4.6
Owner's of the Canon Camcorder EOS gave it a score of 4.6 out of 5. Here's how the scores stacked up:
Digital Workflow – but to most of us, it’s just called work.
Canon’s Cinema EOS system works the way you do.
Integrates with file-based standards. Can match the exact
frame rates of film cameras. Offers plug-ins for leading
NLE programs. And adds every essential professional
facility: slots, terminals, tools, modes and adjustments.
Accommodating File-Based Production
The Cinema EOS system creates files in the internationally
standardized Material eXchange Format (MXF) – wrapping video
and audio with metadata in a single file that maintains access
to critical information throughout the production process. The
EOS C300 and EOS C300 PL record to inexpensive and easy-to-find
CF cards in dual card slots, giving you unlimited hot-swappable
storage on reliable solid-state media. And for industry standard
peripherals, the EOS C300 and EOS C300 PL have all the right
terminals: Remote (2.5mm), Sync out (BNC), HDMI type A out,
GenLock (BNC), Time Code (BNC), HD/SDI (BNC), Headphone,
SD card, DC IN socket, plus MIC and XLR connectors (CH1 & CH2)
when using the Canon Monitor/Controller unit. The camera also
includes a dedicated connection port for the optional Canon
Wireless File Transfer WFT-E6A unit.
Perfect for Mixed Shoot Editing
The tremendous dynamic range of the EOS C300 and
EOS C300 PL with Canon Log gamma can be easily converted to
industry standard 10-bit Cineon
(.cin) Log format which assures
smooth integration with industry
standard post workflow and
finishing. The EOS C300’s and EOS C300 PL’s 24.00p mode
matches the exact frame rates of film cameras, so there’s no
need for time-consuming frame-rate conversion. And you’ll have
plug-ins for leading NLE systems from Adobe
®
, Apple
®
, Avid
®
and Grass Valley
®
. Whether your entire production is digital or
your EOS C300 and EOS C300 PL are used as an A, B, or C
camera on a primarily film-based shoot, the integrity of your
image and sound is assured through the
editing process – and beyond.
XF Codec Image Quality
To create digital files robust enough for major post-production,
the EOS C300 and EOS C300 PL deliver the highest image
quality with its XF Codec – the same codec used by Canon
XF-series professional camcorders. With 4:2:2 color sampling,
EOS C300 and EOS C300 PL image files have double the
vertical resolution of color components created with 4:2:0
color sampling, minimizing jagged edges between red and
blue and ensuring ample quality for chroma key compositing
with green screens. Thanks to the Canon XF Codec and the
EOS C300’s and EOS C300 PL’s superb resolution, your color
quality and cinematic look will hold up through post-production
– and your result will match your expectations.
24.00p24.00p
Industry-
standard
terminals
CF Card Slots and Terminals
The EOS C300 and EOS C300 PL
record to CF cards through dual
slots – and for both cost and reliability, CF cards have no equal.
Easy to find anywhere your work takes you, two reusable and
hot-swappable 32 GB CF cards let you record up to 2 hours of
4:2:2 footage at 50Mbps. The EOS C300 and EOS C300 PL
can even record to two CF cards simultaneously or relay-
record and copy from one card to another. For accurate
file transfer and communication during multi-camera
shoots involving switchers, VTRs and NLE systems with
SDI inputs, the EOS C300 and EOS C300 PL have profes-
sional GenLock, Time Code, HD-SDI, and Linear PCM
audio recording terminals.
XF Codec Quality Chart
These illustrations represent a color image converted to RGB, after which
each component signal is converted to monochrome. Since B-Y and R-Y
signals lack a brightness component and only indicate saturation, images
produced from them look quite unnatural to the human eye. To avoid
confusion, the illustrations are produced by conversion to monochrome
and then, for convenience, conversion of saturation to brightness.
4:2:2
4:2:0
Color difference signals: B-Y(Pb) Color difference signals: R-Y(Pr)
Color difference signals: B-Y(Pb) Color difference signals: R-Y(Pr)
In Post-Production – Taking It to the Screen
30 31
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