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Canon EOS C300 and C300 PL


Many of you might have heard about Canon releasing new cameras, the Canon EOS C300 and the Canon EOS C300 PL.

The powerful EOS C300 and EOS C300 PL cameras, centered on Canon’s unique Super 35mm CMOS sensor, revolutionary Canon’s DIGIC DV III Image Processor, and 50Mbps 4:2:2 codec writing out to dual CF cards. Compact and lightweight, modular in design, compatible with Canon’s new EF Cinema lenses and legendary line of EF lenses, as well as third-party accessories, the EOS C300 and EOS C300 PL are reliable in the studio and rugged on location – no matter how far your assignment or imagination takes you.

  • Two models: One with a Canon EF mount, the other PL
  • 8.3 megapixel 2160–3840 Super-35 CMOS sensor (4K resolution) with Digic DV III processor—enough pixels for 4:4:4 RGB
  • Canon XF codec (50Mbps 4:2:2 1080p30 MPEG2 MXF), records to two Compact Flash card slots
  • Canon “C-Log” gamma
  • SDI out
  • Presets and menus similar to Canon XF series
  • Exposure and focus control are completely manual—no AE or AF
  • Sold as a system, including LCD monitor/XLR audio unit, side grip, top handle, battery & charger
  • Availability: Jan. 2012
  • Street price: approximately $16,000 USD (Canon mount version)

And the BEST part is, you can start editing the footage from this camera in Premiere Pro CS5.5 NATIVELY..thats right, no transcoding, encoding or rewrapping of the footage. Just slap it on to the timeline and start working 🙂

Vincent Laforet had shot a film with it called “Mobius” and had used Premeire Pro to edit.

Link for Vincent’s film below :-

Link to Vincent’s Blog here

Vashi Nedomansky was the editor of this film and these are his comments from this forum :-

“Hey everyone…I’m Vashi Nedomansky and I was the editor of MOBIUS for Vinent. Just to clarify Jean Dodge’s comment…100% of the footage was the C300. No 5D or any other DSLR footage. I was at Paramount Pictures the last 3 days and MOBIUS looked amazing on their 60 foot screen along side the 3 other films shot with the C300 that Canon screened. We shot 18 hours of footage over 3 days in the desert on the shoot…and I cut it on Adobe Premiere CS 5.5 with an older Mac Pro tower, twin 24” Apple monitors and off a 2TB FW 800 drive. Two things to comment about the edit…I had NO crashes or lags cutting the XF footage over the 12 day edit run. Also…the XF codec was much more responsive and very snappy compared to 5D h.264 footage while in the timeline…a great convenience as an editor. What was really, truly amazing was that when you zoom in 300% or 400% and analyze the pixel structure of the C300 XF footage…usually what is square or rectangular in shape…was actually round and organic in form at high magnification…more in tune to film grain then hard-edged pixel clumps we have been used to. After cutting almost every codec out there….it was quite shocking to discover this and explains, to me at least, why it looks so organic in real time playback or magnified further then any useful purpose would pose.

I was lucky enough to cut The Last 3 Minutes on Final Cut Pro 7 transcoding the 5D h.264 files to Pro Res for Shane Hurlbut a couple years ago and I must say the updated, native codec edit of the superior XF codec was a real time saver and supremely enjoyable process in Premiere. Hope some of this helps….”

New Digital SLR Camera with 4K Movie Function (Under Development)

Equipped with a 35 mm full-frame CMOS sensor and supporting the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), the next-generation digital SLR camera currently under development will enable exceptional image quality for the creation of innovative and expressive images. Additional details, including the product name, specifications and scheduled launch date, have yet to be decided.

Cinema EOS System: Product Overview

Product category

Model

Mount type

EF Cinema Lenses CN-E14.5–60mm T2.6 L S

EF mount

CN-E14.5–60mm T2.6 L SP

PL mount

CN-E30–300mm T2.95–3.7 L S

EF mount

CN-E30–300mm T2.95–3.7 L SP

PL mount

CN-E24mm T1.5 L F

EF mount

CN-E50mm T1.3 L F

EF mount

CN-E85mm T1.3 L F

EF mount

Digital Cinema Cameras EOS C300

EF mount

EOS C300 PL

PL mount

Digital SLR Camera (under development) TBD

EF mount

For more information and to view online demonstration footage of the new products please visit: www.usa.canon.com/cinemaeos

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.

RED Epic Post Workflow


   Camera 

So as per RED, this is the answer to the professional’s wildest dreams and exists as the most sophisticated and capable camera ever engineered and built. It has the most advanced processor of its type in the world, enabling it to capture up to 120 frames per sec, each frame at full 14MP resolution. Its engineered to be a Digital Still and Motion Camera. It provides a native dynamic range of over 13 stops and resolution that exceeds 35 mm motion picture film.

For more information check out http://www.red.com/products/epic

Peter Jackson purchased 30 for these for filming “The Hobbit” in 3D.

   Post Production 

Adobe Premiere Pro Cs5.5, Adobe After Effects CS5.5 and Adobe Media Encoder CS5.5 can accept native footage from this camera. You would need to download an update from here  (http://goo.gl/ZrE0X).

   New Features

  •  – The ability to rotate and flip footage based on the camera orientation flag in R3D metadata
  •  – R3D Source Settings dialog now supports Echo port in Premiere Pro
  •  – Increased size of RED R3D Source Settings dialog on larger monitors
  •  – HDR Track selection and HDR Blend support
Vincent Laforet has recorded a video showcasing this in action within Premiere Pro and After Effects :-

Why edit Canon 5d, 7d footage in Premiere Pro?


A lot of folks have asked me this and hence the following explanation by Adobe’s Mike Kanfer should help debunk this conundrum.

