A 0 Canon 60D puts out a better image than video cameras costing thousands more—my book, DSLR Cinema, promotes the use of DSLRs for film students and low budget indy filmmakers (far, far better than teaching or shooting on prosumer video cameras).
8-bit compression However, most of the prosumer video world shoots everything compressed, including the C100.
In order to make the image look good, they compress footage into an H.264 8-bit codec, resulting in thin footage. It’s a codec that works well for DVDs and on the web (packing a lot of information in a small amount of space).
You can also shoot a lot of footage on a relatively small memory card.
Kurt Lancaster shooting a short documentary at Venice Beach, California with Digital Bolex’s D16 beta build camera.
Michael Plescia on audio with Joe Rubinstein holding a reflector.
(Photo by Elle Schneider.) Below I provide an example of why it’s important to shoot in raw, as well as describing my opinion of several Cinema DNG cameras as a shooter and editor who works from a DIY filmmaking and multimedia journalism perspective (as well as a professional filmmaking educator).
I’ve shot projects with all of these cameras (except the Kine RAW MINI), going on location and interviewing camera and filmmakers in Los Angeles, Sweden, Melbourne, and Las Vegas.
In addition, I’ve used each of the available color grading software.
I’ve just completed a book for Focal Press about this topic: You don’t.