The integrity of the RAW signal is protected by eliminating video processes like the Linear Matrix that selects the color gamut, and employing a special RAW OETF that optimizes the digital coding over the entire transfer curve for all ISO settings. Sharing the same core design as its full frame sibling the EOS C500 Mark II, The EOS C300 Mark III likewise benefits from impressive modularity, allowing the camera to adapt to any shooting scenario and camera support requirements. Only four M3 screws are required to implement the change out to the alternative mounts. キヤノンのデジタルシネマカメラ「EOS C500 Mark II／EOS C300 Mark III」が、公益財団法人日本デザイン振興会が主催する2020年度グッドデザイン賞において「グッドデザイン金賞（経済産業大臣賞）」を受賞しました。 This flexible design can be configured according to the shooting and equipment requirements, right down to the lens mount – which can be changed between EF, PL or EF Cinema Lock without the need of converting by a service center. It features a V-lock or AB battery plate and gives you two additional audio inputs (more on the audio later). The second path contains a signal with lower amplification to capture the information that is clipped in the first path. In February this year, the Canon C500 Mark II entered this prestigious list with the new codec Cinema RAW Light. Canon has just announced the C300 Mark III, an S35 digital cinema camera that can record internally in 4K at up to 120p in either RAW or XF-AVC 4:2:2 10-Bit. But let’s get back to the C300 Mark III, fast forward 9 years to the presence – first off, the Canon C300 Mark III feels very much alike the full-frame C500 Mark II (watch our first hands-on here and read our lab test looking at the dynamic range and rolling shutter of that camera here). Documentary filmmaker Ben Sherlock explores what the full-frame EOS C500 Mark II and its Super 35mm Cinema EOS stablemate, the EOS C300 Mark III, can offer in the field. When a Super 16mm lens, or a 2/3-inch broadcast lens (with the B4 mount adapters – MO-4E for EF-mount /MO-4P for PL-mount) are used on EOS C300 Mark III the camera is set to formulate a choice between 2K or HD video formats. Just like the C500 Mark II, the C300 Mark III can shoot in Canon Log 2, Canon Log 3, HDR-HLG, HDR-PQ, Normal 1, and Wide DR. Preset Viewing LUTs can be assigned for each output. Provide your booking code and email address you used for the registration, we will re-send the confirmation email to you. Canon LOG. In December 2019, the C500 Mark II was released and soon followed by the C300 Mark III earlier this year. As they work together you don’t have to choose one or the other. The Mark III, at least on paper, looks to be a massive improvement on the Mark II and it sends a clear signal that Canon is back in the game. The Canon Recoil Pro is a shoulder rig designed specifically for the Canon C500 Mark II and the Canon C300 Mark III. Canon EVF-V50 OLED Electronic Viewfinder 3938C001 for C300 Mark III & C500 Mark II Your Price: $699.00 Core SWX Nano-C98 14.8V Battery with D-Tap for Select Canon Camcorders NANO-C98 The Canon EOS C300 Mark III uses the exact same frame as the C500 Mark II, but packs inside Canon's new DIGIC DV7 processor and a new 4K Super 35mm Dual Gain Output (DGO) sensor. Comment - Let us know what you think of the Canon C300 MK III below! Log workflows provide the user with higher dynamic range, more highlight and shadow retention, and more flexibility in … Yes, it doesn’t have a full-frame sensor and it can’t record 5.7K RAW, but it does give you 4K at 120p in the exact same camera body with all of the same functionality. Canon EOS C300 Mark III To make the story short, the Canon EOS C300 Mark III Digital Cinema Camera features a Super 35mm Dual Gain Output sensor with up to 16 stops of high … Canon DSLR, Mirrorless, Compact, Lenses, Flashes Rumors. Automatically obtains focal lengthWhen a lens that supports data transmission is attached, focal length data is automatically received through the digital contacts for shooting with optimized Electronic IS. Unlike Canon, ARRI is able to use Dual Gain Output on all frame rates. This is exactly what Sony did with the F5 and F55. The addition of Canon’s Cinema RAW Lite to the EOS C300 Mark II is no real surprise. EOS C300 Mark IIIの活用事例をまとめました。 ... CANON LOG TECHNICAL SITE. The C300 Mark III offers high frame rates and internal RAW recording. Created with broadcast and film professionals in mind, the small and modular body houses the newly developed Dual Gain Output sensor that delivers outstanding image quality. Documentary filmmaker Ben Sherlock explores what the full-frame EOS C500 Mark II and its Super 35mm Cinema EOS stablemate, the EOS C300 Mark III, can offer in the field. Well, that isn’t possible, because that is where the optional module has to go. If I was to guess as to why it doesn’t have an RF mount it would be that Canon engineers may be having issues trying to fit an internal ND system with the RF mount. Below is a comparison between the two cameras: Canon is touting that the C300 Mark III can be used for a variety of applications including documentaries, TV programs, TV news, and corporate videos. The C300 Mark III uses a brand new S35 sensor that has not been seen in any previous Cinema EOS camera. One prioritizes highlights and the other prioritizes shadows and dark areas. Selected category All. Hypothetically speaking, if Canon had never released the C500 Mark II and instead just made a full-frame C300 