Lens Mount Updates Available for EOS C300 Mark II Camera

Canon EOS C300 Mark II 4K camcorder

The following notice is from Canon Professional Network, Europe concerning the C300 Mark II 4K camcorder. Last month, there was an issue with some cameras experiencing skipped frames. The matter is being looked into by Canon.

Owners and purchasers of the Canon EOS C300 Mark II camcorder can now benefit from a new lens mount service option which offers the capability to change the 4K Digital Cinema Camera’s original EF mount to EF Mount with Cinema Lock or to a PL mount and back again.

The Lens Mount Replacement service can be booked in at the Canon Regional Competence Centres (RCC) in France, Germany, Italy, Sweden or the UK. Alternatively, the PL lens mount and SHIM kit are also available for direct sale.

Canon has also revealed that from early 2016 a PL mount version of the C300 Mark II will be available to purchase in all EMEA territories. Up until now the camera has only been available in an EF mount but by January 2016 customers can choose whether to purchase an EF mount or a PL mount version. The upcoming PL mount version of the camera will provide support for all of Canon’s PL mount Cinema lenses and other industry-standard PL lenses (Cooke/i not supported), thus allowing for even greater shooting possibilities.

HOW TO ARRANGE A LENS MOUNT REPLACEMENT OR PURCHASE SPARE PARTS

From November 16, 2015, owners will have the option to either send their EOS C300 Mark II to an RCC (either directly or via a local Canon Authorised Service Provider) in order to perform the Lens Mount Service or to purchase a PL Lens Mount and/or SHIM kit directly for self-installation or installation by an RCC.

If choosing to send the camera to a Canon RCC, the following service options will be available:

Mount Replacement Service

If you choose to purchase a PL Lens Mount directly, or would like to revert the camera back to the original EF mount from a previous mount change, the RCCs will be able perform the mount replacement using your purchased or original Lens Mount.

Mount Replacement Service & Mount

Depending on your requirements, the applicable RCC will supply & install either an EF Mount with Cinema Lock Lens Mount or a PL Lens Mount.

Mount Replacement Service & Mount & Shim Kit

Depending on your requirements, the applicable RCC will supply & install either an EF Mount with Cinema Lock Lens Mount or a PL Lens Mount. A SHIM kit will also be supplied for self-installation.
To book in a camera for a Lens Mount Service or to enquire about purchasing a PL mount or SHIM kit directly (including spare part pricing information), please contact the relevant RCC by e-mail. Details of the correct RCC to contact, depending on where you are located, are listed below:

Canon RCC France

For customers in France, Belgium and Luxembourg. Please email cps.services@cf.canon.fr.

Canon RCC Germany

For customers based in Germany, Austria, the Czech Republic, Hungary, the Netherlands, Poland, Portugal, Slovakia, Spain and Switzerland. Please email cps.services@canon.de.

Canon RCC Italy

For customers based in Italy, Bulgaria, Croatia, Cyprus, Greece, Malta, Romania and Slovenia. Please email rccit.cps.service@canon-europe.com.

Canon RCC Sweden

For customers based in Sweden, Denmark, Estonia, Finland, Iceland, Latvia, Lithuania and Norway. Please email cps.support@canon.se.

Canon RCC UK

For customers based in the UK and Ireland. Please email cci_servicecentre@cuk.canon.co.uk.
Owners whose country is not mentioned above will be unable to take advantage of the Lens Mount Replacement Services. An option to purchase the Spare Parts directly, however, is available. Please contact a local Canon Video Service Centre for more information.

All Lens Mount Upgrade Services will be available at a fixed price and invoices will be issued in the local currency of the RCC that performs the service. The price, excluding VAT, for each service are outlined below:

Service Type

Mount Replacement Service - €450, £330, SEK 4220

Mount Replacement Service & Mount

This service does not include SHIM parts - €1200, £880, SEK 11245

Mount Replacement Service & Mount & Shim Kit

This service just includes the supply of SHIM parts, they will not be fitted - €1350, £990, SEK 12650

Please note : the prices quoted above may be subject to change and exclude VAT and inbound shipping. The prices are inclusive of outbound shipment & Cash On Delivery Surcharges (if applicable).


EOS C300 MARK II WHITE PAPERS NOW AVAILABLE

Users and potential users of the EOS C300 Mark II can also now discover much more about the capabilities of the camera thanks to three, new downloadable white papers written by Larry Thorpe (Senior Fellow, Imaging Technologies & Communications Group, Professional Engineering & Solutions Division, Canon USA). The white papers are titled ‘Image Performance Enhancements in the EOS C300 Mark II’, ‘Extended Recording Capabilities in the EOS C300 Mark II’ and ‘Ergonomic and Operational Enhancements to the EOS C300 Mark II’.

