r.paterson

canon c300

112 posts in this topic

We have a BNC connected to the HD/SDI going to a Samurai. I'll try and test it like you've said, but as per my previous post I've had clear scans on my block 24 SRa

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Very happy to announce that this issue has been resolved! As usual it was production cost-cutting that was the problem. After narrowing it down to an SDI BNC cable problem I noticed the cable in use was a thin, cheap-looking cable. I pulled out a good quality shielded BNC cable and swapped it and voila, RF spray gone! Cheap, unshielded cables bought on eBay caused me hours of researching, emails, talking other soundos, camera tests and production delays. Really, producers, is it worth it to save $20??

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Thanks for the update, thats a good one to look out for! Very pleased to be shooting with a full size Panny today, finally, a camera with enough real-estate to mount a zax hop and sync box!

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Great! Let us know what happens when the Panny runs into a tree at full speed. I think all equipment should be tested in this way.

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I worked with the Canon C300 for the first time last week. Two things worth mentioning. First, the audio inputs and controls are in a separate “monitor unit” which mounts in the accessory shoe of the camera. The actual controls are behind a hinged, clear plastic cover on the top of the camera, facing the ceiling if you will. So once the cameraman extended his tripod so the camera was at eye level, it’s impossible to see the controls. (Unless you’re exceptionally tall or the cameraman is exceptionally short.) Kind of annoying. So I guess my strategy with this camera is to get the audio hooked up and levels set before the cameraman frames his shot.

Secondly, there is a menu selection which is similar to that found on Sony cameras, where you choose whether you want Input 1 to be routed to both Ch. 1 and Ch. 2 (Input 2 is ignored.). Or Input 1 to Ch. 1 and Input 2 to Ch. 2. (The preferred choice of course.)

The menu choices are: “CH1” and “CH1/CH2”.

So to route Input 1>Ch.1 and Input2>Ch.2, the correct menu choice is “CH1”. This is the exact opposite of the choice you would make with a Sony camera. Kind of confusing. See page 81 of the Canon C300 manual.

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Thanks for the info.

Sent from my HD7 T9292 using Board Express

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Thanks for the update, thats a good one to look out for! Very pleased to be shooting with a full size Panny today, finally, a camera with enough real-estate to mount a zax hop and sync box!

Ditto with the Sony F65 -- that is a beautiful camera. The Red people are laughing at its large size, but to me, it's no larger than a standard ENG camera was for 30 years. Not that big a deal (literally), and it has manageable fan noise, mounting area, spaces for mounting brackets and viewfinders, all kinds of stuff. Very slick design.

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We did some local C300 testing. The TC stayed pretty close, a frame or two, over a 5 hour run (without moving the camera and in a stable temperature environment. The camera does have fans in it, but nothing like Red or Epic for noise. I didn't like the sound much--compared to a pro audio recorder it was thin, grainy, noisy and had very little headroom. I would say that it is a notch at least down from the Sony EX cameras, by way of comparison. HP output was barely ok. It has the usual prosumer cam "land mine" switch, that switches input 1 to both channels, and as was said, you have to be able to see the top of the camera to set levels. This camera is pretty popular around here all of a sudden, so I guess we'll be seeing a lot of them.... Soundwise my pref is to pretend it's a 5D and work that same way.

phil p

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Any issue with putting something like a SB-3 sync box on the camera? Is it ok constantly taking external TC, or does it require prodding? Working with one on what I *think* is just interviews on sticks, so there shouldn't be a problem finding a place to mount the sync box.

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How about Norbet from K-Tek?

Eric

Depending on the configuration (from what I could gather from the Canon website), it might be a little too tall for the regular Norbert frame, but it should work in Norbert Sport because the side handles are extendable. There aren't as many shoe mounting options, but if you remove the top handle, you have 9 cold shoes and a bunch of 3/8 x 16 threaded holes and 1/4 x 20 threaded holes. It can be easily mounted on a tripod or shoulder rig, and then be removed for handheld operation. I'm not trying to sell this to you guys, but just make you aware for when the camera people say they wish they had some sort of frame for mounting accessories you can tell them about it. Here is a link to the product page.

http://ktekbooms.com/camera/norbert/norbert-sport/

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I worked with C300 the last three days. I put an Ambient box plus an Audio limited 2020 with velcro on the steadycam's battery. Works fine.