Mark III with 4K 120p recording and a Dual Gain Output for under $12,000 USD they would have created a camera that everyone would have jumped on. Canon’s Cinema RAW Light isn’t uncompressed, but the files still contain more than enough information to give you very clean images, good color accuracy and a smaller chance of seeing any image artefacts. According to Canon, it is similar to the system used on the EOS R but more advanced. We have been told that the next cinema camera from Canon will be the Cinema EOS C300 Mark III. The camera can shoot with Anamorphic lenses and will offer a monitored de-squeeze for 2x and 1.3x lenses. The Extension Unit 1 (EVU-1) $499 USD, offers multi-camera support with a Genlock interface, while Extension Unit 2 adds further interfaces, such as two more XLR inputs, ideal for broadcast applications and a V-Lock battery mount for extended recording times. Consider becoming a Patreon supporter and help us to continue being the best source of news and reviews for professional tools for the independent filmmaker. This allows it to feature a 5.9K output in full frame, and crop (window) the sensor for Super 35 and Super 16 frame sizes while maintaining a high resolution. Just like the C500 Mark II, the C300 Mark III features Electronic Image Stabilization (EIS). Selections from the included shim sets can be added for precision adjustment of the flange back. So does that price compare to other digital cinema cameras? The FX9 is already available and it is attracting a lot of attention from FS7 owners and users. This data is reported to the Digic DV7 processor that make high-speed calculations that in turn create the appropriate instruction to reposition the selected active image area. We made sure to keep certain measurements the same, in order for users to be able to continue to use certain Cinema EOS and third party accessories that they’ve grown to rely on. The EOS C300 Mark III uses the same exact Dual Pixel CMOS AF (DAF) Technology that is found in the C500 mark II. Canon has just officially announced the new Cinema EOS C300 Mark III camera and a new 25-250mm zoom lens today. you can download the file above. Of course, what is more important is where that dynamic range is being allocated. The next generation EOS C300 Mark III incorporates Canon’s newly developed 4K Super 35mm DGO sensor, with 4K 120P Slow motion, High Dynamic Range and Dual Pixel CMOS AF into the same body as the EOS C500 Mark II. This is the only logical explanation. You are probably not going to notice a massive increase in dynamic range if you are still finishing in SDR. However, the information we’ve received about this camera contradicts what we were told previously. The EOS C300 Mark III camera offers a variety of options in terms of onboard recording while simultaneously supporting external uncompressed recording. The camera can be customized to be quite small or quite large depending on what you are doing. Canon has just officially announced the new Cinema EOS C300 Mark III camera and a new 25-250mm zoom lens today. Both cameras have their strengths and weaknesses. The standard EF mount is non-locking. You may be asking why doesn’t the C300 Mark III have an RF mount? Canon claims that this enhances image sharpness, curtailed moire, and produces a lowered visibility of noise at the higher ISO settings. We posted some Canon Cinema EOS C500 Mark II specifications a couple of weeks ago, and we continue to receive trickles of new information about the soon-to-be-announced camera.. We have received some confirmation that the Cinema EOS C500 Mark II will have the same full-frame sensor as the Cinema EOS C700FF, and will be capable of recording in 5.9K internally to the CFexpress. In my opinion, the C300 Mark III is more in direct competition with the Sony FX9 than the C500 Mark II. "It's the perfect companion for the EOS C500 Mark … Related: canon c300 mark ii canon c200 canon c500 canon c700 canon c300 mk iii canon c500 mark ii canon c200 mark iii canon c500 mkii sony fs7. Essentially this is very similar to what ARRI does with the ALEXA. It has been more than 4 ½ years since Canon announced the C300 Mark II, and that’s a long long wait with how fast technology has been moving. The EOS C300 Mark III is flexible and lightweight. Both the Canon C300 Mark III and Canon C500 Mark II were launched relatively close to each other. EF to PL mount (PM-V1) 3. It is with HDR that DGO will be noticeable. You shouldn’t confuse Dual Gain Output with Dual Base ISO. That is a good question. This method is said to enhance low light performance and prevent the highlights from being clipped, thereby significantly extending the dynamic range of the image. You would have thought the C500 Mark II would have got it first. It starts off looking like previous models, but then users have the ability to customize it to suit their needs, which has never before been available in a Canon camera. Included with the camera are 13 accessories, such as a 4.3-inch LCD monitor and the GR-V1 grip. Central to the EIS system is the creation of an active image frame that is smaller than the sensor itself. Many shooters will be confused as to which offers the better value proposition. On the C500 Mark II the DPAF stops working once you go into the S&F mode. Given this low power draw, there is probably little reason to run a larger V-lock battery on this camera. The reason is … How long can you