{"id":2849,"date":"2020-04-28T14:39:00","date_gmt":"2020-04-28T21:39:00","guid":{"rendered":"https:\/\/ww3.ambientskies.com\/look-out-fx9-the-canon-c300-mark-iii-is-about-to-drop\/"},"modified":"2023-02-24T12:48:20","modified_gmt":"2023-02-24T19:48:20","slug":"look-out-fx9-the-canon-c300-mark-iii-is-about-to-drop","status":"publish","type":"post","link":"https:\/\/ambientskies.com\/blog\/filmmaking\/look-out-fx9-the-canon-c300-mark-iii-is-about-to-drop\/","title":{"rendered":"Look Out FX9! The Canon C300 Mark III Is About To Drop"},"content":{"rendered":"

Yes, it’s true. The Canon C300 Mark III<\/a> is about to drop people!<\/p>\n

Now I don’t want to start this out busting Canon’s balls here, but it’s about damn time my friends! — I say that with love. But seriously, Internal 4k RAW capture at 120fps — Thank you very much! And that’s not all, this camera comes jam packed with awesome key features that will make any DP’s head spin around and think twice before purchasing that Sony FX9.<\/p>\n

I heard some rumors floating around in the ether about this camera, but I wasn’t prepared for these impressive specs to come with such a competitive and accessible price tag.<\/p>\n

But at the end of the day it took them forever to get here. Did they arrive too late?<\/p>\n

Let’s take a look at it!<\/p>\n

<\/p>\n

\"Look<\/p>\n

Improvements<\/h3>\n

 <\/p>\n

High Frame Rates<\/h2>\n

Right off the bat I’m going to bring it up again. We’ve been waiting so long for Canon to drop a 4K camera with the ability to capture 120fps using 100% of the sensor for a price tag around 10K (That’s a mouthful, I know). There’s always been little to no high speed capabilities that utilized the entirety of the sensor without cropping and running the risk of a noisier image.<\/p>\n

When the C500 mark II dropped with it’s 5.9k sensor, it was only packing 120 fps at 2K resolution which left many scratching their heads. Same goes for the Canon C700. We got 72 — That was still an improvement from 60, but it was only in 4K and it was still cropping the sensor. <\/p>\n

C700 RAW Recording Format<\/i><\/p>\n

\"Look<\/i><\/p>\n

Now, thankfully our griping has been heard and the C300 Mark III is their response. And it’s also worth noting that you can shoot up to 180 fps in 2K which is super useful when you’re finishing in 1080 and 120 fps isn’t quite cutting it. <\/p>\n

C300 MkIII Recording Formats<\/i><\/p>\n

\"Look<\/i><\/p>\n

Body Design<\/h2>\n

One thing that was always a point of defeat for the C300 series next to Sony’s FX cameras — was their body design. It was never ergonomic and conveniently designed like the FX cameras were. As soon as the C500 Mark II and the C700 dropped, it was clear that Canon answered the prayers of many loyal consumers. The design definitely reminds me of an FX camera and seems way more practical. Now the C300 series has adopted this same design and we’re all happy they did. It’s almost exact to the C500 MkII.<\/p>\n

\"Look<\/p>\n

New Super 35mm DGO Sensor<\/h2>\n

When I heard about Canon’s new sensor, I got really excited. The Super 35mm Dual Gain Output (DGO) sensor at a size of 26.2 x 13.8 is capable of dynamic ranges in excess of 16 stops and is compatible with Canon’s exclusive Dual Pixel CMOS Autofocus technology according to Canon. Shooting Canon log 2 will give you full use of the 16+ stops of dynamic range while using Canon Log 3 drops you down to 14 stops of DR.<\/p>\n

\"Look<\/p>\n

They just recently developed this imaging system and it’s cutting edge (for canon). It generates high dynamic range and maintains low noise levels by reading out EACH pixel with different gains. That’s genius! By combining images using pixels shot with a saturation-prioritizing amplifier for bright areas and a lower-noise noise-prioritizing amplifier for darker areas, you get pristine exposure from low to highlight with close to no noise in your shadows. I can’t wait to get my hands on this camera and see what the limits of this sensor are and how closely it compares to other sensors like Arri’s Alev III.<\/p>\n

\"Look<\/p>\n

Like the Mark II, there’s no oversampling involved so you’ll be capturing 4K imagery that has a softer touch and feels a little more cinematic and less digital. Check out the example below — behind-the-scenes of ‘Boneyard Ballet’ and see what I mean.<\/p>\n

Super 35mm<\/p>\n

4K: 26.2 x 13.8 (29.6 mm diagonal)<\/p>\n

UHD: 4K: 24.6 x 13.8 (28.2 mm diagonal)<\/p>\n

Total Pixels – Approx. 9.6 Megapixels (4206×2280)<\/p>\n

Effective Pixels – Approx. 8.85 Megapixels (4096×2160)<\/p>\n

Sensor Modes:<\/strong><\/p>\n

Super 35mm<\/p>\n

Super 16mm (cropped)<\/p>\n

Progressive Scan<\/p>\n

\"Look<\/p>\n

5 axis Image stabilization<\/h2>\n

Like it’s older brother, the C500 — the C300 Mark III includes built-in 5-axis electronic image stabilization. Many are against IS features like this due to it’s manipulation of the picture and the inevitable loss of quality to do so, but from what I’m seeing in some of the examples, that loss of quality is not noticeable to the human eye.<\/p>\n

