Archive for the ‘ CAMERA REVIEWS ’ Category

Time for new cameras – Testing the Sony FS5 & A7sII

Shooting with the Canon C300 over the last few years has been a real pleasure, the form factor worked perfectly for my single op shooting style and I was rarely disappointed by the image quality. The C300 was always a little crippled by it’s recording capability though, it’s highest frame rate option of 50 fps at 1280×720 seemed disappointing even when the camera was released.

I generally like to shoot events at 50 frames per second because it allows me to record audio whilst retaining the option to slow things down a little in post if required. The C300 does this really well at 720p but while that was seen as just a smaller HD format three years ago, today it’s barely enough resolution even for web delivery.

During my final shoots of last year I decided that for 2016 I would need to invest in at least one new camera which offered the following options as a minimum…

  • Ability to shoot at least 50fps continuous at 1080p
  • Ability to shoot Super Slow Motion at 1080p
  • Ability to shoot 4K at 25p
  • Min 50 Mbps internal HD recording (with option to record higher to ext recorder)
  • Ability to autofocus when required
  • Ability to output better quality to an external recorder if required
  • Must work with Canon L Lenses (full frame capability via speed booster a bonus)
  • Small and light enough to carry all day whilst still offering professional features.

I won’t bore you with all the options I considered, there’s some great cameras out there and believe me I looked long and hard but the following are the ones that interested me the most.

 

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Canon C300 MkII

After shooting with Canon C series cameras for a few years the natural progression would be to the C300 MKII, there were however a couple of reasons why I eventually decided against it.

Firstly I was interested in trying a camera system that would allow me to use the full frame coverage of my Canon L lenses. I’ve often felt restricted by the wider end of the lensing options available for the C300 and liked the idea of using an adapter to get full use of my lenses whilst making them a stop faster. The body design of the C300 and the C300 MKII don’t allow for adapters to be used due to the distance between the mount and the sensor itself.

Secondly, the C300 mkII’s body alone costs over £12,000, add to that a brand new set of batteries and CFast 2 media and I’d be looking a £15,000 investment. While this isn’t dissimilar to the cost of the original C300 other camera manufactures are now offering similarly capable systems at much lower cost.

 

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Sony FS7

Looking at Sony alternatives my first thought was the popular PXW-FS7. Priced at around £8,000 the FS7’s feature set far exceeded my requirements and it’s powerful recording capabilities would definitely provide all I need for the next few years. My good friend Peter Naylor owns an FS7 so luckily I had chance to have a play with one.

The camera was bigger and heavier than I expected but with it’s detachable grip and adjustable arm assembly it’s designed to be operated on the shoulder and works really well in that format. I have to shoot with my camera in a lot of positions though and while the camera is adaptable to different shooting positions I found it a little cumbersome after shooting with the C300. I definitely couldn’t see myself carrying that camera round for 12 – 15 hours like I do the C300.

 Feature wise though the FS7 is a dream and I was very tempted to just buy one and see if I could get used to the form factor but I decided it would be prudent to do a little more testing first.

 

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Sony FS5

Being tempted by the Sony FS7 I thought it might be worth also trying out the smaller PXW-FS5. While the camera doesn’t offer the same level of recording features as it’s bigger brother it does provide a respectable 1080 / 50 option at 4:2:2, albeit restricted to 50 Mbps internally. It also provides the ability to shoot super slow motion up to 200 fps using a buffering record method which while not as useful as the FS7’s constant 200fps record rate it would be enough for me to capture what I need.

The FS5 is also a lot cheaper than the previous cameras mentioned, retailing at around £5,300 and shooting on cheap SDXC media the cost of entry is a lot lower than an FS7.

 

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Sony A7sII


I’ve heard a lot of good things about the little Sony A7sII, especially regarding how they perform in low light. Having seen some great footage shot with them and reading a lot of positive reviews I really wanted to try one to see if I could really go back to shooting with a still body style camera and all of the workarounds that go with it.

I get to film quite a few night time events each year, everything from band performances through to dimly lit bars and exteriors. These can present a real problem with noise so this little camera intrigued me and I wanted to see what all the fuss was about. At £2,900 this is the cheapest of the bunch although it would require a lot of additional accessories in order to provide a complete solution for use as a main camera, if at all.

