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Bruce A. Johnson
A 1981 graduate of the Boston University College of Communication, Bruce A. Johnson got his first job in broadcast television at WFTV, an ABC affiliate in Orlando, FL. While there, he rose through the ranks from teleprompter operator to videographer, editor, producer and director of many different types of programming. It was in the early 1980's that he bought his first computer - a Timex/Sinclair 1000 - a device he hated so much, he promptly exchanged it for an Atari 400. But the bug had bitten hard. In 1987, Johnson joined Wisconsin Public Television in Madison as a videographer/editor, and still works there to the present day. His responsibilities have grown, however, and now include research and presentations on the issues surrounding the digital television transition, new consumer technology and the use of public television spectrum in homeland security. He freelances through his company Painted Post MultiMedia, and has written extensively for magazines including DV and Studio Monthly. 
NAB 2012: Trucolor Ohm Space LightNAB 2012: EZ-JibNAB 2012: Profoto Reflector UmbrellasNAB 2012: Eizo 4K MonitorNAB 2012: T3 Motion Camera TransporterNAB 2012: Epic HD1080 Danger CamNAB 2012: Swedish Chameleon DSLR Shoulder MountNAB 2012: PhotoHigher HexacopterNAB 2012: Art Lebedev Optimus Popularus KeyboardNAB 2012: Mini Dolly SliderNAB 2012: Plasticase NanukNAB 2012: Maybe this means nothing.NAB 2012: Sony Press ConferenceREVIEW: Blackmagic ATEM 1 M/E Video SwitcherWant To Fly In First Class On Your Next Gig? Here’s How!REVIEW: Fast Forward Video Sidekick HD Recorder/MonitorIs TV Broken?Canon Cinema EOS C300: A Dissenting ViewThe One Collaboration I Need Adobe To MakeREVIEW: Litepanels Sola ENG LED Fresnel LightThe Phantom HumToday The GoPro Let Me DownBlackmagic Design at NAB 2011 Part 2Blackmagic Design at NAB2011 Part 1PVC NAB 2011: Rotor Concepts
April 2012March 2012December 2011November 2011September 2011July 2011June 2011May 2011April 2011March 2011February 2011January 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010March 2010February 2010January 2010November 2009August 2009July 2009June 2009April 2009March 2009February 2009January 2009December 2008November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008Complete Archives |
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Canon Cinema EOS C300: A Dissenting ViewDisappointed is a weak word… I know, there have been a million opinions shot over the Internet over the last three days regarding canon’s new Cinema EOS C300 camera. About half point out it’s great feature set, and about half seem to point out every flaw it has in comparison to RED Epic. Whatever, all that’s fine. Me, I’m dissapointed for an entirely different reason: Where’s the killer Canon camera for the tens - to hundreds-of-thousands of us that actually work in television? When I reviewed the Canon XF305 a year ago, I was very impressed with the package, with a few caveats - chief among them the 1/3” chipset. If Canon can jam a 35mm CMOS into the D5 mkII, why not the same hardware in a form-factor that a real TV production crew could easily use? And in a package that can sit on your shoulder? When I got my invitation to the Canon press event, I was really excited. I even planned to fly from the Midwest to LA just to see the announcement. Luckily, I was offered some freelance work before I bought the plane ticket, but I watched for news on my smartphone in every bit of downtime. And when the news came out…what a letdown. The EOS C300 does nothing for me… and in fact, doesn’t seem to do much of anything for anybody until you outfit it with tens of thousands of dollars in accessories, including audio and timecode adapters, lenses, rails, grips, you name it. Maybe I’m missing something here, but I have to figure that there are many more video pros actually making a daily living than there are folks that will ever make money off their films. If I’m wrong, say so, but that’s the way I see it. I’ve used - and generally loved - Canon video cameras since the XL1 came out 13 years ago. Please, Canon, I beg you - put a 35mm chip, a good audio section, swappable lenses, the 50Mb codec, 10-bit HD-SDI out and SMPTE timecode in and out into a $10K shoulder-mount package. You’ll have a line flowing out the door for miles. But in the meantime, I’m dismayed at the EOS C300. I guess I should be old enough by now not to get my hopes up so easily.
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Canon Cinema EOS C300: A Dissenting View
Disappointed is a weak word…
I know, there have been a million opinions shot over the Internet over the last three days regarding canon’s new Cinema EOS C300 camera. About half point out it’s great feature set, and about half seem to point out every flaw it has in comparison to RED Epic. Whatever, all that’s fine. Me, I’m dissapointed for an entirely different reason:
Where’s the killer Canon camera for the tens - to hundreds-of-thousands of us that actually work in television? When I reviewed the Canon XF305 a year ago, I was very impressed with the package, with a few caveats - chief among them the 1/3” chipset. If Canon can jam a 35mm CMOS into the D5 mkII, why not the same hardware in a form-factor that a real TV production crew could easily use? And in a package that can sit on your shoulder?
When I got my invitation to the Canon press event, I was really excited. I even planned to fly from the Midwest to LA just to see the announcement. Luckily, I was offered some freelance work before I bought the plane ticket, but I watched for news on my smartphone in every bit of downtime. And when the news came out…what a letdown. The EOS C300 does nothing for me… and in fact, doesn’t seem to do much of anything for anybody until you outfit it with tens of thousands of dollars in accessories, including audio and timecode adapters, lenses, rails, grips, you name it.
Maybe I’m missing something here, but I have to figure that there are many more video pros actually making a daily living than there are folks that will ever make money off their films. If I’m wrong, say so, but that’s the way I see it. I’ve used - and generally loved - Canon video cameras since the XL1 came out 13 years ago. Please, Canon, I beg you - put a 35mm chip, a good audio section, swappable lenses, the 50Mb codec, 10-bit HD-SDI out and SMPTE timecode in and out into a $10K shoulder-mount package. You’ll have a line flowing out the door for miles.
But in the meantime, I’m dismayed at the EOS C300. I guess I should be old enough by now not to get my hopes up so easily.
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