Canon C300 “Organic” Noise
Two of the most exciting things about the Canon C300 are the sharpness of the image, and also the "organic" or granular structure of the noise pattern the sensor produces.
As I worked with the footage from "Mobius" with VFX and color correction – I noticed something I had rarely seen coming off a digital sensor. The image structure, and notably the alpha channels looked strikingly similar to traditional photography/motion picture film (or negatives.)
You can read my previous post if you’re interested in a detailed opinion of where the Canon C300 stands amongst other cameras (notably the RED Scarlet/Epic, Arri Alexa, and Sony F3.)
Below you’ll find a frame from Mobius – beneath it is the alpha channel (shot more tightly to emphasize important details) that shows two things:
1. The incredible sharpness of the sensor (1080p coming off of a 3.7K sensor) on the letters "Navigator" from the exact same frame below.
2. The granular structure the sensor produces.
I can speak to this "organic" noise, following a half-decade of experience working in a series of darkrooms at the start of my photographic career (black and white film, C-41, and E-6) and regularly holding up a loop below a projected negative to ensure focus.
I’m also working on making "Mobius" downloadable on iTunes this week – both the finished product as well as a raw ungraded scene.
For now, I’ll share with you a frame grab (click on the image below to enlarge it to its full 1920×1080 resolution) and you should be able to appreciate the incredible level of detail the camera offers. Note that this is the RAW ungraded footage out of the camera. [Note: we used Scneider "Classic Soft" and "Sahara Gold" filters on the shoot, and on this shot]
Below you will also find a series of frame grabs off of a monitor.
The only time that I have seen this type of granular structure in noise is with the Arri Alexa.
I think that this just might be the future of digital sensors: taking digital noise and giving it a more filmic or "organic" structure.
While digital sensors are slowly closing the gap with film in terms of dynamic range – most don’t have the same granular structural beauty that film offers. It seems that too is changing.
Below you’ll find another example of a shot made at the start of the film at sunrise. The camera was able to hold (and exposed for) the highlights of the scene. But you’ll notice that the shadows still have an impressive amount of detail – deep down in the dark areas of the file.
Here is yet one more example – shot on a Russian arm at 35 mph on desert roads on the Canon 30~300mm Cine lens.
One thing to note, is how well the 1080p file holds up when down sampled from an nearly 4K original sensor that the C300 offers. Not all 1080p sensors are equal in this regard – notably not the image files we’re used to from the 1080p Canon 5D MKII (due to both the poor debayering of the image as well as the compression artifacts from the AVC H.264 codec the camera uses.)
I would also note that I have always added noise to my photographic prints that originate from digital cameras for two reasons. For one – it adds noise to the black and whites, and two, helps to hide jagged edges from the sensor. When you then blow up the image (or make very large prints) – that same digital image doesn’t break down as quickly. In fact many people I’ve shown my large 60X40 prints have erroneously guessed they were shot on film.
So if you follow that logic, while the 1080p image coming off the C300 may not be 2K let alone 5K – it will blow up much more easily than many other 1080p cameras thanks to this "organic" noise pattern that naturally comes off of the sensor in my opinion. We certainly witnessed that during our grade of this film.
In the end – these are exciting times as digital cinema sensors are behaving more and more like the film most of us still love and wish we could shoot exclusively. That being said – the reasons for shooting film vs digital will surely wain over time as these sensors offer not only better resolution, better dynamic range and now – better "filmic" noise.
__________________
On a totally unrelated note: As of today, Peachpit is offering a 35% discount on my upcoming book VISUALS STORIES that comes out next Monday – go to the following link and simply enter PPE2011 on checkout:
Here is a link to the hard copy: Visual Stories: Behind the Lens with Vincent Laforet (HARD COPY)
And a link to the eBook version: Visual Stories: Behind the Lens with Vincent Laforet (eBOOK)
very cool..
p.s. why do you call it “alpha channel” ? Alpha channel is a term used in graphics, for extra transparency channel: RGB(+A)
Vincent Laforet Reply:
November 9th, 2011 at 2:36 am
It’s used both VFX and color grading – exact same principal and use actually – applied to video (which is effect are 24 still images per second.)
@Vincent Laforet, but how do you generate that alpha channel? the camera certainly doesn’t give you any “transparency” values, does it? it seems like this alpha channel is luminance inverted, or something like that
Vincent Laforet Reply:
November 9th, 2011 at 11:18 am
My colorist does these things. He calls it an Alpha channel. I trust him. He does things no one else does – I can state that as a fact. It’s not a standard luminance channel.
