thing is, no one can touch the c300 c500 for handling. they are lovely, compact, all in one units that smash out their broadcast legit signal into cf cards. own one of these and you can hire it out week in, week out when not using it yourself. it'll pay for itself. After being in close contact with the c300 a few times, briefly using one I fell in love. sony can reel out loads of higher specs than the c500 but id rather have a basic 50mbit broadcast ready, in camera 1080p from a lovely small package than have to cart around a 'wheel around' flightcase full of all the modules and hard disks for the f55.
I gotta agree with this. If somebody offered me a C300, i definitely wouldn't slap them like an angry frenchman. The media needed to use 4k on these cameras is brand exclusive and very expensive, & that's the one's that do it internally.. I can hate on Canon all day for their prices, but that's only because other manufacturers are giving me a leg to stand on... Truth is, the Cinema EOS line is f--king rad if you're not thinking about the price tag. It comes with a monitor, the way it works the sensor owns rolling shutter, Canons are friggin killer in low light, and the way they see color has always been one of my favorite things about them. You can go to Best Buy and get CF cards all day. It's ready to give you an awesome image right off the bat and i think that counts for a lot. It doesn't sound very professional at all to say you enjoy shooting on a C300 because it's "easy", but hell it is.
The problem is (once again) -
-things like raw for $3k on ssd's with 12 bit.
-Possible $15,000 16bit cinealta camera with 4k output, cures cancer, etc.
-$700 camera you can hack with a 160+ bitrate & access to every lens on Gods green earth with the right adapter.
-there are more...for less..
I hate it they took a 42% hit this last year.. I don't wish ill-will on anyone, but they have to know why...
