KitPlus - The TV-Bay Magazine

To view this page ensure that Adobe Flash Player version 11.1.0 or greater is installed.

REVIEW using it. It is even possible to predict how it is going to behave and use it to do focus throws from an object close to you to a group of people far away in the back of the shot. THE PLACE IN THE CAMERA ARSENAL Without a shadow of a doubt the camera is going to be extremely popular amongst a wide array of people and productions. For me, it trumps the images that are achievable out of the Sony FS7 by a considerable stretch (not to mention out of the box timecode and genlock and the 4k RAW output). At the point of writing I’ve not actually done the post on the work that I shot and I can’t include the real world images just yet because they are not for public release until July. For those who are interested then please check my website or follow me on Twitter @SherriffHD and I’ll be posting links when the films are in the public domain. The majority of the production is interviews peppered with some GVs and B Roll. I think it’s the perfect camera for this type of work. You want shallow DOF, a natural and highly malleable image, together with great audio quality and integration. You want the ability to shoot UHD and 4k and have simultaneous on board proxy recording. For high-end corporate work, web based work and clearly for broadcast with the new EBU certification the C300 MkII is a great option, but if you want the Canon colours and look it could equally be applied to drama or independent film. For me it comes down to individual budgets, needs and requirements. I frequently hire in kit specific to the budget and the job I am working on. If I am going to shoot on EF lenses and the budget is limited then hire fees for the C300 MkII are basically the same as the FS7 or C300 MkI so I think it’s going to be 64 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 114 JUNE 2016 just as popular as the MkI. Producers also like the familiarity of the C300 – it’s taken the FS7 much longer to become adopted by production because of this fact and the MKI C300 is still a very valid production tool. I expect that the MkII will also be much hired by independents, and think that it’s real advantage is the versatility of options it offers from data rates to multi-camera scenarios, and 4k RAW output. With the REC 2020 integration and the choice of various gamma and dynamic range options, it strikes me that Canon have really provided a solution that will have a similar longevity as its predecessor. I anticipate that it will be valid for the next three years at least. However, where does it sit in relation to Sony’s F55, the Arri Amira and Panasonic’s new VariCam range? Well it’s more affordable than these cameras and definitely not a million miles away in terms of the sensor quality and the image. I’d personally love to see Canon release a camera comparable in form to these other systems. That said, the C300 MkII is of course super configurable and the image is striking. This is what it comes down to for me. The image. I don’t mind the few shortcomings. Canon have concentrated on the image, the quality of the pictures and integration with their real strong suite – the lenses they manufacture. In this sense I can only imagine it’s going to continue to increase in popularity and it will be requested on productions more and more over the coming year. Canon’s new kid on the block is here, it’s gaining converts, certification and firmware updates and if you haven’t had the opportunity to try it for yourself, I strongly recommend you do so. Let’s not forget Canon ignited a revolution with the 5D MkII and you’d be foolish not to find out what the C300 MkII can achieve off the back of the past eight years in sensor and processing development. Pick one up and shoot, it’s pretty clear.