Closer Look at Canon C300 & C300 Mark II Firmware Updates

Canon Cinema C300 Mark II 4K camcorder

Canon announced the Cinema C300 Mark II camera in April, 2015. In July 2016, a firmware update was released, followed by another one in December 2016, but this latest firmware update is for both C300 and C300 Mark II bodies.

Read my earlier post on the C300 Mark II camera White Paper and let us take a look at the latest updates and how the new features can help on your next shoot. The following is an excerpt from Canon Digital Learning Center's article :

Shutter Angle Priority

This update was in direct response to requests from many operators for the camera to maintain a constant shutter angle -- regardless of changes to shooting frame rate. Called Shutter Angle Priority, this feature prevents the camera from automatically adjusting the shutter angle to compensate for the camera’s change in frame rate. This only applies to the shutter angle setting and does not affect the other shutter modes. Overall, it’s simply one less potential headache the DP or operator has to be concerned with while cranking through shots.

WFT-E8A Support

This adds support for Canon’s newest Wi-Fi® adaptor, the WFT-E8A, which offers improved connectivity options like IEEE 802.11ac, includes FTP support, and employs an updated user interface over its predecessor, the WFT-E6A. You’ll still be able to use the WFT-E6A with both cameras. The user interface for the WFT-E8A has been improved for an enhanced operating experience.

These Wi-Fi units are especially helpful if and when you need to change camera settings while the camera is mounted out of reach, or to enter script notes directly into the metadata of the clip file while shooting. The Wi-Fi units act like a tiny server, transmitting an easily identifiable network location allowing for connection with laptops, workstations, smartphones and tablets using just a simple web browser, and require no special download or other application. They give you control over just about all of the camera’s important operational functions -- including Dual Pixel Auto Focus.

Support for EF 24-105mm f/4L IS II USM lens

This one is for only the EF models of both cameras, adding Peripheral Illumination Correction data for a great new lens, the EF 24-105mm f/4L IS II USM. It helps maintain a consistent brightness across the image area by reducing vignetting (corner darkness).

Updates for the C300 Mark II only :

Support for the EVF-V70 OLED Electronic Viewfinder

This firmware adds support for the newly developed EVF-V70 electronic viewfinder that was announced along with the EOS C700. This OLED viewfinder features 1920x1080 resolution, and offers industry standard operability worthy of a top-end cinema camera.

Support for Zebras at 65% or Less

With previous firmware versions, Zebra 1 ranged in plus or minus 5% (±5%) increments between 70% and 95%, and Zebra 2 could be adjusted in 5% increments between 70% and 100%. With this firmware update you can now adjust both Zebra settings beginning at just ±5% for Zebra 1 and 0% for Zebra 2. This should help you dial in exposure readings in shadowy areas, especially with darker skin tones, and should come in real handy when working in Log gammas where Canon Log middle gray falls in around plus or minus 35% (±35%), for instance – a setting that was previously unavailable.

And remember, you can use Zebra 1 and 2 together -- allowing for the possibility of using one Zebra to help you protect highlights and the other for gauging exposure on skin tones. Zebras can be output over the HDMI, Monitor, or EVF-V70 terminals as well, giving the option of remotely monitoring exposure on some devices and not others.

Built-in Microphone OFF

An added menu item allows you to now turn off the camera’s built-in monaural microphone on the camera body, which previously was always ON and without an option to turn it off. No need to go into detail on this one, as most everyone in the camera department can easily appreciate the importance of this update.

2K Crop Audio Recording

And then this – a very unique change for the C300 Mark II – an added feature called 2K Crop Audio Recording. Before this update, 2K Crop was a Slow & Fast motion special recording mode in which no audio could be recorded. Well, it’s still a Slow & Fast motion setting – with frame rates up to 120fps, but now when you select any of these combinations of settings, between frame rate and Slow & Fast motion frame rate, you can record sound in the 2K Crop mode. This is a significant change for those of you shooting documentaries or events with B4 mount broadcast lenses, and should work with many super 16mm lenses, as it offers the advantages of shooting in the more lens-compatible 2K crop mode.