The data from the onboard gyroscopic sensor communicates with the Digic DV7 processor which then makes high speed calculations that instruct the repositioning of the selected active image area.<\/p>\n

We first saw IS with the Canon EOS R5, then we saw a more advanced version of this IS system with the C500 MkII which is what the C300 MkIII comes equipped with. The camera is intuitive enough to utilize all 5 axis when coupled with a lens with no IS and works in tandem with a lens that does by dealing with only the axis (Roll, X\/Y) that the lens IS (Yaw, Pitch) lacks.<\/p>\n

The lens’s focal length is automatically or manually set to help the system adjust properly to the digital IS. It’s worth noting that this IS system is compatible with anamorphic lenses.<\/p>\n

\"Look<\/p>\n

Internal cinema RAW Light<\/h2>\n

No longer do you have to record uncompressed RAW though dual 3G-SDI outputs to an external recorder. Now with the DIGIC DV7 image processor, the C300 MkIII can record Cinema RAW Light directly to onboard CF Express cards which is huge! You get so much more freedom in post when grading as opposed to the XF-AVC codec. <\/p>\n

The Dual Gain Output (DGO) technology produces 16+ stops of dynamic range while maintaining file sizes that are about 1\/5 to 1\/3 the size of Canon Cinema RAW. This gives you the same efficiency\/quality while saving space and money.<\/p>\n

This is another internal option we’ve been begging for, for some time now. It’s great to see it come to fruition and is something that will change the game when it comes to competing with the Sony FX line of cameras. I think it might be tilting in Canon’s favor a bit. Their color technology has always been superior to Sony’s in my opinion.<\/p>\n

\"Look<\/p>\n

Anamorphic Lens support<\/h2>\n

I got really excited when I saw this. Another complaint that was answered with this camera was their ability to offer DPs support for both 2.0 and 1.33 Anamorphic lens types. This allows you to achieve beautiful cinematic imagery complete with vibrant flares and the much desired oval bokeh.<\/p>\n

This is a big deal and sets the C300 MkIII apart from its competition in a massive way. Now more filmmakers are likely to take this camera more seriously as a back pocket tool and an A cam candidate for Narratives.<\/p>\n

\"Look<\/p>\n

Interchangeable lens mount (Supports any lens)<\/h2>\n

Finally, they’ve got an interchangeable lens mount that works similar to cameras like RED and others where you unscrew and swap out the mount that you need. Comes stock with an EF mount, but can be changed to a Locking EF or PL mount. The purchase comes with shims that allow you to adjust back focus and dial in the accuracy necessary to execute on a professional level.<\/p>\n

\"Look<\/p>\n

Key Features<\/h3>\n

4K – 120fps<\/p>\n

Super 35mm Dual Gain Output (DGO) sensor<\/p>\n

16+ stops of dynamic range.<\/p>\n

Electronic Image Stabilization (5-axis)<\/p>\n

DIGIC DV7 Image Processor<\/p>\n

Internal Cinema RAW Light and XF-AVC (H.264) Recording<\/p>\n

XAVC Long GOP and 4:2:2 10-bit<\/p>\n

Proxy Recording<\/p>\n

2K Crop 180fps<\/p>\n

Canon Log 2 and 3<\/p>\n

LM-V2 4.3′ LCD Touch Screen Monitor<\/p>\n

4-Channel Audio Recording<\/p>\n

12G SDI, 3G-SDI<\/p>\n

Dual Pixel Autofocus<\/p>\n

RC-V100 Support and LANC Compatible<\/p>\n

Support for Custom User LUTs<\/p>\n

Interchangeable lens mount (Supports any lens)<\/p>\n

Anamorphic Lens Support<\/p>\n

2x CF express slots<\/p>\n

Internal NDs<\/p>\n

Low Power Draw<\/p>\n

Modular Design for Expansion Units<\/p>\n

 <\/p>\n

Examples<\/h3>\n

 <\/p>\n

If you’re looking to see an example that demonstrates some of the features talked about above, then you need to check out this awesome behind-the-scenes video for Boneyard Ballet <\/i>— a short film that explores the strengths and limits of the C300 MkIII. I work with the film’s 1st AC, DIT, and Ariel DP on a regular basis and they’re expertise on this camera is sound — without ever testing it for myself, I trust their opinions and you should too.  <\/p>\n

Behind the scenes of Boneyard Ballet<\/p>\n

https:\/\/www.youtube.com\/watch?v=Uf-ciwx3kCs<\/a><\/p>\n

C300 MkIII First Look<\/p>\n

https:\/\/www.youtube.com\/watch?time_continue=6&v=BSyHk2Y1yrY&feature=emb_title<\/a><\/p>\n

