Computer^News^FAQ: full hd

Canon EOS C300

12:21:00 PM

This week Canon has launched a camera that’ll seek to be putting Red Scarlet and Arri Alexa in their place. It’s the brand new Canon C300 cinema camera and it’s been revealed at Hollywood’s Paramount Studios where a crowd included journalists and the film industry elite – including no less than Martin Scorsese apparently. This fantastic looking camera has no less than an EF or PL mount (not both, different models,) 1080p video capture, two CF card slot, timecode, and HD-SDI output.

The introduction of the EOS C300/C300 PL coincides with the launch of the Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.

Equipped with an EF lens mount, the EOS C300 is supported by an all-star cast of high-performance EF lenses, not only the wide array of interchangeable EF lenses for EOS SLR cameras that have earned the trust and respect of photographers around the world, but also the EF cinema lenses in the newly announced Cinema EOS System. When outfitted with a Canon EF lens, the C300’s peripheral illumination correction automatically corrects for vignetting in accordance with each lens’s optical characteristics, and enables iris control from the camera. Canon EF lenses also enable the recording of such metadata as the name of the lens used, aperture setting and shutter speed.*1

High-Resolution Full-HD Performance

The Canon EOS C300/C300 PL’s newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moiré while realizing high resolution with 1,000 horizontal TV lines.

Supported by a heightened signal read-out speed, the CMOS sensor reduces rolling shutter skews, a phenomenon prevalent with CMOS sensors in which fast-moving subjects may appear diagonally distorted. Additionally, the powerful combination of the sensor with Canon’s high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression.

In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of “jaggies” at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camera supports the recording of high-quality video.

The camera’s video and audio recording file format adopts the industry-standard MXF (Material eXchange Format), an open source file format ideally suited for non-linear editing systems. Recording to versatile, readily available CF cards, the EOS C300/C300 PL realizes high cost-performance and, equipped with two CF card slots, makes possible the simultaneous recording of video data to two CF cards.

With a compact body design measuring 5.2 (w) x 7.0 (h) x 6.7 (d) inches, the Canon EOS C300/C300 PL delivers exceptional maneuverability, enabling shooting from vantage points all but inaccessible to large cinema cameras, such as close to the ground for high-impact low-angle shots, and alongside walls. In accordance with on-location shooting needs, the camera can be outfitted with a handle, grip, thumb rest and monitor unit, and offers an array of industry-standard terminals, including HD/SD-SDI video output for the external recording of high-quality video content. When using a WFT-E6B wireless file transmitter for EOS digital SLR cameras (sold separately), the EOS C300/C300 PL can be controlled remotely by means of such common devices as smartphones or tablet PCs.

The camera is equipped with four start/stop buttons positioned at various locations to satisfy any preferred camera-holding style, and can be outfitted with a variety of third-party accessories, including matte boxes, follow focuses and external video and audio recorders. The unit also achieves seamless integration with third-party editing systems and provides added peace of mind through its dust-proof, drip-proof construction and built-in cooling system.

The new camera allows users to adjust image quality to match that of professional camcorders and EOS-series digital SLR cameras, and offers Canon Log Gamma, enabling flat image quality with subdued contrast and sharpness for maximum freedom in post-production editing and processing. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.

Other features include fast-motion shooting, achieved by capturing fewer frames per second to create action up to 60x normal speed, and slow-motion down to 1/2.5x*2 made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps) *3 can be adjusted in increments of 1 fps.

Additionally, a selection of Custom Pictures lets users freely adjust image quality for greater control over how content looks.

Pricing and availability

The Canon EOS C300 (EF mount) digital cinema camera is scheduled to be available in late January 2012 for an estimated list price of $20,000. The Canon EOS C300 PL (PL mount) digital cinema camera is scheduled to be available in late March 2012 for an estimated list price of $20,000.

For more information and to view online demonstration footage of the new products please visit: www.usa.canon.com/cinemaeos

*1 Compatible features differ depending on the EF Cinema Lens used.

*2 1/2.5x possible only when recording in 720p mode.

*3 When 59.41i frame rate is selected.

2011

Nikon V1

11:39:00 PM

The Nikon V1 is a compact interchangeable lens camera with 10.1 Megapixel resolution, Full HD video, a selection of innovative shooting modes and what Nikon describes as the world's fastest AF system to date. The V1, along with the simpler J1, are the first two models in Nikon's new '1' series, announced in September 2011.