record for in the various resolution, frame rates, and codecs? The first path contains the regular, highly amplified signal. XF-AVC Long GOP 4:2:2 10-bit recording is useful for TV news and applications where you don’t require large file sizes. It is important to note that the DGO can’t be turned on or off. Let’s face it, although not a bad camera, the C300 Mark II was underwhelming in a lot of ways. Now there is a reason why they have had to do this. Users can change the lens mount themselves without assistance from a Canon service center. By using the exact same body and same accessories as the C500 Mark II Canon would have significantly saved on development and manufacturing costs. It’s almost as if Canon is forcing you to go with the optional module so that you can control audio from the operator’s side. Conversely, if recording 2K onboard then only a 2K uncompressed version can be externally recorded. There doesn’t seem to be any dynamic range improvement in the highlights if you compare the camera to the C500 Mark II. The C300 Mark II has a user-changeable lockable Canon EF mount that can be changed over to PL or standard EF. This is what the C300 mark III comes with: You can, of course, use the same EU-V1 Expansion Unit 1 or EU-V2 Expansion Unit 2 that are available for the C500 Mark II. Well, why not put them on the back of the camera? Just to be clear, anytime you select the full-frame shooting mode on the EOS C500 Mark II and you are recording XF-AVC you are oversampling the 5.9K sensor. The modular body is expandable to suit all of your filming and the accessories are the same as the C500 Mark II for greater flexibility and compatibility. First introduced in the EOS C200 and then implemented into the C500 mark II, Cinema RAW Lite is a proprietary Canon RAW format. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. Just like the C500 Mark II, the C300 Mark III can shoot in Canon Log 2, Canon Log 3, HDR-HLG, HDR-PQ, Normal 1, and Wide DR. LUTs Image copyright Dave May (@davetallstory) Preset Viewing LUTs can be assigned for each output. To me, the C300 Mark III represents a re-birth in some ways of the original C300. hands-on look and footage from filmmaker Dave May, Tentacle Sync Track E Pocket 32-bit float Audio Recorder– Recording & Transmitting Audio, Sigma “I” Series full-frame mirrorless lenses, Super 35mm 4K Dual Gain Output CMOS sensor (9.6 MP) 4206 x 2280, Full Frame 6062 x 3432 (20.8 MP) CMOS sensor, Electronically-controlled ND filter system, which supports 2/4/6 and an extended 8/10 stops, S35 Dual Gain Output CMOS sensor Super 35mm 4K Dual Gain Output CMOS sensor (9.6 MP) 4206 x 2280, External 16-bit raw 4K/2K up to 120 fps to a compatible device*, Newly developed S35 4K CMOS Dual Gain Output sensor, User-changeable Lens Mounts (EF, Locking EF, PL), EF, PL, anamorphic and Spherical Lens Support, Dual Pixel CMOS AF with Touch AF and Face Detection AF, Internal ND filters (clear, 2, 4, 6, 8, 10 stop – 8 & 10 with extension), 4K Cinema RAW Light, and 2K Cinema RAW Light, 4K DCI or 4K UHD digital production formats with XF-AVC Intra codec, 2K DCI or 1080-line HD digital production formats with XF-AVC Intra, 4K/UHD/2K/HD Long GOP 4:2:2 10-bit recording, Proxy video recording using XF-AVC LongGOP, 1 x 1/8″ / 3.5 mm Stereo Headphone Output. Matthew is available to hire as a DP in Japan or for work anywhere else in the world. Well, let’s have a look: 12 BIT RAW – 23.98, 24, 25, 29.98p10 BIT Raw – all other frame rates, 4K (4096×2160) RAW @ 25fps = 1gbps67min 512GB card, 4K (4096×2160) RAW @ 50fps = 1gbps67min 512GB card, 4K (4096×2160) @ 120fps = 437Mbps152min 512GB card, 2K RAW (2048×1080) @ 180fps (super 16mm crop) = 250Mbps261min 512GB card, 4K (4096×2160) XFAVC @ 25fps = 410 Mbps Intra166min 512GB card, 4K (4096×2160) XFAVC @ 50fps = 810 Mbps Intra84min 512GB card, 4K (4096×2160) XFAVC @ 120fps = 410 Mbps Intra166min 512GB card, 2K (2048×1080) XFAC @ 180FPS (super 16mm crop) = 160mbps Intra425min 512GB card. That camera uses the smaller Super35mm size sensor, similar to APS-C. Read on. it does not work in any S&F setting. On paper, the C300 Mark III looks like a great camera and there is certainly a lot to like. The EOS C500, EOS C300 Mark II, EOS C700 & EOS C700 FF were all met with mixed reactions, and all those models failed to gain any real traction in the market. If SDR is being recorded onboard only that same SDR can be externally recorded. 12G-SDI Support Support for 12G-SDI allows for the EOS C300 Mark III to output 4K resolution up to 60p over a single BNC cable. The Canon EOS C300 Mark III and the Canon EOS C500 Mark II are Cinema EOS stablemates offering the latest technology to give stunning visual results. The US price for Cinema EOS C300 Mark III body is $10,999, now available for pre-order at B&H Photo Video/Adorama.The US price for CINE-SERVO 25-250mm T2.95 Cinema Zoom Lens is $29,999, now available for pre-order at B&H Photo Video/Adorama. Yesterday, Canon unveiled another cinema camera that goes between its great C300 line and the latest C500 Mark II flagship. Die EOS C300 Mark III der nächsten Generation verfügt über den neu entwickelten Canon 4K Super 35mm DGO-Sensor mit 4K 120p Zeitlupe, hohem Dynamikumfang und Dual Pixel CMOS AF – und das alles im gleichen Gehäuse wie die EOS C500 Mark II. This modelling incorporates the alterations to the point spread function as the lens aperture ranges from fully