Ready to take on the film industry? Then you’ll probably want one of these: the Canon C300 Cinema camera. The price tag isn’t for the faint of heart as it costs about $20,000. And keep dreaming if you think that includes a lens. Nevertheless, it’s an ultrapowerful camera and all things relative it really is an affordable solution for any aspiring auteur who wants to produce a professional work of moving pictures.
Yes, it achieves full HD video, but that’s just for starters. Behind the lens is a Super 35mm CMOS sensor that can deliver up to 4K resolution. That means it won’t look all grainy when your feature film hits your local cinema or that overly large big screen. A variety of lens mount options are at your disposable, but by default it will only include one.
In terms of size the Canon C300 measures 5.2 (w) x 7.0 (h) x 6.7 (d) inches, so it’s nimble, especially when positioned against other Hollywood cinema cameras. Add Canon’s WFT-E6B wireless file transmitter and the C300 can be controlled remotely using just an iPhone or tablet device.
Unfortunately, for adrenaline junkies the frame rate caps at 60fps. So no ultra slow motion, but come on, at $20k did you expect much more?
The Canon C300 can be purchased March 2012.
A Star Is Born: Canon Launches New Digital Cinema Camera For High-Resolution Motion Picture Production
HOLLYWOOD, California, November 3, 2011/TOKYO, November 4, 2011 – Canon Inc. and Canon U.S.A., Inc. today raised the curtain on an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today’s motion picture industry. The camera, which features a newly developed Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor, will be available in two models: the EOS C300 Digital Cinema Camera*, equipped with an EF lens mount for compatibility with Canon’s current diverse lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras and new EF Cinema Lens lineup; and the EOS C300 PL Digital Cinema Camera*, with a PL lens mount for use with industry-standard PL lenses.
The introduction of the EOS C300/C300 PL coincides with the launch of the Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digitalSLR camera product categories.
Star-Studded Supporting Cast
Equipped with an EF lens mount, the EOS C300 is supported by an all-star cast of high-performance EF lenses, not only the wide array of interchangeable EF lenses for EOS SLR cameras that have earned the trust and respect of photographers around the world, but also the EF cinema lenses in the newly announced Cinema EOS System. When outfitted with a Canon EF lens, the C300′s peripheral illumination correction automatically corrects for vignetting in accordance with each lens’s optical characteristics, and enables iris control from the camera. Canon EF lenses also enable the recording of such metadata as the name of the lens used, aperture setting and shutter speed.i
Show-Stopping High-Resolution Full-HD Performance
The Canon EOS C300/C300 PL’s newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moiré while realizing high resolution with 1,000 horizontal TV lines.
Supported by a heightened signal read-out speed, the CMOS sensor reduces rolling shutter skews, a phenomenon prevalent with CMOS sensors in which fast-moving subjects may appear diagonally distorted. Additionally, the powerful combination of the sensor with Canon’s high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression.
In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of “jaggies” at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camera supports the recording of high-quality video.
The camera’s video and audio recording file format adopts the industry-standard MXF (Material eXchange Format), an open source file format ideally suited for non-linear editing systems. Recording to versatile, readily available CF cards, the EOS C300/C300 PL realizes high cost-performance and, equipped with two CF card slots, makes possible the simultaneous recording of video data to two CF cards.
Ready for Action
With a compact body design measuring 5.2 (w) x 7.0 (h) x 6.7 (d) inches, the Canon EOS C300/C300 PL delivers exceptional maneuverability, enabling shooting from vantage points all but inaccessible to large cinema cameras, such as close to the ground for high-impact low-angle shots, and alongside walls. In accordance with on-location shooting needs, the camera can be outfitted with a handle, grip, thumb rest and monitor unit, and offers an array of industry-standard terminals, including HD/SD-SDI video output for the external recording of high-quality video content. When using a WFT-E6B wireless file transmitter for EOS digital SLR cameras (sold separately), the EOS C300/C300 PL can be controlled remotely by means of such common devices as smartphones or tablet PCs.