@Vincent Laforet,
Thanks Vincent,
So, if I understood, when you watch the alpha channel, you are actually looking at the R, or G or B channel separately ?
Like, for example, in After Effects you can do that by clicking on the icon that has the 3 colored circle (close the “camera icon”)
screengrab here:
http://yfrog.com/ocegwzj
I’m confused by the use of the term alpha channel. It looks more like the image was turned b+w and then inverted..?
Hi, Vincent! Great job with the new C300! (As always)
What type of film grain did you add to your digital photos? (Any specific grain type from Photoshop?)
Did you add grain when working with 5dMk2 footage before?
Best regards!
Vincent Laforet Reply:
November 9th, 2011 at 11:17 am
I share everything – but the secret sauce on the prints I keep.
Hey Vincent,
Your blog and recent postings have been the year’s highlight in this field. I thank you for your detailed breakdowns on this new tech.
Did you experience any banding issues with this sensor in the shadows? There seems to be some in the second last image. Just curious as to the extent of this.
I appreciate the alphas they really display the softness of the grain.
Vincent Laforet Reply:
November 9th, 2011 at 11:16 am
The banding you saw on the color image was from the monitor. ZERO BANDING.
unless it’s just jpeg compression π
Vincent Laforet Reply:
November 9th, 2011 at 11:16 am
No it’s not.
Nice work:
Would you please further explain this statement:
“I would also note that I have always added noise to my photographic prints that originate from digital cameras for two reasons. For one β it adds noise to the black and whites, and two, helps to hide jagged edges from the sensor.”
How and how much?
Vincent Laforet Reply:
November 9th, 2011 at 11:16 am
That’s my secret sorry π
Paloma Reply:
May 28th, 2012 at 10:57 am
Vincent. Well done on Mobius. The acting and ceahmatogrnpiy were a cut above.Question for ya. In these submissions, are you looking for a story/stories that you want to direct only or are these also potentially for you to produce?I’m a working writer/director, and I have a couple of high concept features that i prize, and have been sitting on for some time. Problem is, I want to direct them =)Thanks. Reply:November 6th, 2011 at 10:54 pmThat is the ultimate problem isn’t it I’m not looking to move into producing at this point although I do enjoy putting talented people together very much. These are pieces that you would have to be comfortable having me direct. So kindly send them to me if you’d like to consider that option. Otherwise I say go for it on your own by all means!
Vincent Laforet Reply:
May 29th, 2012 at 7:53 pm
My main focus is on directing – but I’m more and more open to producing….
Would love to see this footage placed on a 4k time line with red footage to see how it holds up, that’s a true test. From what I have been reading, most people would not even notice. Give it a try?
I’d too thought the same question, why alpha channel, the video off the camera is not even RGB. It;s 4:2:2 YCbCr.
Y is the luma channel or green in RGB, no wonder the source is so sharp the C300 has double green resolution scaled to 1920×1080 along with two 1920×1080 chroma channels red and blue.
Do you mean luma channel, the greyscale image? That makes up the majority of the source video?
what grabbed my attention was the sound
always a good sign
Hey Vince. Great post. This is what I have been most curios about so you answered one of my main concerns! I don’t know if you have seen any of the footage from the Ikonoskop but check it out here http://www.ikonoskop.com/dii/footage/ . Looks REALLY organic and filmic. Downside… Weird cards and Cinema DNG files and 80GB in 15 minutes…
Its amazing how far digital cameras have come since only 2008 with the release of the 5D Mark II. Hopefully in the future 5D Mark II will still be in the running for small time short film producers like me to use and still not be completely outdated. Great post!
I really enjoyed seeing that this film was shot under an ‘unappealing’ light, the flat noon desert sun.
Because this is where most digital cameras ‘break down’. Its easy to sell a great looking image in a beautiful light, like magic hour, low sun or a well designed studio light.
But not in Mobius. And that’s when I really was sold to this camera, if it produces that image under that light, it will be whatever you want it to be under more ‘appealing’ light. But I must say that personally I much prefer this kind of look (unpretentious and bold, but extremely cinematic)
Well done. Not only a great looking film but also engaging and entertaining.
“Note that this is the RAW ungraded footage out of the camera. [Note: we used Scneider “Classic Soft” and “Sahara Gold” filters on the shoot, and on this shot]”
So, does the C300 shoot any kind of files (video or still) in RAW format, or did you mean straight out of the camera?