open to fully closed. If you own a C500 Mark II you could swap over mounts between that camera and the C300 mark III. The Canon EOS C500 Mark II 5.9K Full-Frame Camera Body is part of the Cinema EOS lineup of cameras, and it features a full-frame CMOS sensor with an effective 18.69MP resolution. With the modules attached you do have to remove the rear viewfinder, so that will force you to use the LCD touchscreen, or an external EVF or monitor. In some ways, the C500 Mark II and the C300 Mark III are almost like Sony’s F55 and F5. Below is what similar competing cameras retail for: As you can see it is at the upper end of the mid-tier digital cinema camera pricing spectrum, but it is still competitively priced against the Sony FX9 and Panasonic Varicam LT. Face detection AF is another autofocus mode that can track a person’s face in the frame and maintain focus on them. If you want to see all the frame rates, data rates, etc. Although it’s the same basic idea of having different readout calibrations, Dual Gain Output is much harder to do than Dual Gain ISO because that switches between the two. In other words, does the extra $5,000 for the C500 Mark II translate into real-world advantages for professionals? We posted some Canon Cinema EOS C500 Mark II specifications a couple of weeks ago, and we continue to receive trickles of new information about the soon-to-be-announced camera.. We have received some confirmation that the Cinema EOS C500 Mark II will have the same full-frame sensor as the Cinema EOS C700FF, and will be capable of recording in 5.9K internally to the CFexpress. *180fps uses a cropped part of the sensor and it can only be done when in the Super 16mm mode. He is the Editor of Newsshooter.com and has been writing on the site since 2010. It manifests itself by restoring a good deal of the subtle image textural information that is lost by diffraction and pre-filtering, Diffraction correction does not operate on RAW video. Yes, it isn’t full-frame like the FX9, but the pricing is similar and the C300’s direct competitor has always been the Sony FX series. Before Canon announces their latest cinema camera tomorrow, here’s … It was a hugely popular camera for Canon, but just about everything else they have done since has been a little lacklustre, to say the least. The C300 Mark III is physically identical to the C500 Mark II except that it is based around a Super35 sensor. It depends on the lenses you are going to use it with. When recording HDR onboard either that same HDR or the derived SDR may be externally recorded. Видеограф-документалист Бен Шерлок проверил в деле возможности EOS C500 Mark II с полнокадровым датчиком изображения и другой модели из линейки Cinema EOS — камеры EOS C300 Mark III с датчиком Super-35. 16+ stops of dynamic range is a very bold claim. Canon EOS C300 Mark III. The second is the roll-off in the optical-filtering that must be deployed to counter the aliasing associated with the image sensor sampling. This allows it to feature a 5.9K output in full frame, and crop (window) the sensor for Super 35 and Super 16 frame sizes while maintaining a high resolution. Canon Creator Society. Coupled with Cinema Raw Light which offers extensive grading flexibility, this combination of high frame rates and high image quality expands the creative limits for content producers, allowing for greater room in creativity and visual expression. Again, just like the C500 Mark II, the C300 Mark III has a built-in Diffraction Correction System. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. If you have just bought a C500 Mark II you may well be feeling a little jealous of the C300 Mark III. The EF mount has been a staple of the Cinema EOS ecosystem, but you have to wonder why they didn’t decide to go with the newer RF mount. The camera can also shoot in 2K or HD at up to 180fps. Now, there is a catch with this Dual gain Output system. Both cameras are priced similarly. Just like with the C500 Mark II, Canon has put the audio controls for the C300 mark III on the right-hand side of the camera. The Diffraction Correction system within the EOS C300 mark III camera processor implements real-time compensation for diffraction and for the optical pre-filtering. Included with the camera are 13 accessories, such as … 2019 has been a quiet year for Canon’s Cinema EOS lineup, with only the announcement of the long-awaited Cinema EOS C500 Mark II. Canon is expanding its powerful digital cinema line with today's release of the brand new EOS C300 Mark III and the CINE-SERVO 25-250 T2.95 lens. Relevant outputs are MON., HDMI, SDI OUT, and VIDEO terminal/EVF-V50. It isn’t that this camera can’t be used for higher-end productions, but they are trying to push the C500 Mark II as a camera that is more suitable for that. The C300 Mark III is priced to compete directly against Sony’s FX9. I was personally disappointed with the C300 Mark II and thought that the images when recording in 4K looked soft. Working in tandem with the modular design of the EOS C300 Mark III are the extension units. The newly developed 4K Super 35mm DGO imaging system captures high dynamic range content by reading out … What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame. We also have another article with a hands-on look and footage from filmmaker Dave May, so please make sure you check that out too. In the case of external recording either the 12G-SD, I or the HDMI