If you want to find out more and download these and other white papers just click here to visit the Canon USA Digital Learning Centre (DLC) or click the links on right hand side of this page to download the specific EOS C300 Mark II white papers. The Canon USA DLC also offers additional, downloadable white papers on the Canon Cinema EOS System via the link above.

Canon USA White Papers on EOS C300 Mk II camcorder

Canon CinemaEOS C300 Mk II camcorder

* * *  Canon CinemaEOS C300 Mk II camcorders are here  * * *

Canon announced the C300 Mk II in April of 2015. The C300 Mk II camcorder is a professional camcorder with 4K capability. Below are two comprehensive video look of the camera.  

Larry Thorpe, Senior Fellow from the Professional Engineering & Solutions Division of Canon USA, has put out a series of detailed white papers on the EOS C300 Mk II. It will be most useful for those planning to buy or use this camcorder in the very near future. Click on the papers below to down them in PDF format.

Image Performance Enhancements

The new camera is intended to significantly extend the overall image performance of HD beyond that of the C300 while further supporting the alternative 2K cinema format. A 15-stop dynamic range is provided by a new photodiode design that simultaneously lowers the noise floor while elevating the saturation level – offering excellent HDR functionality and much more.

Extended Recording Capabilities

The new C300 Mark II camcorder offers significantly elevated video performance and expanded operational capabilities. Unlike its predecessor, the C300 Mark II offers a choice of 2K or HD. Most important, it greatly extends on-board recording capabilities by deploying a new codec based upon the more advanced MPEG-4 H.264 Advanced Video Coding (AVC) compression algorithm.

Ergonomic and Operational Enhancements

From the extraordinary diversity of productions done with a large body of C300 camcorders around the globe for the ensuing four years a great deal of commentary and suggestions based upon those shooting experiences were gathered, the new EOS C300 Mark II embodies many of these suggestions while also incorporating innovative enhancements to both imaging and recording capabilities. On-set systemization has been greatly enhanced by a coordinated design with a new on-set 4K reference display.

What Constitutes a High Performance 4K Lens?

A 4K lens must anticipated a wide range of productions – including theatrical motion pictures, major television dramas and episodics, commercials, and a diverse range of non-entertainment origination. So what are the performance parameters that collectively define 4K optical performance? The following paper will enumerate these parameters and discuss user expectations.

Personality of the Canon Cinema EOS Lens - Design Strategies

The newer generation of Cinema EOS lenses came from multiple optical design resources within Canon, such as our EF Lens and Broadcast Lens designs.

Personality of the Canon Cinema EOS Lens - Image Sharpness

A design goal with the Cinema zoom lenses was to achieve an overall optical performance that would equate with the best of contemporary prime lenses over their respective focal lengths. Learn more about how these Cinema zoom lenses maintain their sharpness in a close-up or while zoomed out.

Personality of the Canon Cinema EOS Lens - Color Reproduction

The new generation of Canon Cinema lenses paid high attention to optimizing color reproduction of the lens-camera system, such as how it reproduces skin tones of various ethnicities.

The Promise of 4K Video

The advent of 4K cinema brings about changes to cameras, lenses, post-production and the home viewing experience. Explore each implication in-depth and see what this digital image format offers.

EOS C300 Best Practices Guide

More of a handy reference PDF than a technical White Paper, this practical guide offers straightforward tips, how-to, and best practices for preparing the EOS C300 for shooting.

Canon Released White Paper on Cinema EOS C300 Mk II Camcorder

Canon Cinema EOS C300 Mk II camcorder

Canon announced the C300 Mk II at NAB in April of 2015. The Cinema EOS C300 Mk II camcorder is a professional camcorder with 4K capability. The first generation EOS C300 camcorder utilized a proprietary Super 35mm CMOS image sensor. It divides the signal into four parallel HD components. The summation of the two green components reduced aliasing that, in turn, supported a higher Luma MTF.

The new EOS C300 Mk II preserves these basic strategies but within a totally new 4K CMOS image sensor design. The new camera is intended to significantly extend the overall image performance of HD beyond that of the C300 while further supporting the alternative 2K cinema format. A 15-stop dynamic range is provided by a new photodiode design that simultaneously lowers the noise floor while elevating the saturation level – offering excellent HDR functionality.

The Cinema EOS C300 Mk II white paper from Canon USA provides all technical information you like to know before deciding on your purchase. You can see a hands on video and read the review here for the camera.

