New from Canon: EOS C300/C300 PL Cinema Cameras



The following is a press release from Canon Inc. and Canon USA:

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 digital SLR 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.

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 [email protected] 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 1/2.5x made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps) 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.

Hands-On Review

To supply you with even more details regarding this new camera, we'd like to show you our hands-on review of the Canon EOS C300. To watch the video, please click here

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 Canon's online demonstration footage of the new products, please visit:




Need updates on new video cameras

Seasoned A.S.C. DP veteran of the FOX series "24" Rodney Charters gives his thoughts about the C300. His recomendation of this camera is all the experience PROFESSIONAL opinion I need. The price?. Hey you not going to get all of the pro features in a cinema digital movie camera for a "schmuck" price of $5000. Sorry! You get what you pay for. If you can't afford it then stick with the 7D.

Well, the Canon EOSC300 does not have that many "pro" features at all, frankly.  In fact, it is missing a few that are found on the $5,000 SONY and PANASONIC competition.

That is not hard to figure out, actually. Both Sony and Panasonic have been in the PROEFESSIONAL video camera business for a long time. And this is Canon's first ever attempt in the league. I am sure they will get it right eventually. But the EOS C300 -- just isn't that, sorry. And the camera is no worth $16,000 any more than it is not worth the initially reported price of $20,000. Moving the price towards the competition's price point will sell more C300s, I am sure. 

The C300 is not intended to be a "video camera";the intent  is a digital motion picture camera.The Panavison,Arriflex's,Moviecam etc.does not have XLR inputs/outputs,and they cost way more than the some of the expensive video cameras. The only really electronically video output configuration  these cameras have are CCD outputs for monitoring.. And on some of the Arriflex 535 especially,if you want to shoot Super 35mm,the camera would have to be shipped to the factory to compensate for that ratio. These film motion picture cameras also does not have autofocus,in which expensive video camcorders have. Cinematographers do not need those features that videocameras offer.  I think people who want a videocamera have their cameras. But the C300 is for peple who want  to step up to cinematography digitally without the expensive workflow of the Panavisions,Arriflexes,Moviecams etc. Flim processing of for a couple of magazines of the can run into the thousands of dollars. But with the C300, you will be using CF cards,in which the fastest cards are no more expensive than a used 300mm 2.8 Canon lens. Really I think the confusion some people have is what experienced videographers want and what experinced cinematographers want. Well the C300 is the answer to cinematographers who are really on a ramen noodle budget. lol..

 Cine is full size chip  and xf 305 3 x  2/3 both are clearly superior over DSLR for moving image recording becasue of  4:2:2 processing. 5D and the rest are Stills cameras and compress h.264 onboard. So really if you are trying to achieve any  level of  quality recording in the first instance then i believe it is  processing and chip layout . I wonder  what lifetime  and degradation you get warrented on the C300  chip as compared to the 5D chip?

sorry bro, your comment isn't true. most of cine camcoders has auto focus. arriflex, sony, red and etc. for the motion picture camcoder requered xlr and rgb output. xlr and some other out put options not only uses for monitering but that same point uses for external recording and extended contols. canon c300 isn't a perfect camcoder. it has so many negative points on it. moire is still same as dslr cameras. actually c300 is a repacage of dslr.

i don't own any RED lenses but I own some EF lenses. So the C300 EF Mount would get my vote to purchase. Sorry the RED or the Scarlet has waaaay to much crap to buy for it to be a working camera. Plus the CF cards are waaay cheaper than the RED or Scarlet's memory cards. The seasoned Hollywood veteran cinematographers have endorsed this camera,why should I listen to amateurs who only shot footages of their pets with  theit HDSLR's.  Congratulations Canon,

Forget this one. Drop the price to $5,000 or below, then we'll see.

Okay, so it is now priced at $16,000. Too much.

Once Canon drops the price to around $5,000 to compete with the Sony NEX-FS100 and Panasonic AG-AF100 on price, there will be some takers for the Canon EOS C300 at the app. 5 grand price. But probably not many until then.

