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. I have to say that I was pleasantly surprised by both the quality and functionality of the C300. The quality of the image, skin tone rendition and overall resolution make a good impression. Also the form factor, which seemed strange at first, allows the camera to fit nicely in your hand and is fun to operate. Check out my video above to learn more.

To solve some of these issues, Technicolor and Canon have teamed up to release a custom Picture Style designed to increase the dynamic range of the images produced by the Canon HDSLRs. Loading the Technicolor CineStyle profile replaces the standard REC709 profile with a log color space for maximum latitude.

When you load the Picture Style with Canon’s EOS utility software, you can see that it adds the “CineStyle” profile to the standard drop down list.

I’ve included some sample images of the Canon “Standard” and “Neutral” styles compared to the Technicolor CineStyle.

Canon Standard

Canon Neutral

Technicolor CineStyle

While the Technicolor CineStyle appears flat and washed out, the low contrast image provides a true, neutral starting point for your colorist.

Technicolor has also released an S-curve LUT (Look Up Table) for Apple Color and Magic Bullet LUT Buddy. Both the Picture Style and S-curve LUT are available from Technicolor’s website here.

Video capture with an HDSLR can be tricky with day exteriors, even when the camera is rated at 200 or 320 ISO. The Schneider True-Match Variable Density Filter system offers a quick way to get exposure into a workable zone. Aesthetically, the unit allows directors and DP’s to maintain a level of exposure that takes advantage of the larger sensor area of the HDSLR by keeping the f-stop low and the depth of focus shallow, thus delivering a more filmic look.

The True-Match filter system consists of a match set of filters that, when turned in opposite directions, create various levels of ND. By carefully matching these filters, blue shift has been eliminated at high-density settings. The range is 11 stops of exposure compensation. A 77mm True-Match circular pola is threaded onto the lens and a step-up ring is threaded into the 77mm polarizer filter. The step-up ring accepts a rotating 4×4 filter stage, which holds a 4×4 True-Match linear polarizer.

The new VFM-056WP on-board monitor from TV Logic is ideal for working with HDSLRs and Compact HD cameras. Ergonomic design and user-friendly functions streamline your rig and offer monitoring solutions in a lightweight package.

The main reason the VFM-056WP works so well with HDSLR cameras is its ability to convert an HDMI signal to HD-SDI. Many people wish to convert their HDSLR video output into HD-SDI for monitoring. While signal converters exist, they require separate power and take up real estate on the camera. The VFM-056WP converts the HDMI input signal to a 720P HD-SDI output. This is a huge advantage, as it saves the cost of a separate signal converter and the power required for its operation.

The VFM-065WP monitor further addresses the scaling issue that occurs between monitoring and recording functions. The monitor includes a display menu item called DSLR scale. HDMI output from the Canon 5D is 1920×1080, but when the camera is in record mode, the HDMI signal converts to 640×480. The VFM-056WP will take in the HDMI signal and rescale the image to 720×480.

In addition to working well with HDSLR cameras, this small monitor works great with just about every professional camera today. Weighing in at just over a half pound, the options and routing solutions of the VFM-056WP on-board monitor from TV Logic will be hard to beat. Watch my video for an even more in-depth look.

HDSLR monitoring solutions in the past have been less than ideal – size, weight and powering have all created special challenges. The Marshall V-LCD50-HDMI has gone a long way in solving these challenges and, weighing in at just under half a pound, the unit lends itself to hand-held as well as studio configurations. Keep reading after the break for more details, as well as an in-depth video review of the monitor’s menu system.

Power for the monitor is supplied from either four AA batteries or a 5V external input. The lifespan of the four AA batteries is about two hours. The alternative is to install a Nebtek battery adaptor that steps down to 5V. With this adaptor, Sony L or Panasonic CGA-D54 (.6 lbs) or CGR-D16 (.25 lbs) batteries can run the the monitor for an extended time depending on the amperage of the batteries used. Be sure to specify the battery mount when considering the Nebtek option.

The V-LCD50-HDMI is an input only monitor that recognizes HDMI and Vesa inputs. The factory default for input signals is Auto, meaning that the monitor will scale the inbound signal to its 800×480 pixel resolution. Signal recognition can be made auto or manual in the HDMI Aspect Ratio control in System Configuration menu, while additional scaling options can be found in the Video Configuration menu under Ratio. Input info can be displayed on screen in two modes or turned off all together. Frame marker options are in the Marker Configuration menu.

