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Canon USA Announces Cinema EOS C300 and EOS C300 PL Cameras at DVInfo.net (http://www.dvinfo.net/article/acquisition/canon-eos/canon-usa-announces-cinema-eos-c300-and-eos-c300-pl-cameras.html)

That's the 1st thing I looked for when I finally found the product announcements yesterday! What's disappointing is the use of long-GOP MPEG2 as a codec. But maybe an upgrade or a future model will give us a better codec.

As an owner of 2 Sony F3 cameras for 3D work I looked at the release and specs pretty carefully. Somewhere in the data is a mention of a "sync cable" to connect two of them together for 3D work. This is good news. I'm very impressed with the CMOS engineering which they employ. De-mosaicing Bayer patterns takes a lot of punch out of a picture - it's what takes a Red 4K down to just below 3K in post, and the fact that their CMOS processing goes down to the pixel level with full 1920 R, B, & G photosites - now that's amazing. Apparent lack of rolling shutter artifacts is also huge.

On the other hand, comparing it directly to the F3, it only has one SDI output - I'm constantly using at least 2 outputs on the F3, and it won't ever be capable of 4:4:4 either. I have no experience with Canon Log Gamma vs Sony S-Log, I'd be curious as to how or whether it is better/worse/different.

On the 4:2:2 vs Sony 4:2:0 - I was pretty annoyed at Sony for not upgrading to their 4:2:2 codec for internal recording, however, now that I have shot a fair amount of SxS 4:2:0 material and worked with it in post I'm not bothered by using it for some projects that don't have the budget for external recording like NanoFlash or Pix 240. The F3 is such a clean image noise-free camera that it doesn't degrade when recorded to 4:2:0 in my experience. S-Log is another matter though, of course.

Didn't see anything about an HDMI output or whether, if it has one it works simultaneously with the SDI so one can hook up an external viewfinder etc.

Of other interest yesterday was Red's Scarlet unveiling about 3 hours after the Canon event. You can see details on the Red.com website, but it's less than the price of the Canon ($10K vs $16K) and can use either PL or Canon EF lenses with full electronic support at 5K, 4K, 3K, 2K and HD resolutions. No details on genlock though that I could find, but definitely worth looking at.

I'm going to a Martin Scorsese hosted screening of "Hugo" in 3D on Saturday at Paramount Studios and Canon will still be showing the camera on the lot so I'll report back any additional info I might see or find out.

Years ago Red was touting the Scarlett for 3D work claiming that it would have shutter sync. I'm crossing my fingers this is included.

Reading the specs and posts more thoroughly today I have to say that the one feature that the EOS 300 lacks is a deal breaker for me - SDI output is only 8-bits.

Sorry, but the forums are filled with details of 8-bit 4:2:2 S-log experiments that failed in comparison to identical 10-bit versions. I believe from my own experiences this to be true; 8-bit is not adequate for post color grading of S-log/C-log/Log Gamma footage.

Canon states that 8-bit is "good enough" because of their novel way of pixel photosite processing, but I respectfully say that that is just hubris and not backed up by reality.

I was going to go to the showing of the camera today, but now I'm no longer interested in the camera, but the lenses will be very interesting to see when they are finished and released.

I agree Bruce, the lack of 10 bit output is the deal breaker. What a shame, why only 8 bit??? Could it be an internal processing limitation? It may also explain the way it appears to handle highlights.

I'm hoping the F3 3D kit will add shutter sync.

It makes you wonder if the people at Canon who developed this camera get out of their office enough. They certainly don't seem to be aware of what their competition is already offering.

The small form factor is nice, but Red already has that, and will be introducing the Scarlet with the same small form at half the price.

And Sony already has a full-frame sensor with 4:4:4 output over dual link 10 bit SDI for maybe $3k or $5k less.

So, the real competition is the Panny AF100 or the Sony FS100, which are both about 1/4 the price of the Canon.

Clever!

I think we do have to remember that from drawing board to production takes around 2 years, so when the C300 was being designed the F3, FS100 and AF100 had not been launched. It's the cameras that will come out in a years time that should have all the benefits of hindsight.

Having said that, they did include a 10 bit output on the XF305 so why not on the C300. It really does not make sense.

I think we do have to remember that from drawing board to production takes around 2 years, so when the C300 was being designed the F3, FS100 and AF100 had not been launched. It's the cameras that will come out in a years time that should have all the benefits of hindsight.

A fair point, one that I had not considered.

Having said that, they did include a 10 bit output on the XF305 so why not on the C300. It really does not make sense.

Also a fair point. One, perhaps, that Canon had not considered.

I wonder if the C300 is being designed and marketed by the video devision or the digital photo division? If it comes from the photo side, they may not be fully aware of the differences.

I've read that the C300 uses many components from the XF305, so the lack of 10 bit output is a real mystery.