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canon c300


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111 replies to this topic

#1
r.paterson

r.paterson
  • Locationuk
Hello having to work with canon c300 tomorrow just found out, had anybody found any hicups feeding audio is it clean line ins and have a decent return..they want master audio on cam..will download manual tonight when I get back after a long day..any tips appreciated..thanks Richard

#2
TimPitot

TimPitot
  • LocationLondon
Did a day with it this week, nothing unusual, menu structure very similar to XF305, return not great but you do get stereo out of the mini jack. I ran a back-up (as usual when working with a dinky cam). One weird thing - couldn't get audio on playback, unless camera was set to 'Media'. Oh and also, there is a mini-jack in for a top mic (back left on the camera body), I think that if something is plugged into that, the XLR inputs are disabled.

Good luck mounting your RX if you are wireless! Looks like another cam we'll have to buy some kind of mounting bracket for...

#3
studiomprd

studiomprd
  • LocationHollywood CA
" 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:
SENATOR Mike Michaels, c.a.s.
Studio M Productions

#4
RPSharman

RPSharman
  • LocationCambridge - UK


#5
Michael McQueen

Michael McQueen
  • LocationGreensboro, NC
i've read that it has a continuously running fan, was that an issue at all?
-Michael McQueen
http://manglermixer.com/

#6
taylormadeaudio

taylormadeaudio
  • LocationCoeur d'Alene, ID.

" 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:


+11... it gets old trying to accommodate all these different cameras... good lord!

~tt
I feel more like I did when I first got here than I do now

http://www.taylormadeaudio.com
http://www.imdb.com/name/nm1286483/

"in the beginning, God SAID,'Let there be light'"

#7
Eric Toline

Eric Toline
  • LocationCoral Springs Florida
How about Norbet from K-Tek?

Eric

Attached Files


"I push the Record button and hope for the best"

#8
TimPitot

TimPitot
  • LocationLondon

i've read that it has a continuously running fan, was that an issue at all?


Really? Nah, not that I noticed, and we were inside all day.

#9
taylormadeaudio

taylormadeaudio
  • LocationCoeur d'Alene, ID.

How about Norbet from K-Tek?

Eric


This does look pretty trick... definitely wouldn't top my acquisition list, but eventually could see getting something like this.

~tt
I feel more like I did when I first got here than I do now

http://www.taylormadeaudio.com
http://www.imdb.com/name/nm1286483/

"in the beginning, God SAID,'Let there be light'"

#10
Rich Reilly

Rich Reilly
  • LocationSouthern Wisconsin
Lots of err..mounting possibilities here: http://9shooter.com/
"I'm all ears."

#11
Chas Gordon

Chas Gordon
  • LocationColorado
After looking at that site, ummmmm, errrrr... what were we talking about again?

DAMN!!! Thank God I'm a freelancer, because that site borders on NSFW. I loved it though!
________________
   Chas Gordon

  Gordon Sound
________________

#12
OmahaAudio

OmahaAudio
  • LocationOmaha, NE
Bill Hicks had it down years ago.


Jim Colburn
Omaha, NE

#13
Ed Denton

Ed Denton
  • LocationMelbourne, Australia
I would like to share my current experience with the Canon C300. I'm working on a cooking show feeding sound to the C300 XLR line inputs from my SD 552. 3 months ago we recorded another almost identical show on the same set with almost entirely the same gear except the camera was a Canon 5D. I recorded all sound on my 552 and had no troubles. I expected the same condition with the added benefit of having sound direct to camera which avoided sync issues. However when I came to my first day on set I found that there was a huge amount of RF interference coming from somewhere across the entire spectrum of my block 28 UCR411a receivers (see picture). I then tried block 24 receivers and same issue which hugely surprised me that the interference was across the entire spectrum from block 24 to 28. I walked around the building scanning on my 411 working in smaller circles trying to locate the source of the interference and I found that it was coming from the camera. Turning off the camera removed almost all the ambient rf interference. We tried it with the camera running off batteries and off a DC power supply and both caused the interference. My workaround to avoid blips and dropouts was to hide the receivers on set right next to the talent and run mic cables to my mixer to ensure a clear signal. This is ok on set but what if we were on location where I couldn't get the receivers close to the talent?

