C300 Dealers & Price Announced in the USA

[Canon Rumors]

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<p><strong>Dealers announced

</strong>There will be 17 dealers for the new Canon EOS C300 camera in the United States. The launch price of the camera will be $15,999 USD. One in particular, <a href="http://www.filmtools.com/canon-c300-cameras-aks.html">FilmTools.com</a> has put a video up explaining how the launch is going to work. It also sounds like all the third party manufacturers will have their accessories ready to go.</p>
<p><a href="http://www.filmtools.com/canon-c300-cameras-aks.html"><strong>FilmTools is taking preorders on all things C300</strong></a></p>
<p><strong><span style="color: #ff0000;">c</span>r </strong></p>

 

[kapanak]

One phrase: Dat Price.

 

[c.d.embrey]

I like Film Tools, good people who know what they are talking about. I buy camera, expendables, and grip equipment from them.

 

[bigblue1ca]

One phrase: Dat Price.

Actually it wasn't the camera that made me cough, it was the $45k for the glass.

 

[dolina]

The gear's targeted at people who make substantial revenue from film making. You can easily pay it off within a year if you do paying jobs.

 

[Minnesota Nice]

Yeah I'll just sell my car and buy one and have the leftover 25k for one lens.

 

[dswatson83]

The gear's targeted at people who make substantial revenue from film making. You can easily pay it off within a year if you do paying jobs.

That is true, however, it is still price prohibitive. Many of these film makers could shoot with more established RED cameras, Sony F3's, or the Panasonic AF100. Not to mention, Nikon's new D4 and Canons 1Dx address many of the prior issues with DSLR video. I just don't know why anyone would adopt a new camera system for $5,000 more than the competition unless there was some extreme difference in quality. While canon does a great job with video, this is their first official full PRO camera and thus is much riskier than some of the RED or Sony cameras that have been used by professionals in many films already. I owned Canon's XL1, GL1, and now the 60D all that produce great video. But if I were to enter the pro video segment, I would never pay 5 grand more for Canon's C300 while other more established and equally great (at least by specs...we will see what the reviewers say) can be purchased for way less. Canon either needed to beat the competition in specs or price.

 

[aaronofnero]

The gear's targeted at people who make substantial revenue from film making. You can easily pay it off within a year if you do paying jobs.

That is true, however, it is still price prohibitive. Many of these film makers could shoot with more established RED cameras, Sony F3's, or the Panasonic AF100. Not to mention, Nikon's new D4 and Canons 1Dx address many of the prior issues with DSLR video. I just don't know why anyone would adopt a new camera system for $5,000 more than the competition unless there was some extreme difference in quality. While canon does a great job with video, this is their first official full PRO camera and thus is much riskier than some of the RED or Sony cameras that have been used by professionals in many films already. I owned Canon's XL1, GL1, and now the 60D all that produce great video. But if I were to enter the pro video segment, I would never pay 5 grand more for Canon's C300 while other more established and equally great (at least by specs...we will see what the reviewers say) can be purchased for way less. Canon either needed to beat the competition in specs or price.

What professional cameras are you speaking of exactly? As of right now, The only one that comes to mind that might be able to be used for professional use is the fs100. The AF100 falls short on a handful of issues, so I wouldn't really bracket that in the professional sector so much (since we're discussing price point here). a functional RED Scarlet package is around $17,500.

 

[HurtinMinorKey]

^^

Not to mention that RED's sensor tech is almost outdated at this point, whereas the sensor in the c300 is state of the art.

 

[WildBill]

From the Canon website, here are the authorized dealers and renters.
http://usa.canon.com/cusa/consumer/standard_display/Cinema_EOS_wtb

DEALERS

Able Cine Tech
http://www.abelcine.com

B&H
http://www.bhphotovideo.com

Cinema Shot
http://www.cinemashot.com

Cinequipt
http://www.cinequipt.com

Communications Engineering, Inc. (CEI)
http://www.commeng.com

Filmtools
http://www.filmtools.com

Midtown Video
http://www.midtownvideo.com

Professional Video and Tape
http://www.provideoandtape.com

Rule Broadcast
http://www.rule.com

Samy's Camera
http://www.samys.com

Showcase Photo & Video
http://www.showcaseinc.com

Snader & Associates Inc
http://www.snader.com

Texas Media Systems
http://www.texasmediasystems.com

The WH Platts Company
http://www.whplatts.com

TV Specialists
http://www.tvspecialists.com

Video Tape Products, Inc.
http://www.myvtp.com

ZGC
http://www.zgc.com



RENTAL HOUSES

Liman Video Rental Co.
http://www.lvrusa.com

 

[dswatson83]

What professional cameras are you speaking of exactly? As of right now, The only one that comes to mind that might be able to be used for professional use is the fs100. The AF100 falls short on a handful of issues, so I wouldn't really bracket that in the professional sector so much (since we're discussing price point here). a functional RED Scarlet package is around $17,500.