More C300 Mark II updates

• When using the Browser Remote, the Focus Guide frame can now be displayed.

• Metadata related to the XF-AVC range has been corrected; the range of Canon Log, Canon Log2, and Canon Log3 has been corrected to full range.

• The quality of autofocus has been enhanced.

• The operation reliability after changing the recording mode has been enhanced.

Updates for the EOS C300 only :

Grip Zoom Function :

This feature brings the EOS C300 up to date with the recent firmware improvements the C300 Mark II and C100 Mark II received in the July 2016 firmware. It enables zoom functions to be controlled from the Grip Unit’s joystick (EF models only) for the CINE-SERVO 17-120mm T2.95-3.9 EF, COMPACT-SERVO 18-80mm T4.4 EF, and the CINE-SERVO 50-1000mm T5.0-8.9 EF lenses. You simply push up for telephoto, and press down for wide, and speed is controllable in 16 steps.

Additional Dual Pixel Auto Focus support for C300 EF with DAF Upgrade

Also, staying with EF lens mount models, you’ll now be able to get full Dual Pixel Auto Focus support for both the Cine-Servo 17-120mm T2.95-3.9 EF, and the Compact-Servo 18-80mm T4.4 EF lenses on EOS C300’s outfitted with the Dual Pixel AF Upgrade.

And when you use the EOS C300 EF with either of those two lenses, or the Cine-Servo 50-1000mm T5.0-8.9 EF, you can also get additional features and functions that those lenses offer -- like servo zoom, continuous Auto-Iris, Push Auto Iris functions, and Record Start/Stop from the lens. Additionally, aperture can be adjusted manually by operating the control dial on the camera. The zoom, focus, and iris can be adjusted using the optional Canon RC-V100 Remote Controller (sold separately). This firmware will also install Peripheral Illumination Correction data for the lenses, and from now on their important lens metadata will be displayed on the camera, recorded, and stored in the file.

Left to right: CINE-SERVO 17-120mm T2.95-3.9 EF, COMPACT-SERVO 18-80mm T4.4 EF, CINE-SERVO 50-1000mm T5.0-8.9 EF

Download firmware version 1.0.6.1.00 for the EOS C300 Mark II, firmware version 2.1.8.1.00 for the EOS C300 with the Dual Pixel CMOS AF Feature Upgrade, and firmware version 1.1.8.1.00 for the stock EOS C300 without the DPAF upgrade. Be sure to visit the Canon USA web site to download this important firmware starting December 13, 2016.

Canon Announced New Firmware Updates For Cinema EOS C300 and C300 Mk II Camcorders

Sealed with a kiss - Polar bears on the tundra in Hudson Bay, Canada

* * *  'Before The Flood' documentary shot with Canon C300 Mark II camera  * * *

Just back from my Polar bear photo tour in Hudson Bay, Canada. It was quite a successful trip even though the weather was 'mild' by sub Arctic standard and the bears were not able to find sea ice to hunt seals even in mid November. Came across sows with cubs, sub adult and full grown males with reasonably healthy looking weight, this time of the year.

In past years, they would have been able to start heading out to the bay and try and replenish their weight by actively hunting seals. I came across the BBC2 film crew filming and broadcasting the Arctic Live series on the tundra.

Now back to my daily routine of photo processing and blog writing until the next wildlife photo tour. You can follow my travels on Facebook , Twitter and see my works on MichaelDanielHo.com.


MELVILLE, N.Y., November 9, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced firmware updates for both the Canon EOS C300 and EOS C300 Mark II Digital Cinema Cameras being showcased at NAB Show New York 2016, November 9 and 10 at the Jacob K. Javits Center in New York City. These firmware updates support a number of feature updates for users including improvement of accessory support, ease of use, Dual Pixel CMOS AF (DAF) and creative flexibility.

