Camer Amusing

For the past three years, my work has been suited for the HDSLR camera worthflow with Canon 5D and 7D, a few Canon lenses, a pair of Zeiss ZF lenses, and a hefty tripod with Zacuto support gear left over from the 35mm Adapter days. These have served well for the head and shoulder work most of my work has called for…  but with new cameras being released, the heavy prep-post workload has me starting to feel a bit like Atlas.

Off the table.

Two cameras have piqued my interest. The Sony FS100 and the Canon C300. I need acknowledge two cameras, and qualify why I have ruled them out. First, the Panasonic AF100 is loved by a couple people I know, but they are traditionally people who already had Panasonic before. Two characteristics have knocked them off the table; video-like shooting and high video grain. I can’t explain it, but since the HVX200, I’ve noticed most Panasonic lower-end professional cameras are light hogs with large chunks of grain in the darks of the blue channel. (oh how I yearn for the smoothness and look of a Varicam.) The second camera, is the RED Scarlet. While everyone is freaking out at the price of around 20k, they are not factoring in the necessary accessories and restrictions the camera has. The crop factor of when over-cranking the footage, and the RAW workflow are both drawbacks when it comes to the documentary workflow I’m looking to incorporate into productions in 2012. I’m lucky to have a mammoth tripod head to support such a rig, but truly the productions I’ve worked with any RED camera have always had workarounds. I’m just tired of workarounds when it comes to my camera. 

The Contenders

I’ve been interested in the Sony FS100 since I’ve heard nothing but praise from Matt Jepsen.  The price point is very attractive, and the work I’ve seen shot with it, is very nice and clean with relatively acceptable light-sensitivity. I’m supremely interested in the Sony F3, but fear it’s pricepoint may be a bit out of my immediate reach. The FS100 holds its own up against the F3, and therefor makes it very interesting. However, the current camera I’m most interested in, is the Canon C300. Why? Because of this video:

Canon EOS C300 = Awesome from Jonathan Yi on Vimeo.

In early Fall 2011, I shot some footage with a pre-production model of the Canon EOS C300 for one week in NYC. I created an article and a video for Canon based on my experiences with the camera. The video is meant to poke fun at most camera test videos I’ve seen over the years. Canon, not thrilled with my sense of humor, does not credit or condone this video, but I think it shows a lot of the camera’s strengths.

You can read my full article about the EOS C300 here: learn.usa.canon.com/resources/articles/2011/c300_for_cinematographers.shtml

I believe that Canon made a beautiful camera that is sensible, reliable and portable in a way that I’ve always dreamed a camera could be. It prioritizes great skin tone and has higher ISO sensitivity than any other camera out there.

I know there’s nothing I can say to change the minds of the RED fan club. For the rest of the skeptics, I think once you get your hands on it you’ll understand how great this camera really is. Please buy this camera in January and go film some good skin tones in the dark. You’ll love it.

Thanks go out to all my friends for helping me with this.

I’m mostly convinced because of the A/B comparison with the 5d.

Within a week, Philip Bloom is taking the camera for a spin…  and I’m very excited. I’ve publicly dogged PB, but I really feel he’s excelled in the past 18 months.  His gear reviews are very insightful, and I respect what he has to say.  Dear Philip, forget what I’ve said about you before, as I’ve forgiven what you’ve said about me before. (Thank you for the Cineslider. See you at the hold ‘em table again in April.)