Specs<\/strong><\/h3>\n

Imaging Sensor<\/h4>\n

Effective Pixels<\/strong><\/p>\n

4096×2160: when 4096 x 2160 or 2048 x 1080 is selected as the resolution (Approx. 8.85 megapixels)<\/p>\n

3840 x 2160: when 3840 x 2160 or 1920 x 1080 is selected as the resolution (Approx. 8.29 megapixels)<\/p>\n

Total Pixels<\/strong><\/p>\n

4206 x 2280; Approx. 9.6 megapixels<\/p>\n

Sensor Type<\/strong><\/p>\n

CMOS<\/p>\n

 <\/p>\n

Sensor Size<\/strong><\/p>\n

Super 35mm<\/p>\n

4K: 26.2 x 13.8 (29.6 mm diagonal)<\/p>\n

UHD: 4K: 24.6 x 13.8 (28.2 mm diagonal)<\/p>\n

 <\/p>\n

Sensor Modes<\/strong><\/p>\n

Super 35mm, Super 16mm(cropped)<\/p>\n

 <\/p>\n

Pixel Pitch<\/strong><\/p>\n

6.4 μm<\/p>\n

 <\/p>\n

Scanning System<\/strong><\/p>\n

Progressive<\/p>\n

 <\/p>\n

Number of Sensors<\/strong><\/p>\n

1<\/p>\n

 <\/p>\n

Filter<\/strong><\/p>\n

RGB Primary Color Filter (Bayer Array)<\/p>\n

 <\/p>\n

Imaging Processor<\/strong><\/p>\n

DiG!C DV 7<\/p>\n

 <\/p>\n

Lens System<\/h4>\n

Lens Mount<\/strong><\/p>\n

Default Mount: EF<\/p>\n

Optional: EF-C locking, PL<\/p>\n

*All mounts are interchangeable<\/i><\/p>\n

**Supports both EF and EF-S lens<\/i><\/p>\n

 <\/p>\n

Zoom\/Focus Preset<\/strong><\/p>\n

Not Available<\/p>\n

 <\/p>\n

Shockless Zoom<\/strong><\/p>\n

Not Available<\/p>\n

 <\/p>\n

Digital Teleconverter<\/strong><\/p>\n

Not Available<\/p>\n

 <\/p>\n

ND Filter<\/strong><\/p>\n

Mechanical ND filter system with option of clear, 2, 4, and 6 stops; 8 and 10 stops in extended mode<\/p>\n

 <\/p>\n

Peripheral Illumination Correction<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

Exposure and Metering<\/h4>\n

Exposure Modes<\/strong><\/p>\n

(1) Manual exposure based on shutter setting, iris setting, ISO\/gain setting, and ND filter setting<\/p>\n

(2) Push auto iris control, auto iris control<\/p>\n

 <\/p>\n

Metering Modes<\/strong><\/p>\n

Standard, Spotlight and Backlight<\/p>\n

 <\/p>\n

Gain<\/strong><\/p>\n

Normal Setting -6dB to 54dB TBD<\/p>\n

Fine Setting -2dB to 54dB in 0.5 dB increments<\/p>\n

 <\/p>\n

ISO<\/strong><\/p>\n

100 to 102,400<\/p>\n

 <\/p>\n

Auto Gain Control (AGC)<\/strong><\/p>\n

Not Available<\/p>\n

 <\/p>\n

Shockless Gain<\/strong><\/p>\n

Not Available<\/p>\n

 <\/p>\n

Exposure Compensation\/AE Shift<\/strong><\/p>\n

–2.0 to +2.0 in 0.25 point intervals<\/p>\n

 <\/p>\n

Shutter Modes<\/strong><\/p>\n

3 Modes: OFF; Speed; Angle; Slow Shutter; Clear Scan<\/p>\n

Speed Mode is selected in 1\/3 or 1\/4 stop increments<\/i><\/p>\n

 <\/p>\n

Shutter Speed Range<\/strong><\/p>\n

59.94Hz\/24.00Hz: 1\/12 to 1\/2000<\/p>\n

50.00Hz: 1\/12 to 1\/2000<\/p>\n

 <\/p>\n

Shutter Angle Settings<\/strong><\/p>\n

59.94Hz\/50.00Hz\/24.00Hz: 360, 240, 180, 120, 90, 60, 45, 30, 22.5, 15, 11.25<\/p>\n

 <\/p>\n

Iris Settings (EF)<\/strong><\/p>\n

Can be set to 1\/2 stop, 1\/3 stop or Fine.<\/p>\n

(1) Push auto iris control<\/p>\n

(2) Auto iris control (Compatible lens required)<\/p>\n

(1\/2, 1\/3 stop or fine setting can be selected)<\/p>\n

 <\/p>\n

Focus<\/h4>\n

Focus Control<\/strong><\/p>\n

Dual Pixel CMOS AF<\/p>\n

 <\/p>\n

Focus Modes<\/strong><\/p>\n

Manual focus, continuous AF, one-shot AF, AF-Boosted MF, face detection AF<\/p>\n