Trying out the cameras


The biggest test for any camera in my shooting year are the events I shoot for Harley-Davidson as they are gruelling on both me and my shooting kit. I’m usually out filming for over 15 hours each day in conditions that range from burning sunshine on dusty beaches through to filming from the back of a bike in the pouring rain. I generally have to carry everything with me that I’m going to need for any given day so building a kit that’s adaptable, portable and doesn’t restrict me creatively is important.

I decided to test both the A7sII and FS5 at Harley events by hiring them and spending a week working with each. I’m not planning to write full reviews of the cameras as neither are particularly new now and there’s plenty of in depth reviews on the web if that’s what you need. What I am going to do though is describe the things I was surprised by after doing my own reseacrh, any issues I had and any features that stood out as being a big reason to choose or not choose that camera.

Sony A7sII – Harley-Davidson Euro Festival, May 2016

First up was a Harley rally in St Tropez, France and for that one I decided to try out the Sony A7sII. I hired a kit from Cameraworks which included a Metabones adapter, a Movcam cage and the Sony XLR-K1M audio adapter. I really wasn’t sure if the little A7 would work for me at all but I also had the C300 with me just in case.

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Using the A7sII that week was really interesting, paired with a Canon 16-35 f/2.8 on the Metabones adapter most of the time I found myself really enjoying the additional sensor real estate and rediscovering what those focal lengths really offer. I did of course have to fit an ND filter to the lens for the daytime shots but rather than mess around with a variable ND I opted to use a HOYA ND64 and then adjust shutter speed to get me the rest of the way to correct exposure. Whilst I like to stick to 180 degree shutter where possible I’m not precious about changing that depending on movement in the shot.

The A7sII has a really good OLED EVF, actually way better than anything I’ve used on a video camera to date, although the eye piece itself is far from comfortable and doesn’t block out external light fully. The LCD is a bit too small for my liking and I found that using the focus magnification feature was a must. In direct sunlight however the LCD was unusable so when it came to filming anything other than head height it was a struggle. I had to use the EVF to focus and then watch what little I could see on the LCD to frame the movement in my shots, a little to ‘spray and prey’ for my liking.

The big drawbacks of the A7 for me were the fiddly menu system, the button layout and the general handling. This it to be expected though and wasn’t really a surprise. I programmed the user buttons on top for record start/stop and zebra toggle and then used the fiddly buttons on the back for everything else. 

The other feature that I was really looking forward to was the five axis stabilised sensor and that proved to be quite useful. There is a little caveat though as in certain situations it also rendered a few shots unusable do to the image visibly warping with certain camera movement.

As expected the low light capabilities of the A7sII were it’s real party trick. I was filming some people on a beach one evening and couldn’t believe how clean the images looked with ISO levels I wouldn’t normally dream of using. After the event I felt that while I managed to shoot the entire thing with the A7sII I’d prefer something a little and better designed for the job. I really wanted one for those night time shots though!

Here’s the video I shot with the A7sII, please note that it also contains footage from the DJI Osmo for the crane style shots and riding shots.

 

Sony FS5 – Harley-Davidson H.O.G Rally, June 2016

When the rental Sony FS5 arrived prior to leaving for this shoot I was shocked at how small and light it was. I’d seen pictures of it beside the FS7 and it was obviously smaller but sitting there without it’s top handle or side grip it looked like a handycam. The first thing I did was fit my 50mm 1.2 via the supplied Metabones Speed Booster and then spent an hour just wandering round in awe of this tiny package capable of shooting almost full frame at f/1.0!

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Once fitted out with it’s rotating hand grip and top handle however the FS5 is actually a really nice size to use, it compares well to the handling characteristics of the C300 and certainly ticked the portability and handling box and .

I found the small OLED EVF on the back of the FS5 to be quite good, it’s not as nice as the one on the A7sII but it’s as good as the EVF on the C300 and I found I could hit focus quite easily. The way the EVF pivots up and down is useful however I did find it to be a little loose and struggled to keep it in the position I wanted when shooting. 

I was disappointed by the LCD though, it seemed too small and again was almost impossible to use in daylight conditions, the one on the C300 is much better. It’s okay indoors or in the shade but I did feel frustrated by it shooting during the day and much like the A7s I relied on the EVF most of the time.