The camera is equipped with four start/stop buttons positioned at various locations to satisfy any preferred camera-holding style, and can be outfitted with a variety of third-party accessories, including matte boxes, follow focuses and external video and audio recorders. The unit also achieves seamless integration with third-party editing systems and provides added peace of mind through its dust-proof, drip-proof construction and built-in cooling system.
The new camera allows users to adjust image quality to match that of professional camcorders and EOS-series digital SLR cameras, and offers Canon Log Gamma, enabling flat image quality with subdued contrast and sharpness for maximum freedom in post-production editing and processing. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.
Other features include fast-motion shooting, achieved by capturing fewer frames per second to create action up to 60x normal speed, and slow-motion down to 1/2.5xii made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps)iii can be adjusted in increments of 1 fps. Additionally, a selection of Custom Pictures lets users freely adjust image quality for greater control over how content looks.
Pricing and availability
The Canon EOS C300 (EF mount) digital cinema camera is scheduled to be available in late January 2012 for an estimated list price of $20,000. The Canon EOS C300 PL (PL mount) digital cinema camera is scheduled to be available in late March 2012 for an estimated list price of $20,000.
For more information and to view online demonstration footage of the new products please visit: www.canoncinemaeos.com
About Canon Inc.
Canon Inc. (NYSE: CAJ), headquartered in Tokyo, Japan, is a leader in the fields of professional and consumer imaging equipment and information systems. Canon’s extensive range of products includes copying machines, inkjet and laser printers, cameras, video equipment, medical equipment and semiconductor-manufacturing equipment. Originally established in 1937 as Precision Optical Industry, Co., Ltd., a camera manufacturer, Canon has successfully diversified and globalized to become a worldwide industry leader in professional and consumer imaging systems and solutions. With over 195,000 employees worldwide, Canon has manufacturing and marketing subsidiaries in Japan, the Americas, Europe, Asia and Oceania; and a global R&D network with companies based in the United States, Europe, Asia and Australia. Canon’s consolidated net sales for fiscal 2010 (ended December 31, 2010) totalled $45.8 billion (at an exchange rate of ¥81 = US$1). Visit the Canon Inc. website at: www.canon.com
About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010†, and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.
When the RED Scarlet was introduced as a concept back in the olden days of 2008, it was a much different animal. It was supposed to be a video camera with a 2/3-inch sensor that shot 3K (which falls between 1080p and 4K on the resolution scale) footage for about $3,000. But yesterday, in direct conflict with Canon’s big EOS Cinema C300 announcement, they went official with a $10,000 camera packed with some serious movie-making horsepower.
The Scarlet-X is built around a “brain” unit, which is available with either a PL or a Canon EOS lens mount. It captures 4K footage (4096×2160) at up to 25 frames-per-second, churning out 50 MB of data per second. Switch over to stills mode and you can get 5120×2700 photos.
There are other frame rates available if you don’t need the ultra-high resolution, including 60 fps at 2K and 120 fps at 1K. It’s a full-frame sensor, so lenses will look just as they should, even if you get those new Canon ones when they come out.
You’ll see some reports saying that it starts at just under $10,000, which is true, but only if you’re just buying the brain. If you want to actually, you know, shoot anything, you’re going to need some accessories, which means you’ll likely end up somewhere in the $15,000 range before you get to the glass. You probably also want to invest into the “Red Rocket” so you don’t pull your hair out trying to do post production work.
Sure, it’s expensive and meant for professional movie makers, but yesterday was an undeniably interesting step forward for movie-making in general. There’s also no doubt that this stuff will be working its way into more traditional DSLRs in the future, so it’s worth taking notice of right now.
It will be interesting to see how the Scarlet does compared to the new offering from Canon. From a brute force data-capture standpoint, the Scarlet wins by a longshot. It’s also cheaper. But, the battle is never decided on paper.
