Filmmakers Mario Fell and Nino Leitner have posted some test footage of the Canon Cinema EOS C300, comparing it with the Panasonic F3. And then, for contrast, he also adds footage from the Canon 1DX and Canon 7D (which is rather like comparing a Porche 914 to a Ferrari).
“I have already decided that this will be my future camera … it fits most of the jobs that I do and it ticks more boxes on my list than any other camera before.” – Nino Leitner
The first clip above, if a comparison piece with the Canon C300. It was shot by German filmmaker Mario Fell, who used the Canon Log settings, while comparing it to the Sony F3 using the “basic” setting instead of Sony’s S-log update. As you can tell from the footage above, the C300 keeps pretty good pace with the F3. The footage is vibrant and colorful, although some color correction has admittedly been accomplished. What’s really interesting is that the Canon 1DX, which is using the Canon Cinestyle setting, is really all over the place. Sometimes it’s muted and then it becomes contrasty. It all depends on what ISO is being used.
Looking at 13:59, by Nino Leitner, the C300 gives a rather nice dreamy look to it, one that I’m sure Nino was going for. And here’s some of the features that he really enjoyed about shooting with the C300 … he loves the small form factor, making it very light for hand held shooting. Aliasing and moire have been completely eliminated and it’s increased light sensitivity is fantastic for low light or ambient lighting conditions. And with the C300’s batteries, he was happy with 5 hours of shooting time before having to change them out.
Each of these filmmakers are happy with the quality of the C300 in both form and function, and are also interested in how much better it gets before Canon releases it in January. And what’s more interesting is that while we’ve yet to see much in the way of test footage from the RED Scarlet, we’re getting tons of shorts coming from the C300. It’s as if Canon seems to be going all out to let users try out the C300 before committing to it. Mario Fell, who is based in Germany, called Canon directly for information about the new rig and Canon graciously sent him the C300 to take through it’s paces. The same for Leitner. But there’s also Canon’s favorite short filmmaker, Vince LaFloret, who also got a pre-production Canon 5D Mk. II for his short film Reverie.
RED, by contrast, doesn’t have a lot out there other than this. But however much is out there, it’s enough for filmmaker Philip Bloom to decide to cancel his Scarlet order. Not that Bloom thought that RED, as a company, is a bad choice, mind you, Bloom goes out of his way to say he respects RED and it’s customer service. RED is a bold startup that often pushes for cutting edge technology like 4K cameras before larger concerns like Canon jump on the bandwagon. But what really soured him was his experience with the Epic-M. It yielded some great footage, but being a BETA model, it had it’s technical issues that point to it not being ready for prime time. So, in the end, Bloom simply couldn’t trust “pay gigs” to RED until they iron out all the kinks, or at least enough to quell his concern. Does Bloom and other filmmakers hesitation spell doom for the Scarlet? Not at all. Is it fair to judge the Scarlet based on one filmmaker’s experience with the EPIC? No. There are plenty who have ordered it seem and to be excited about it’s mass appeal. But we’d sure like to see more test footage from it.
UPDATE: Courtesy of NoFilmSchool, here’s some test footage of the RED Scarlet by filmmaker Tonaci Tran, who is using the Scarlet as his main camera for a feature filming in Vietnam. And to date, he has nothing but praise for it. More later.