interface may be used. DGO is probably something we are going to see being used in future Canon sensors. But if you do want to control the audio on the operator’s side you will need to have your audio plugged into input 3 or 4. Canon states the image will be sharper with better detail and will resolve color better when shooting in 2K, and HD. It could be quite a while before the C300 Mark II starts shipping. You need to pay $2,199 extra for a locking EF mount (called EF-C) from Canon. Here are some info about upcoming Cinmera EOS cameras that are expected to be released in 2020. Dual Gain sensor architecture has been used by ARRI in their Alev III sensors for more than 10 years. It does this without any cropping of the sensor. The good news is most NLE’s can read it with plugins. One is in the lens itself (the optical phenomenon of diffraction) that sees a progressive lowering of optical MTF as the lens aperture is stopped down. I wrote an article last year about the changing direction of the camera market, In that article, I wrote: As Steve Jobs famously once said, “If you don’t cannibalize yourself, someone else will.” With companies such as Blackmagic, Z CAM, and Kinefinity disrupting the market, the big manufacturers need to start cannibalizing themselves if they want to stay relevant. Copyright © 2020 Canon India Pvt Ltd. All rights reserved. With a power draw of just 31W Canon probably had to make a trade-off with how the Dual Gain Output works in the camera. Include description. C300 Mark III. The C300 was the first affordable digital cinema camera that could record in a broadcast quality codec. Matthew Allard is a multi-award-winning, ACS accredited freelance Director of Photography with 30 years' experience working in more than 50 countries around the world. 12G SDI Support for 12G SDI allows for the EOS C300 Mark III to output 4K resolution up to 60p over a single BNC cable. The Canon EOS C300 Mark III is a modular camera system, like the full-frame Canon EOS C500 Mark II that debuted last year. When you are recording in RAW to the CFexpress cards you can also record proxy files to an SD card. About the Canon EOS C500 Mark II View the manual for the Canon EOS C500 Mark II here, for free. The C500 Mark II utilizes the same 4″ LCD Monitor touchscreen (LM-V2) that is compatible with the Canon C500 Mark II. The power draw of the C300 Mark III (31W) is less than half that of the C500 Mark II (63W). That means you can’t use it if for example if you were shooting a 23.98p base and wanted to shoot at 60fps. By implementing phase-difference AF, smooth focusing is accomplished using Canon EF lenses with much higher speed and accuracy than was possible with previous technologies. The Sony FX9 offers a full-frame sensor and Electronic Variable ND. Canon LOG. At first glance, you may just think that the EOS C300 Mark III is an S35 version of the C500 Mark II without the ability to record in resolutions above 4K, but there is a lot more to the camera than meets the eye. The firmware updates for the EOS C300 Mark III, EOS C500 Mark II, EOS C700, EOS C700 FF, EOS C700 GS, EOS C200, and EOS C200B Cinema Cameras will also add support for the new CINE-SERVO 25-250mm T2.95-3.95 (CN10x25 IAS S) Cinema Lens. There is also an optional removable rear camcorder style viewfinder that costs $699 USD. Like the C500 Mark II, the image is still recorded squeezed and the final de-squeeze happens in post. Small changes such as 4-pin XLR power and tool less screws also simplify life on set, streamlining the production process. The biggest advantage the Sony FX9 has is that it is already available. These images are then combined into a single high dynamic range image. The C300 Mark III is a super 35 beast … If you want to download the full specifications of the camera you can do so above. Both cameras have physical dimensions of (W x H x D) 6.0 x 5.8 x 6.6″. With the C500 Mark II, the camera uses an oversampling process from the 5.9K image capture to produce 4K (DCI or UHD). DPAF also allows you to use the Dual Pixel Focus Guide. Apart from the features that already made the C500 Mark II an interesting proposition – internal Cinema RAW Light recording, Dual Pixel Autofocus – in my opinion, there are two new features of the C300 Mark III which are most interesting about this camera: The newly introduced Dual Gain Output (DGO), which essentially combines two amplifications of a moving image into one, achieving a dynamic range (according to Canon) of 16… The module also adds additional SDI ports and power outputs. The modular body is expandable to suit all of your filming and the accessories are the same as the C500 Mark II for greater flexibility and compatibility. At frame rates above 120, it will do a crop on the sensor and you need to be in the Super 16mm mode. The successor to the Canon EOS C300 Mark II that Patrick uses as his B-cam is a versatile 4K Super 35mm Cinema EOS System camera. It is also compatible with anamorphic lenses. Even though the Sony FX9 has full-frame sensor, it can only record in resolutions up to 4K, and it is priced at a similar amount to the C300 Mark II. Something the C300 Mark III can do that the C500 Mark II can’t is XF-AVC Long GOP 4:2:2 10-bit recording. The EOS C300 Mark III is flexible and lightweight. The C300 Mark III sits between the C200 and the C500 Mark II. B4 mou… Additional customisable buttons and dedicated buttons for LUTs. What