I am a documentary cinematographer working for a Manhattan-based doc production company. We are in a position where we can purchase a 4K DCI capable cinema camera package to facilitate our loaded production schedule for the coming year. With a price point of about $30K for the whole package including mounts, lenses, tripod, and all that, I have priced out and landed on either the Sony FS7 or the Canon C300 MKII.
I have lots of experience with both cameras, and really dig working with them. I've gotten used to both their quirks. I think in my gut, I like the ergonomics and look of the image with the FS7 a bit more than the C300 MKII. Plus, with the Sony E Mount, I could effectively use any lens with the FS7 and a couple good EF/PL adapters. BUT all of the lenses we've been renting for our feature projects have been PL mount primes or zooms, so a PL C300 effectively wouldn't restrict anything.
The post production supervisor at my company would also really dig the C300's internal proxy recording, as that would save on post time. And the internal interface of the C300 allows a bit more metadata malleability, making off-lining and delivery a more seamless process.
Is there a sensible way to make matching proxies simultaneous to shooting with the FS7? I've tried the VideoDevices PIX 240 and the Odyssey 7Q+ in HD Proxy mode, but they either split clips or were not able to match naming convention, the latter being workable but annoying. In my research, I found the Sony CBK-WA100/101. Looks like they're basically a Teradek with an SD slot for recording proxies. I know it works with PMW Sony cams, but does anyone know if it'll work with the FS7? Or anything that does?
After pricing out everything both cameras would need to be shoot-ready, the C300 shakes out to be about $3000 more than the FS7.
I guess I'm looking for any wisdom you can offer. Do you have a reason to preference one over the other? Any thoughts would be appreciated.
I am not looking to shoot RAW. I suppose it is possible to shoot a non-RAW 4K ProRes through the Odyssey 7Q+, but there's still the small annoyance in renaming either the proxy or 4K files and the not small annoyance of the Odyssey splitting clips. As far as using a not clip-splitting recorder, I need to check with my post supervisor whether or not having the 4K be ProRes is a compression too far.