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tor. We used the Zacuto Sniper DSLR rig, which allowed us to mount a matte box at the front, a wireless transmitter and large Anton Bauer battery at the back, acting as a counterweight to balance the rig. Suddenly the tiny C300 is a much bigger camera. “When discussing lenses at
the start of the project, we discussed prime lenses, but decided that L series Canon zooms would afford us more fl exibility and speed. We opted for a wide (16- 35mm), standard (24- 70mm) and a long (70- 200mm) – and I have to say, with these three lenses, you are pretty much covered for most scenarios.”
competing lightweight formats, many sound operators prefer to mix to a separate device, especially on non-scripted shoots. “Working on Summer Daze With
ISO achievable on the Canon C300
16k
Low-light sensitivity “The shallow depth of fi eld you can achieve is amazing,” Marciante adds. “For Summer Daze With BlackBerry, it allowed me to hold the viewers’ attention on the foreground action and dialogue, most often with fast- paced and colourful background action de-focused behind. “We have fi lmed numerous scenes at night in dark fi elds with minimal ambient light – for me, this is where the C300 really shines. It is sensitive in low light and you can push the camera’s ISO up much higher than you fi rst think, while still maintain- ing a beautiful low-noise image. “I have also been really impressed with the colour rendition of the C300 – it has rich, vibrant colour reproduction. We shot using a pre- set cine gamma curve, with a few tweaks – and for a programme that doesn’t get a full grade, we’ve been really pleased with the results.” With its XLR inputs, the C300
also offers greater scope in audio recording, although, as with
www.broadcastnow.co.uk/techfacils September/October 2012 | Broadcast TECH | 43
BlackBerry proved an interesting challenge as we found ourselves in some extremely noisy environ- ments,” says Matt Senuik, sound supervisor. “We multitracked each cast member’s radio mic to hard drive and sent a guide mix to the camera by radio as it was impractical to be cabled in
crowded conditions. Working with the C300
was a breeze with all relevant audio and timecode functions and inputs. The wireless send and lock-it boxes were easy to attach to the cameras and did not add much weight for the operators.” As with any lower-priced camera,
there are always improvements that operators wish for. Like the 5D, the
‘80% of my shoots are now with this creative and rewarding
tool’ Chris Yacoubian
C300 is designed to work with a broad range of lenses used for stills, so there is no iris ring on the lens. The iris control on the side of the camera adjusts incrementally. Can- on’s new series of lenses will, how- ever, address this issue. “This proved tricky when fi lming scenes in changing light conditions such as the sun going in and out as iris adjustments are quite notice- able,” says Marciante. “But with care, we can usually work around this, and overall I have been really impressed with the C300 in the fi eld and would recommend it wholeheartedly.” Just as the C300 is making its mark in broadcast production, in late August along comes another offering from Canon: the C500. The C500 marks Canon’s entry into the motion picture and TV drama markets with 2K and 4K resolution, RAW output capabilities and shoot- ing frame rates of up to 120p. Pro- cam eagerly awaits the arrival of several units it has on order.
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