has notably over the Alexa in my opinion. You can literally pick this camera up with your index finger… and ii is noticeably smaller than the Sony F3 for example (in length.) It is also noticeable lighter than the Epic. I should also mention that we shot with the C300 camera for 3 days in 95ºF + temperatures in the desert on RC Helicopters and Russian arms and we never had a single issue with the camera that I can recall. Impressive given that these were prototype cameras…


XLR Inputs and audio control


We used a dual system for audio (i.e. a separate audio deck to record audio) on this project – but all of the bells and whistles appear to be there.








Timecode in/out




Sync out (3D)


XLR (2 Channel)


3.5mm Mic Jack


Heaphone 3.5 stereo monitor


FINALLY!!!! Need I say more! Production-ready camera!




2 CF Card Slots


Relay record from one to another


Hot swap cards while shooting uninterrupted


Shooting simultaneously to both cards


HD/SD-SDI Output to external recoders


It’s wonderful to be able to record to CF Cards that you already have available. CF Cards are dependable and cheap. The dual record function is a superb function that gives you a tremendous amount of peace of mind.




Canon XF Codec:








MXF Wrapper


Love the codec. We shot 18 hours of footage and copied it all on a 500GB drive w/ audio and production stills. Image quality is superb and it grades wonderfully. For most- this will be more than enough. It blows the 5DMKII away. Completely. That being said the RED Epic’s and Alexa’s RAW support will allow the digital image to be pushed further especially when aggressive color correction/grading is desired. We edited out entire short in Premiere and After Effects without a single hiccup. I am told the codec is supported by Avid as well. At the time of production neither Final Cut 7 nor Final Cut X supported this format – though I’m sure that will change for Final Cut X at some point of course.




Long battery life -


Included BP-955 up to 205 min


Optional BP-075 up to 310 min


A waverform Monitor and Vectorscope for exposure analysis built in.


The battery is excellent – never a factor on our shoots.


Focus Assist:


Magnified Focus


Two Peaking modes to check and confirm critical focus


Wireless Remote (WFT-E6):


802.11 a/b/g/n/


Secure – user assignable IP address and password


Control over: Start/Stop, Shutter/ ISO/ WB etc.


Iris and focus control when using Canon EF Lenses


Metadata input remotely


Approx 150 ft range.


Operates using standard Web-browsers on WiFi-engable devices:




Computers / Android Tables


Sound incredibly neat – we didn’t have these to test during our shoot.


New Canon EF Cinema lenses:


24mm T/1.5L F


50mm T/1.3L F


85mm T/1.3L F


With more to come…


Lenses have 4K image quality


300º Degree focus thrown


Mechanical 11-blad iris


Consistent matched gearing


These support the full size image cifcle of the the EOS 5D MKII and EOS-1D X


These lenses have the potential to be very disruptive… but until I see one I’m just speculating… but based on the zoom lenses below… Canon has the potential to shake up the lens world if their prime lenses are as good as their Zooms…


EF Cinema Zoom lenses:


14.5~60mm T/2.6L SP


30~300mm T/2.95-3.7L SP


The support the 35mm image circle of the EOS C300


I love these lenses and would love one of each from a very rich Santa from Xmas. I may just have to buy the 30~300mm because it was outstanding and a lens one can travel the world with. The optical and mechanical performances were beyond excellent. It is smaller (by approx 6 pounds!) than the Angenieux 24~290mm T2.6 Optimo and much more compact – the Optimo is one of the godfathers in the zoom lens world…


So where does the camera stand in relation to the other cameras? What about RED’s Scarlet announcement today? That and much more in the upcoming days on this blog… STAY TUNED.

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Single-Focal-Length Cinema Lenses for EF Mounts


CN-E24mm T1.5 L F / CN-E50mm T1.3 L F / CN-E85mm T1.3 L F *

Like their wide-angle and telephoto cinema zoom lens co-stars, Canon’s new CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F cinema lenses deliver 4K optical performance. The three lenses, designed for use with EF mounts, are compatible with not only industry-standard Super 35 mm-equivalent cameras, but also 35 mm full-frame, APS-H and APS-C sensor sizes. The trio incorporates anomalous dispersion glass and large-diameter aspherical lenses for high resolution imaging throughout the frame, and features a newly designed 11-blade aperture diaphragm for gentle, attractive blurring.