You do realize the the C300 body only is $16,000 with the cinema lens listed at $45,000. The $16000 RED Scarlet package comes with 2 batteries, chargers, card readers, a 5" touch LCD screen, and a 64GB Card. Not to mention the Scarlet comes with the ability to record 4k, raw format, more dynamic range, and 1080P @60fps. Plus it is RED's 3rd camera after the RED One and Epic (same sensor as the Scarlet) have been used on hundreds if not thousands of shoots...including many full budget Hollywood feature films. The Sony F3 is pretty nice looking as well. I would be a bit concerned on the editability of Canon's new codec as well (don't think it's considered raw). I reserve final judgement till after I see images but the Canon needs to have some serious quality for anyone to drop that much on a 1st gen pro camera. Since i'm still in the prosumer market however, I unfortunately don't own any of these.

 

[VerbalAlchemy]

Canon's pricing strategy has been questioned a lot, but following the early reviews, it looks like Canon's not out of line vis a vis RED. Canon's codec uses 4:2:2 8-bit color space, so for serious colorists, it doesn't offer the RAW video files that the Scarlet does. That said, RED's RAW imagery actually increases its effective price; the capture devices and (to a lesser extent) editing horsepower necessary to take advantage of these images adds thousands of dollars to the price. The C300 is the more economical deal, at least in this regard. Plus, early reviews state the the Canon codec, puny compression scheme notwithstanding, actually stands up well to color correction.

The F3, meanwhile, looks like a better deal relative to the Canon. However, the C300 comes with Canon's color profiles included, whereas the F3 requires that LOG capability be purchased separately. This capability is what gives the F3 its Alexa-like capabilities, and which allow it to arguably outclass the C300. So unless one is willing to plop down the extra change, the F3's price-competitiveness with the C300 might not be as favorable as it seems. We'll have to see more footage from the C300 to know how useful Canon's color profiles are, and whether C300 allows enough color latitude. At the least, though, the C300 form factor and build quality make it a formidable documentary cam, as well as a useful, discrete options for narrative indie filmmakers who shoot without sets or employ various Dogme 95 or veritae techniques. Its low light capabilities are also much better than the Scarlet's, and the F3 only competes in this regard with its expensive upgrade. So for certain jobs, the C300 might be the best camera on the planet. Whether it's also a fully-qualified cinema camera that can sit alongside the Scarlet, which has clear strengths in a controlled environment, remains to be seen.

I am very curious to know, though, how this pricing strategy will extend to the Cinema DSLR. At $4,000 - $5000, the camera would tempt me to save a while longer and buy one. 24fps 4K images make the camera not only an interesting motion picture tool but also a capable (if limited, since the images will be MJPEG) sports camera. Not in the sense that one could shoot at the Olympics like one could with a 1DX, of course-- but for strict web use, a 24 8 megapixel images per second could definitely be useful for stills as well as for video. I also expect the thing to more or less see in the dark, perhaps even better than the C300 does, given that the DSLR will use a full frame rather than Super35 sensor. But if it's more expensive than $5,000 (and even that would take a lot of disciplined savings), I'll probably go for the 5D Mk III, assuming it is indeed the more 1DX-like update that is rumored. I'm someone who shoots events, street activity, and sports as a stills guy, and who does time lapses, documentaries, ads, and indie-styled narratives as a motion guy-- so this camera would make me very happy. Insanely happy if it (improbably) upgrades the autofocus or has the same FPS capabilities as my 60D. If it's a high-megapixel monster, as has also been rumored, AND the Cinema DSLR is monstrously expensive, I'll be sort of bummed.

 

[c.d.embrey]

The big thing that the C300 has going for it is SIZE! It is a much smaller camera than either the Sony FS100 or F3. And SIZE MATTERS, if you are shooting on location, SMALLER IS BETTER.

A lot of Pixel Peepers have seen the Specs and proclaimed the C300 a POS. Many Union DPs have tested and seen the results on a big screen, and they don't have a problem with the C300. So who you gonna trust, Professtional Pixel Peepers or Professional DPs

 

[aaronofnero]

What professional cameras are you speaking of exactly? As of right now, The only one that comes to mind that might be able to be used for professional use is the fs100. The AF100 falls short on a handful of issues, so I wouldn't really bracket that in the professional sector so much (since we're discussing price point here). a functional RED Scarlet package is around $17,500.