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" Looks like another cam we'll have to buy some kind of mounting bracket for... "

Velcro.... if "they" want something else, "they" can buy it. :wacko:

hahah, right?!

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This week I watched a steadicam operator run into a tree at full speed, c300 first. No damage to the monitor connectors.

"no damage to the monitor connectors." - lol

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Very happy to announce that this issue has been resolved! As usual it was production cost-cutting that was the problem. After narrowing it down to an SDI BNC cable problem I noticed the cable in use was a thin, cheap-looking cable. I pulled out a good quality shielded BNC cable and swapped it and voila, RF spray gone! Cheap, unshielded cables bought on eBay caused me hours of researching, emails, talking other soundos, camera tests and production delays. Really, producers, is it worth it to save $20??

seriously. unbelieveable! if there is one thing i don't mind spending money on its good cables...

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I just worked with the C300 yesterday for the first time. Loved the numbered dBfs VU's and a single sync timecode in the morning lasted all day. You would notice at 23.98 if there was drift, even by a frame.

Haven't heard any of the cam sound yet, though. So, the numbers work, haven't heard the product yet...

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I'm working with a C300 camera right now on a shoot. Pretty much smooth sailing going straight to camera. No hiccups. Hopefully, I'm not jinxing myself with only two hours to go until wrap. B)

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What's with the little LCD display that attaches to the hotshot? Does it actually get power from the hotshot? There seems to be a handle accessory available that has multiple shoes on it. I'm trying to find out if the DP and shooting producer are planning on using the LCD at all or just relying on EVF. I'd like to investigate using the BEC horizontal shoe adapter plate with the QRX receiver box. If it was attached to the integrated shoe, do you think they would still have range of motion of the EVF, or would the QRX and/or cables be in the way? If they used the optional top handle, the front shoe would seem to be accessible, but put the unit in a more vertical position (better for me), then would the LCD accessory module still be able to fit on the top shoe? Maybe something I won't be able to find out until I try it, but will bring a hack saw and something to bend metal with on the first day I suppose. If anyone else has experience or further insight, would be much appreciated...

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I'm working with a C300 camera right now on a shoot. Pretty much smooth sailing going straight to camera. No hiccups. Hopefully, I'm not jinxing myself with only two hours to go until wrap. 8)

What do you/post/etc think of the camera's audio quality?

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What do you/post/etc think of the camera's audio quality?

Hey Jim. I think the audio quality from the C300 camera was very good. And the return was cleaner than I've gotten on some other pro cameras.

I didn't get to meet anyone in post for this project. However, the director was happy with Sound once he checked out footage the day after.

On sit-downs, I tethered my mixer to camera. And once we got to verité, I switched up to HOPs.

I didn't run into any complications sending audio to this camera. I was impressed with the C300.

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Hey Jim. I think the audio quality from the C300 camera was very good. And the return was cleaner than I've gotten on some other pro cameras.

I didn't get to meet anyone in post for this project. However, the director was happy with Sound once he checked out footage the day after.

On sit-downs, I tethered my mixer to camera. And once we got to verité, I switched up to HOPs.

I didn't run into any complications sending audio to this camera. I was impressed with the C300.

My experience has been the same so far.

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I did not think the audio quality was very good at all. A/B-ing my SD box vs the camera return was pretty revealing. Thin sounding, not much headroom at all. The HP return was of inadequate level (big surprise) and noisy. The sound of the camera reminded me of how the old Canon HDV cameras sounded (XL1), ie pretty lofi even compared to Sony EX etc.. The location of the audio etc controls is a new frontier in stupid design.

phil p

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Phil are your comments based on the camera return's audio whick I agree is pretty bad or did you listen to it on some decent speakers and amp?

Andy

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Phil are your comments based on the camera return's audio whick I agree is pretty bad or did you listen to it on some decent speakers and amp?

Andy

yes.

phil p

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