I ran across this old blog post at ProVideoCoalition.com that features a fairly comprehensive comparison of the resolving powers of the Panasonic AF100 and the Sony PMW-F3, among other cameras such as the Sony EX3 and EX1, the ARRI Alexa and the RED Mysterium. It’s a pretty interesting and tech-heavy read.
While roaming the NAB Show floor with my Panasonic AF100, I stopped to interview Dan May of Blackmagic Design, who talks about their new Blackmagic Cinema Camera (Canon EF mount only), which can record in RAW at a resolution of up to 2.5K. It is the first camera I’ve seen to feature a Thunderbolt out port for recording in highest resolution. This tells me that we can expect a lot more Thunderbolt accessories from Blackmagic in the near future. Personally, I find it unfortunate that Blackmagic has chosen to release the camera in EF mount only. I would think that Micro 4/3 would have been a much better choice considering it is a much more versatile mount. What do you think?
In my professional life, I’m primarily a stills shooter. I shoot a lot of editorial and press work for folks like the Associated Press, Getty Images, newspapers, and the like. I also shoot a lot of commercial stills work, for PR firms, agencies, etc. I shoot with Canon DSLRs (and my old Canon F-1N) exclusively, except when I’m using one of my Leica rangefinders. So, I know how badass Canon’s cameras are. For video cameras, however, I’ve always preferred Panasonics. I like their design philosophy and the professional quality of their cameras.
I was excited to try the video capabilities of the EOS 5D Mark II when it was announced, and indeed, as soon as mine arrived after they had begun shipping, I shot a feature length film on it. I was pleased with the results (especially with my Zeiss ZE primes. Wow!), save the moiré and rolling shutter problems, and once Canon updated the firmware to allow for 24p and manual audio level control, it was even better. As soon as I saw how the 5D2 was changing the face of indie filmmaking – and let’s face it, the camera was a real game-changer – I immediately predicted that Canon would capitalize on the serendipitous success of their camera and design a professional camcorder body with a large imager that would provide the best of both worlds. Right away, I knew it was coming.
I did not predict, however, that Panasonic would beat them to the punch with the AF100, followed by Sony with the F3. I wasn’t really surprised, though, because it is in Canon’s nature to wait until the other players have shown their cards and then release something awesome that raises the bar again, which brings me to the subject of the new Canon EOS C300 cinema camera.
Admittedly, I have not yet extensively investigated the specs of the C300. I know that it outputs a 1080 HD picture and that it uses an 8MP S35-sized chip. I also know that it shoots 4:2:2 onto CF cards at a 50Mb/s data rate (I would have expected 100Mb/s). What I don’t know, however, is why it costs US $20,000. It seems to me that instead of dropping that kind of coin on a C300, my money would be better-spent buying a Sony F3, which can record 4:4:4 out to a dual-link HD-SDI recorder. Even with the S-LOG upgrade, the F3 costs less than the C300.
Obviously – hopefully – I’m missing something, and there are actually some good reasons why the Canon C300 is more expensive than a Sony F3. Is there a reader out there who has investigated the C300 thoroughly, and can shed some light on this subject?