Only lenses that support AF functions can be used in AF modes<\/i><\/p>\n

 <\/p>\n

External Recording Output<\/h4>\n

System Frequency<\/strong><\/p>\n

59.94 Hz, 50.00 Hz, 24.00 Hz<\/p>\n

59.94 Hz mode: 59.94i\/59.94P\/29.97P\/23.98P<\/p>\n

50.00 Hz mode: 50.00i\/50.00P\/25.00P<\/p>\n

24.00 Hz mode: 24.00P<\/p>\n

 <\/p>\n

Resolution<\/strong><\/p>\n\n\n\n\n\n\n\n\n
\n

Mode<\/p>\n<\/td>\n

\n

Resolution<\/p>\n<\/td>\n

\n

Frame Rates<\/p>\n<\/td>\n<\/tr>\n

\n

Cinema RAW Light<\/p>\n<\/td>\n

\n

4096×2160<\/p>\n<\/td>\n

\n

59.94p \/ 29.97p \/ 23.98p \/<\/p>\n

50.00p \/ 25.00p \/ 24.00p<\/p>\n<\/td>\n<\/tr>\n

\n

2048×1080<\/p>\n<\/td>\n

\n

59.94p \/ 29.97p \/ 23.98p \/<\/p>\n

50.00p \/ 25.00p \/ 24.00p<\/p>\n<\/td>\n<\/tr>\n

\n

XF-AVC<\/p>\n<\/td>\n

\n

4096×2160 \/ 3840×2160<\/p>\n<\/td>\n

\n

59.94p \/ 29.97p \/ 23.98p \/<\/p>\n

50.00p \/ 25.00p \/ 24.00p<\/p>\n<\/td>\n<\/tr>\n

\n

2048×1080 \/ 1920×1080<\/p>\n<\/td>\n

\n

59.94p \/ 29.97p \/ 23.98p \/<\/p>\n

50.00p \/ 25.00p \/ 24.00p\/ 59.94i \/ 50i<\/p>\n<\/td>\n<\/tr>\n

\n

1280×720<\/p>\n<\/td>\n

\n

59.94p \/ 50p<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Color Gamuts<\/strong><\/p>\n

Cinema Gamut, BT.709, BT.2020<\/p>\n

 <\/p>\n

Gamma Curves<\/strong><\/p>\n

BT.709, Wide DR, Canon Log 2, Canon Log 3, PQ, HLG<\/p>\n

 <\/p>\n

Recording \/ Codec<\/h4>\n

Codecs<\/strong><\/p>\n

XF-AVC (10 bit 4:2:2 (CFexpress) or 8 bit 4:2:0 (SD card))<\/p>\n

Cinema RAW Light (CFexpress)<\/p>\n

 <\/p>\n

Recording Media<\/strong><\/p>\n

CFexpress 2,0 (Type B) x 2 slots<\/p>\n

SD Card (Still Images (JPEG), Custom Picture Data, Clip Metadata, and menu settings); SD\/SDHC\/SDXC Supported<\/p>\n

