Here’s couple of screen grabs from my testing. I wanted to focus on the greens and yellows first as they are the trickiest to get right on the C300 so I assumed the same would be true on the C100. The C100 actually seems to be a lot closer to a natural colour balance with it’s default settings than the C300 is.Paul has also posted a follow up: Canon C300 & C100 matching custom picture files
Ive spent some time working on custom picture profiles for the Canon C100 and C300 cameras that allow both cameras to be cut together and match well. I don’t own test charts but I’ve tested these under various conditions and they match well. The following examples were shot using the built in tungsten setting on both cameras, manual white balancing or dialling in Kelvin settings on both cameras can produce non balanced results so I prefer to use the presets for two camera shoots when possible.
Canon C300 Firmware fix for Color Fringing | cowpunk52 | DVXUser
A firmware fix for the C300, but Canon is not making it widely available:
If you're currently experiencing the the color fringing issue across high-contrast edges, you may not have the latest firmware (v. 184.108.40.206.00) from Canon. Apparently it isn't available for download and is currently only being installed on cams that are sent in for service. Here's a quote from another forum post on the subject:Thanks to Paul Antico for pointing this out.
"I recently had this issue whilst shooting a sunset across some mountains. It resulted in red/green - lines/pixels across the high contrast part of the image where the sun dipped behind the mountains. I sent the camera back to Canon complaining of this issue along with another problem that I was experiencing with the camera. To cut a long story short I ended up with a new camera along with a firmware upgrade 220.127.116.11.00 which apparently deals with the fringing issue."
Dig - Sony F55 | Fried Pixel Films | Vimeo
Dig is a short film produced for the European launch of the Sony PWM-F55 camera. It was premiered at the Camerimage Film Festival in Poland on 28th November 2012.It was shot in 4K raw and posted in DaVinci Resolve. The uploaded file is an 1080P MP4 at 20Mbps derived from an HD ProRes master.Dig was produced by Fried Pixel Films, a new venture from Cinematographer Steve Lawes and Director Martin Scanlan, for Sony Europe.
What Is The Point Of A Light Meter In The Digital Age? | Ryan E Walters | Blog
With the proliferation of digital cinema cameras these days, I often get asked, "Do you really need to use a light meter? After all, isn't the whole point of working with digital- 'What You See, Is What You Get?'" While a case can be made for that perspective, I believe that by doing so you miss out on the power, efficiencies, and knowledge that working with a meter adds to your skill set. Here is why I think the light meter is a critical tool to use with digital cinema cameras.
SlashCAM conclude Blackmagic Cinema Camera review, compares to Canon C300
| Andrew Reid | EOSHD
If it is an image to rival film you want above all else, you can now have it for $3000 no questions asked. Going back to 8bit after raw I’m quite shocked by how digital looking 8bit H.264 or MPEG is and how bad it can look if pushed around too much in post.
German speakers can read the full article and I have translated the conclusion for English readers below.
The Canon EOS 6D – beta test footage – as good as mark III? | Sebastian
It's the aliasing and moiré patterns that have haunted HDSLR cameras since they came out. A very unpleasant side effect that we would like to see gone from our video recordings. Though soft the 5D mark III delivered a very clean image finally free of aliasing problems, but it looks like these have come back to the 6D again. At minute 1:26 in the chocolate video this becomes very clear. The overall image looks like there is less color depth than in 5D mark III material.
Final Cut Pro X takes Los Angeles into the future with SciFi movie The Sphere
| Nick Militello | fcp.com
I recently had to open up FCP 7 for an archive project, and its funny how I really can't live without event browser and media organization in FCPX. The other huge help was compound clips, and auditioning compound clips. In the past, I would make copies of my sequences, but with X, I made each scene a compound clip, then if I wanted to try something different I would create an audition of the compound clip. I really like the way that this kept the whole project really organized.
Lumix GH3 Codec Test | fotogen | Vimeo
Five short panning clips with the main codec from new Lumix GH3, Firmware 1.0
C500 4k DPX Color Grade Test | michaschmidt | Vimeo
Just a quick Color Grade Test for a short film that was shot on c500 in 4k
FAQ: How can I play or preview sound (audio)? | After Effects (FAQ) | Adobe
You can preview audio in several ways. The thing to keep in mind is that pressing the spacebar is not one of these ways. See the "Preview video and audio" section of After Effects Help for instructions for using RAM preview, playing only audio, and scrubbing audio.