Firmware updates are as follows :

The EOS C300 Mark II Digital Cinema Camera (EF-Mount) updates will allow various functions such as support for the Canon EVF-V70 OLED Electronic Viewfinder, WFT-E8 Wireless File Transmitter, Shutter Angle Priority, support for Zebra range at 65 percent or below, 2K Crop Audio Recording, Built-In Mic Audio off, and Peripheral Illumination Correction when using the new EF 24-105mm f/4L IS II USM lens.

The EOS C300 Mark II Digital Cinema Camera (PL-Mount) updates will allow various functions such as support for the Canon EVF-V70 OLED Electronic Viewfinder, WFT-E8 Wireless File Transmitter, Shutter Angle Priority, support for Zebra range at 65 percent or below, 2K Crop Audio Recording, and Built-In Mic Audio off.

The EOS C300 Digital Cinema Camera (EF-Mount) updates will allow various functions such as support for the WFT-E8 Wireless File Transmitter, Shutter Angle Priority, Grip Zoom Function when using CINE-SERVO 17-120mm EF-mount, CINE-SERVO 50-1000mm EF-Mount and COMPACT SERVO 18-80mm lenses, Auto Iris and Push Iris when using CINE-SERVO 17-120mm EF-mount, CINE-SERVO 50-1000mm EF-Mount and COMPACT SERVO 18-80mm lenses and Peripheral Illumination Correction when using the new EF 24-105mm f/4L IS II USM lens.

The EOS C300 Digital Cinema Camera DAF (EF-Mount) updates will allow various functions such as support for the WFT-E8 Wireless File Transmitter, Shutter Angle Priority, Dual Pixel CMOS AF (DAF) when using CINE-SERVO 17-120mm EF-Mount and COMPACT SERVO 18-80mm lenses, Grip Zoom Function when using CINE-SERVO 17-120mm EF-mount, CINE-SERVO 50-1000mm EF-Mount and COMPACT SERVO 18-80mm lenses, Auto Iris and Push Iris when using CINE-SERVO 17-120mm EF-mount, CINE-SERVO 50-1000mm EF-Mount and COMPACT SERVO 18-80mm lenses and Peripheral Illumination Correction when using the new EF 24-105mm f/4L IS II USM lens.

The EOS C300 Digital Cinema Camera (PL-Mount) updates will allow various functions such as support for the WFT-E8 Wireless File Transmitter and Shutter Angle Priority.
To learn more about the firmware updates, please visit usa.canon.com/nabny2016firmware.

These firmware updates are scheduled to be available on December 13, 2016. To see these products with the firmware updates mentioned above at NAB Show New York 2016, visit Canon U.S.A., Inc. at Booth #1133. Follow Canon throughout the show on Instagram at @CanonUSA and Twitter at @CanonUSApro.

Leonardo DiCaprio Used Canon C300 Mark II Camera For 'Before The Flood' Documentary

Canon Cinema EOS C300 Mark II camera

* * *  Canon C300 and C300 Mark II camera firmware updates  * * *

MELVILLE, N.Y., October 28, 2016 – Canon U.S.A. Inc., a leader in digital imaging solutions, is proud to announce that Academy Award winners Leonardo DiCaprio and Fisher Stevens chose Canon EOS Digital Cinema cameras and lenses, including the Cinema EOS C300 Mark II camera, for their new documentary Before the Flood. Directed by Stevens and produced by DiCaprio, the film presents a riveting account of the dramatic changes now occurring around the world due to climate change, as well as the actions individuals and society can take to help prevent catastrophic disruption on our planet. Before the Flood premieres on National Geographic Channel this Sunday, October 30th at 9 pm ET/8 pm CT in 171 countries and 45 languages. Coinciding with the television premiere, Before the Flood will also be released commercial free on a number of digital and streaming platforms around the world, including NatGeoTV.com and Nat Geo TV Apps.

The two filmmakers, known for their environmentally themed documentaries, joined forces for Before the Flood’s two-year production, which follows U.N. Messenger of Peace DiCaprio as he travels to five continents and the Arctic speaking to scientists, world leaders, activists and local residents to gain a deeper understanding of the complex issue of climate change and investigates concrete solutions to the most pressing environmental challenge of our time.