Canon C300 Mk II First Look and Review

Canon announced the C300 Mk II in April of 2015. The C300 Mk II camcorder is a professional camcorder with 4K capability. Below are two comprehensive video look of the camera.  

              * * *  Canon has added lens mount updates to the C300 Mark II camera  * * *

* * *  Read the technical white paper on the EOS C300 Mk II camcorder  * * *

Below is an excerpt from Dan Chung of News Shooter discussing the ergonomics and features of the Canon C300 Mk II camera :

Body and handling :

At first glance you might be hard pushed to tell the difference between the body of the original Canon C300 and the 4K C300 mkII. The design of the new camera is essentially the same, with several tweaks to improve usability.

Just as with the original, the strengths of the C300 Mk II can also be seen as its weaknesses, depending on your point of view. The upright form factor makes for easy handholding without a rig, but if you want to balance the camera on your shoulder then you need extra third party gear.

The first thing you notice when you take the mkII out of the box is that it is a bit heavier and less ‘plastic’ than the original camera. The shell now appears to be made out of stronger metal that looks like it is die-cast. Out of sight underneath the skin is a substantial metal subframe which the camera is built around. There are a few extra buttons and connectors, but not many other obvious differences. Look closer and you’ll see vents on the side and rear of the camera that are designed to keep the camera cool even when shooting 4K.

Now the overall size, shape and weight of the camera are actually not dissimilar to a RED Epic or and ARRI Alexa MINI. It’s just that the C300 mkII body is a bit more curvy.

LCD screen/audio pack :

The LCD screen/XLR audio pack also looks very similar to the original. There have been some very useful changes, though, including the addition of a 1/4 20 mounting thread on the base of the pack. This allows you to mount it more easily on the end of a magic arm, or elsewhere on your rig. The audio/video cable connections have been re-engineered. 

There are now connectors at both ends, meaning that if a cable breaks it can now be replaced without a trip to the service centre. Audio is now carried on one, and video on other – for some reason, on the original C300, both cables carried audio and video so that if one broke you lost all connection to the camera; this has happened to me on a shoot. 

The LCD screen itself remains largely unchanged from the original design and resolution is still a relatively low 854×480 pixels. One great bit of news, though, is that the existing Zacuto C300 Z-finders and Diety finders fit straight onto the new screen without modification. On the downside, the screen still doesn’t have a touch facility for autofocus – something that is present on the humble 70D. This would greatly aid autofocus and I’m baffled that it isn’t on the camera.

Another optional accessory for the camera is an audio only version of the pack which is much smaller and only has a single cable connection. This is something I always wanted on the original C300 and it’s great to see Canon listening to users on this. It can be mounted directly to the top handle and has all the basic audio controls and dual XLR connections. Essentially, this makes the C300 mkII much more like the C100 mkII to handle, just heavier. What I don’t know at this point is how much it is going to cost.

Audio :

On the subject of audio, the camera now has four channels of internal recording: two from the XLR inputs, and two from the 3.5mm minijack. There is also an internal mic which is great for scratch audio. It would however have been nice to see a higher quality built-in mic included as standard – something the cheaper C100 has always had.

Built-in EVF :

The built-in EVF on the rear of the camera is also improved to a 1.17 million dots (1024 x RGB x 576) OLED. It is certainly clearer and easier to use than the original and works well when simply handholding the camera on its own without rigging. That said, it is still in a very poor position for on-the-shoulder shooting and I would recommend using an external EVF instead for monitoring during run-and-gun work.

Design and ergonomics :

The handgrip remains pretty much unchanged apart from the colour of the record button, which is now red. It has a single custom button on the rear of the grip which can be configured to lock autofocus, or activate magnification. What is really needed is a second button so you can do both without taking your hand off the handgrip. The original handgrip on my C300 began to creak a little as a result of use and I hope the new one doesn’t do this – only time will tell.

Canon have totally redesigned the top handle on the camera and it now mounts via a much more secure top helmet. This is a new metal top plate that mounts between the camera’s cold shoe and the handle part. It is certainly much more solid than before and it completely stops the annoying wiggle that you get with the original C300. The problem with this for me is that it takes far too long to attach and detach the handle – something that I did all the time on the old C300 to get it into my backpack for travel. To take it off you need to use an allen key and the bolts are really not very accessible. This would be a real problem for my day-to-day work. 

Thankfully, Zacuto have a much neater solution in the form of their new C300 mkII helmet and handle, part of their complete Recoil rig for the camera. This substitutes for the Canon parts and provides lots more screw holes to which you can add their NATO rail and handle. It can attach and detach quickly – backpack issues solved. This is a far better solution for me and it also adds several accessory shoes and a rod mount for the Zacuto Axis EVF mount. You can mount the LCD/audio pack with Z-finder attached to transform it into an EVF, or if you want an even clearer view you can add a Gratical EVF and mount the pack on the rear of the handle to use as a monitor.