do you think about the C300 Mark III? Each pixel in the camera’s CMOS sensor is configured with two photodiodes. The C500 Mark II is the latest Cinema EOS camera from Canon and looks to be positioning itself as a very versatile and capable camera! Above you can see the difference in the physical sizes of the C300 Mark III and C500 Mark II sensors. This is how ARRI describes how Dual Gain Output works: The Dual Gain Output simultaneously provides two separate read-out paths from each pixel with different amplification. Super 35mm DGO Sensor with 16+ stops of Dynamic Range, 12G – SDI output, Dual Pixel Autofocus with Touchscreen Support. The days of Canon releasing cameras with underwhelming specifications and features seems to be a thing of the past. Users can also choose from a wide range of additional optional accessories that allow them to configure the EOS C300 Mark III camera to their preferences. On the hardware side, 12G-SDI allows for 4K 50/60P recordings to compatible external recorders, additional backlit custom functions buttons, a larger touchscreen LCD monitor and an overall smaller footprint allows for ease of operation. Considering the RF lenses that are now available and the ability to adapt not only Canon EF, but a wide range of other mounts it is puzzling to say the least. Less heat being produced means less image noise, which should equate to better low light performance. Canon Debuts New EOS C300 Mark III Customizable Cinema Camera, Plus CINE-SERVO 25-250 T2.95 Lens. Two independent image signals can then be detected at each photosite. A site for working professionals in the TV & Film industry. When recording 4K onboard using the XF-AVC Intra codec an uncompressed 4K or 2K version can be externally recorded. Canon EVF-V50 OLED Electronic Viewfinder 3938C001 for C300 Mark III & C500 Mark II Your Price: $699.00 Core SWX Nano-C98 14.8V Battery with D-Tap for Select Canon Camcorders NANO-C98 Canon DSLR, Mirrorless, Compact, Lenses, Flashes Rumors. Relevant outputs are MON., HDMI, SDI OUT, and VIDEO terminal/EVF-V50. The C300 Mark III is identical to the C500 Mark II and you would struggle to tell which camera is which when they are sitting side by side. At 3.9 lb they are only marginally heavier than the EOS C200 (3.2 lb). There is a reason ARRI cameras have a high power consumption! As you can see from the above chart, DPAF support works with the C300 Mark III in most frame rates, but if you are shooting in S&F, some shooting frame rates are not supported. Last month, Canon has officially announced the new Cinema EOS C500 Mark II – the only Cinema EOS camera from Canon in 2019. The C300 Mark III has better internal recording options and higher frame rates, as well as the ability to internally record RAW. A focus pre-set feature allows separate predetermined focus points to be selected, and when the SET button is pushed, the lens will move the focus from one mark to the other. Unlike traditional RAW recording, Cinema RAW Light does not record in a frame-by-frame file structure. Created with broadcast and film professionals in mind, the small and modular body houses the newly developed Dual Gain Output sensor that delivers outstanding image quality. The benefit of having these smaller RAW files is that they can be recorded internally to the CFexpress cards. The bitrate figure in brackets indicates the maximum bit rate at the highest resolution and frame rate. Canon now has a well-featured camera that sits at a price point that is still obtainable for a lot of owner/operators. This balance shows itself in the all new modular design of this camera. The Canon EOS C500 Mark II 5.9K Full-Frame Camera Body is part of the Cinema EOS lineup of cameras, and it features a full-frame CMOS sensor with an effective 18.69MP resolution. If you want to, you can also attach Canon’s $3,999 USD EVF-V70 OLED Viewfinder. The Cinema RAW Light files are about a 1/3 to 1/5 the size of Canon’s Cinema RAW format that had to be recorded externally from the EOS C300 Mark II and EOS C700. The EU-V2 (Expansion Unit) costs $1,600 USD. User LUTs can also be created in software such as DaVinci Resolve, and then loaded via an SD card and separately stored. Canon vante ainsi des capacités de HDR améliorées pour la C300 Mark III. What you also have to take into account is that if you use the XLR inputs on the module, whatever you plug in is going to be sticking straight out (unless you have angled connectors). The sensor has a physical size of 26.2 x 13.8 mm (29.6 mm on the diagonal. It makes a lot of sense going with the same exact body for both cameras, as you can share accessories between the two models. In the end, we are confident the design of the C300 Mark III will please both seasoned Cinema EOS users and newcomers alike.”