 <\/p>\n

Recording Time<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

 <\/p>\n<\/td>\n

\n

Cinema RAW Light<\/strong><\/p>\n<\/td>\n<\/tr>\n

\n

CFexpressTM<\/p>\n<\/td>\n

\n

1 Gbps<\/p>\n<\/td>\n

\n

250 Mbps<\/p>\n<\/td>\n<\/tr>\n

\n

512 GB<\/p>\n<\/td>\n

\n

64 Minutes<\/p>\n<\/td>\n

\n

256 Minutes<\/p>\n<\/td>\n<\/tr>\n

\n

 <\/p>\n<\/td>\n

\n

Intraframe<\/strong><\/p>\n<\/td>\n<\/tr>\n

\n

CFexpressTM<\/p>\n<\/td>\n

\n

810 Mbps<\/p>\n<\/td>\n

\n

410 Mbps<\/p>\n<\/td>\n

\n

310 Mbps<\/p>\n<\/td>\n

\n

160 Mbps<\/p>\n<\/td>\n<\/tr>\n

\n

512 GB<\/p>\n<\/td>\n

\n

79 Minutes<\/p>\n<\/td>\n

\n

156 Minutes<\/p>\n<\/td>\n

\n

207 Minutes<\/p>\n<\/td>\n

\n

401 Minutes<\/p>\n<\/td>\n<\/tr>\n

\n

 <\/p>\n<\/td>\n

\n

Long GOP<\/strong><\/p>\n<\/td>\n<\/tr>\n

\n

CFexpressTM<\/p>\n<\/td>\n

\n

260 Mbps<\/p>\n<\/td>\n

\n

160 Mbps<\/p>\n<\/td>\n

\n

50 Mbps<\/p>\n<\/td>\n

\n

24 Mbps<\/p>\n<\/td>\n<\/tr>\n

\n

512 GB<\/p>\n<\/td>\n

\n

246 Minutes<\/p>\n<\/td>\n

\n

401 Minutes<\/p>\n<\/td>\n

\n

1284 Minutes<\/p>\n<\/td>\n

\n

2675 Minutes<\/p>\n<\/td>\n<\/tr>\n

\n

 <\/p>\n<\/td>\n

\n

Long GOP<\/strong><\/p>\n<\/td>\n<\/tr>\n

\n

SD<\/p>\n<\/td>\n

\n

35 Mbps<\/p>\n<\/td>\n

\n

24 Mbps<\/p>\n<\/td>\n

\n

17 Mbps<\/p>\n<\/td>\n

\n

 <\/p>\n<\/td>\n<\/tr>\n

\n

512 GB<\/p>\n<\/td>\n

\n

1945 Minutes<\/p>\n<\/td>\n

\n

2840 Minutes<\/p>\n<\/td>\n

\n

4010 Minutes<\/p>\n<\/td>\n

\n

 <\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

File Format<\/strong><\/p>\n

XF-AVC: MXF (OP-1a)<\/p>\n

RAW: CRM<\/p>\n

 <\/p>\n

File System<\/strong><\/p>\n

CFexpress: exFat<\/p>\n

SDHC card: (up to 32 GB): FAT32<\/p>\n

SDXC card (more than 32 GB): exFAT<\/p>\n

File division unit: 4 GB for FAT32, none for exFAT<\/i><\/p>\n

 <\/p>\n

Maximum Clip Number<\/strong><\/p>\n

999 (per media)<\/p>\n

 <\/p>\n

Audio<\/h4>\n

Recording Format<\/strong><\/p>\n

Linear PCM; 4-Channel; 24-Bit; 48 kHz<\/p>\n

 <\/p>\n

Built-in Microphone<\/strong><\/p>\n

Monaural<\/p>\n

 <\/p>\n

External Audio Inputs<\/strong><\/p>\n

2 – XLR inputs (Auto and Manual level settings)<\/p>\n

External microphone terminal: (3.5 mm diameter)<\/p>\n

 <\/p>\n

Recording Channel Selection<\/strong><\/p>\n

Up to 4 channel audio recording is supported.<\/p>\n

 <\/p>\n

XLR Mic Trimming<\/strong><\/p>\n

Available; -12dB, -6 dB, 0dB or +12 dB<\/p>\n

 <\/p>\n

Limiter<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

Recording Level Adjustment Range<\/strong><\/p>\n

– Infinity to +18dB<\/p>\n

 <\/p>\n

Phantom Power<\/strong><\/p>\n

Available; +48V<\/p>\n

 <\/p>\n

Headphone Adjustment<\/strong><\/p>\n

16 Settings; Volume is muted at lowest setting<\/p>\n

 <\/p>\n

Built-in Speaker<\/strong><\/p>\n

Available; Volume Adjustable<\/p>\n

 <\/p>\n

1KHz Tone<\/strong><\/p>\n

Available (off, -12, -18, or -20 dB)<\/p>\n

 <\/p>\n

Features and Performance<\/h2>\n

Playback<\/strong><\/p>\n

Clip Display: 3×4 Index Display.<\/p>\n

Clip Playback: Forward Search (x5, x15, x60), Reverse Search (x5, x15, x60), Forward frame Advance, Reverse Frame Advance, Record Review, Skip to next clip, skip to previous clip<\/p>\n

Clip information Display: Clip Metadata display, custom picture settings<\/p>\n

Playback Functions: Clip Delete<\/p>\n

Photo Playback: index, single playback, delete, protect<\/p>\n

 <\/p>\n

Slow and Fast Motion Recording<\/strong><\/p>\n

Available; Records at a different frame rate then the playback rate allowing for fast and slow motion effects:<\/p>\n