You do realize the the C300 body only is $16,000 with the cinema lens listed at $45,000. The $16000 RED Scarlet package comes with 2 batteries, chargers, card readers, a 5" touch LCD screen, and a 64GB Card. Not to mention the Scarlet comes with the ability to record 4k, raw format, more dynamic range, and 1080P @60fps. Plus it is RED's 3rd camera after the RED One and Epic (same sensor as the Scarlet) have been used on hundreds if not thousands of shoots...including many full budget Hollywood feature films. The Sony F3 is pretty nice looking as well. I would be a bit concerned on the editability of Canon's new codec as well (don't think it's considered raw). I reserve final judgement till after I see images but the Canon needs to have some serious quality for anyone to drop that much on a 1st gen pro camera. Since i'm still in the prosumer market however, I unfortunately don't own any of these.

...the c300 comes with a battery that lasts almost 5-10 times as long as the red batteries, a charger, and a touch LCD screen as well... (card reader isn't necessary because you can get an inexpensive one for CF cards, and CF cards are far cheaper than RED's SSD Cards). Yes, scarlet gets 4k recording and 60fps @ 2k (at a crop magnification), as well as RAW format, but it doesn't have better dynamic range.. as a matter of fact, that has been one of the benefits over the RED that people are considering with the c300. You keep bringing up the Epic, but the body of the Epic alone is $40k. Yes, the scarlet is the same sensor, but its not as impressive as the Epic. There's a pretty good reason for the price gap there. This may also be Canon's first "film" camera.. but that doesn't mean they haven't taken consideration to their professional efforts based on their DSLR video impressions. Comparing the scarlet to the c300 isn't going to be your best route of defense. In my personal opinion, you certainly get more with the purchase of an f3, but i still find the c300 to be useful for its price point. it's ONLY 16 grand. Yes, that's a lot for a number of people, but honestly.. when have you EVER seen any professional cameras this cheap in the past 6 years?

 

[aaronofnero]

Canon's pricing strategy has been questioned a lot, but following the early reviews, it looks like Canon's not out of line vis a vis RED. Canon's codec uses 4:2:2 8-bit color space, so for serious colorists, it doesn't offer the RAW video files that the Scarlet does. That said, RED's RAW imagery actually increases its effective price; the capture devices and (to a lesser extent) editing horsepower necessary to take advantage of these images adds thousands of dollars to the price. The C300 is the more economical deal, at least in this regard. Plus, early reviews state the the Canon codec, puny compression scheme notwithstanding, actually stands up well to color correction.

The F3, meanwhile, looks like a better deal relative to the Canon. However, the C300 comes with Canon's color profiles included, whereas the F3 requires that LOG capability be purchased separately. This capability is what gives the F3 its Alexa-like capabilities, and which allow it to arguably outclass the C300. So unless one is willing to plop down the extra change, the F3's price-competitiveness with the C300 might not be as favorable as it seems. We'll have to see more footage from the C300 to know how useful Canon's color profiles are, and whether C300 allows enough color latitude. At the least, though, the C300 form factor and build quality make it a formidable documentary cam, as well as a useful, discrete options for narrative indie filmmakers who shoot without sets or employ various Dogme 95 or veritae techniques. Its low light capabilities are also much better than the Scarlet's, and the F3 only competes in this regard with its expensive upgrade. So for certain jobs, the C300 might be the best camera on the planet. Whether it's also a fully-qualified cinema camera that can sit alongside the Scarlet, which has clear strengths in a controlled environment, remains to be seen.

I am very curious to know, though, how this pricing strategy will extend to the Cinema DSLR. At $4,000 - $5000, the camera would tempt me to save a while longer and buy one. 24fps 4K images make the camera not only an interesting motion picture tool but also a capable (if limited, since the images will be MJPEG) sports camera. Not in the sense that one could shoot at the Olympics like one could with a 1DX, of course-- but for strict web use, a 24 8 megapixel images per second could definitely be useful for stills as well as for video. I also expect the thing to more or less see in the dark, perhaps even better than the C300 does, given that the DSLR will use a full frame rather than Super35 sensor. But if it's more expensive than $5,000 (and even that would take a lot of disciplined savings), I'll probably go for the 5D Mk III, assuming it is indeed the more 1DX-like update that is rumored. I'm someone who shoots events, street activity, and sports as a stills guy, and who does time lapses, documentaries, ads, and indie-styled narratives as a motion guy-- so this camera would make me very happy. Insanely happy if it (improbably) upgrades the autofocus or has the same FPS capabilities as my 60D. If it's a high-megapixel monster, as has also been rumored, AND the Cinema DSLR is monstrously expensive, I'll be sort of bummed.

Right on the money, VerbalAlchemy. Couldn't agree more. Well said.

 

[ssrdd]

all the loyal to canon, can scream or shout at but c300 price is not up to the mark for its specs.
8bit
422
no raw
no 2K
?????
( i think they r compensating the losses happened by tsunami)