Working with Log material can be difficult at times, so we have put out a couple of different LUTs for use when using the Sony F3's S-Log or Canon Log from the Canon C300. You can download the F3 LUTs and the C300 LUTs, as many of you have already done. Arri has their online LUT Generator, and the Technicolor CineStyle LUTs are available when using the CineStyle profile on the 5D Mark II.

Canon provides several De-Log LUTs on their website that are meant to convert Canon Log back into REC709 or video gammas. These files can be found on Canon's website but can be tough to use, because they are given in 1D LUT format as a simple CSV (comma seperate value) file.

I stepped over to the Canon booth today to get a little hands-on time with the Canon C500. The camera has many of the same features found in the C300, but with the addition of 4K output. The camera can output a 4K RAW video stream up to 60p in 4096x2160 mode, and 120fps in 4096x1080 mode. It can also output a quad HD signal for monitoring.

Recently, a colleague of mine asked about how to set up the Ki Pro Mini for use with the Canon C300. With the latest firmware (v3.0), the Ki Pro Mini can be triggered to record via the C300, as well as record in 24p (23.976 to be exact).

Just as we have done for other cameras in the past, we've put together several custom profiles for the C300. Many of the looks are the same as those found in the Sony F3 and other cameras that we support. The C300 has several great default looks that can always be used. However, our profiles attempt to match other popular cameras, or give you the best performance in a given situation. We put together seven different files for you to choose from, which are outlined below.

With every new camera, comes many new questions about workflow. The term 'workflow' can be fairly broad, but today I am looking at importing C300 footage into various non-linear editing systems (NLE). The C300 uses the same workflow as the Canon XF series of cameras (which includes the XF305, XF300, XF105 and XF100), because it records in the same format. However, the tools for importing the footage have been updated by Canon. Below, I outline how to ingest footage onto a hard drive, and how to import into Avid Media Composer, Final Cut Pro 7, Premiere 5.5 and Final Cut Pro X. Keep reading for a brief how-to on each process.

When you think of a 35mm sensor camera, what characteristics come to mind? Probably the first is shallow depth of field. It is part of what many consider the "look" of that imager size and a principle defining difference between it and other formats. But while some consider this the chief attribute of the format, others may find it to be a detriment in certain situations. For those shooting documentary, run-and-gun productions, a deeper depth of field may be preferable to maintain focus.

Canon's much anticipated EOS C300 is a modular Super-35 sized sensor camera available in both PL and EOS (EF) mount. The modular nature and size of the C300 means the camera can live in many configurations - from the fully decked out studio camera to a light-weight run-&-gun setup.

Soon after the announcement of the EOS Cinema C300, Canon brought the camera by and let us check it out. I put together this video with my first impressions of the camera.