Vincent Laforet Reply:
November 9th, 2011 at 11:15 am
No – no RAW support.
Vincent, thank you so much for these posts on the C300.
If I may make a request, could you describe the actual post workflow that was used for ‘Mobius’, or maybe, if you could find time, do so in another post? Were the files transcoded or upscaled to 10 bit/4:4:4, or worked natively, straight off the camera?
I am so excited about what canon is doing with this new line, and look forward to getting some hands on time soon.These are exciting times indeed!
Cheers!
Vincent Laforet Reply:
November 9th, 2011 at 11:14 am
The files were dropped in Adobe Premiere and edited – that’s that. We then transcoded to DPX for grading. Simple as that.
At what ISO’s were these shot? Do you have other really high ISO shots that you used in Mobius?
Would be cool to see how it compares with the 5D’s at 1280 and higher… ?
Anyway thx for your inspiring work. It certainly give me a kick in the butt to get up and start shooting some proper stuff!
Vincent Laforet Reply:
November 9th, 2011 at 11:13 am
All of these were shot at 850 ISO throughout the film. I plan on putting a comparison to the 5DMKII soon.
Hi Vincent,
Great job on Mobius. The following comment belongs in the last post, but since most people have already read it, I’ll post it here. PDN has announced that the price of the C300 will be about $16,000. So, for those who were complaining about the $20,000 price tag, you should be aware that the camera will actually sell for less. Here’s the link to the PDN article:
http://www.pdnonline.com/pdn/gear/Canon-Unveils-New-EO-3978.shtml
Nice. That IS incredibly filmic looking ‘grain’. Here’s hoping Canon is able to migrate this to the long anticipated ‘5D Mark3’. VIncent, I hope you’re making Canon aware of just how badly the market wants an 5D ‘upgrade’ without having to shell out over 5K.
I wonder if this is just — in whole or part — a software trick and if it could be added to existing canon DSLRs with a firmware/software update.
Vincent Laforet Reply:
November 9th, 2011 at 11:12 am
Grain can be created in software yes. But digital noise – especially banding is very hard to negate. The way Canon is doing this is very efficient,.
Hey Vincent,
Is there a crop factor with the new S35 sensor as opposed to a full frame sensor?
Vincent Laforet Reply:
November 9th, 2011 at 11:11 am
Yes – S35 means 1.5X vs full frame.
I’m what’s meant by ‘alpha channel’ here is an alpha channel produced by a luminance key node in a color grading system. The files the camera produces have no alpha channel.
Actually @andrea is right.
A frame can’t have an “alpha channel” per se, unless you create one in post (or grading in this case). This alpha channel seems to be a luminance based keyer with a level on it, probably used for the grading of the shadows.
Vincent Laforet Reply:
November 9th, 2011 at 11:10 am
I guess you can talk to my colorist and teach him his job – seriously. It is luminance based and he makes corrections based on them…
Bayer pattern sensors use the luminance channel (or alpha) for image detail, the colour channels have less information and when viewed on their own lack subtle detail, all these elements G R B L are combined or ‘baked’ together to make up the final image.
So Vincent is quite right to get excited by a luminance channel that behaves like film stock emulsion.
Vincent Laforet Reply:
November 9th, 2011 at 12:42 pm
yey π
Vincent, I wanted to tell you that I really find your journey inspiring. The honesty and transparency in which you have pursued and shared this direction in your career is second to non. Whats more, the response from the industry that you have commanded gives me hope that should you follow your dreams, out in the effort needed – you will be rewarded.
Thank you for keeping us all abreast of your journey.
– Shaunoh
Vincent Laforet Reply:
November 9th, 2011 at 12:42 pm
Appreciate your comment very much Shaunoh!
No need to be ironic, when I posted there was only the first comment displayed so I didn’t know this was already discussed by previous comments.
Vincent Laforet Reply:
November 9th, 2011 at 12:41 pm
Apologies. I’m just a little punchy this morning. I’m on flu medicine! Again apologies.
Vincent,
This is very eye opening.
The “organic noise” you are pointing out is something people are NOT talking about. There is an obsession about resolution, when it should be about overall picture quality.
I think noise is one of the biggest short sides of going “digital”. The frame grabs I’m seeing is a glimpse of how digital is evolving in exciting ways.
Can you blog on the dynamic range of the C300?