Nikon 1 is the company's long-awaited mirrorless / interchangeable lens camera system. Unlike existing APS-C and Micro Four Thirds models, Nikon 1 is based around a new 'CX-format' CMOS sensor. Measuring 13.2x8.8mm with a 2.7x field-reduction factor, the CX format is smaller than APS-C and Micro Four Thirds sensors, but comfortably larger than those in point-and-shoot cameras or the Pentax Q system.

The 10.1 Megapixel CX-sensor in the V1 and J1 also boasts a hybrid AF system, offering both contrast-based and phase-detection AF systems, the latter built-into the sensor itself at the focal plane. In use both cameras automatically switch between phase and contrast-based AF depending on the subject, with the former allowing them to quickly track action even while filming video.

If the subject is shiny or in motion, the V1 and J1 employ phase detection AF with up to 73 points (for single AF point selection) or 41 (when set to auto area). If the subject is stationary or poorly lit, the V1 and J1 switch to their contrast based AF system, which uses up to 135 areas. Once again Nikon claims it is the world's fastest AF system, and thanks to the numbers here, also the world's most focusing points too.

As mentioned earlier, the CX sensor measures 13.2x8.8mm and applies a 2.7x field-reduction to all lenses. This is smaller than the 17.3x13mm and 2x reduction of Micro Four Thirds sensors, as used in Olympus and Panasonic ILCs, and the 23.4x15.6mm and 1.5x reduction of APS-C sensors as used in Sony NEX ILCs and most DSLRs, including Nikon's own DX format models.

While the CX format is comfortably smaller than Micro Four Thirds and APS-C, it is larger than the sensors employed by typical point and shoot cameras. These tend to employ sensors described as being 1/2.7in or 1/1.8in, which measure 5.37x4.04mm or 7.18x5.32mm respectively. There's also the 2/3in sensor size, measuring 8.8x6.6mm but rarely used in point-and-shoots anymore. Finally there's the 1/2.3in size, recently adopted by Pentax for its Q system, which measures 6.16x4.62mm and applies a 5.53x field reduction to lenses. You can clearly compare each sensor size in my scale diagram below.

Digital camera sensor sizes compared (scale diagram)

Nikon's strategy is two-fold: it doesn't want to jeopardise sales of its DX-format DSLRs, which employ APS-C sized sensors, and it's also spotted a gap in the market between these and traditional point-and-shoot sensors. In these respects it's a sound strategy, but those who equate sensor size to quality are understandably disappointed. I can't comment until evaluating a final production sample myself, as modern technologies may allow the CX sensor to perform better than expected. It's also worth remembering the success of the Nikon 1 is more about it being noticeably better than a point-and-shoot rather than offering quality to match APS-C.

I will however say that by adopting a smaller sensor, Nikon might avoid cannibalising its DSLR sales with an ILC but that's not stopping the competition from doing so. Just look at Sony which makes DSLRs, ILCs and even SLTs, all using APS-C sensors. Sony understands each type of camera may jeopardise sales of another, but doesn't care so long as those sales stay within the company. Nikon's decision, for better or worse, will mean that anyone who wants an ILC with a big sensor will look elsewhere.

It's also worth looking into that 2.7x field reduction for a moment. This would seem to benefit telephoto work, as a relatively small focal length on a CX-format body could deliver a large effective focal length in practice. But look again at the figures, especially compared to Sony's latest 24 Megapixel APS-C sensor. Note I'll be making assumptions the entire sensor dimensions quoted by the manufacturers are active and devoted to the actual photo sites.

Starting with linear resolution, the Sony sensor packs 6000 pixels into a sensor measuring 23.4mm wide; that equates to individual photo sites measuring 0.0039mm wide. Meanwhile the Nikon CX sensor packs 3872 pixels into a sensor measuring 13.2mm wide, equating to individual photo sites measuring 0.0034mm wide. This makes the photosites on the Nikon sensor only about 15% smaller in either dimension; that is to say, if you took the same physical area from each sensor, the Nikon would only squeeze 15% more pixels into it horizontally or vertically.

The reason this is worth noting is it effectively eliminates almost all of the perceived telephoto advantage from the Nikon CX system when compared to a high resolution APS-C sensor. If you fitted a lens of the same focal length to both the Nikon V1 / J1 and Sony NEX-7, the images direct from each camera may show a different view, but by taking a 10 Megapixel crop from the middle of the Sony, you'd end up with coverage and detail within 15% of the Nikon. And obviously the Sony has the advantage of the original uncropped 24 Megapixel image with a broader coverage, although to be fair it would require a physically bigger lens to deliver the required imaging circle to its bigger sensor.