“Canon is honored to have been selected as the camera and lenses of choice in the creation of this documentary,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Viewers will see on Sunday, with the clarity of the imagery produced with Cinema EOS products, a compelling picture of the current environmental conditions around the world.” To capture the stunning visuals of the documentary, cinematographer Antonio Rossi relied on a mix of Canon EOS Digital Cinema cameras. He began production with the EOS C500 and EOS-1D C Digital Cinema Cameras, the latter often rigged to a handheld camera stabilizer. They shot portions of the documentary in RAW 4K using the EOS C500 camera in conjunction with an external recorder.

When the EOS C300 Mark II camera was introduced, the production adopted it as their new “A” camera. “The switch to the C300 Mark II camera was seamless and easy, and we were happy to have on-board 4K recording as well as extended color gamut options,” Rossi said. “Overall, we found that Canon Cinema EOS cameras were the perfect tools for this project, as they enabled us to shoot in a variety of configurations while maintaining a consistently beautiful look and image quality.” Before the Flood mixes interviews with some of the most influential world leaders, with chilling but beautiful footage from locations impacted by our changing global climate. Rossi and his team traveled north of the Arctic Circle to Greenland and to Canada’s Baffin Island to show the rapid ice melts, as well as to Sumatra to capture some palm oil farmers burning rain forest habitat, among other shooting locations.

Rossi primarily outfitted his cameras with the Canon CN-E 30-105mm T2.8 compact zoom lens and the CN-E 17-120mm T2.95-3.9 CINE-SERVO lens.

“Before the Flood is vital viewing for anyone who has any doubts about humanity’s role in global climate change,” Rossi said. “Working with Fisher Stevens and Leonardo DiCaprio on the film was a magical and elucidating journey.” 

Canon EOS C300 Mark II Firmware 1.0.4.1.00 Announced

I am back from my Alaska/Canada Wildlife Photo Tour. It was my annual shoot and this time I put the Canon EOS-1D X Mark II camera to more real world tests. In addition to the EOS-1D X Mark II, I brought the EOS-7D Mark II, EF 100-400mm f/4.5-5.6L IS II and EF 400mm f/4 DO IS II lens. You can see my equipment bag and more of my works on MichaelDanielHo.com.

Beginning to get back to my daily routine and keeping my readers up to date on the latest photography news while I was away. There is a new firmware update for the Canon EOS C300 Mark II camcorder. Click here to download the software from Canon. The price for this camera has recently been reduced.

Firmware Version 1.0.4.1.00 incorporates the following updates :

• Adds Canon Log 3.
• Reduces Canon Log 2 noise in dark areas.
• Enables magnification to be used even during recording.
• The following features are enabled when these lenses are attached: CN7x17 KAS S/E1*3, CN-E18-80mm T4.4 L IS KAS S or CN20x50 IAS H/E1.
• Enables autofocus using the Dual Pixel CMOS AF function. (Not applicable to the CN20x50 IAS H/E1 lens)
• Enables the joystick on the camera’s grip unit to be set to operate the zoom.
• Enables control of iris to be set to manual operation, and control of focus, zoom and iris using the separately-sold Remote Controller RC-V100.
• Enables automatic aperture and push auto iris functions.
• Enables retrieval of metadata, such as the model name and the focal distance of the lens attached, and display of metadata on the camera,
• Enables Dual Pixel Function when these lenses are attached: CN7x17 KAS S/E1 lens, CN-E18-80mm T4.4 L IS KAS S lens or any of the EF cinema prime lenses.
• Adds peripheral illumination/chromatic aberration correction for the following lenses:
• COMPACT-SERVO lenses: CN-E18-80mm T4.4 L IS KAS S
• CINE-SERVO lenses: CN20x50 IAS H/E1
• EF lenses: EF 35mm f/1.4L II USM, EF 50mm f/1.8 STM and EF-S 18-135mm f/3.5-5.6 IS USM.
• Enhances menu operations so that settings related to resolution/color sampling, etc. are retained to the extent possible when changing recording settings such as the frame rate.
• Supports ACESproxy (ACES 1.0).
• Alleviates the black-dot phenomenon that appears in the periphery of high-brightness light sources.