Many thanks! Chris
Vincent,
Can you explain what exactly it means to sample a 4K sensor at 1080? I assume it means much more than just taking a 1080 slice of a 4k sensor. Thanks.
Vincent Laforet Reply:
November 9th, 2011 at 12:41 pm
I don’t have time to look up the exact number – but the C300 is using a 3,600 or so sensor and mapping the R,G,B data and creating a clean 1080p image out of that. Cheers – v
Incredible…I was about to ask you the question your post deals with. If the noise is organic I’m very very happy. Hope this organic feel is kept on the next cine dslrs.
It would be very very interesting to know how the epic and the C300 footage compare once projected on a big screen. Is there a huge difference. Yes I know 4k VS HD…However, it would be interesting to know exactly how the audience would feel. Thanks Vincent.
Although I don’t wish to appear pedantic or trolling here but having established Vincent is discussing the luma channel not ‘alpha’ as non exists in the 4:2:2 YCC source could it also be clarified that there is no ‘luminance’ channel in YCbCr, it is ‘luma’.
Luminance is a linear light term and misused when discussing gamma encoded video such as that off the C300’s. re Poynton
http://www.poynton.com/PDFs/YUV_and_luminance_harmful.pdf
Mobius really stood out on the night, I was getting concerned as to what all the fuss was about until XXIT and Mobius. π
Will a small sample of native source from the C300 be available for download at all?
Truly an awesome post, Vincent. Love both your observation and explanation of ‘organic noise’ on the C300. We readers are such 4-5K resolution junkies that we sometimes miss the bigger picture. You kindly remind us that we must consider larger, grander, or sometimes negatively perceived attributes of an image as legitimate and aesthetically compelling (I’m thinking Nigel Spivey, ‘How Art Made the World,’ http://www.pbs.org/howartmadetheworld/) We perceive beauty not only in relation to defect but because of it! Kudos to you on a beautiful body of work, your latest narrative, and the slough of folks you’re mentoring along the way (I’m one!). You have much to create in, around, and outside of Hollywood.
Jim Bruno
Austin, TX
Vincent Laforet Reply:
November 9th, 2011 at 8:42 pm
Thank you sir.
Hello,
Are you going to post your thoughts on Dynamic Range?
Thanks, Chris
Vincent Laforet Reply:
November 9th, 2011 at 8:40 pm
Yes – but there may be an issue w/ showing prototype footage. Working on it…
@Vincent Laforet, You’re good, but your sarcasm is inappropriate. Your colorist might know his job, but his terminology is in fact confusing. ALPHA has referred to TRANSPARENCY in every instance of my 20+ years of experience, except this instance. I’m pretty good, too. The stills you posted have nothing to do with transparency, unless you and your colorist have revised the definition. Officially, “The luminance channel is also referred to as the achromatic channel or the spectrally non-opponent channel.”
Thanks for your efforts and for sharing so much of your expertise, though. It is all very inspiring. Going all Brett Ratner on earnest people trying to learn and understand, is not.
Vincent Laforet Reply:
November 9th, 2011 at 8:39 pm
Robert – I have the flu and apologize if I was a bit punchy. This is one of the top colorists in the country and I assumed he had the correct term by default. Again – no offense meant.
@Michael Blackwood Barnes, Vincent isn’t the only one excited about having film quality out of a digital system. I am looking forward to the end product.
Hey Vincent.
Love Mobius, great work. Looking forward to seeing a feature from you in the future.
What strength was the Scneider Classic Soft that you used? I’m looking to pick up a Classic Soft 4×4 but I haven’t been able to find any solid information/tests on the different strengths. It’ll be used on an FS100 and a 5D.
Thank you
Jeff
Vincent Laforet Reply:
November 14th, 2011 at 8:32 am
1/4 classic soft
Hello,
first question is what system / software was this movie graded on? Is there a school(s) to become a elite colorist ? – or is it a self taught + apprenticeship journey for the talented?
second question is – is there any digital cinema camera/ system that may come close to Imax film quality- I’m assuming not too far in the future?
Thank you again for your generous sharing.
Vincent Laforet Reply:
November 14th, 2011 at 8:32 am
There are schools – but it is mostly self taught w/ the people I work w/ today. Many start w/ the first pass grading (dailies) and work their way up…
luma, luminance, alpha, schmalpha!!!
It is like a finger pointing at the moon. If you concentrate on the finger you will miss all of that heavenly glory!