With focus and iris markings that are easily visible from behind the camera, Canon’s three new fixed-focal-length lenses support convenient film-style operation and, offering a focus rotation angle of approximately 300 degrees, facilitate precise focusing performance.


The CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions, eliminating the need for adjustments when switching lenses.



Pricing and availability

The Canon CN-E24mm T1.5 L F (EF mount) and CN-E50mm T1.3 L F (EF mount) lenses are scheduled to be available in late July 2012. The CN-E85mm T1.3 L F (EF mount) lens is scheduled to be available in late August. The Canon CN-E24mm T1.5 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E50mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E85mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800.


Cuestan" el doble" que las prime Zeiss CP.2 !!!



Wide-Angle and Telephoto Cinema Zoom Lenses for EF and PL Mounts


CN-E14.5–60mm T2.6 L S / CN-E14.5–60mm T2.6 L SP *

CN-E30–300mm T2.95–3.7 L S / CN-E30–300mm T2.95–3.7 L SP *

The four new Canon zoom cinema lenses comprise the CN-E14.5–60mm T2.6 L S (for EF mounts) and CN-E14.5–60mm T2.6 L SP (for PL mounts) wide-angle cinema zoom lenses, and the CN-E30–300mm T2.95–3.7 L S (for EF mounts) and CN-E30–300mm T2.95–3.7 L SP (for PL mounts) telephoto cinema zoom lenses. Each lens supports 4K (4096 x 2160 pixels) resolution, which delivers a pixel count four times that of Full HD (1920 x 1080 pixels), and offers compatibility with industry-standard Super 35 mm-equivalent cameras as well as APS-C cameras*.


Employing anomalous dispersion glass, effective in eliminating chromatic aberration, and large-diameter aspherical lenses, the zoom lenses achieve high-resolution imaging from the center of the frame to the outer edges. Each lens is equipped with a newly designed 11-blade aperture diaphragm for soft, attractive blur characteristics, making them ideally suited for cinematographic applications.


The focal length range of 14.5–300 mm covered by the new zoom lenses represents the most frequently used focal lengths in theatrical motion picture production, a range that often requires a combination of three or more separate zoom lenses. Canon’s new wide-angle and telephoto cinema zoom lenses, however, offer a wider angle and powerful zooming to provide complete coverage across this range with just two lenses. The new wide-angle cinema zoom lenses will offer the industry’s widest angle of view among 35 mm digital cinema lenses with a wide-angle-end focal length of 14.5 mm*2.


Zoom, focus and iris markings are all engraved on angled surfaces for improved readability from behind the camera. With a focus rotation angle of approximately 300 degrees and a zoom rotation angle of approximately 160 degrees, the lenses facilitate precise focusing performance while making possible smooth and subtle zoom operation.


The new top-end cinema zoom lens lineup can be used with standard manual and electronic movie industry accessories, as well as matte boxes. Featuring a unified front lens diameter and uniform gear positions, the lenses do away with the need to adjust or reposition accessory gear when switching between other lenses in the series.


Pricing and availability

Both the Canon CN-E14.5–60mm T2.6 L S (EF mount) lens and the Canon CN-E14.5–60mm T2.6 L SP (PL mount) lens are scheduled for late January 2012 availability for an estimated list price of $45,000 each. The Canon CN-E30–300mm T2.95–3.7 L S (EF mount) and Canon CN-E30–300mm T2.95–3.7 L SP (PL mount) lens are scheduled for late March 2012 availability for an estimated list price of $47,000 each.

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Estoy con Brigadoon.

Espero que la nueva DsLR aporte algo mas al panorama actual en cuanto a relación calidad-precio.

The director of House shot an episode on that camera already and called it the future, which appears to be arriving sooner rather than later.


Edited by interactive
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  • </h3>
    <h3>Why did Canon decide to focus on 1080p rather than 2K or 4K?
    1080p is the most commonly used and sought after shooting and delivery size for productions today. Heavy adoption allows 1080p images to seamlessly integrate into various production pipelines without the hiccups and massive storage requirements of proprietary 4K solutions. This makes the EOS C300 ready for the widest range of productions today, with a simplified and accepted workflow.

Claro señores de Canon por eso en cuanto os habéis visto amenzados por Red haceis un anuncio de una DSLR a 4k.... se les ve el plumero.... no hay peor ciego que el que no quiere ver.;)

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