Looking at their respective sensor areas and pixel densities you can also calculate the Nikon V1 / J1 and Sony NEX-7 have photo-site areas of 11.5 and 15.2 square micrometers respectively, which gives the Sony around 50% greater light-gathering area per pixel, implying higher sensitivity. Of course differences in micro-lenses and filter arrays, not to mention image processing all play a role in final image quality, but crunching the numbers certainly gives food for thought.

It is however important not to discount the Nikon 1 system based on it not having an APS-C or even a Micro Four Thirds sensor. Nikon has packed-in a number of unique features which differentiate it from the pack and which, as a whole, could end up delivering one of the most satisfying photographic experiences around.

I've already mentioned the fast hybrid AF system. Next comes supremely quick continuous shooting, with both the V1 and J1 boasting 10fps with autofocus, or a massive 60fps with the focus locked at the first frame. These speeds employ the electronic shutter which offers shutter speeds up to 1/16000. The V1 additionally offers a mechanical shutter with continuous speeds up to 5fps. I'm confirming buffer depths for all modes.

In terms of video, both the V1 and J1 can record 1080/60i, 1080/30p or 720/60p, from a sensor which outputs 1080 at 60p. Annoyingly there doesn't seem to be a 1080/60p option, perhaps because development predated the latest AVCHD Progressive standard, although a short burst of 1080/60p video is recorded in the Motion Snapshot mode which I'll come to later.

Continuing the unique features, the V1 and J1 also support lower resolution video at extremely high frame rates: 640x240 at 400fps and 320x120 at 1200fps, both playing back at 30fps and therefore slowing the action by 13.3 or 40 times. These are impressive capabilities, although the very wide and non-standard aspect ratio (approx 2.5:1) is a curious choice. Note all videos are encoded using H.264 and stored in a MOV wrapper. Both cameras feature built-in stereo microphones, but the V1 additionally offers a 3.5mm microphone input jack.

The V1 and J1 join an increasing number of cameras which can capture still photos while recording video, impressively including high resolution images so long as you're in the right mode. If you're filming in 1080/60i, you can grab 3840x2160 pixel / 16:9 shaped images which may be cropped from the native 3872x2592 pixels of the sensor itself, but still represent a decent 8 Megapixel image. If you're filming in 1080/30p or 720/60p, the stills are grabbed at the video resolutions of 1920x1080 or 1280x720 pixels.

Moving-on, the V1 and J1 offer two unique shooting modes which exploit their fast shooting capabilities: Smart Photo Selector and Motion Snapshot. The former starts quickly buffering images the moment you half-press the shutter release and records 20 as you push all the way down. A number of these frames are actually captured following the press of the shutter release, which allows the V1 and J1 to record not just the moment you pressed the button, but just before and afterwards too. The camera then evaluates the burst of 20 images for focus, composition and facial expression, before selecting what it believes are the best five, with the best of all shown immediately on-screen. This mode maximises your chances of grabbing the right moment - with a few extra throw in for good measure.

Motion Snapshot also starts recording just prior to the main button press, but this time it's capturing a one second burst of Full HD 1080 video at 60p in addition to your main still image. The video is then encoded at 24p, for a semi slow motion effect, 2.5 times slower than normal, and stored alongside the high resolution still. This gives you the best of both worlds with the video putting the still into context.

Smart Photo Selector and Motion Snapshot are two of four modes which are selected from a dial on the rear, the other two being for traditional Still Images and Movies. When set to Still Image, the cameras allow you to choose from the traditional PASM modes on-screen. Even when set to these two modes though, there's a lot of crossover: as already mentioned, you can capture high resolution stills while filming video, and also shoot continuous stills at video frame rates. Stills and video have never converged and complemented each other to this degree on a consumer camera.

Nikon V1 vs J1 - the differences

So far though most of the features described are common to both the V1 and J1. The major differences between them revolve around the physical aspects of size, build quality, composition and connectivity. The V1 boasts a tougher, albeit larger and heavier magnesium alloy body, measuring 113x76x43.5mm (36mm at its thinnest point) and weighing 383g with battery and card but no lens. Meanwhile the J1 measures 106x61x29.8mm and weighs 277g with battery and card but no lens. I've pictured the J1 below with the smallest current Nikon 1 lens, the 10mm f2.8 pancake.

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