π he he
I Love keeping up to date with your posts!
Vince, Just wanted to say that you sarcasm was uncalled for. Ha jk π No but in all seriousness I think it is really cool how well you handle yourself. You have gotten to a place where so many people respect you and look up to you but with that comes all the grief. I find in ironic that people tell you how to do you job or correct you at what seems every turn? Don’t understand it, but I guess the haters hate… Just wanted to say I have been reading this blog for 2 years now and learned almost everything I know here. Went from high school to a full time career where I get paid to fly around the world and tell stories, Thanks to you. Sounds sappy or whatever but amongst the piranhas I just wanted to say thanks. See you in Austin.
kody
The footage looks wonderful, the post production muzzle flashes look terrible.
Hi Vincent, Mobius is a great film thanks to the script, actors direction etc, congrats but it hardly manages to sell a 20,000$ mis-priced Canon Camera System to many of us! I still feel Reveries was a Revolution and that Mobius would not have looked much worse shot on a 5D or 1D MkIV despite all their failings. We were all looking forward to a 5000$ price point for this camera! This is just stupid and this round surely goes to RED Scarlet.!
@Ed Hamlin,
Add me to the list as well! This is just the beginning too π
@ Vincent…How ya feelin’?
@Vincent Laforet,
I got to attend friday’s event at Paramount and sit through your talkback on Mobius. It was an enlightening discussion, but unfortunately we missed seeing it in the theatre. I finally watched the 1080 version on vimeo this morning and It’s very impressive on virtually every level. Short stories like that are often hard to balance, in terms of visual elements and narrative, and I think you did an impressive job. Especially considering your shooting schedule (3 days is usually enough for the chase scene).
Anyway…one question. When the main character exits the jeep and the chase starts on foot, there are 2 or 3 shots that appear to be overcranked. Assuming the project is in 24 frames…is that just 30p slowed down, or did you shoot those shots in 720p60. They looked both smooth and crisp. I guess my real question is do you have any comments about the quality of the 720p on this camera?
hope you feel better!
Vincent Laforet Reply:
November 14th, 2011 at 8:30 am
We shot at 30fps at 1080 – and never removed it. Never went to 720p – didn’t try or test it as we knew this would be projected on a 60 foot screen at Paramount.
Dave, referring to this image: http://aperture.maccreate.com/files/2009/09/bayerpatter2.jpg
There are 1920 blue pixels (left to right) + 1920 red pixels (left to right) and finally two rows of 1920 green pixels. Incidentally there are also 1080 pixels per colour per column.
The Sensor is therefore 3840 pixels wide which for all intents & purposes is a 4K sensor.
The C300 uses 4 sensor pixels (R+B+G+G) to make one HD ‘image’ pixel. My description isn’t totally correct, but I hope you get the idea.
Also, incidentally the Canon site lists the C300 as an 8MP sensor, which is the result of 3840 x 2016. Or 2 x (1920 x 1080).
@Vincent β new to your blog (courtesy Mobius & Canon!) so thanks for all the info. Nervously counting $$$ for a C300 or Scarlet purchase and your enthusiasm & work with the camera is seriously leaning me towards the C300.
@Vincent Laforet,
“I trust him. He does things no one else does…”
Like calls the luminance channel alpha channel? π Sorry sorry sorry, I couldn’t resist! Your work is highly valued, and an error in terminology doesn’t change that a bit. Thanks!
Vincent Laforet Reply:
November 14th, 2011 at 8:29 am
I still trust him over everyone on this post to be honest.
Great Post Vincent
and after reading countless ignorant rants about how Canon let everyone down with the release of C300 because it doesn’t record 4K, I thought I was one of the few actually blown away by this camera’s release. Mainly because of what I read coming directly from the sources such as yourself. Those who shot with the camera have said wonderful things about the C300. So regardless if it shoots 5K, 4K or “Just HD” it all comes down to the image the camera is capable of creating. I for one am looking forward to getting my hands on one of these sometime next year. Thanks for sharing your opinion, and please people, allow the artist to keep some things (secret sauce) for himself
Isn’t your colorist Stu?
Vincent Laforet Reply:
November 14th, 2011 at 8:27 am
No – he did grade Nocturne – but he’s not my colorist π Stu is a film maker and friend.
Wow, I too remember looking at film with a Schneider Loupe and also experimenting with high contrast black and white paper in the film and darkroom days. I don’t miss the chemical smells and the ruined clothes. I do kind of miss the tactile aspect of film and printing.
