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This is large enough to evoke the shallow depth- of- field characteristics moviegoers and cinematographers love, and allows legacy lenses to work well with the camera. Almost all PL Mount motion picture lenses are designed to cover Super 3. Full Frame sensors since they are not designed to cover that frame size. The EOS C3. 00 PL is compatible with all PL mount cinema lenses that were manufactured with Super 3. Is this sensor the same as that used in an EOS HD- SLR? Definitely not. The EOS C3. CMOS imaging sensor was designed from scratch by Canon, entirely for cine and video applications. For this reason, it offers superb performance in areas such as noise in low light conditions, freedom from moire with finely- patterned subjects, and resistance to . It resolves over 1. TV lines. Actual finished video output is Full HD resolution – 1. What does it mean that your sensor is full RGB? This 8. 3 million pixel sensor combines information from four actual pixels on the sensor (two green, one red, one blue) to produce final output for one Full HD pixel, enhancing output quality and color rendition. This is different from the interpolation typically used in single- sensor cameras, where information from one given pixel (red, green or blue) is compared to surrounding pixels, and the resulting calculated color and brightness information applied to that original pixel. Why 1. 08. 0p instead of 4. K? 1. 08. 0p is the most commonly used and sought after shooting and delivery size for productions today. Heavy adoption allows 1. K solutions. This makes the EOS C3. Is this camera 8- bit or 1. Digital conversion is done at 8- bits per channel. The EOS C3. 00/EOS C3. PL uses 4: 2: 2 color sampling; other systems record 4: 4: 2 or 4: 4: 4. What difference should I expect to see in the resulting image? First, a correction to this question: There is no 4: 4: 2 component video set in use today. The choices popularly employed are: 4: 4: 4; 4: 2: 2; and 4: 2: 0. H) x 1. 08. 0 (V) digital sampling structure for each of the Red, Green, and Blue video components. This recording mode is used for high- end moviemaking where a great deal of image processing will be entailed in postproduction. It has the greatest information overhead that supports such complex processing. Attendant with that high image information is the penalty of a very high data rate that taxes recording abilities (although there is a considerable choice available in such recorders today), related high data storage costs, high data rates for networking such RGB components, and the need for high data rate processing for implementation of the postproduction processes. Y (Luma), Cr and Cb (the two separate color difference components). The Luma is at the full 1. H) x 1. 08. 0 (V) digital sampling structure. The two color difference components are each at a 9. H) x 1. 08. 0 (V) digital sampling structure. They thus retain half the total digital samples as the Luma signal. This set retains a great deal of image information and will support the majority of high- end productions. They are the most widely used components yet employed in high- end production, and do an excellent job supporting green- screen and blue- screen digital compositing processes. Looking at 4: 4: 4 and 4: 2: 2 on a large high quality HD display will reveal almost no subjective difference in image quality (4: 2: 2 was specifically developed to capitalize upon the limitations of the human visual system is perceiving color detail – and thus gain efficiencies in overall data rate)4: 2: 0 is the matriced Y (Luma), Cr and Cb (two separate color difference signals) The Luma is at full 1. H) x 1. 08. 0 (V) digital sampling structure. The two color difference signals are each at a 9. H) x 5. 40 (V) digital sampling structure. The vertical samples have been halved compared to the 4: 2: 2 set. These two color components thus have only a quarter of the total digital samples as the 4: 2: 2 component set. Again, for many images there is only a small discernible difference between the subjective perception of image quality between 4: 2; 2 and 4: 2: 0. That is why 4: 2: 0 is very popular for Broadcast News acquisition and transmission – it affords high efficiencies in digital data rate. But, 4: 2: 0 is NOT good for supporting postproduction image manipulation – especially digital blue and green screen compositing. It lacks the requisite digital information required for such processes. How much dynamic range/latitude does the sensor have? Canon, Inc. The optimum dynamic range for both highlights and shadow detail occurs at ISO 8. ISOs, the dynamic range shifts, with a bit more shadow detail and less detail in highlight areas. Dynamic range is rated at approx. ISO 8. 50 when Canon Log gamma is active. What is the camera's signal to noise ratio? B (typical); at 1. P or 2. 5. 0. 0P; Canon Log base sensitivity ISO 8. Dynamic range 8. 00%LENS QUESTIONSWhat lens mounts are available for the EOS C3. EOS C3. 00 cameras come with a permanently- attached lens mount – Canon EF mount for the EOS C3. PL- mount for the EOS C3. PL. These are sold as two separate camera models. Can I change the mount from EF/PL to PL/EF? No. Lens mounts are not user- interchangeable. This is to assure maximum lens mount strength and precision, something Canon engineers determined was difficult to achieve with an interchangeable mount system. What different EF lenses can I use with the EOS C3. The EOS C3. 00 is compatible with the following: All Canon EF lenses (including Tilt- Shift, MP- E, etc.)Canon EF- S lenses (there may be some visible vignetting with certain EF- S lenses)Canon Cinema EF lenses – zoom and fixed focal length. Will all Canon EF lenses work with the C3. Yes. Every Canon EF lens, including special- purpose lenses such as TS- E (tilt- shift), macro and MP- E lenses, fisheye lenses, and Canon super- telephotos will mount on the EOS C3. Does the EF model support autofocus? Neither the EOS C3. EOS C3. 00 PL support autofocus. The autofocus needs of a still photographer are very different than that of the cinema user. In cinema use, focus is preferred to be fully manual for full control and smooth shot timing by an experienced focus puller or camera operator. Does the Image Stabilization (IS) built into certain Canon EF and EF- S lenses work on EOS C3. Yes. Image Stabilization will function if any Canon EF or EF- S lens with the IS feature is mounted onto the EOS C3. Image Stabilization continues to provide a measure of shake- reduction, and can be effective when cameras are being hand- held, used in any sort of photographer- supported . With most Canon EF lenses having Image Stabilization, it's recommended to turn the IS feature off (using the on- off switch on the lens) if the camera and lens are mounted onto a sturdy tripod that can be expected to fully eliminate camera movement. Critical users may also want to consider turning IS off in situations where an on- camera microphone is being used for audio recording, to avoid the slight noise of the stabilization system from being recorded. Please note that the use of Canon EF and EF- S lenses with Image Stabilization is only possible with the EF mount version of the EOS C3. November, 2. 01. 1, Canon makes no PL- mount lenses with Image Stabilization for the EOS C3. PL (the PL- mount version of the camera). Will all PL lenses work with the EOS C3. PL? Yes, as long as they have an industry- standard PL- type lens mount, and as long as they're optically designed to cover the Super 3. Does the EOS C3. 00 PL have electronic data contacts for Cooke or Arri PL- mount lenses? No, there are no electronic lens mount contacts on the EOS C3. PL. These lenses can certainly be mounted and used successfully on the EOS C3. PL, but lens metadata will not be communicated to the camera. How does peripheral illumination correction work for EF lenses? Peripheral Illumination Correction automatically corrects for any lens vignetting, accounting for specific lens characteristics such as focal length, working aperture, and distance setting. This produces even illumination across the frame, from center to corner. Canon engineers thoroughly test different Canon EF and EF- S lenses, map- out the specific vignetting characteristics of each lens, and this data is input into the camera. As images are taken, the camera records this information, and lens- specific correction is applied during in- camera processing to minimize the natural darkening that would otherwise occur toward the edges of video images. Which EF lenses are compatible with the C3. The EOS C3. 00 stores Peripheral Illumination Correction Data for approximately 9. EF and EF- S lenses. Is Peripheral Illumination Correction available in the EOS C3. |
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