Canon needs to get their game straigth ..... a long time ago they were untouchable  ... probally the ones that ruled the monopoly game in both photography and video ... however its 2012  and with the tech raising the bar to its climax and with so many great quality outlets  the competition is getting bigger and bigger for both ends of the rope ... this camera would be worth the 20k  ( if ) it was a 10-bit  with a output of 4k .... 20k for a 1080p ....they are loosing in the market of independent filmmakers and production  vs a company like red which gives a approach to both ends of the pro market with the release of the red one , epic and scarlet  all 3 cameras with a 10-bit and a 4 k resolution however they have their differences  both on specs and price  ... and thast what canon its missing  get in the game before you lose more than you already have by not keeping with todays demands ...

 sorry canon ill pass and go for the scarlet ...

Canon has gotten big, fat and arrogant! They have fallen out of touch with there clients. I look at this product and think, "great product!" but I look at the price and feel like I'm being robbed if I buy this thing. I agree with you, GO RED!

Wow...I thought Canon was wising up, since they are the ones who gave us the 5D Mark II the camera that has revolutionized film making /production/every form of media. This is a Sony tactic to devise a product that seems to be "high end" or "Special"and bring it to market under after blowing our minds at a reasonable price range why would we go to this product? Consumers are no longer fools for this type of marketing. You can do High End Production on a $3,000.00 camera now...heck the GH2 hacked does 12800 ISO and that is a $699.00 body. Not full frame but perfect for most productions and you can run it as long as the battery will hold up.

Sorry this $20,000.00 price tag is for fools. I may be headed for middle age but I don't need a sportscar or a 19 year old girlfriend to prove that I am still viable...I can shoot with a $1500.00 or $3,000.0 camera and still get a $100,000.00 picture...and my clients want me...not the branded camera.

 Bad move Canon; and we were getting along so well.

call me if you are serious about some sound DP advice. I'm not a bean counter or a PR guy...but I use the technology and I say...this is dumb.

Why does the the c300 cost so much more than a DSLR?

DSLR vs C300

C300  pro audio XLR ins = time savings -DSLR - no

C300  a codec that is good for editing right away and makes broadcasters happy = time savings -DSLR - no

C300  the best low light performance with nice grain- DSLR - no

C300   build quality for rough weather -DSLR - no

C300 non line skipping sensor, horizontal lines in images, moire under control- DSLR- no

C300 can record to 2 cards at once for on the fly backup = timesavings -DSLR - no

C300  waveform monitor for perfect exposure -DSLR - no

C300 modular -ready to use out of the box no need for rigging up -DSLR - no

C300 excellent dynamic range (this is a major selling point for me)- DSLR - no

C300 controlled image sqew and wobble- DSLR - no

C300 wifi remote monitoring(a less than$500 add on) - DSLR - no

C300 4k sensor (2k green, 1k red, 1k blue) nice skin tones, grain etc - DSLR- no

C300 built in ND filters (this is another selling point for me) - DSLR- no

Price looks to be about $13,000 - $16,00 not $20,000

This is what comes to mind right away without even using one, you really can't compare a DSLR to the C300 camera as this is built for professional work in moving images not stills. I'm looking forward to not having to have narrow depth of field all the time and having a nice dynamic range.

First off, if you are trying to sell this product to consumers then you are nuts. How many consumers make high-end productions? Also, please clarify your meaning of High End Production. The amount of true "high-end production" that utilize the camera's you mentioned can be counted on two hands. By "high-end," I mean nationwide broadcast TV or Movies. I own the same cameras. I know them just like the rest of the video world. You can't use one camera. I'm not talking to capture multiple angles. I mean the sensor overheats. Sure you can avoid this by adding time between shots but that shouldn't be the way to manage a production schedule. Let's not even go near moire and skew which is an issue and should be dealt with in camera and not post-production.

Dude, I get your point that you can make quality content with an HDSLR but seriously if I were shooting for major studio, it isn't your choice camera. 

I encourage you to read:

Here are some important excerpts: "...They are at home as A Cameras for Independent Films, Commercials, Television and Dramas as well as B Cameras on Major Motion Pictures..."

"It's important for newcomers to pro video cameras to note, however, that this is not simply an EOS SLR sensor that's been surrounded by a pro video camera body. Likewise, this is not a "full-frame" sensor. The EOS C300/PL sensor is completely dedicated to HD video."


I appreciate your comments. What I loved with my old XL1 was the quality of video and sound. I love the video I get from my T2i, but the sound quality is not good enough because of the firmware. What advice do you have?

My T2i is my bridge until the industry figures what direction to take. 