I remember using everything from Kodak 25 color film, Agfachrome 50 to Fujicolor 400, Ektapress 400 and even pushing the heck out of T-Max 3200 (which even today I still love).
The grain structure of the video off the C300 looks very similar to film. I thought video from the 5D MkII was amazing. I can’t believe the quality, color and tonal depth from a (relatively) inexpensive cine camera.
Can’t wait to get my hands on the camera myself. But until that time I will have to be resigned to reading how much fun you’re having.
Dear Vicent
Great job, in terms of technical quality and in terms of the emotional connection of the film (which matters the most). The images looks totally organic and Film like . Pedantic postmortem on alpha and other craps are irrelevant, the medium of films were never intended for these farce.
Please keep sharing your works which inspires us.
Just wondering why the decision to use a warm filter instead of grading the unfiltered image?
The less filtering in front of the lens the better, no? Besides Nds, and polas, I haven’t seen DPs using color filters on any digital camera.
Just curious. Thanks.
Vincent Laforet Reply:
November 14th, 2011 at 8:26 am
The DP Polly Morgan likes to shoot everything in camera as much a possible and I very much respect that. That being said our Colorist Andrew Francis suggests he can do everything in post other than Pola and Grad NDs (to keep highlights) and said that using the filters made his job more difficult on one or two shots.
I like digital quality generally more than film quality. Perhaps the only exeption is the quality (type) of noise. But when best digital cameras already produce far less noice than film cameras, that’s not actually a reason to be a film fan.
did you shoot with the canon log setting?
Vincent Laforet Reply:
November 14th, 2011 at 8:24 am
YES
Watch the ‘blade runner’ style short film done on the c300, and then watch a scene from bladerunner itself. This made me somewhat depressed and put things in perspective. The c300 was plastic and without soul in comparison. Didn’t like it at all. It will be sad when the look of bladerunner etc is gone forever when film dies, which it will eventually. Even the film of today has less character than the film of old, as everything moves towards maximum flexibility in post. I’m a frequent digital user btw.
Adding noise to de final image of my videos is something I do too. It also help to hide de “banding” on those “8bit super compressed codecs”. Makes the final print look really good. itΒ΄s good to know that IΒ΄m not the only one.
Vincent Laforet Reply:
November 14th, 2011 at 8:21 am
The only negative is that it kills compression speed and makes for huge files….
Excellent post. As a visual effects compositor I deal with digital/film noise/grain on a daily basis. The biggest issue I have with digital is its grain structure- which effects keying or as you have represented, alpha’s. It would be great if you could post a R,G, and B channel raw to really see its true grain structure. I’d be curious to how the blue channel looks specifically as that is always the harshest channel.
@k wasley, Keep in mind that Balde Runner was 90% physical sets, where as the C300 film was 90% digital sets, plus it was shot in 5 days with probably less 90% the budget from Balde Runner.
Its not a fair comparison.
Just sayin
@Vincent Laforet. Is it in fact a key rather than an alpha channel? An area of the image defined by its hue, saturation, luminance or a combination of the above and then effected seperately from the rest of the image?
Congratulations to you and your team on a beautiful film. It’s like watching an all out episode of The Twilight Zone.
Just downloaded Mobius from iTunes podcast. The audio sounds distorted, like the gain was up too high. Is it just me?
Also, will you still be able to post 1080p graded and ungraded? Hoping you can do an interview with your colorist on how he approached the footage. Everything looks so gorgeous. Would love to learn the recipe for his magic sauce.
Vincent Laforet Reply:
November 22nd, 2011 at 9:58 pm
No iTunes has the bad audio version… will work on it after the holidays.
I didn’t spend the time to match it 100% but was easily able to replicate said alpha channel by making the image black and white, inverting it and then crunching down the levels information quite a bit.
http://i.imgur.com/FV12d.jpg
Now for those arguing the use of the term alpha channel, white it may not be 100% dictionary correct I am assuming that Mr. Laforet’s collorist is using it as a matte to do his magic. In which case for all intents and purposes it is becoming the alpha channel for that particular process, or at least being treated as such.
BTW I watched the 720p version on Vimeo since my net was acting up, and the sound was really bad, sounded like the levels were compressed as double the gain they should have been. Everything was extremely distorted and deafening. Might want to double check that upload.