 <\/p>\n\n\n\n\n
\n

Sensor Mode<\/strong><\/p>\n<\/td>\n

\n

Recording Mode<\/strong><\/p>\n<\/td>\n

\n

Available Frame Rates<\/strong><\/p>\n<\/td>\n<\/tr>\n

\n

Super35<\/p>\n<\/td>\n

\n

Cinema RAW Light<\/p>\n<\/td>\n

 <\/p>\n\n\n\n\n\n\n\n
\n

23.98P\/24P: 12-120<\/p>\n<\/td>\n<\/tr>\n

\n

29.97P: 15-120<\/p>\n<\/td>\n<\/tr>\n

\n

25P\/50P: 15-120<\/p>\n<\/td>\n<\/tr>\n

\n

59.94P: 15-120<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

\n

Super16(Crop)<\/p>\n<\/td>\n

\n

Cinema RAW Light<\/p>\n<\/td>\n

 <\/p>\n\n\n\n\n\n\n\n
\n

23.98P\/24P: 12-180<\/p>\n<\/td>\n<\/tr>\n

\n

29.97P: 15-180<\/p>\n<\/td>\n<\/tr>\n

\n

25P\/50P: 15-180<\/p>\n<\/td>\n<\/tr>\n

\n

59.94P: 15-180<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

\n

Super35<\/p>\n<\/td>\n

\n

XF-AVC<\/p>\n<\/td>\n

 <\/p>\n\n\n\n\n\n\n\n
\n

23.98P\/24P: 12-120<\/p>\n<\/td>\n<\/tr>\n

\n

23.98P\/24P: 12-120<\/p>\n<\/td>\n<\/tr>\n

\n

25P\/50P: 15-120<\/p>\n<\/td>\n<\/tr>\n

\n

59.94P: 15-120<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n

\n

Super16(Crop)<\/p>\n<\/td>\n

\n

XF-AVC<\/p>\n<\/td>\n

 <\/p>\n\n\n\n\n\n\n
\n

23.98P\/24P: 12-120<\/p>\n<\/td>\n<\/tr>\n

\n

29.97P: 15-180<\/p>\n<\/td>\n<\/tr>\n

\n

25P\/50P: 15-180<\/p>\n<\/td>\n<\/tr>\n

\n

59.94P: 15-180<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Special Recording Functions<\/strong><\/p>\n

Relay Recording*; Double-Slot Recording**<\/p>\n

* Not available during Slow Motion recording<\/i><\/p>\n

** Not available in combination with Slow and fast motion recording or relay recording<\/i><\/p>\n

 <\/p>\n

Photo Recording Mode<\/strong><\/p>\n

Available; Images captured to SD Card<\/p>\n

 <\/p>\n

Waveform Monitor<\/strong><\/p>\n

Available (HDR Compatible);<\/p>\n

(a) Line display<\/p>\n

(b) Line + spot: Line display over a red waveform in a red frame.<\/p>\n

(c) Line select display<\/p>\n

(d) RGB (parade)<\/p>\n

(e) YPrPb (parade)<\/p>\n

 <\/p>\n

Output gain can be selected as either 1x or 2x. With gain set to 2x, the vertical axis (Y-position) offset value can be chosen.<\/p>\n

 <\/p>\n

When gamma is set to PQ, an PQ index (nits index) can be displayed. When gamma is set to HLG, an HLG index (0.0–1.0 relative index) can be displayed.<\/p>\n

 <\/p>\n

Vectorscope<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

False Color<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

Exposure \/ Focus Aids<\/strong><\/p>\n

Peaking (2 types), Zebra Pattern, Magnify, Black and White Mode, Focus Guide<\/p>\n

 <\/p>\n

Frame Record<\/strong><\/p>\n

Not Available<\/p>\n

 <\/p>\n

Pre-Record<\/strong><\/p>\n

Yes, 3 seconds cache (Audio and Video)<\/p>\n

 <\/p>\n

Time code<\/strong><\/p>\n

Drop Frame (DF) and Non-Drop Frame (NDF)<\/p>\n

 <\/p>\n

Time Code Modes<\/strong><\/p>\n

Regeneration, Record Run, Free Run and External Source<\/p>\n

 <\/p>\n

Auto White Balance (AWB)<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

White Balance<\/strong><\/p>\n

Kelvin Setting:<\/p>\n

2,000K to 15,000K in 100K increment<\/p>\n

-20CC to +20CC in 1 CC increments<\/p>\n

 <\/p>\n

White Balance Presets<\/strong><\/p>\n

Daylight (5,600K); Tungsten (3,200K), Custom A, Custom B<\/p>\n

 <\/p>\n

Auto Black Balance<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

Custom Picture Settings<\/strong><\/p>\n

20 Custom Picture settings<\/p>\n

Custom pictures can be adjusted using the following settings and saved for later recall:<\/p>\n

Gamma, Black, Black Gamma, Low Key Saturation, Knee, Sharpness, Noise Reduction, Skin Detail, Selective Noise Reduction, Color Matrix, White Balance, Color Correction, Setup Level<\/p>\n

Custom Pictures can be saved to an SD card for later use or transferring between cameras<\/p>\n

 <\/p>\n

Custom Display<\/strong><\/p>\n

Yes; LCD panel and EVF information display can be customized<\/p>\n

 <\/p>\n

On Screen Markers<\/strong><\/p>\n

Available marker options include center, horizontal, grid, aspect, safety zone, and user marker.<\/p>\n

 <\/p>\n

With user markers, users can set their preferred size and position.<\/p>\n

Markers can be displayed in yellow, blue, green, red, black, gray, or white.<\/p>\n

 <\/p>\n

Assign Buttons<\/strong><\/p>\n

18 total assignable button (15 assign buttons provided on camera body, 1 on the grip and 2 buttons on the monitor unit)<\/p>\n

 <\/p>\n

Color Bars<\/strong><\/p>\n

Color bars compliant with SMPTE, EBU, or ARIB standards can be selected depending on system frequency selected<\/p>\n

