I just checked out your gallery by the way, really really nice work man, I'm sorry for giving suggestions as if you were an amateur
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Axilrod, Im listening....
my plan is
17-40 wide landscapes
24-105 good light walkabout with IS for Video
100 macro for my studio work, nice and sharp as its prime
70-200 for zoomy things
2x extender for even more zoomy things
Its only 4 lenses, i think you crazy lol
I'd agree with several of these posts. I'll be very interested to see price point and uptake. It would seem that Canon have missed the point slightly, in that the enthusiasm for DSLR film making is from people who value a camera that can do both, and don't have the money to split their interests across two product lines.
If this is a high end product, aimed at Hollywood, then fine. I have a feeling though, that this might be one of those Canon eccentricities that never really finds it's desired market.
It is a higher end product than than their DSLRs.
Canon sees these cameras as being something to compete with the cheaper(?) Arri cameras.
The C300 cameras are not and were not targeted at people who take photographs. Yes, maybe they can, but nothing about their specifications or look says that to me. The C300s have neither automatic focus nor automatic exposure.
For those that are using the 5D2 or 7D to shoot video, I think the concept cinema DSLR is the one to watch for.
Now where will that get priced? Interesting question.
I can easily see it being more than a 5D2. More than the 1DX? Hard to say without knowing the full feature set. It could easily be $4k-$5k or more if it brings with it an increase in performance that results in requiring less post processing (time is money.)
I might agree with your Canon eccentricities comment -Drama. And can someone tell me why they have to release both a PL and an EF model at $20,000 each??? LOL, you mean to tell me the tech wizards at canon couldn't design one with a modular/swapable mount. Pop out the EF mount and swap it for a PL mount? Really not inspiring confidence here guys...
Or not even that, EF mount is 44mm, PL mount is 52mm. I can go to ebay right now and get a $10 adapter to mount a PL lens on my 7D. Anyone who buys the PL-mount C300 is locking themselves out of the EF-mount for not much benefit, but anyone who buys the EF-mount can use EF *and* PL (and not to mention, nikon, Olympus OM, pentax, M42, all Medium Format) lenses.
The only reason I can see for releasing a PL-mount C300 is to keep all the hollywood types (who don't understand much about mounts except for "i must have PL mount") happy.
There's a bit more to it that just swapping mounts, if you want to keep the focus scale (and we're talking to people who use tape measures and depth of field tables here) then here's a link to Zeiss' take on swapping mounts. http://www.youtube.com/watch?v=F6807EKs1SU They have to take special care to align and calibrate each lens to each camera and insert slender shims to make it exact. Ten minute job if you're good.
Zeiss Compact Primes are basically the familiar lenses we know from 35mm rehoused in cine compatible barrels and with smoother apertures and accurate distance scales. They have to be all the same size to fit the focusing mechanisms used by the focus puller (yes, that's a skilled job in itself).
The new Canon primes sound to me like our fast EF L-primes, similarly rehoused, going from 24mm f1.4 to 24mm T1.5, and 50mm and 85 f1.2 to T1.3 and without AF. Noted Canon doesn't really shout about these ones being all-new designs.
The difference between f stop and T stop was once explained to me as f is for people who like buying lenses, T is for people who like to stop the swearing in edit suites because of inconsistent exposure with different lenses.
On balance, reading a lot of the announcements and discussion, much of what Canon has done here is listen to the people who have to pay for post-production and do everything they can to avoid additional work on the images. I've heard (someone from a big studio, can't recall which one) the cost savings of shooting films for TV with a 5DII is taken out by increased post-processing work needed.
On the other hand, they may simply be taking the battle to Zeiss, who could be giving them cause for concern through their cosy relationship with Sony.
On the splitting camera lines into stills and video, there may be some business justification there. Broadcast rights and still image rights to big events (like the FIFA World Cup) are sold separately. These are huge content deals and there were rumblings in South Africa about the photographers upsetting the broadcasters by pitching up with cameras shooting HD material just as easily as taking stills.
Does anyone know if the sample videos shot for this evenings announcement are up on the web yet?
Oh dang. Well I feel stupid now.The three primes are 24 f/1.5, 50 f/1.3, and 85 f/1.3. It is interesting how the 50 and 85 are slower than the standard L series EF lenses, especially for such an expensive camera. They better be good.
No they are T/1.5 and T/1.3. T Stops and F Stops are different. I cant remember the exact difference, but I know that T stops let in more light, but T/1.3 is superior to f/1.2 for sure.
There it is on engaget... much clearer shot of the second camera and certainly looks like a DSLR with "C" badge in the upper left of the body.
Wait and see what the other camera costs.....QuoteVery few replies here for an 'historic' Canon announcement!Well, 16,000 bucks is a little bit out of my budghet...
The three primes are 24 f/1.5, 50 f/1.3, and 85 f/1.3. It is interesting how the 50 and 85 are slower than the standard L series EF lenses, especially for such an expensive camera. They better be good.
That's a completely new DSLR, they just showed the EF and PL mount on the C300 bodies, completely different and new camera. New 5D replacement that right there.