Caution :

• You cannot perform the firmware update using CFast 2.0 cards. Please use a commercially available SD/SDHC/SDXC memory card that is 64MB or more for the firmware update.
• Firmware version 1.0.4.1.00 is for updating Cinema EOS C300 Mark II cameras running firmware version 1.0.0.1.00 – 1.0.3.1.00. If your camera’s firmware is already version 1.0.4.1.00, it is not necessary to update the firmware. Once the camera is updated to the latest version, it cannot be restored to a previous version.
• For further information, please refer to the latest version of the unit’s Instruction Manual that is released with the firmware update.

Canon Cinema EOS C300 Mark II $11,999 / C100 Mark II $3,999

Canon EOS Cinema C100 Mark II camcorder

Canon announced the C300 Mk II in April of 2015. The C300 Mk II camcorder is a professional camcorder with 4K video capability. Below are two comprehensive video look of the camera. The list price is $15,999 but now one can buy the camera for $11,999, a $4,000 discount. The EOS Cinema C100 Mark II is now selling for $3,999, a $1,500 discount from the list price of $5,499. Check with your Canon dealer and save. 

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 Europe Offers 2 Year Warranty on EOS-1D and Cinema EOS Cameras

Canon is reinforcing its commitment to high levels of service with the announcement of a two year warranty on all EOS-1D and Cinema EOS camera bodies, providing photographers and filmmakers with outstanding cover, free of charge.

The offer consists of a one-year extension on top of the one-year Standard European Warranty System (EWS), under identical terms and conditions, and is absolutely free of charge. This gives photographers a total warranty period of two years from date of first purchase.

The two-year warranty is valid on products originally distributed by Canon within the EU countries plus Lichtenstein, Norway and Switzerland. To be able to claim the additional year of warranty you must have purchased the product in one of these countries.

This extended warranty will apply to cameras like the Cinema EOS C300 Mark II and the recently announced EOS-1D X Mark II. Wonder why Canon is not extending the warranty outside Europe at this time. My readers know I have owned the EOS-1 series of cameras since 1989, when they were first introduced. In all the years I have owned them, there was never any problems in the first two years, provided they are properly cared for and serviced. After that, things can go wrong, as with any mechanical and electronic parts. You can see my equipment bag and works on MichaelDanielHo.com

Canon C300 Mark II Meets EBU HD and UHD Classification

Canon C300 Mark II camcorder

Canon EOS C300 Mark II meets EBU HD and UHD classification

United Kingdom, Republic of Ireland, 18th February 2016 – Canon today announces that the EOS C300 Mark II digital cinema camera has been independently tested in accordance with European Broadcast Union (EBU) recommendations for both HD and UHD content acquisition¹. The report recognises image capture of up to 15 stops of dynamic range using Canon Log2 and qualifies the EOS C300 Mark II for R.118 Tier 1 in HD and Tier 2 in UHD².

The new gamma Canon Log2 has been designed specifically for the C300 Mark II’s new 8.85MP Super 35mm CMOS sensor. Having access to this high dynamic range gives users the creative freedom to produce more compelling visuals. Combined with the EOS C300 Mark II’s built-in noise reduction functionality, filmmakers have the ability to shoot almost anywhere, capturing low-noise footage in many challenging shooting scenarios.

The EBU exists to serve 73 broadcasters across 56 countries in understanding which technology is best suited to certain tasks. The UK’s Digital Production Partnership (DPP) broadcasters use these recommendations to ensure their content meets a minimum threshold. This is especially important when a compressed image needs to survive editing, grading, encoding and transmission before it reaches audiences in its final pictures.