Without doubt one of the best features of the FS5 for me is the variable electronic ND. Being able to smoothly dial in exposure without messing with your shutter speed or aperture is extremely useful and having the ability to choose an aperture and have the ND work around you automatically is amazing. I’m surprised Sony haven’t been shouting more about this technology and I expect it won’t be long before we see it appearing on many of their other cameras, (A7sIII with variable ND anybody?).

I really enjoyed the FS5‘s Super Slow Motion recording feature, the buffering can be a pain but once you master how the start and end trigger system works it’s a lot of fun and I used it way too much on this shoot as you will see in the video below! The trouble with the buffering is not so much that you can’t capture the shot you need, it’s that you have to wait while it does it’s thing afterwards! It’s good fun watching the slow motion buffering after your shot but when something is happening in front of you that you really want to shoot it’s also frustrating. This is where the FS7 would be more capable but for me the smaller form factor is more important and I can make the buffering work with careful timing.

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Another thing that I found useful was the ability to quickly switch to Centre Scan Mode, I programmed this feature to one of the buttons on the hand grip and being able to quickly select between using the full sensor or a crop was great. The camera will also do a digital zoom up to 2x which feels quite bizarre if shooting with primes as you can use the rocker switch on the handle to make it feel like a powered zoom lens! Sony say they preserve the image quality using special technology and to be fair the results did look pretty good but I was a little cautious of that one and didn’t use it.

There were a couple of things that disappointed me though. The first is the fact that every time you format a card in the FS5 it starts the clip name as Clip_01. This seems like a small thing but I’d expect to be able to set continuous file naming in any camera that expects professional use.

Another thing that caught me out was the dual card recording. I like to shoot to both cards at the same time just to provide some redundancy in case of a card error and while this works really well on the FS5 there is a gotcha waiting to catch you out! When shooting Super Slow Motion the camera only records to card 1 and if you’re not paying attention to which card you’re importing footage from you can easily use the wrong one and lose all of your slow motion shots. I discovered this to my horror after losing all of my slow motion shots from a morning so it’s something to be very careful about.

Here’s the results… again this one contains DJI Osmo shots as well.

Conclusions

After trying both the FS5 and The A7sII I was impressed by both of them for different reasons. If I could only choose one it would definitely be the FS5 as for me things like the built in variable ND filter, bigger batteries and on board XLR audio far outweigh the better low light performance and ultra compact format of the A7sII.

I decided to get both though! The FS5 works great as a main walkabout camera for event work and is also more than capable of performing the various other corporate shoots that I work on. The A7sII takes over in low light at events. I’ve recently starting using the A7sII on a PilotFly H2 Gimbal which works great and it also makes a very good B camera for 2 camera interviews with the FS5.

Here’s one more Harley video shot with my own FS5 and A7sII. There’s also footage from the DJI Osmo in this one as well.

I’m sure there’s loads I haven’t covered but this post has become way too long already. Please ask any questions you might have in the comments and I’ll do my best to answer.

 

 

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Learning to fly – The Inspire 1 arrives

I took delivery of my DJI inspire 1 this evening and thought I’d share a few pics and initial thoughts with you. Please bare in mind that this is my first Quadcopter, I can’t give comparisons to other models in the same price bracket other than the Phantom that I have looked at in the past. None the less..

The case 
The first thing that greets you after removing the outer packaging is this rather nice looking case. It’s not a particularly tough case though, it’s fairly soft and has zip closures.

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Opening up the case reveals the Inspire 1 and and it’s associated accessories. Some of the accessories are supposed to be held in place by straps with velcro closures but even before touching these some of the velcro straps had fallen away from the case and were useless.

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The case is really not very reassuring, the quality isn’t great and while it does work well as a basic container for the Inspire I can’t see it lasting very long with real use or at the mercy of baggage handlers. I’ll have to look for a more substantial alternative.

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Canon C100 Review – First impressions

Having just received a Canon C100 I thought I’d post my first impressions. At this stage I haven’t started shooting with the camera so this is going to focus on the build and operation of the camera for now but I will be posting more about the results and workflow as time goes on. As a Canon C300 shooter a lot of this post will be comparisons to that camera but should prove useful none the less. I have to apologise for the low quality images below, I was far too excited to go and grab a proper camera so snapped away with the iPhone!