The Video Configuration menu offers four default color temp settings and a user setting. Interestingly, on this monitor RGB Bias (Black Level) and RGB Gain can be adjusted, but this is not something you want to play with unless you have a engineering background. A pixel-to-pixel option centers the image for critical focus.

The monitor includes a host of handy options that are found in the System Configuration Menu, however, most of these items are programmable into the Function Presets. False Colors is one of the most popular options. In this mode, a color scale determines proper exposure and different colors represent different IRE levels. The peaking or focus assist helps determine sharp focus by means of a color overlay on a monochromatic image.

The monitor held up well in semi cloudy exterior situations, but even if you are only shooting indoors, it’s probably a good idea to order the optional sunshade. The angle of view on the monitor was very good with little drop-off side-to-side and up-and-down.

To upgrade your converter box, download the 1.6.1 Utility Software for Mac or Windows. After opening the utility, plug your converter into your computer using a USB cable and power it up. The utility will automatically upgrade your firmware if it’s not already at the current version.

I recently had a chance to try out the Vocas HDSLR rig. This modular system provides as much or as little support as needed and is ideal for HDSLR shoots.

The heart of the system is the 0350-0300 rail support bracket – the camera ties down to a raised platform and accommodates 15mm lightweight rods. Underneath are a series of tapped holes: three 1/4″-20, one 3/8″-16, 8-4mm.

The full version includes a mattebox (MB-210 or MB-250), MFC-1 follow focus and shoulder pad with offset bracket, topside handgrip, monitor support and handgrip kit. Adding a finder to your camera LCD panel makes this setup ready to work all day in a hand-held configuration.

Breakdown and assembly of the unit is intuitive and quick, thanks to the positive lock design of the tie downs. The offset bracket for the shoulder mount allows for fast changeups from a tripod/monopod to a shoulder setup, while the top handle makes grabbing low-angle shots a breeze.

The MB-210 mattebox is available with an offset bracket that will center to the HDSLR lens and a series of flexible adaptor rings are available to match the outer diameter of the lens. It accommodates one 4×4 filter in the front of the housing and one in a rotating tray. For lenses requiring a wider angle of view, the MB-250 mattebox takes two 4×4 filters in trays with one rotating stage. A built-in eyebrow is located inside the front housing.

Attaching a battery plate will offset the weight of your camera and provide a power source for on-board monitors or other accessories requiring 12-volt power. A small counter weight with a threaded center will accept up to two 1kg (2lb, 3.27oz) counter weights.

The MFC-1 follow focus is a single-sided unit that features a vertical height adjustment in place of a swing arm; its low clearance makes it perfect for use with HDSLRs. Flexible gear rings are designed as a one-size-fits-all solution to enable focus pulling on SLR-style lenses.

The Vocas handgrip system interfaces with either 15mm lightweight or 19mm studio spacing. Each handgrip attaches via a rosette and ties down with a kip lever for quick adjustment.

An optional monitor-mount bracket attaches to 15mm lightweight rods. You can secure monitors up to 3lb in weight with a swiveling 1/20-mount and two-axis adjustment arm.

The 60D uses the same batteries as the 5D Mark II and 7D, making it a great secondary body for anyone already shooting with either of these cameras. Like the T2i and 7D, there is a dedicated movie mode with a movie-specific settings menu. Build-quality is similar to the 7D and, similar to the 5D, audio levels can be set manually or left in automatic.

The sample clip below was shot on the 60D at the Canon Expo. Estimated arrival date for the camera is late September, but you can pre-order here.

With this in mind, Abel and PortaBrace worked together to develop the “ultimate” HDSLR shooter’s case. The goal was to fit a camera built with front rods, follow focus, mattebox and optical viewfinder, along with a complete set of prime lenses or zooms, an HDMI/HD-SDI converter, and lots of batteries, chargers, CF cards, etc. It had to be easy to run around with on a shoot and fit inside a hardcase for shipping. After much work with PortaBrace, reconfiguring some products and creating new ones, we think we’ve come up with the Ultimate HDSLR Travel Kit. Take a look at the video to see more.