 <\/p>\n

Sensitivity<\/strong><\/p>\n

59.94 Hz: f\/10 (2048×1080\/59.94P) or f\/14 (1920×1080\/29.97P)<\/p>\n

50.00 Hz: f\/11 (2048×1080\/50.00P) or f\/16 (1920×1080\/25.00P)<\/p>\n

All values for ISO 800, 2000 lux, and reflectance rate of 89.9%<\/p>\n

 <\/p>\n

Dynamic Range<\/strong><\/p>\n

Canon Log 2: 1600% \/ 16+ stops (ISO 800)<\/p>\n

Canon Log 3: 1600% \/ 14 stops (ISO 800)<\/p>\n

 <\/p>\n

LCD Monitor<\/h4>\n

Type<\/strong><\/p>\n

4.3-inch (10.9 cm diagonal) color wide-screen LCD<\/p>\n

Approx. 2,760,000 dots (1280 x RGB x 720),<\/p>\n

 <\/p>\n

Aspect Ratio<\/strong><\/p>\n

16:9<\/p>\n

 <\/p>\n

Field of View Coverage<\/strong><\/p>\n

100%<\/p>\n

 <\/p>\n

Display Adjustments<\/strong><\/p>\n

Brightness, Contrast, Color, Sharpness, and Luminance<\/p>\n<\/p>\n

Input\/Output<\/h4>\n

SDI Out<\/strong><\/p>\n

HD: SMPTE 292<\/p>\n

3G: SMPTE 424, SMPTE 425<\/p>\n

6G: SMPTE ST 2081<\/p>\n

12G: SMPTE ST 2082<\/p>\n

Audio: SMPTE ST 299<\/p>\n

BNC Connector, output only<\/p>\n

 <\/p>\n

Monitor Out<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

Resolution:<\/strong> 2048×1080 \/ 1920×1080<\/p>\n

 <\/p>\n

Frame Rates: <\/strong>23.98p\/24.00p\/25.00p\/29.97p\/30p\/59.94p\/50p\/60p<\/p>\n

 <\/p>\n

Time code In\/Out<\/strong><\/p>\n

Yes; BNC Connector (Input and Output)<\/p>\n

 <\/p>\n

Genlock<\/strong><\/p>\n

Supported when optional expansion unit EU-V1 or EU-V2 in attached (Shares function with Synch Out)<\/p>\n

Adjustment range: -1023 to +1023<\/p>\n

 <\/p>\n

Synch Out<\/strong><\/p>\n

Supported when optional expansion unit EU-V1 or EU-V2 in attached (Shares function with Genlock)<\/p>\n

HD tri-level signal (HD Sync) 1920×1080: 59.94i\/50i\/23.98\/24.00, 1280×720: 59.94p\/50p\/23.98, 24.00<\/p>\n

 <\/p>\n

HDMI<\/strong><\/p>\n

Yes (Type A)<\/p>\n

[4096×2160\/3840×2160]\/1920×1080\/1280×720<\/p>\n

 <\/p>\n

Audio Input Terminal<\/strong><\/p>\n

2 – Balanced 3-pin XLR (Mic Level, Mic Level with phantom power and Line Level)<\/p>\n

3.5mm Microphone terminal<\/p>\n

 <\/p>\n

Headphone Jack<\/strong><\/p>\n

Available; 3.5mm stereo mini-jack<\/p>\n

 <\/p>\n

Remote Terminals<\/strong><\/p>\n

Remote A (Standard – LANC Compatible or RC-V100)<\/p>\n

Remote B available In conjunction with expansion unit EU-V1 and EU-V2<\/p>\n

Remote control through WFT-E9<\/p>\n

 <\/p>\n

USB<\/strong><\/p>\n

Available<\/p>\n

 <\/p>\n

CCU<\/strong><\/p>\n

Optional RC-V100<\/p>\n

 <\/p>\n

Power<\/h4>\n

Supply<\/strong><\/p>\n

14.4V DC (Battery Pack)<\/p>\n

 <\/p>\n

Power Terminal<\/strong><\/p>\n

DC IN 12V jack: DC 11.5V – 20V<\/p>\n

DC 12–20V (using V-mount battery with EU-V2)<\/p>\n

 <\/p>\n

Battery<\/strong><\/p>\n

BP-A Series<\/p>\n

 <\/p>\n

Compact Power Adapter<\/strong><\/p>\n

CA-CP200B<\/p>\n

 <\/p>\n

Accessories<\/h4>\n

Tripod Adapter<\/strong><\/p>\n

Canon TA-100<\/p>\n

 <\/p>\n

Wi-Fi Adapter<\/strong><\/p>\n

WFT-E9<\/p>\n

 <\/p>\n

Expansion Units<\/strong><\/p>\n

EU-V1, EU-V2<\/p>\n

 <\/p>\n

EVF<\/strong><\/p>\n

EVF-V50, EVF-V70<\/p>\n

 <\/p>\n

Mounts<\/strong><\/p>\n

PL Mount Kit PM-V1, EF Cinema Lock Mount Kit CM-V1<\/p>\n

 <\/p>\n

Adapter<\/strong><\/p>\n

MO-4E (EF to B4), MO-4P (PL to B4)<\/p>\n

 <\/p>\n

Other<\/h4>\n

Dimensions<\/strong><\/p>\n

(Width x height x depth, excluding cable and grip belt)<\/p>\n

Body Only: Approx. 153 x 148 x 168 mm (6.0 x 5.8 x 6.6 in.)<\/p>\n

Body and Grip: Approx. 183 x 148 x 189 mm (7.2 x 5.8 x 7.4 in.)<\/p>\n

Body, Grip, Handle, Mic Holder, LCD Monitor LM-V2 and Expansion Unit EU-V2: Approx. 343 x 277 x 333 mm (13.5 x 10.9 x 13.1 in)<\/p>\n