Build Quality

Taking the C100 out of the box it felt just like C300 only in a more compact form, in fact in some ways it actually feels a little more rugged! That’s probably due to the fact that it has less bits and pieces on it but none the less this feels like a well built camera. The handle with the microphones and XLR inputs built in feels really nice, I’m never a big fan of the clear plastic covers over the audio controls as I invariably break them but other than that the handle feels tough and is very sturdy. Having just the single connector lead that attaches on the side rather than the back like the C300’s leads also lends to making the camera feel a bit less vulnerable.

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First days with the Canon EOS C300

 

After a little over three months on the waiting list I finally took delivery of my Canon C300 this week.  While the battery charged for the first time I did what all overgrown boys do and decided to attach some toys.

After reading that Zacuto made a new specialist mounting plate and rail system for the C300 I didn’t really expect my Zacuto mini baseplate to work but much to my surprise and my wallets relief it does the job just fine. I fitted my Shoot35 follow focus and matte box to the rails and with some minor height adjustments both fitted nicely.

Isn’t that a nice looking setup!

Just about the only thing that wouldn’t fit straightaway was my shotgun mic, Canon likes to include the oversized variety of mic holder with their cameras so a spacer will be needed, it’s a shame they don’t supply one as they are not the easiest items to pick up. Hopefully somebody will make an aftermarket mount for the C300 offering an additional cold shoe instead so that I can continue using my K-Tech mount.

The battery eventually finished charging so stripped the camera back down again and started on the path of figuring out the nuances of the the C300’s user interface and making it work for me. Most of the important features like ND, white balance, peaking, zebras etc already have buttons on the side so learning where they are is just a matter of time and muscle memory, the bigger challenges turned out to be finding a way to quickly control shutter speed and access the special modes to enable over cranking which I use a lot for my Harley-Davidson shoots.

Using the default setup of the camera shutter ISO is adjusted by pressing the function button on the back of the camera until the it’s highlighted on the LCD, at that point it can be changed using either the mini joysticks or the set/select wheel on the side of the camera. I found the location of the function button to be a bit of a pain to find whilst shooting as its on the back tucked up under the EVF.

The best solution I could find thanks to some tips from @AnticipateMedia on twitter was to remap the headphone + & – buttons on the side to manage these two features. I changed the – button so that it highlights the ISO setting allowing for instant changes using the set/select wheel without hunting for the function button. I rarely change headphone levels & shutter speed during a shoot so I’m happy to leave those in the menu.

Getting access to Overcranking (Slow & Fast Motion) proved to be a little more tricky, the closet I could get to making this work was to assign that ‘special modes’ menu to the headphone + button. Pressing this button results in the special mode selection menu appearing on the lcd making enabling and disabling S&F just a two click process. Being able to activate and deactivate it on a button press would have been much nicer but this will be fine for now.

I tested some footage from the C300 on my Nexto NVS2500 and that loaded and played the clips fine which is great as it never really supported DSLR clips well.

 

Below is a list of things that I’ve noticed with the camera so far that I think are worthy of a mention, I’ll keep adding to this as I spend more time with the camera.

Three wheeler
The camera has three input wheels, two on the left side of the camera and one on the hand grip. The smaller one on the side and the handgrip wheel currently share the same settings and default to controlling aperture. They can be reassigned but it would be nice if they could be assigned to do separate jobs.

Iris changes can be a pain
I find the location of the iris wheel to be a little frustrating when using the camera via the top handle. With one hand on the handle and the other on the lens looking after focus the only way to quickly do an iris change is to move the camera and search for the iris wheel right at the back at the bottom of the left side. There’s a reason why video camera manufacturers have been putting iris controls near or on the lens for so many years!

One solution would be to allow the mini joystick on the monitor module to control iris but iris cannot be changed in any way other than the iris wheels. What would be a great solution would be to allow a press of the mini joysticks to do the same job as pressing the function button and to allow iris changes via the lcd menu, that way you could quickly navigate and alter settings using any of the joysticks.

Rec / Review
Sometimes it’s nice to have a quick look at the clip you just recorded without having to change to Media mode, this is where the Rec / Review feature comes in handy.  If you’re in a special mode on the C300 though the rec/review button doesn’t function and an “invalid operation” error appears on the LCD. The only way to use the rec/review button is to disable the special mode first. Unlike the EX1 Rec / Review doesn’t play back any audio either so you can’t use it to check levels after a test recording.

