As per my last posting, I announced the possibility of Canon presenting at Paramount Studios, the new and powerful 1DX DSRL camera, but then I was told last week by Larry Thorpe from Canon USA at the SMPTE  conference, that it wasn't anything to do with it, (well, as we all know, the 1DX was already old news), and that it was something much better, something newer, something that was also a top secret, and it was for me to found out at the unveiling of the "secret" at Paramount Studios today.

Well, the secret is out and Canon has entered in the race of making motion picture production equipment for digital cinematography with a new and sophisticated camera,  the Cinema EOS C300, 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. Here is the picture of the camera and below are the camera specs and I will be giving an assessment of this new camera during the weeks to come, after taking it for a test ride...if I have a chance.

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.

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.

 On the main video screen and on VOD  you can watch  "Max is Back-Behind The Scenes". Max is Back was written, directed and shot by Richard Crudo, ASC on the C300. Other 3 invited Directors of Photography  also shot their commission on the C300 namely,  Sam Nicholson  ASC,  who wrote and shot a stylistic futuristic drama, Felix Alcala, ASC  who helmed and lensed a political futuristic struggle and Polly Morgan/Vicent Laforet who delivered a supernatural thriller, but from the four films, I liked more Crudo's character driven story and  his use of the camera, lenses and lighting. The films were commissioned to demonstrate the modularity,  color fidelity and dynamic range of the camera, but nonetheless a film is a film, a film is a film. Or you shoot it with sense and taste for light, movement and storyline or it ends up being a lost cause. The C300 and the filmmakers delivered, all films yielded a rich color palette to hold their stories.

"Max is Back"  has the feel of a larger feature film. Crudo lighted his scenes in a classic film style with rim, back lighting and silhouette for atmosphere and soft or hard key for dialogue adding also a clean and not "colorized daylight photography" (a trendy characteristic while shooting DSRL and over use of DI features) yielding thus a crisp look as intended by the director/DP "...a hard boiled crime story shot on the 70's...". Watch it here (screen above) watch the crew and the C300 in action with commentaries by the filmmakers.

For more info visit,  Canon Cinema EOS

1 comment:

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