This camera is worth about $10k to me. Once it's in that ball park, I will definitely get one. Right now F3 will do.

In UK you can buy c300 for $15,000 with 12 months interest free finance.

Can I have some of what they are smoking for $20K... I was ready to buy but its not worth $20K!!!


Looks like a nice camera, but the price should have been $12,000.

That would've been very compelling when I examine the specs etc.

It's the same LCD as the XF305, same recording codec, menu structure.

Great new sensor and lower light capability but not for twice the price of 

an XF305 which includes a lens. Now, I'm not about to buy an XF305, but 

you have to admit it's looking like a better deal considering the BBC approved

it for HD production. It's unfortunately not good in low light.

All in all, it looks like you'd have to spend about $25,000 with lens etc to

have a ready to go EOS C300 camera. 

Canon ,I need tell some thing here,because this camera is over priced,50mbps 4:2:2 , 1080p only for 30fps camcorder is 20k,think first who going to buy,can't do any slow motion,no RAW recording only 1080p,for me ,20k I can buy RED SCARLET with all accessories ,I can record 4k raw,if u wanna record 1080p just connect a Atomos Samurai to Scarlet then you will get 10bit prores 4:2:2,Your camera is only 8 bit Canon only 8bit.Then who going to care about your sensor is 4k, but only give us 8bit 1080p,Then better buy Sony fs100 can over crank it, the prise is 5k ,or F3 atleast you get 10bit output,now this days RED footage EASLY edit with Adobe CS5 like butter,no Red rocket needed,you will get all RAW possibility there,Only one think I can agree with C300, it has a good low light capability,for that purpose I don't know who going to spent 20k ,good low light camera is available in market only for is Sony FS100.connect with Atmos Samurai u will get uncompresed prores4:2:2 ,

First of all everyone who "loves" Red needs to understand that Scarlet does not record a true 4K image just like the Epic doesn't record a true 5K image. People need to educate themselves about the truth about image processing rather than believing the marketing hype of Jim Janard. So like I have said many times before to the opinionated people trying to say this camera is overpriced, How about you shoot with it before saying it isn't worth the money. And good low light is available for $5000, somewhat true but I guarantee you it will not compare to the images from this camera in low light at extremely high ISO. Canon did not go wrong here in what they decided to release as their first step into the cinema market, it is actually only a sign of better things to come. So if it's not for you than it's not for you. But stop whining about the specs of a camera you have never tried like so many others on the internet and just go buy a Red.

Has anyone done a quick side by side with the Panasonic AG-AF100?

Hello -

Great suggestion for a possible article for "B&H In Depth" once we obtain a camera from Canon for a hands-on evaluation.

Given the huge difference in price between these two cameras we expect the Canon to surpass the Panasonic on many levels.  That said, these cameras are targeted at  two  different market segments and probably not intended to compete directly with each other.


The Canon C300 and Panasonic AG-AF100 share 2 distinct characteristics: they are both large sensor camcorders and have the ability to use interchangeable lens.

The AGAF100 only captures in AVCHD which is a format that has risen up from consumer grade cameras and now is incorporated into quite a few pro level cameras.

AVCHD is 4:2:0 and strips out quite a bit of information to keep the file size small and typically has to be converted to other file formats before it can be edited. AVCHD is a highly compressed file format which will require computer horsepower when opening.


·        AF100’s 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie camera

·        Low cost camcorder

·        Can use low cost 4/3’s lenses.

·        Can also use Hollywood studio PL lenses with adapter: 

·         Records compressed  4:2:0 and outputs  / Uncompressed 4:2:2, 8 Bit HD-SDI Output

·        Records in 1080 (60i, 50i, 30p, 25p and 24p native) and 720 (60p, 50p, 30p, 25p and 24p native, utilizing AVCCAM’s highest-quality PH mode (maximum 24Mbps)


The new Canon C300 uses a Super 35 mm CMOS sensor with a DiG!C DV III processor. It takes Canon EF Cinema Zoom and Prime Lenses plus an existing cadre of highly regarded EOS lenses. There is also a PL version which will take PL mount lens natively with no sensor crop.

Canon's MXF file is not highly compressed and is easy to work with while allowing you to capture video in a very high quality 4:2:2 color sampling.  

Canon Says -

" With 4:2:2 color sampling and a maximum Full HD 1920x1080 resolution and up to 50 Mbps bit rate, the EOS C300 achieves the highest HD Quality. "

The C300 35mm Canon sensor is much larger than the AGAF100's micro 4/3's sensor.   


