I don't know if anyone else is getting confused but I am.
Canon I guess has a plan to make the 5d3 and the dslrs to hit the lower priced 2k scale, the new 4k to be top of the line and I guess the c300 is somewhere in between.
I still don't understand the form factors and features. I can understand 4k raw, I don't understand a company like Canon that makes about a billion autofocus cameras that can't add that to the list, or why the 4k camera is a dslr form factor instead of the c300 form factor?
I'm sure being Canon they'll sell a bunch of all of them, mostly because so many people have legacy Canon glass, but I kind of wonder what the workflow is going to be like if you own a c300, a 5d3 and maybe this 4k raw. That's as much mixing and matching I do between my RED's and my Sony. In a way maybe more.
I think RED started a firestorm with the Scarlet. The Scarlet has it's issues and some things are a work in progress, but at 14k for 4k raw and optional mounts, it kind of makes me wonder why someone would spend $25,000 on a 4k dslr when the Scarlet comes in at half the price, but maybe there is something I don't know.
The Sony (on paper) seems better sorted out, but they still have lenses and I guess some kind of processing suite that they have to come out with.
On another note, I was at a large still and motion equipment rental house last Friday before boarding the plane and the manager told me they're renting cotinuous lights hand over fist, though studio strobes are setting on the shelf.
I don't know if that means anything, but it is something to think about as to where the industry is going.
What I'm mostly surprised in is why there is not a motion imaging version of lightroom that would take files from all of these new and newer cameras. I'd think that would be a hands down winner, but maybe not.
I am also surprised that no company, apple or adobe, or matrox, or Kona or someone hasn't addressed a simple quicktime fix where what you see in the processing suite and editorial suite don't exactly match what a stand along h264, prorezz, or even mpg stand alone file.
But, we're in the early stages of this convergence and it's the wild wild west.
I kind of think what I would do if I was starting from scratch and every announced camera, lens, software, etc. was on the shelf and ready to roll.
I think I might still own a RED One because it's robust, but for the other work I think (not knowing how these new cameras work in the real world)., I think I'd go the Sony fs700 route.
I do know if I was designing a camera interface I'd either go as simple as a 5d2 or as mechanical as a RED One, especially with xlr inputs, thought they are smaller xlr inputs.*
*We have this series of plastic baggies that go in a small case that is nothing but sound attachements. XLR to mini xlr, XLR to mini plugs, mini plugs to XLR,s BNC's and well probably 4 or 5 more I can't remember right now.
That is something I'd love to see standardized.
P.S. I know moving a lot of equipment is a pain and once you get past lights, stands, supports, cameras, lenses, chargers, then I've got those 1/2 dozen baggies full of sound convertors. Now I mentioned before if we've gotta shoot something with new equipment, we should at least have some fun. Looking at that bag of sound convertors really is a buzz kill and basically zero fun as one xlr to mini xlr cable that is bent or left behind is a problem and not something your going to find at the nearst best buy.