 <\/p>\n

Weight<\/strong><\/p>\n

EF Camera body (without Camera Grip GR-V1 or thumb rest) Approx. 1.75 kg ( 3.9 lb)*<\/p>\n

*Body with PL Mount body; Approx. 2030g (4.5 lb.)<\/i><\/p>\n

*Body with EF Cinema lock Mount body; Approx. 1860g (4.1 lb.)<\/i><\/p>\n

Camera Grip GR-V1: Approx. 260 g (9.2 oz.)<\/p>\n

LCD Monitor LM-V2: Approx. 204 g (7.2 oz.)<\/p>\n

Handle unit: Approx. 227 g (8.0 oz.)<\/p>\n

Battery Pack BP-A60: Approx. 434 g (15.3 oz.)<\/p>\n

Compact Power Adapter CA-CP200B: Approx. 290 g (10.2 oz.) *Not including AC cable<\/p>\n

Battery Charger CG-A20: Approx. 145 g (5.10 oz.)<\/p>\n

Eyecap: Approx. 26 g ( 0.92 oz.)<\/p>\n

Mic holder unit:Approx. 56 g ( 2.0 oz.)<\/p>\n

LCD Attachment Unit LA-V2: Approx. 265 g (9.3 oz.)<\/p>\n

Thumb rest: Approx. 9 g ( 0.32 oz.)<\/p>\n

Extension System Attachment Bracket: Approx. 11 g (0.39 oz.)<\/p>\n

Unit Cable UN-5: Approx. 80 g (2.8 oz.)<\/p>\n

Body cap: Approx. 17 g (0.60 oz.)<\/p>\n

 <\/p>\n

Temperature and Humidity<\/strong><\/p>\n

Performance requirements: 0°C to 40°C, 85% (relative humidity)<\/p>\n

Operating requirements: -5°C to 45°C, 60% (relative humidity)<\/p>\n

 <\/p>\n

Language Support<\/strong><\/p>\n

English, Japanese, Chinese, German, Spanish, French, Italian, Korean, Russian<\/p>\n

 <\/p>\n

Time and Date<\/strong><\/p>\n

Automatic Calendar range January 1st, 2020 through December 31, 2050<\/p>\n

 <\/p>\n

World Clock<\/strong><\/p>\n

World Clock support – UTC time setting: Setting range from +14:00 to -12:00<\/p>\n

\"Look<\/p>\n

Comparison<\/h2>\n

The Sony FX9<\/a> utilizes a 6K sensor that records oversampled 4K footage, so what you’ll end up with is an image that looks more digital. That can be a plus for some if a sharper image is what you’re looking to achieve, but if you want that soft 35mm look that feels more cinematic, then the C300 MkIII is the obvious winner. <\/p>\n

Beside that, the C300 MkIII is offering 120fps 4K RAW recording while the FX9 can only record 120fps in S35 mode, recording RAW QFHD 3840×2160, but this is only available with future firmware updates and an external XDCA-FX9 extension unit with a single BNC cable connection to compatible external RAW recorders. I’d say Canon wins for not forcing you to utilize\/purchase an external recorder\/extension.<\/p>\n

When it comes to the body design, no longer do the Sony FX cameras dominate in the ergonomics category, Canon has stepped it up and delivered a construction that is efficient for accessories, stabilization and weight distribution.<\/p>\n

The C300 MkIII is only $1 more than the FX9. This makes it really competitive, but has many wondering — Did Canon miss the moat? The FX9 has been out for a while now and I’m sure many C300 MkII owners crossed over and jumped ship. I’ve even read that some think they should have released the C300 MkIII alongside the C500 MkII, but it is what it is. In my opinion, I think the camera will contend well against the FX9 and other competitors under 12K regardless of the late arrival.<\/p>\n

The C300 MkIII offers the Dual Gain Output with their sensor and the Sony FX9 offers Dual Base ISO. Both might sound like they’re doing the same thing, but they’re really not. The Dual Gain Output creates an HDR image that reads out each pixel with different gains and this works with any ISO setting, but clearly works best with their base ISO. The Dual Base ISO works a little different. It’s not an HDR image persay, but it achieves one of the key functions — less noise. I’d have to play with both cameras before I came to a conclusion about which is better.<\/p>\n

Possible Drawbacks<\/h2>\n

There’s not many drawbacks with this camera. I’d have to admit that I was reaching for the few that I came up with.<\/p>\n