·        Super 35mm Canon CMOS sensor with a high dynamic range and 160000 ISO

·        Built for Hollywood level production

·        Modular and adaptable it is compatible with virtually every cinema lens in production today

·        50 Mbps 4:2:2 codec,

·        DIGIC DV III Image Processor reduces moiré and rolling shutter issues.

·        SMPTE HD standards, MPEG-2 codec compatible with major NLE applications

·        The EF mount can use al of Canon's lenses, great for the photographer who has a large collection

·        The PL model can use the Hollywood studio level production lenses

·        Multiple recording formats. Slow motion and time lapse also

Bottom line

The C300 because of its big, Super 35mm sensor will best answer the needs of someone needing the best, most Hollywood studio style image. It will do so at considerably less cost than Hollywood studio camera equipment.

The AG-AF100 is perfect for the filmmaker who wants a high quality image but at remarkably affordable cost due in part to the slightly smaller 4/3’s sensor.

So i guess instead of comparing the Canon EOS C300 with the Panasonic AG-AF100 we should compare it with the Sony PMW-F3K. Could you please tell me what´s the difference between the Canon EOS C300 with the Sony PMW-F3K then? I wanna buy one of those 2 cameras but haven´t decided yet. Which one is better? Thanks.

Depends on if you're recording in-camera vs. an external recorder like the Ki Pro Mini, and if you're paying extra for the F3 S-Log or not. Vincent Laforet in his blog stated:

"I have done side by side tests w/ the F3 and C300 WITHOUT decks and I would definitely go w/ the C300. BUT -not w/ the decks." Why is the F3 better once a deck is added? Because the F3 is 10-bit out to a deck while the C300 is 8-bit out. That extra leeway in post is the deciding factor between two cameras with great images. If you opt for the S-Log, I suspect the F3 will have superior dynamic range, plus being 10-bit. Hands-down winner. I think a deck is mandatory with either of these cameras on a high-end shoot. 50mbps isn't nearly as good as ProResHQ for serious compositing and color-correction. Why get a great camera and then not use it to its real potential? I'm going F3.

Thanks a lot.

Isn´t the Sony F3 records max up to 35mbps in HQ 1080p? I´ve been reading about the S-Log but what is it exactly about it?

35mbps is the internal codec. That's why you need an external deck like the Ki Pro Mini. S-Log in a nutshell changes the gamma curve of the recorded image, allowing for 14 stops of latitude and recording usable information in the darks and highlights. It initially looks dim and flat, but when you color correct it, you have amazing latitude to shape the brightness and contrast of the image how you want it, without blowing out highlights or losing too much in the shadows. Google Sony S-Log videos for examples.

Yeah ive been watching some vids about it... its basically (thats how i understand it to make it simple) a filter that corrects the gamma color right? for example the RedOne records in an option of hdrx capturing different exposures to get a great quality picture in a very high dynamic range. Now whats the price of a Ki Pro Mini (is it like a external drive?) so using that i can get more mbps at the time of recording? isnt the Sony F3 uncompressed 4:2:2 ? and 10bits? or just 8bits? D:

Thanks a lot.

Hello, I am not sure if I missed it somewhere, Is the C300 PAL & NTSC? Is is like Sony Cine Alta with both options, or like the FS100U with just one or the other?


The camera is switchable NTSC/PAL. Will shoot 60i, 50i, 24p and 25p.

It is SWITCHABLE from NTSC to PAL in the Menu. So WE Europeans CAN BUY with complete confidence from B&H New York - super news for me as a BRIT - destined to BUY from B&H.

I'm very excited about this cine camera. Does it also take still photos? I do landscape filming but also like to have still images with the wonderful camera. please advise. Thanks. Dan

The C300 doesn't shoot still photos, it's designed specifically for recording video.

The Canon C300 is designed specifically for recording video, so it can record still images only in HD mode into the SD card.

Not sure if someone answered this already - it does shoot stills but only at HD resolution.

Seriously they emitted one major feature with this camera - it cant over crank to 60fps @1080p. For a Camera of this cost thats a big mistake. We are in the market and had our cheque books out but thats a deal breaker in our line of work. Going to have to wait or buy a Red Scarlet. If you guys have any clout with Canon then tell them they need to fix this in the next model pronto or when they bring out the 4k DSLR.