“Testing our cameras using the European Broadcast Union’s methodology is a very important step for us,” said Austin Freshwater, Director, Professional Imaging at Canon UK. “With the EOS C300 Mark II, we aimed to design a camera that lets both filmmakers and broadcast producers realise their creative vision. It’s because of this commitment that the EOS C300 Mark II offers users the very best image quality and we’re incredibly pleased that these test results back that up.”

The EOS C300 Mark II follows Canon’s XC10 video camera that also qualifies for R.118 Tier 1 HD as tested in September last year. Alongside this, the EOS C300 Mark II joins several of Canon’s high-end professional broadcast cameras that meet the criteria defined by the EBU, including its predecessor the Canon EOS C300, the Canon XF305 and the Canon EOS-1D C.

To download the full report please visit : https://tech.ebu.ch/docs/tech/tech3335_s18.pdf

For more information on the Canon EOS C300 Mark II please visit : http://www.canon.co.uk/for_home/product_finder/digital_cinema/cinema_eos_cameras/eos_c300_mark_ii/

¹ EBU Tech 3335: Methods of measuring the imaging performance of television cameras for the purposes of characterisation and setting (http://tech.ebu.ch/docs/tech/tech3335.pdf)
² EBU Recommendation R.118: Tiering of High Definition Cameras (http://tech.ebu.ch/docs/r/r118.pdf)

Price Reduction on Canon C100 and C100 Mark II Cameras

Canon Cinema EOS C100 Mark II camcorder

The CES 2016 starts January 6. Be sure to visit Canon's Interactive Booth if you are planning to attend the show. It appears Canon may be preparing to introduce a mid price Cinema EOS camera between the low end C100 Mark II ($4,500) and the high end C300 Mark II ($16,000) 4K camcorders.

With the imminent announcement of the EOS-1D X Mark II, equipped with 4K video, coming soon, Canon is probably spreading its 4K reach into more 'affordable' space by planning to release a 4K camcorder for videographers and filmmakers below $10,000.

The first sign of a new camera coming is the price reduction of existing cameras. The Cinema EOS C100 and C100 Mark II camcorders are getting a noticeable price drop. Check you favorite camera websites for the new price. Links are not provided to any retailers because I am completely independent in my reporting and do not accept any commission from any company.

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 Addresses CinemaEOS C300 Mk II Skipped Frame Issue

Canon CinemaEOS C300 Mark II camcorder

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

Canon is addressing the issue regarding the phenomenon of Skipped Frames in footage recorded in Slow Motion on some EOS C300 Mark II Cinema Cameras. For a Canon USA White Paper on this camcorder, click here.

Thank you for using Canon products. We have become aware that there may be cases of skipped frames in footage recorded in slow motion on the EOS C300 Mark II Digital Cinema Camera. Customer support for this phenomenon is described below.

We would like to offer our sincere apologies to users for the inconvenience caused by this phenomenon. Going forward, we will spare no effort in our quality management to make sure our customers can use our products with confidence.

Phenomenon

Except as provided below, footage recorded in slow motion in Slow & Fast Motion Recording Mode, in 4K and 2K/HD, and at all frame rates, may have skipped frames.

This phenomenon does not occur for slow motion recording at the following settings: 2K/HD recording at 59.94P & 50.00P frame rates.

Affected Product

EOS C300 Mark II Digital Cinema Camera. Cameras with firmware version 1.0.0.1.00 are affected.

The camera’s firmware version can be checked from [System Setup] on the menu.

Press the MENU button, then select [System Setup] > [Firmware] > [Camera].

Support

We are planning to release new firmware that incorporates a fix for this phenomenon in early November.

Once the new firmware is ready, we will make an announcement on our website. If you wish to use the slow motion recording function before that time, please contact the Canon Service Center.

This information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region.

If you have not already done so, please register your Canon C300 Mark II Digital Cinema Camera. By registering, we will be able to notify you via email about future service upgrades.

