Seems like if you want to admire Canon (and use your EF lenses), then you have to go to their professional like like their 4K Canon C500 (shoots at 4x more pixels than 1080p! in RAW (or 120fps in half-RAW whatever that is) and with 10-bit color wow! FYI 2K is the sames as 1080p and 4K is like 2160p. That’s 50Mbps of video!). No big deal if you’ve got $20K for a camera and another $9K for the hard disk recorder that uses Raid 0 striping on SSDs to get to that kind of speed.
At NAB 2012, Canon announced the extension of its C-series lineup by announcing the C300’s “big brother”, the C500. Almost the same body, the same sensor and the same internal recording came as a bit of a surprise to the audience, but mostly in a positive way – simply because the form factor of the C300 proved so popular and versatile, it was a smart move by Canon to retain this form factor. All 4K and 10-bit (4K) and even 12-bit (2K) recording capabilities can only be used if you utilize an external recorder.
To give you a sense of how advanced this camera is, Skyfall was just shot with a 2.5K camera by Arris using Codex recorders.
I first used the ALEXA on IN TIME (2011) and on that film I had a huge amount of night exteriors, so I needed a camera with speed and versatility. I did side-by-side testing and found that there was so much more latitude in the file from the ALEXA than in a 4K scan of a film negative. I was also drawn to the subtle fall-off to highlights and the enormous amount of detail in the shadows. It was the first digital camera I had seen where I thought the technology had crossed the knife edge and taken us into a new world.
The Gemini 4:4:4 was the only recorder we were able to get our hands on for the shoot, supplied by AviSys, the official Austrian dealer for Canon Pro products. It’s a $6,000 device that records Canon Raw uncompressed onto two SSD drives (striped for speed).