I emailed Canon with these questions but did not get a reply. Perhaps you know:

1. Will the Image Stablizer function on Canon EF lenses work with this camera?

2. Will it be possible to mount currently available PL lens adapters onto the EF-mount version of the camera?

3. I've read that the SDI out is 8-bit, not 10-bit. Can you confirm this?

Thank you!

1: The image stabilization is built into the Canon lenses so it will work with the C300 as all it needs is the power from the camera.

2: The EF mount is a standard so any mount adapters for EF will work.

3: The SDI output signal is 8 bit.

I heard that there could be potential focusing problems when using an EF to PL mount adapter on the EOS 300 EF, and that is the reason why Canon made a PL version of the camera.  Is this true?


Officially, we are not aware of why Canon made an EF and PL mount camera. Technically speaking a PL mount lens used with an adapter on an EF body will focus correctly.

PL mount lens are made for film making where precision adjustments and settings are required for predictable and most importantly repeatable results. While using an adapter will suffice, a professional camera operator will prefer to use PL lens mounted directly on to a PL body there-by eliminating the chance or source of error.

$20,000 and no XLR inputs?  When are these moronic designers at Canon going to enlist an actual camerman to aid in their design?  This whole phase of buying extra components to do the same job that a camera should be built to do is moronic.  Explain to me how this design can be used out of the box and ready without paying another arm and a leg to just hold the camera and operate it?  Flawed in every way.

It has 2 XLR inputs and a shotgun mount - they're on the included top piece that is removable.

"In addition to the core camera body, it comes with a removable hand grip, low angle camera handle extension, and removable LCD Monitor and control panel with XLR inputs. It also integrates seamlessly with the equipment typically in use on sets every day – dollies, tripods, rail systems, matte boxes, follow focus gear, external monitors – so shooting options are never limited by the camera."

The design seems to be more for setup users, rather than run-and-gun users.  I'd love a stable shoulder mounted DSLR camera out of the box for a prosumer price. All integrated... all one piece... throw on your shoulder, snap on a tripod.  Those two core tactics is what I think is missing.  Let's keep praying.

There's a lot of crying going around on here huh Cenzo. This camera is not for you, move on. obviously don't realize that in a real production especially a film shoot, capturing audio externally is most ideal. Sounds like you come from the ENG side of camera ops which is fine just keep in mind that this camera is more of a cinestyle configuration and thats the way things are done in this world. I would much rather have the option of what type and brand of audio equipment my production requires rather than having to settle for what the standard on board camera may be manufactured with, just saying...

"real production" LOL... I've been in both worlds where setups can take 5 hours before you even shoot and in situations where you need to just grab a camera and go.  Whether this camera is built for that or not is my concern.  When you buy a camera, you should get all the components to use that camera.  I video tape performances, concerts, night clubs, restaurants, businesses... and I would prefer a cinema style without the need to purchase an entire rig or audio config.  I can't operate with a seperate audio guy. It's basic camera operation that needs to be provided, and from what I see... there is not much out there for a quick shoulder mounting shoot that has amazing DOF and low light performance.  I'm waiting on a one package inexpensive prosumer camera.  When I heard Canon was coming out with a dedicated DLSR video cam I was excided... and to see this... is very disappointing.

And quite frankly, saying the way you work is "real production" and the way things are done in this world is quite disheartenting to those that do ALL aspects of production.  We all don't live in your style world. Comprende?

Cenzo, If you are that upset- Do not buy it-  I will look for you at the next DGA and Local 600 Guild meetings and we can compare notes on "real world"


@Cenzo: "I've been in both worlds where setups can take 5 hours before you even shoot and in situations where you need to just grab a camera and go.  Whether this camera is built for that or not is my concern"

It's not. That point was made abundantly clear. You don't use this camera to shoot weddings or birthday parties. It's really not rocket science.

I want an affordable run and gun camera that fits the industry standards. I agree sound, the ability to shoot quickly, and to do post seemlessly are important to me. Is this camera for me. At 13k I would buy it. Since I have a XL1 and I loved that camera, now I am looking to do more features. Love the run and gun approach.

Hate having to buy additional stuff to get the real look as advertized. I want an out of the box professional cam. Is this it,or should I just wait?

By the Way I agree with cenzo


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