Interval record
I use interval record a lot on my EX1, check out some of my videos for Harley-Davidson last year, there’s examples of time-lapse in most of them that were done by combining the interval record and frame accumulation features. Frame accumulation is like doing a long exposure on a DSLR, the EX1 records a predetermined number of frames and then combines them into a single frame so for example combining 25 frames into one results on each frame having an exposure of 1 second. Having frame accumulation running with an interval record of 1 frame per second results in beautifully smooth time-lapse footage.

The C300 does’nt have a frame accumulation feature so the longest exposure you can achieve per frame is 1/25th. To make matters worse it’s interval record feature allows it to record a minimum of 2 frames at a time resulting in jerky time lapses without any motion blur. This is probably the only thing I will miss about the EX1 when replacing it with the C300 for event work.

Fan Noise
The fan on the C300 is far from silent. In my tests using a shotgun mic attached via the monitor module the hum was easily audible in a quiet room although outdoors it was less apparent. With a Rode videomic fixed straight to the camera and connected via the 3.5 mm jack the noise was a lot more apparent and was distracting on exterior shots too. The fan on the C300 is louder than the IS motor on the 24-105 L lens which I know can be an issue in itself.

No USB
It’s no biggie but I think this is the first camera I’ve had that doesn’t offer any way of offloading it’s contents internally. If in a push with the 5D or EX1 you could always revert to the USB port and offload directly.

Wonky monitor
With the camera mounted level on a tripod the monitor ends up being tilted to the right by a couple of degrees, this seems to be down to the assembly that allows the whole monitor unit to rotate. I find it a little distracting because I tend to use the top of the monitor as a guide to level, which of course is not in this case here. I’m also not overly keen on the design of the monitor, it has a rubber edge that I’ve already had to push back on a couple of times after i started to come away from the monitor.

It’s fast – and it remembers where you were
Power up, power down and switching between camera and media modes are all very snappy, it’s much faster in operation than the EX1. Best of all if you switch to media mode and then back to camera mode the previous mode and settings are restored, even if you were shooting with special modes selected.

Audio controls
The audio controls are below the LCD monitor which is great if your shooting with the camera at waist level. If however you have the camera on a tripod shooting an interview at eye level it’s totally useless and you don’t have a chance of seeing the position of the audio switches or the gain levels.  You can mount the monitor unit in a vertical position which helps, but then the mic is pointing at the sky which as well as making you look stupid will also result in terrible audio :)

Also while I’m venting… if the clear plastic cover that protects the audio switches and level controls survives my first years shooting I’ll be amazed.

Peaking & Zebra during Magnify
It’s a little thing but it’s great that Peaking and Zebra features still work when magnify is enabled.

Waveforms
The waveform monitor on the C300 is just fab, I do miss the histogram from the EX1 for quickly gauging dynamic range but the various waveform modes work well. There’s various options including vectorscopes and RGB parades but I find the ‘Line + box’ option to be particularly useful as it shows a full waveform range but also allows you to highlight a specific area of the shot in red.

No Waveform in the EVF
No Waveform in the EVF!!!

Yes I felt the need to say that twice! Canon what were you thinking? It’s quite nice shooting with the monitor module removed. The trouble is though there’s absolutely no way of judging dynamic range and overall exposure. You can set Zebras from 70 – 100 IRE which at least allows you to know which parts of the image are blowing out but what about knowing were the blacks are? This needs to be fixed in a firmware update.

Audio Meters
The audio meters on the C300’s main LCD are quite small and thus don’t provide as much fine detail as those on the EX1. You can of course still judge the basic levels but it would be nice if they were a little wider and showed more detail. The audio meters are also removed when the waveform monitor is visible so you can’t use both at the same time.

It’s mute as well as deaf
The C300 doesn’t have any built in mics, that’s not a big issue for me as I very rarely use the built in mics on any camera I own. I do however like to show clients shots from time to time and even though the speakers built in to cameras like the 5D2 and the EX1 are small and weak sounding they can put out enough volume to let a client preview a shot on the camera. The C300 doesn’t have any built in speakers though, so headphones or external monitors with audio are the only option.

The Canon plastic
Okay this is getting very picky but it’s something that bugged me about my Canon XH-A1 and I’ve already become aware of it with the C300. The plastic canon uses on both cameras has an amazing ability to pick up what looks like scratches just by touching it with your fingernails. This doesn’t happen with my DSLR’s so there’s obviously different materials in use.