So I have not got very good things to say about the C300. Anyone else had similar experiences or other issues?
Moose Audio - Production Sound Recording
Melbourne, Australia
Posted Image

www.mooseaudio.com.au

#14
JDirckze

JDirckze
  • LocationSydney, Australia
I've been working with the C-300 for 2 weeks now and haven't experienced any strange RF issues. I'm using blocks 24/27/28. Also using block 24 SRa on the C-300 as a link. No issues there either.
Jason Dirckze
Location Sound Recordist
Email: jasondirckze@gmail.com
Tel: 0417 687 492

#15
Ed Denton

Ed Denton
  • LocationMelbourne, Australia
TimPitot, according to the C300 manual the review recording button plays back without audio. Strange, I know. Especially seeing that a common reason for playing back a clip is to hear what was said.
Moose Audio - Production Sound Recording
Melbourne, Australia
Posted Image

www.mooseaudio.com.au

#16
Ed Denton

Ed Denton
  • LocationMelbourne, Australia
Here is a picture of my UCR411a after doing a scan right next to the C300. It shows the huge amount of RF interference coming from the camera.

http://mooseaudio.com.au/images/RF.jpg
Moose Audio - Production Sound Recording
Melbourne, Australia
Posted Image

www.mooseaudio.com.au

#17
Philip Perkins

Philip Perkins
Maybe they should get their camera checked?

phil p

#18
pverrando

pverrando
C300 I'm with today has drifty (fast) timecode. No RF spray , anyway.

#19
Marc Wielage

Marc Wielage
  • LocationNorthridge, CA

C300 I'm with today has drifty (fast) timecode. No RF spray , anyway.

Drifting ahead? Uh-oh... this could be a 30.00ndf vs. 29.97ndf problem. Or god forbid a drop vs. non-drop problem.

Manual here:

http://usa.canon.com...huresAndManuals
www.cinesound.tv | location sound • post-production consultant

#20
pverrando

pverrando
Since the camera is new, the DP/AC were playing with the camera settings constantly while we worked, this may explain why the TC fell off so often.

The manual claims timecode will be "disrupted" whenever the following happens-
-turning the camera off/on (!)
-changing the operating mode to MEDIA mode
-changing the video configuration
-changing the frame rate.
Manual says Camera senses NDF/DF automatically from external jam. DF is disabled in 24P mode and 23.98 tc mode.


I checked all DF/NDF possiblilites.
I started out with my Fusion jamming the camera. AC said it should be in 23.98. Cam was ahead when I checked it about 30 min later.
I jammed at 29.97DF. - drift noted about 30 min later.
I jammed at 29.97NDF. drift noted about 30 min later.
Then I jammed the Fusion from the camera. Fusion read C300's timecode as 23.98- drift noted about 30 min later

My slate always agreed with the Fusion thruout the day.

We also did some 60 fps stuff, and I anticipated loosing code in this case.

Other fun stuff-
Those big thick cables that come from the XLR/Monitor assembly to the camera? They make a great hook to snag anything that comes physically close to the camera.

Also, the connectors at the end of those cables have about 20 hair-thin pins in each.
I predict connector failure and pin-bending stories in the future.
Its easy to tourque the connectors and "scrub" the pins where they enter the camera.

Looks like I'll have to hang a TC generator off the camera from now on. Maybe I can gaff-tape it to those big, thick cables. There's no real estate for velcro on this camera!

#21
TimPitot

TimPitot
  • LocationLondon

Also, the connectors at the end of those cables have about 20 hair-thin pins in each.
I predict connector failure and pin-bending stories in the future.
Its easy to tourque the connectors and "scrub" the pins where they enter the camera.


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

#22
Derek H

Derek H
  • LocationChicago
Any word on how the recording sounds? Is the headphone amp decent? Also, are the XLR inputs switchable between mic and line level?

Thanks, looks like I may be working with this camera myself sooner than later.