“Yes, H.264 is definitely not considered a finishing codec, but to be clear, Premiere Pro does not use it in that way. The H.264 is read natively by Premiere and once it is decoded into the app. it “resides” internally in a 32 bit float extended color space that is unmatched for color fidelity and dynamic range. Your tests at Laser Pacific have proven that. There is no need to transcode to Pro Res, although if one prefers to work with that type of intermediate, the Adobe workflow can handle it just fine…ProRes is a great intermediate codec, but depending on the original content, some information might be lost compared to how Premiere Pro decodes the same file. For a full explanation, please refer the poster to my longer explanation below:

Adobe CS5 reads the H.264 files natively into Premiere Pro and After Effects at the highest possible quality. Our color gamut and dynamic range for tonal detail from shadow to highlight is unsurpassed. There is even support for over-brights beyond 100% in After Effects. i.e. in plain English, we squeeze more out of these files than anything else out there! Shane Hurlbut’s filmout tests at Laser Pacific have verified that our interpretation of the H.264 is the smoothest and most filmic representation available. The magic comes from the use of proprietary interpretation algorithms and I might also mention that we bypass QuickTime for this process, which avoids the whole gamma conundrum. Once the file is living inside our apps on the timeline or project, we deal with the image information at the 32 bit float level. Now that is not saying we can make an 8 bit H.264 DSLR video capture look like perfectly shot IMAX footage scanned at 16 bits, but what we do offer up is the ability to edit, apply effects and color corrections within our apps. at an unprecedented level of quality. So edit, do your VFX and color correction in Premiere Pro and After Effects with confidence that you are getting the best results. Now for the next step…we have all the typical options for exporting these files, so if they have to be passed on to another vendor for DI or another system, use the best option that suits you. For Shane’s bootcamp, we exported edited Premiere Pro projects to industry standard uncompressed 10 bit DPX files, which were then color corrected by a Quantel Pablo and projected on a huge screen. They looked absolutely amazing. Cineform is also an amazingly good compressed or uncompressed intermediate codec that rivals Pro Res and DNX and works great with CS5 on both Mac and PC. If you have Final Cut Pro on your MAC, you can choose to export all the various flavors of Pro Res through our Media Encoder, if that works better for you. Then, and only then in the process would you want to choose it as an output option. Converting your files to Pro Res beforehand for use in Adobe CS5 works great, but will not take full advantage of all the image processing that we offer by working natively in H.264. What you NEVER want to do though is to output H.264 as an intermediate. As the blogger mentions, yes…it would be like re-compressing an already compressed format…like saving a JPEG as a JPEG again. One caveat here is for the PC folks…Adobe can’t directly output Pro Res through the Media Encoder on Windows for obvious reasons (Final Cut is only for MAC), and that is where the Pro Res codec is supplied. So if you are on a PC, I recommend that you use uncompressed 10 bit DPX output as an intermediate (now available in Premiere Pro’s 5.0.2 free update which includes timecode support), a Cineform workflow, or use AJA’s KiPRO in conjunction with Adobe CS5 to layoff your finished timeline to Pro Res through this amazing and affordable device.”

Source : http://www.f2films.com/blog/why-use-adobe-cs5-to-edit-footage-from-canon-dslrs-5d-7d-t2i/

Making of a DSLR feature film.


Talking to CB Arun Kumar, Academic Director, FX School about the post production for a Ram Gopal Verma film “Dongala Mutha”. He explains how Premiere Pro and After Effects had an integral role in the post production of the film and allowed them to meet an impossible deadline.

DSLR’s – the future of Cinema


I had recently shot a case study with folks over at FX School who had worked on a feature film with one of Bollywood‘s leading film director Ram Gopal Verma. The film was shot using Canon 5D M2’s and was edited in Premiere Pro and After Effects was used for the Vfx. I will post the link to the case study here once completed.

DSLR‘s have started to make a prominent dent in the chassis of the technologically fast pacing video and film industry. I mean lets face it, they are relatively cheaper, easy to use and portable. Yeah, sure there are concerns with audio, rolling shutter effect and over heating issues but then these are just the first generation of many to come. The next generation will most probably tackle most of these issues. Infact whats amazing is that some videographers decided to take the reins in their own hands and have come out with custom firmwares and workarounds to deal with these concerns. Like the magic lantern firmware below :-

You can download and install this firmware from the following link :

http://goo.gl/punE

Be careful though and read through the install process before doing this yourself. You could damage your camera. I managed to get this working on my 550D without any hassles. There are some bugs in it but I would rather make peace with them than not use it at all.

One of Bollywoods leading post studio in Bombay has also seen an elevation in the adoption of DSLR’s for film. I was told that almost 35% of the work awarded to them is shot using DSLR’s and this has grown from being ziltch last year.

Technicolor‘s color scientists and engineers spent the last 12 months developing CineStyle along with Canon. As per Technicolor this development is to respond to the industry demand from cinematographers for enhanced flexibility in capturing images with Canon cameras.

CineStyle provides better dynamic range of the captured content. So I think its akin to the log files that are generated when a film is scanned but in this case the files are already digital. The extra dynamic range would allow for a lot of latitude while color grading shots or compositing cg elements against live action.

For someone like Technicolor to invest that kind of time and money into this gives your an idea of how seriously they are looking at DSLR post production.

Heres a NAB video showcasing Technicolor’s Joshua Pines explaining the new Cinestyle developed for Canon HDDSLR’s.


Those interested in CineStyle can download it from here 

The only ones threatened by this whole digital conduit are the film distributors who could be expelled due to the popularization of digital projections. Film as a medium for distribution will be  passe’.

At the end of it all lets face it, the audience could care less if the film was shot using a $800 dslr camera or a $111000 Arriflex, what really matters to them is the story and the entertainment value!