But most importantly…. images
I expected nice images but I was still blown away when I looked at the footage on my HD TV, there’s something special about the images from this camera, they are highly detailed without being overly sharp, very natural looking. Yes there may be a few annoyances but the images this camera produces are just lovely.

Update 12-3-2012
After shooting some exterior footage I’m having a few problems with Chromatic Aberration (at least that’s what it looks like) when shooting with blown out highlights in the frame. In order to see if the lens was the issue I’ve tried the same lens on the 7D and the C300.  The results are fairly shocking to be honest.

The images below show the same shot (roughly) taken with the 7D and the C300, both used the 24-05 at f8. The shots are overexposed to test for the issue.

The 7D shots are on the left.

 

 

Click these for larger images…

 

 

When the sky is exposed correctly the images look fine, it just seems to be happening when the images are blown out. Maybe this camera just needs a different approach than what I’m used to and blown highlights need to be avoided at all costs. That’s going to be tricky in some of the non controlled environments I have to work in though. I remember shooting an awards presentation for Harley-Davidson in Croatia last year when the stage was unlit and had a backdrop of the setting sun! No choice there but to shoot silhouettes or blow out the background.

Update 15-2-2013

I’m updating this post almost a year after reporting this as a problem and Canon have finally made available a fix for the issue in the form of a publicly available 1.0.8.1.00 firmware for the Canon C300. It took them a while but they acknowledged and fixed it in the end!

 

To find out more about the C300 see my First Look Review where I detail the features of the camera.

View the Canon C300 EF version on B&H

Canon C300 first look review

Update: 17-1-2012 – The Canon C300 is now available for Pre-order from B&H.

Today I went along to CVP in Brentford London to have a closer look at the new Canon EOS C300. Announced on November the 3rd this new Canon S35 camera has received a lot of attention as well as a fair amount of criticism due to the combination of a much higher RRP than expected and some less than cutting edge specs.

 

The Canon EOS C300 was announced with a recommended retail price of $20,000 without a lens. Many DSLR users were expecting a camera that would compete with Sony’s FS100 but as it turned out a it’s closest competitors are the much higher end Sony F3 and the Red Scarlet, the later of which which was launched on the same day as the C300. Since the release there have been a lot of rumours about the price actually being less than $20k and it does seem as though this is the case with many UK dealers now listing it for pre-order at less than £10,000.

Like the Sony F3 the C300 records at a maximum resolution of 1080p to it’s internal cards. The C300 trumps the F3 slightly in this regard with it’s BBC approved 50 mbps XF codec but whereas the F3 has the ability to output a full blown 4:4:4 uncompressed signal to external recorders with the addition of a $3,700 S-LOG option the C300’s single HD-SDI port is limited to a 1080p 4:2:2 8bit output. This single limitation is seen by most as being the biggest weakness of the C300.

The Red Scarlet is a feature limited version of the Epic, the king of high resolution raw output with it’s 5K sensor and workflow. For my use though working with 5K or 4K raw footage would actually make my post production a lot more time consuming than it is at present and my clients would be unlikely to pay for that time. I moved away from having to transcode footage when I started using Premier Pro a year ago, I don’t want to go back to doing that again for every shoot. Should a project come along that needs super slow mo or 5K raw files I would definately rent an Epic. As a massive fan of slow-mo I’d love to shoot with an Epic, but both the price of that camera and the fact that it would increase my post production timescales are good reasons to look elsewhere. The Scarlet isn’t quite as attractive to me, you get all the workflow implications without the awesome 4K frame rates.

So what many see as the C300’s Achilles heel isn’t actually such a problem for me, I’ll be perfectly happy recording to the cameras internal compact flash cards at 1080p. The one specification that I was disappointed by though was that the C300 can only record over cranked 50 fps or 60 fps material at 720p. It would have been great if Canon had built the camera to do 1080/60 but much like the Sony F3 and EX range it means switching to 720p first.

First impressions

I had a few reservations and questions based on ergonomics and functionality of the camera. How well would it fill the gap between my EX1 and DSLR’s? Things like exposure aids, audio capabilities and hand holding ability were amongst the list of things I wanted answers to so below is run down of what I discovered…

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