Because the C300 Mk II is otherwise ergonomically the same as the C300, it still needs a shoulder rig if you want to be able to handhold it for long periods. Luckily for me, other parts of the Zacuto Recoil system are the same as those I already owned for the C300, so if you have them already then there is no need to get new ones. The VCT baseplate and grip relocator from Zacuto were my preferred rigging for the C300, and still are for the mkII. There are a plethora of solutions from other manufacturers but nothing so far that balances so well on my shoulder. It will be interesting to see what the IBC trade show in Amsterdam will bring from the competition.

Control Interface :

The menus and button layout of the C300 Mk II will be instantly familiar to anyone who has used the original. There are, however, even more options than before and it can get pretty confusing setting the camera up the first time to work the way you want it to. As with the original, you can create custom setups that can be saved to the SD card for later recall – which is a good thing.

You can now customise the buttons on the side of the camera to light up in the dark. This is great if you are messing with settings, although the downside is that in a news or documentary environment it can draw unwanted attention to the camera. You can turn the lights off, but I couldn’t find a way to do that and still have the orange settings display on the rear of the camera light up (which is pretty essential to make adjustments). Still, I think the lights are helpful in most low-light shooting conditions and I’m glad to see the feature on the camera.

Lens Mount :

The camera comes with an electronic EOS lens mount by default. You can purchase a PL version or a locking EF version (like the EF C500) to be put into the camera instead of the standard EOS one. The price for these hasn’t been set yet but Canon say that they aren’t user changeable and will require return to a service centre for installation. Quite why the locking version of the mount isn’t standard on the camera I have no idea – maybe because some run-and-gun users value faster lens changes instead of the most solid lens mount?

Remote Control :

The camera has a Lanc connection and also a dedicated Canon remote socket for external camera control. These should take care of most remote triggering needs. There is also the ability to trigger the camera, change settings and monitor a live video feed using an iPad or smartphone. You can select a point of focus by simply tapping on the screen – which is very neat. To do this you need the optional WFT-E6 wireless transmitter. You can connect via a peer-to-peer wireless network and view from a simple browser based interface. 

This is certainly a great idea for studio based applications, but I found it problematic in busy urban environments. Like other wi-fi video monitoring devices, it struggles when the airwaves become crowded. I tried using it in London’s busy Camden Market but found it would have significant delays or simply freeze up. The Sony FS7 comes with a wireless control included for free (although there is no live stream on it) and I do wish Canon did the same or just built wireless control directly into the camera. As it is, I would be reluctant to pay nearly $600 for the WFT-E6.

Media :

The two CF card slots of the C300 have been replaced with dual CFast 2.0 cards, and also a SD card slot where HD proxies can be recorded. CFast 2.0 is rapidly becoming an industry standard format with ARRI and Blackmagic Design also using them in their cameras. CFast 2.0 cards can handle the much higher data rates that the C300 mkII requires for 4K and HD 4:4:4 recording. Compact flash cards just wouldn’t cut it. As with the original C300 you can record to one and then the other CFast 2.0 slot, or both at the same time for an in-camera backup.

You will also need a new card reader, of course, and I would recommend a Thunderbolt one as transferring large amounts of data can be slow. During my testing I’ve discovered that not all CFast 2.0 cards play nice with the camera. The Wyse CFast 2.0 cards that work fine in our Blackmagic Design URSA failed to work in the C300 mkII. I had to swap to a Lexar CFast 2.0 card instead. CFast 2.0 cards aren’t cheap and you will need at least a couple to get going, so factor this in when pricing up a C300 mkII kit.

Video Connections :

There are now two SDI ports on the rear of the camera for external recording and/or monitoring. One big change is that these can be customised to display the signal with a variety of LUTs. Also, you can configure the SDI output to show all the camera’s on-screen controls. Importantly, you can also have one of the outputs magnify the image when checking for focus – this is something most other video cameras simply can’t do. The big deal is that the magnification function can be controlled by the operator direct from the handgrip when using any external HD-SDI EVF or monitor – no more reaching around the side of your EVF to find the right button to press. If you go for an EVF like the Zacuto Gratical X, then you might not need to buy the magnification function option.

One feature that has been carried over from the C500 is the 4K 4:4:4 RAW SDI output. This allows you to hook up a compatible external RAW recorder like the Convergent Design Odyssey 7Q+ (with the correct Canon license pack http://www.convergent-design.com/products/odyssey-raw/canon-c500.html#videos ) and have it record Canon’s proprietary RAW format.