Otherwise fantastic work, and I to would love to see the C300 footage up against the RED camera shooting 4k/5k. I do believe a shootout is in order.
Vincent Laforet Reply:
November 22nd, 2011 at 9:56 pm
Sound has been replaced. There were some initial issues. And I agree w/ your assessment on the alpha channel.
Can you give us your impression of the quality of the C300 footage blown up to the big screen? How does it compare to film or to the RED cameras? Is it quite amazing or is it merely a bit better than the 5D and has a way to go before it measures up with the higher-priced digital cameras?
Vincent Laforet Reply:
November 25th, 2011 at 6:08 pm
Simply put: quite amazing. Looks very much like the Alexa.
Vincent,
Better late than never – congrats on this awesome movie!
I am looking for my next A-Cam, which should be a step up from the DSLRs I am using for my productions up until this point. My most urgent need is audio sync – I need them XLRs on the camera, because I have several projects involving lots of interviews.
How would you say the audio performs on the C300? I understand that the XLR inputs are not on the body but on some box that you have to connect to it?
My current choices are between a second hand Sony F3K set (with 3 primes I really don’t want to carry around), the C300 or the much cheaper FS-100. Since I want to keep using my Canon lenses, I will still need to wait out the EF-mount from either Birger or MTF services, if I want to switch to Sony. The other thing is that I will need to invest in new memory cards (SxS) and carry along different types of batteries, although the C300 also uses different batteries, right?
Based on Canon’s own words “You ain’t seen nothin’ yet”, I sort of fear that the C400 will be released in a year from now. Too bad the C300 does not offer a dual-link SDI out (like the F3), so I could protect the investment by using an external recorder with it.
Can you easily mix DSLR footage with the C300, if the output format is intended predominantly for web use?
I guess (hope) the C300 will match perfectly with the upcoming 4K “C”-SLR.
Vincent Laforet Reply:
November 30th, 2011 at 10:17 pm
I haven’t had a chance to use the audio on the C300 – we used a dual system. As I’m sure you understand I can’t make any forward looking comments …. but I can recommend the C300 hands down. I prefer it to the F3 and FS-100. It will also (reportedly according to Canon Europe) be priced similar to the F3.
Well done, excellent effort all round.
But IMHO the footage just does not look like what I see off the 5D’s…sorry….
I have now looked at and worked with virtually all the digital offerings out there from 5D to Alexa etc and the 5D wins hands down, dispite its well known short comings..again IMHO.
Vincent Laforet Reply:
December 13th, 2011 at 12:46 am
Until you work w/ the C300 you are not judging based on fact – but compressed video you are seeing on the web. We did our tests. They were quite convincingly superior to the 5D MKII – so you should be pleased in the end!
Hi Vincent,
I am considering purchasing an remote follow focus.
And I can’t stop wondering with the Wireless Remote (WFT-E6).
Is it possible to pull focus effectively with an iDevice while looking through a external monitor that has no lag.
I understand iDevice only display the screen at 1fps, but is there any lag/inaccuracy/un-smoothness with pulling the focus wirelessly.
Cheers,
Lin
Vincent Laforet Reply:
December 13th, 2011 at 10:32 am
Far too much lag – so no unfortunately – it’s not possible. v
if you check the movie killer elite you will see that this movie is completely the same exept of the surnatural part its the same rip off lool
Vincent Laforet Reply:
January 19th, 2012 at 8:45 am
Funny – I saw it on the plane for the first time this past week. I can’t say that I agree at all… but it’s all in the eye of the beholder I guess.
Hi, Vincent!
Can the Sahara Gold filter look be achieved in post?
And if yes, what’s is the advantage of a real filter?
Best regards!
Vincent Laforet Reply:
March 27th, 2012 at 2:20 pm
Depends on who you ask π My DP will say no … my Colorist will say the opposite! Personally – unless it’s a grad ND, classic soft, or Polarizer I’m going to likely want to try it out in post in the future….
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Hello! First time doing DIT for the C300 and I have 3TB of footage (documentary). What would you suggest as the the best way to setup rushes for clients… Is there any other options besides converting each clip into prores?
Thanks!
Christina
Vincent Laforet Reply:
May 22nd, 2012 at 2:41 am
You can convert them all relatively quickly through Adobe Media Encoder – and I do think that converting the clips is the best step for now yes.
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Great insight about canon c300 noise. From run & gun to complex rigs, your Canon EOS C-Series setup is likely unique and also constantly changing.