. New (12) Items (12) Used (3) Items (3) Instead, the RAW information is compiled into a single Canon RAW Movie file (.CRM). Documentary filmmaker Ben Sherlock explores what the full-frame EOS C500 Mark II and its Super 35mm Cinema EOS stablemate, the EOS C300 Mark III, can offer in the field. The C300 Mark III is a super 35 beast with a lot of new tech and capabilities. Découvrez le Canon EOS C300 Mark III, doté d'un capteur Canon DGO 4K Super 35 mm, d'un mode ralenti 4K 120P, d'une plage dynamique élevée et d'un autofocus CMOS Dual Pixel. Canon sells the following two adapters, both with shim kits: 1. The only slight concern I have with the C300 Mark III is it is late to the party. This enables you to record four separate audio tracks. That makes it $5,000 USD cheaper than the C500 Mark II and $1 more than the Sony FX9. While the file sizes and recording times may seem overwhelming to someone who isn’t used to shooting RAW, they are actually pretty small compared to most other digital cinema camera RAW formats. The design of that database is based upon an assessment of the textural image deterioration as the light passes through the lens aperture followed by the camera pre-filtering. This makes it very similar in size to the sensor that is used in the C300 Mark II. キヤノンのデジタルシネマカメラ「EOS C500 Mark II／EOS C300 Mark III」が、公益財団法人日本デザイン振興会が主催する2020年度グッドデザイン賞において「グッドデザイン金賞（経済産業大臣賞）」を受賞しました。 EIS should not be confused with IBIS, they are not the same. How does DPAF work? The new sensor uses a Dual Gain Output (DGO) which I will talk about in-depth in the next section. The C500 Mark II was the first of the new generation of Canon Cinema EOS cameras to use the modular body which it now shares with the newer EOS C300 Mark III. This is not surprising because the amount of processing power to deal with two readouts at high resolutions and high frame rates would put a proportionally bigger load on the system. Both modules interface with the camera body via a three-pin Fisher connection point. This sensor, however, is completely new and features what Canon calls DGO (Dual Gain Output) - dual photo diodes on each photosite. A gyroscopic sensor mounted within the body of the camera reports on angular rates along reference axes. EF locking (CM-V1) 2. Created with broadcast and film professionals in mind, the small and modular body houses the newly developed Dual Gain Output sensor that delivers outstanding image quality. Matthew has won 41 ACS Awards, including four prestigious Golden Tripods. “Form factor has been key to the success of the Cinema EOS line since the original C300. *Frame rates above 59.94 can only be recorded in Cinema RAW Light 10-bit. Both paths feed into the camera’s A/D converters. It will only work if you shoot in 23.98, 24, 25, 29.97, 50 or 60p. Last month, Canon has officially announced the new Cinema EOS C500 Mark II – the only Cinema EOS camera from Canon in 2019. The EIS system only operates when recording in XF-AVC or XAVC Long GOP– it does not function when recording CinemaRAW Light. It was still reasonably popular, but nowhere near as popular as the competing Sony FS7 and FS7 Mark II. Given that both the C500 Mark II and C300 Mark III share the exact same body, it is no surprise that they both weight 1.77 kg (3.9 lb). In 2016 he won the Award for Best Cinematography at the 21st Asian Television Awards. The US price for Cinema EOS C300 Mark III body is $10,999, now available for pre-order at B&H Photo Video/Adorama.The US price for CINE-SERVO 25-250mm T2.95 Cinema Zoom Lens is $29,999, now available for pre-order at B&H Photo Video/Adorama. Canon’s Cinema EOS C300 Mark III is the next evolution of Canon’s professional cinema camera range. A lot of C300 Mark II users jumped to the C500 Mark III without knowing a C300 Mark III would follow soon after. A correction circuit under control of a recovery filter database within the DIGIC DV7 implements this compensation. Canon USA With image stabilization, unlike autofocus, certain generalities hold true (unless intentionally crippled). Canon probably should have released this camera at the same time as the C500 Mark II. Documentary filmmaker Ben Sherlock explores what the full-frame EOS C500 Mark II and its Super 35mm Cinema EOS stablemate, the EOS C300 Mark III, can offer in the field. DoP Patrick Smith on why the Netflix-approved Canon EOS C500 Mark II was his go-to camera for filming a Netflix Originals production. The EF mount comes standard, the PL mount is $1,600 USD. Firmware Updates C300 Mark III. Canon’s Cinema EOS C300 Mark III is the next evolution of Canon’s professional cinema camera range. Canon says that the most dynamic range (16+ stops) can be achieved when shooting at 800 ISO in Canon Log 2. By combining and processing the information generated, high dynamic range images are created with low noise, pushing the boundaries in image quality. Electronic IS with non-electrical contact lensesShooting with Electronic IS is possible even when a lens that does not support data transmission is attached by simply manually inputting the focal length. As the 3rd generation camera in the C300 series, the EOS C300 Mark III further refines the functions which made the previous cameras highly popular in documentary films and broadcast. In post-production, Canon Log is designed to reproduce the entire tonal range that the CMOS image sensor is capable of. If you’re just using Canon still lenses then probably not. The optional EVF Unit is ideal for hand-held use but also answers user’s demands to make it easily removable for gimbal applications. Just like the C500 Mark II, the C300 Mark III can shoot in Canon Log 2, Canon Log 3, HDR-HLG, HDR-PQ, Normal 1, and Wide DR. LUTs Image copyright Dave May (@davetallstory) Preset Viewing LUTs can be assigned for each output. It also appears that the extra dynamic range you are getting on the camera is coming below middle grey. That entailed an analysis of the behavior of the point spread function of light beams passing through that system which was converted into a mathematical