#23
Audio Daddyo

Audio Daddyo
  • LocationMassachusetts
It does have mic/line switches. Headphone amp is pretty weak. Audio quality from what I can tell in my headsets is pretty decent.

Andy

Andy Turrett
Massachusetts USA

http://www.audiodaddyo.com
FCC LP Call Sign WQOC491


#24
Derek H

Derek H
  • LocationChicago
I bet with about $15 additional hardware they could have added AES digital inputs on a locking miniature connector in the main body of the camera. A shame more cameras don't have digital inputs these days... It is 2012 isn't it?

#25
Ed Denton

Ed Denton
  • LocationMelbourne, Australia
We have done some more camera tests and further narrowed down the source of the RF spray from the camera. We unplugged every cable from the camera and turned it on. No RF spray. We then plugged in each cable individually; DC power, sound hose, monitor split. As soon as the BNC monitor cable touched the HD/SD SDI connector, my UCR411a started picking up the RF spray. I tried it with a different BNC cable and the interference was still there. So it appears the BNC port is the source of the problem. It would
be great if someone else who is using a C300 could test so I can work out if it is just our camera that is faulty or a problem with all C300's. Really easy test, just turn the camera on, plug in a BNC to the HD/SD SDI port then scan with your receiver. If there's RF spray like I'm getting you will notice straight away. Other people's experience would be most helpful. Many thanks in advance.

Ed
Moose Audio - Production Sound Recording
Melbourne, Australia
Posted Image

www.mooseaudio.com.au

#26
JDirckze

JDirckze
  • LocationSydney, Australia
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
Jason Dirckze
Location Sound Recordist
Email: jasondirckze@gmail.com
Tel: 0417 687 492

#27
Ed Denton

Ed Denton
  • LocationMelbourne, Australia
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??
Moose Audio - Production Sound Recording
Melbourne, Australia
Posted Image

www.mooseaudio.com.au

#28
TimPitot

TimPitot
  • LocationLondon
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!

#29
pverrando

pverrando
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.

#30
TimPitot

TimPitot
  • LocationLondon
Holding thumbs! ;-)

#31
Jeff Faber

Jeff Faber
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.

#32
RadoStefanov

RadoStefanov
  • LocationLas Vegas US
Thanks for the info.

Sent from my HD7 T9292 using Board Express
Las Vegas Nevada Sound Mixer

#33
Marc Wielage

Marc Wielage
  • LocationNorthridge, CA

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.
www.cinesound.tv | location sound • post-production consultant

#34
Philip Perkins

Philip Perkins
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

#35
johnpaul215

johnpaul215
  • LocationPhiladelphia - PA - USA
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.

johnpaul golaski - Philadelphia PA USA - www.JOHNPAUL215.com
FCC LP Call Sign WQQM443


#36
dfisk

dfisk
  • LocationUnited States

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.../norbert-sport/
bacon bacon bacon

#37
VM

VM
  • LocationParis, France
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.

#38
TheAudioSynthesist

TheAudioSynthesist
  • LocationUK and USA

" 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?!

#39
TheAudioSynthesist

TheAudioSynthesist
  • LocationUK and USA

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

#40
TheAudioSynthesist

TheAudioSynthesist
  • LocationUK and USA

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...

#41
Jaspar

Jaspar
  • LocationSan Francisco/Los Angeles
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...
Jaspar

#42
José

José
  • LocationNew York, NY
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)

#43
Tom Visser

Tom Visser
  • LocationHonolulu, HI
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...

#44
Jim Feeley

Jim Feeley

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?
Jim Feeley
Northern California

#45
José

José
  • LocationNew York, NY

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.

#46
Derek H

Derek H
  • LocationChicago

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.

#47
Jim Feeley

Jim Feeley
Interesting... Thanks José and Derek.
Jim Feeley
Northern California

#48
Philip Perkins

Philip Perkins
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

#49
Audio Daddyo

Audio Daddyo
  • LocationMassachusetts
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

Andy Turrett
Massachusetts USA

http://www.audiodaddyo.com
FCC LP Call Sign WQOC491


#50
Philip Perkins

Philip Perkins

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