You can pre-order a Scarlet-X now, but they don’t start shipping until next month.
I haven’t been keeping up to date with my blogs as I should, but I’ve been so busy. I guess that’s a great thing! But Business is Dead short film was entered into the Golden Door Film festival in the summer and was accepted and nominated for Best Short. It premiered at the historical Lowes Theatre in Jersey City (across from Journal Square), a place where many stars performed in the past, on a 24-26 ft screen.
It was an amazing experience to see our work displayed to an audience and hear laughters. There were other great movies that followed and were filmed on different cameras from Reds to 16mm film. I must say, the cameras we used which were the 5d Mark II looked better.
It comes to show you that it’s not about the camera, but it’s how you shape the lights and shadows that makes your camera look great.
Congratulations on Vito LaBruno and the team on making this short another winner. I am honored as the owner of Kvibe Productions to have the opportunity to present this film to the world.
Another winner on the Kvibe books =)
In making any commercial, film, or documentary, everyone will experience location issues. My friend is trying to get me the location that I’m eyeing for, but is having a hard time reaching out to the people. So either I try to guerilla it and make the most out of it about 6 am, then wait to get kicked out or not do it at all.
People say to do it anyways, but I’m a very considerate person where I hate to waste anyone’s time. This location is very specific to my vision and it’s a need. What do I do?
I have most of the props, the outfits, and the people lined up to help create this commercial. It’s a very simple shoot actually and I’ve already storyboard the core of the shots. After that, I’m opened to improvised shots if time permits.
I guess check out my update blog to know what I’m gonna do on Sunday =)
Please do check out www.gazefashion.com. They given us a selection of clothing to use for their commercial and it’s looking hot!
A new company called “Gaze Fashion” at www.gazefashion.com have came out with some great looking Asian Style clothing. I was asked to shoot and direct a commercial for the company. We went scouting around west NJ today 9-10-11 and found some awesome places. I had a few ideas in mind on what I wanted to portray and the story I wanted to convey. I spent a few hours finding the music that would fit perfect to the story.
I saw this spot a year ago and I always kept a mental note to myself that I’m going to use this place one day for something. I think this story fits this location perfectly. Now it’s about planning it the pre-production properly so on the day we shoot, everything goes smoothly.
I was watching some interviews on the web from Steve Weiss, Vincent Laforet, and others on the web and it seems that every interview, they all have something to say about certain “filmmakers”. In my opinion, yes, anyone can become a filmmaker, but I think those who try to do it “professionally” should take responsibility. Just because you bought a camera, a few lenses, tripod, and etc, does not mean you are a Director of Photography / Cinematographer. You have to do your homework and understand how photography works. You have to understand what certain filters do, why we use shutter speeds of 1/50 for at 23.976 fps (the 180 rule), and color temperature.
What happens is that, those ignorants charge far less than the professionals and takes the job away from those who are qualified to do the work “professionally”. Yes, I can understand a filmmaker on a budget. Yes I can understand some DP’s may “overprice” themselves. But those who just jumped right in, didn’t do their homework, and think they can make any money from it got it all wrong. If you don’t know how to give texture to an HD footage, or achieve a certain look that the director wants, then that’s not the job for you. It just means that you need to do more homework and practice more.
As a Director / Producer / Writer / Cinematographer, I’ve put in thousands of hours worth of studying and work and I still feel I’m not quite there yet to the high end pros. But I know I am much better than I was a year ago in filmmaking. Yes, winning awards help with encouragement, but it doesn’t stop me from becoming even better and challenging myself.
If you want to be good at something, you better put the time and practice and invest into it. If I hire someone and I’m doing the job of the cinematographer, I can bet you that he/she will not be on my set the next time around if the price was unreasonable.
Anyways, that was just my thoughts of what I think when someone ask the question, “Can anyone become a filmmaker?”.