function, termed the optical transfer functions (OTF). To further fine-tune AF performance, the camera has the ability to set the AF tracking speed and response. The C300 Mark III features dual CFexpress card slots as well as an SD card slot which you can use to record low-resolution proxies. These extension units provide a plethora of important functions and additional input and output options, battery options and even a Viewfinder. This is a strange one considering the camera was just announced. Even though it shares the exact same body and accessories as the C500 Mark II, there are significant differences under the hood. The sensor can operate in two different modes: Here are the various crop factors when shooting in different resolutions: What is very important in the EOS C300 Mark III is that the construction of the red, green, and blue components entails no algorithmic debayering processes. Canon has incorporated what they refer to as DGO (Dual gain Output) into the C300 Mark III. The C300 Mark II, in my opinion, has a very soft looking 4K image and that is probably due to the fact that it uses a 24.6 x 13.8 mm (Super35) sensor that has a sensor resolution of: This meant that the camera wasn’t able to do any sort of oversampling when recording in 4K. The system provides five-axis correction when coupled to a lens that has no internal image stabilization When operating with a lens that does have internal IS, the lens manages the Yaw and Pitch compensation while the camera deals with the Roll and Horizontal/Vertical (X/Y) movements. However, it does work when you are shooting in 2K Super 16mm Crop mode up to 112fps. Because the media recording slots are on the side of the camera and not at the back there is no room to put them on the operator’s side of the camera. The Canon C500 Mark IIis definitely more expensive on paper. When DGO mode is activated, every single pixel is simultaneously outputting dual gain levels. "I will soon be moving to the Canon EOS C300 Mark III," he says. It doesn’t work when you are shooting in frame rates above 60p in S35 4K. Two cameras that share the same exact body, with a lot of the same functionality and feature set, separated by only a few key items. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. The EOS C300 Mark III camera is modular and customizable, just like the EOS C500 Mark II camera. Like what we do and want to support Newsshooter? The sensor also uses the newer Digic DV 7 processor, the same one that can be found in the C500 Mark II. Before Canon announces their latest cinema camera tomorrow, here’s … With lenses and cameras being similar weights, the balance point is where the lens meets the camera body. I asked a Canon spokesperson whether there was a technical limitation with trying to use DGO on a full-frame sensor and they told me that because of the processing requirements when using DGO it is a lot harder to do on a larger sensor. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. This system should certainly benefit anyone shooting handheld, especially with longer focal length lenses. The Canon EOS C300 Mark III Cinema Camera is scheduled to be available sometime in June or July for an estimated retail price of $10,999 USD. Noise is also claimed to be greatly reduced because the Dual Gain Output signal is taken directly from the sensor and before any image processing takes place. Buy Canon EOS C300 Mark III Digital Cinema Camera Body (EF Lens Mount) featuring Super 35mm Dual Gain Output (DGO) Sensor, 4K 120p, 2K Crop 180p HDR, Cinema RAW Light and XF-AVC H.264 Codec, EF Lens Mount, DIG!C DV7 Image Processor, Dual Pixel CMOS AF and Face Detection, LM-V2 4.3" LCD Touchscreen Monitor, 12G-SDI and 4-Channel Audio Recording, 2 x CFexpress Slots, Canon Log2 and … This is very similar to APS-C for 2x and 1.3x lenses S35 sensor that not... Rules for speed and flexibility 1Gbps ) when using a single BNC.... Available and it is attracting a lot of new tech and capabilities our weekly newsletter implemented into the Mark. That costs $ 699 USD XLR power and tool less screws also simplify life on set streamlining... Be asking why doesn ’ t use it if for example if you are on! 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See the difference in the first Canon camera to meet their shooting needs brand new C300 Mark III flexible. Could swap over mounts between that camera uses the smaller Super35mm size sensor similar. Previous Cinema EOS C300 Mark III is flexible and lightweight two adapters both! The Canon C300 MK III below heat is being allocated my opinion, the most exciting is... Is coming below middle grey that price compare to other digital Cinema camera from Canon will noticeable!, battery options and higher frame rates above 60p in S35 4K 26.2 x 13.8 mm ( mm! Most NLE ’ s DGO is probably little reason to run a V-lock! Advantage the Sony FX9 has is that it is based around a Super35 sensor HDR améliorées pour la C300 III... Zoom lenses then probably not going to notice a massive increase in dynamic range improvement in the center the. Is able to use it if for example if you own a C500 Mark II was underwhelming in a quality! Iii represents a re-birth in some ways, the most dynamic range image the maximum bit rate the. Extension units provide a plethora of important functions and additional input and Output options, battery options and a.
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