Digital video capture devices are omnipresent in our culture, and the average viewer’s subconscious understanding of what constitutes quality video is more informed than ever. Nearly everyone has a high-def capable (often 4K) camera in their pocket these days. With such a powerful imager so close at hand, more complex cameras need to reach ever higher and higher peaks of image quality. One of the many things that cinema cameras do to differentiate themselves is to offer high-latitude, extreme dynamic range gammas, like Log. However, “hybrid” gamma settings like Canon’s Wide Dynamic Range gamma, have distinct benefits too, especially in the remote production world.

Often when working on a commercial, corporate video, or industrial video, we make a last minute call to add more cameras. Has that ever happened to you? It seems inevitable that a job that started out as a single camera becomes two before the scout, and even three by the time we prep. It can be a struggle to find an operator last minute that owns the same camera already chosen as A cam, or a rental house that has both cameras and lenses available to match both the required look and budget. That is, unless you’re shooting Canon.

You may be familiar with Matt Porwoll from last year's Behind the Lens blog series, but did you know he's also an Emmy Award-winning cinematographer who used to work in the AbelCine rental department? It's true! Luckily for us, Matt enjoys sharing what he's learned about the technical aspects of his craft. Recently, we had the chance sit down for an in-depth discussion on his current favorite gear.

Canon has been busy updating their 3D LUTs (Look Up Tables), but they are still using a variant of the 3D '.cube' format that can stymie many popular NLEs (Non-Linear Editing systems) such as Adobe Premiere Pro CC. To help remedy this situation, we've created more widely compatible versions of these LUTs, as well as some creative LUTs, all of which you'll find below.

In this, the last episoide of my 4K for $10K series, I cover the Canon C300 MK II. I focus on the camera's core features, both hardware and software, and where I see it fitting into Small to No Crew production environments.

Canon's Cinema EOS camera lineup includes the C100 MK II, C200, C300 MK II, C700, and the new C700 FF. Canon and other manufacturers offer many different accessory options to tailor these already flexible cameras to each shooter's tastes and quirks. In this guide, we provide a quick overview of the most essential tools to take your rig to the next level. Find your model below to explore the choices.

Canon's latest firmware for the C300 Mark II, version 1.1.0.1.00, adds support for additional EF and EF-S lenses. Even more importantly, it also adds support for the LM-V1 Monitor that was originally introduced with the EOS C200.

The C300 Mark II's dual-pixel technology provides reliable and predictable autofocus. We now have the ability to dedicate autofocus to skin tones only, subjects coming in and out of frame, or multiple subjects in the same frame.

Quality audio is a must on any shoot, and Sennheiser offers professional audio solutions at an affordable price. In this blog, I take a look at two solutions using the Canon C300 MK II as a point of reference for shooting with a compact camcorder.