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 Announced CJ12ex4.3B 4K Zoom Lens

Canon CJ12ex4.3B 4K zoom lens

London, UK, 25 August 2015 – Canon today unveils the CJ12ex4.3B, a new 2/3” portable 4K zoom lens with the world’s widest focal length – an incredible 4.3mm, designed for professionals shooting interviews or live broadcast, including sport and news. Canon also today announces that it is developing a new compact 2/3” 4K all-purpose-zoom lens. Further bolstering Canon’s 4K broadcast lens range for cameras employing 2/3” sensors, the versatile new lens will be optimised for both indoor and outdoor shooting, across a variety of applications including, sporting events, live broadcasts, as well as television dramas and commercials.

Outstanding 4K optical performance

Leveraging Canon’s renowned heritage in optical design and advanced technologies, the CJ12ex4.3B delivers outstanding 4K image quality throughout the entire 12x optical zoom range. Providing the freedom to quickly adapt to different shooting environments, the new lens enables shooters to swiftly move from an ultra-wide 4.3mm angle shot to close ups, whilst ensuring first-class image quality from the very centre to the edge. A built-in 2x extender also helps provides even greater focal reach, whilst still maintaining 4K optical performance.

To further provide sharp, high contrast images, the CJ12ex4.3B includes an increased use of fluorite and UD glass combined with Canon’s expert coatings, resulting in exceptional control over ghosting and flare. A new three group internal focus system also reduces focus breathing.

Exceptional portability and flexible operation

Boasting a brand new design, the CJ12ex4.3B is compact and lightweight, weighing just 2.1kg, making it similar in size and weight to a comparable 2/3” HD lens. Ideal for on-shoulder shooting traditionally adopted by news gatherers, the lens can easily be used on-the-go, and with an ergonomic design and grip, it is comfortable to hold for longer periods of time. The lens also incorporates three 20-pin connectors for easy integration with existing HD zoom/focus controllers and can be directly connected to an external virtual operation system at the same time.

Featuring a Digital Drive Unit, the CJ12ex4.3B offers advanced operability giving users the freedom to select repeatable zoom positions and speeds, in addition to focus and iris settings. A 16-bit absolute value encoder integrated into the Digital Drive Unit allows operators to start shooting with the camera’s aberration compensation function in an instant, without the need for any initialisation. This is perfect for news and wildlife environments where action can disappear as quickly as it started. A digital display, built into the Digital Drive Unit, also makes it easy to set, review and adjust vital functions in a way similar to 2/3” HD lenses.

Key features CJ12ex4.3B :

• 4K resolution 2/3” portable wide angle lens with 12x zoom
• Exceptional 4.3mm focal length at the wide end extends to 52mm (104mm using the built-in 2x extender)
• Stunning optical performance right to the edge of the image when paired with a 2/3” 4K compatible camera
• Combines 4K quality with lightweight design and compact size comparable to HD lenses for comfortable on-shoulder shooting
• Sustained 4K performance even when using the built-in 2x extender
• Proven, high-quality 16-bit encoder captures precise information on zoom, focus and iris and allows support for aberration correction immediately on start-up
• 3 20-pin connectors make for effortless use with existing Canon HD lens accessories and virtual systems

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 Patent - 10-120mm f/1.8 lens For 1 inch Sensor

Egami, the Japanese photography blog has uncovered a new Canon patent of a 10-120mm f/1.8 lens for an 1 inch sensor. Canon announced the XC10 camcorder in April 2015, with a 1 inch sensor and 4K video. The camera has not received many rave reviews and is just an opening shot for Canon in the non-professional 4K camcorder space. The EOS C300 Mk II camcorder equipped with Dual Pixel CMOS technology and 4K video is for serious filmmaking.


    Patent Publication No. 2015-75523

•     Published 2015.4.20
•     Filing date 2013.10.7

    Example 1

•     Zoom ratio 11.54
•     Focal length 10.21 56.31 117.88
•     F-number 1.87 1.79 1.78
•     Half angle (in degrees) 38.07 8.09 3.88
•     Image height 8.00
•     Overall length of the lens 555.0
•     BF 16.56

    Canon patents

•     5-group zoom of positive and negative TadashiTadashiTadashi
•     Inner focus (part of the first group)
•     Inner zoom

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.