Power :

There is an all-new 14.4V battery in the C300 mkII. It is almost the same size as the older ones, yet much more powerful. With the camera recording at very high resolutions and bitrates Canon needed to move away from their BP-U range to something more powerful. The new batteries also come with a new charger. This can charge two batteries, which is useful, but unfortunately it is also rather big and heavy. For a camera that is often used by people trying to travel as light as possible, the new charger is a real pain. I hope Canon also make a smaller charger of the same size as the one that comes with the original C300. 

On the original C300 I used Swit batteries with an external power tap barrel connector – these were great for running an EVF or wireless video transmitter like the Teradek Cube off the same battery as the camera. I hope Swit can make something similar for the C300 mkII, but for now any extra devices you add to the camera will need their own power.

As with the rigging and the memory cards, the new battery system is going to introduce more costs to the total package for anyone upgrading from the original.

There is also a Lemo connector for power input, which should make things easier if you want to power the camera from an external v-lock or Anton Bauer battery instead.

ND Filters :

One great thing about the C300 mkII is the addition of a second rotating ND filter wheel. There are now a total of six ND settings (OFF?2 stops?4 stops?6 stops?8 stops and 10 stops). The second filter wheel can be engaged via a custom setting. Because the second ND adds extra glass in the optical path, it does throw off the focus marks on lenses when engaged. I found that with EF stills lenses this wasn’t really a problem as the distance scales aren’t really that useful on them. Engaging the second filter wheel does require re-calibration of scales or shimming of lenses if you want accurate witness marks on cinema lenses.

I found that with both filters engaged in very bright light I could shoot at f2 or even wider at the base 800 ISO. Pretty impressive. No other camera around has this and if super-wide apertures are your thing then you will be very happy.

Conclusion:

Depending on your point of view, the C300 Mk II design is either a great thing, or an opportunity missed. The C300 cameras sharply divide opinion between operators: some love the oversized DSLR design, which lends itself to handholding, monopods and gimbals, while others complain it isn’t easy to mount on your shoulder for shooting and doesn’t have traditional ENG camera type controls. Some operators love the detachable LCD screen/XLR audio pack; others wonder why these can’t just be on the camera body.

The obvious camera for comparison is Sony’s FS7, which was designed for on-the-shoulder shooting from the outset. Although it can be improved with third party accessories, it still works reasonably well as a shoulder-mounted camera straight out of the box. Audio is built-in and so is a control grip that extends out in front of the camera on an arm. It was an immediate hit with documentary and factual TV shooters.

The C300 Mk II design was obviously a conscious decision on the part of Canon – they clearly thought that if it ain’t broke, then don’t fix it. I did enjoy using the camera simply handheld without any extra rigging, but this isn’t the only way I would need to use it. Like a RED or an Alexa MINI, the C300 Mk II can be made to work really well shoulder-mounted if you add a nicely balanced rig like the Zacuto Recoil, but this does add expense unless you already have one for an original C300. Even fully rigged, I still think a Sony FS7 with Movcam or Zacuto balanced shoulder setup is better on the shoulder than the C300 Mk II – there are simply fewer dangling wires and bits bolted on. The FS7 just feels more ‘together’.

I would really like to have seen audio controls and XLR connections built into the body. Still, if you prize the C300 Mk II image then you might consider the extra cost of the Canon worthwhile.

Canon Announced Cinema EOS C300 Mk II Camera

Canon Cinema EOS C300 Mk II camera

* * *  Expected shipping date, September 2015. Price $15,999 in the USA  * * *

London, UK, 8 April 2014 – Canon today unveils the EOS C300 Mark II, a new 4K video camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail. Building on the unprecedented success of the acclaimed EOS C300, the more rugged EOS C300 Mark II features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date.

EOS C300 Mark II

With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.

The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™¹ media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process.

The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality.

To meet the requirements of a diverse range of shooting applications, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include, enhanced Dual Pixel CMOS AF (now covering approx. 80% of the frame vertically and 80% horizontally), auto white balance and Face Detection AF, all making it easier for independent news gatherers and documentary filmmakers to shoot on the go.

Instant integration into professional workflows

Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD.

The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bit and 48 kHz.

Designed for versatility

The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations.

The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.

Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option.

EOS C300 Mark II key benefits :

• High bitrate internal 4K recording with external RAW
• High dynamic range files, ideal for post production
• Seamlessly integrate with professional workflows
• Automatic features make independent shooting easy
• Shoot with confidence in low light with low noise