# Announcement: Canon EOS C300 Mark II. Full Coverage and Videos Here.



## Canon Rumors Guy (Apr 8, 2015)

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United Kingdom, Republic of Ireland, 8 April 2015 – 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.</p>
<p><strong>Supreme 4K image quality and versatility</strong>

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.</p>
<p>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.</p>
<p>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.</p>
<p>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.</p>

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<p><!--more--></p>
<p><strong>Instant integration into professional workflows</strong>

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.</p>
<p>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.</p>
<p><iframe src="https://www.youtube.com/embed/Y8zNtfkLdOQ" width="100%" height="390" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p><strong>Designed for versatility</strong>

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.</p>
<p>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.</p>
<p>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 option².</p>
<p><iframe src="https://www.youtube.com/embed/iJMZKWFJrvg" width="100%" height="390" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p><strong>EOS C300 Mark II key benefits:</strong></p>
<ul>
<li>High bitrate internal 4K recording with external RAW</li>
<li>High dynamic range files, ideal for post production</li>
<li>Seamlessly integrate with professional workflows</li>
<li>Automatic features make independent shooting easy</li>
<li>Shoot with confidence in low light with low noise</li>
</ul>
<p><strong>Pricing and availability</strong>

The EOS C300 MKII will be available from September 2015 with an RSP of £11,299 excluding VAT.</p>
<p><strong>Preorder:</strong> <strong><a href="http://www.bhphotovideo.com/c/product/1134579-REG/canon_0635c002_eos_c300_mark_ii.html/BI/2466/KBID/3296" target="_blank">Canon EOS C300 Mark II EF $15999</a> | <a href="http://www.bhphotovideo.com/c/product/1134580-REG/canon_0635c009_c300_markii_cinema_eos.html/BI/2466/KBID/3296" target="_blank">Canon EOS C300 Mark II PL $15999</a></strong></p>
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## calfofman (Apr 8, 2015)

*Re: Announcement: Canon EOS C300 Mark II, Stunning 4K Quality, Creativity and Versatility*

At this price surely this is a re-named C500 upgrade. I don't understand how Canon expect to compete with Sony with this spec/price.


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## bsbeamer (Apr 8, 2015)

*Re: Announcement: Canon EOS C300 Mark II, Stunning 4K Quality, Creativity and Versatility*

On paper, this looks good. Would guess they're holding off on 4K/60p for their C500 refresh - they need something to differentiate these product lines a bit more.

Says Super 35mm CMOS, but no mention of EF-S lens support. Guessing that's just a specs/press release thing based on the photo of the mount with a white square.

Price will likely be around $17,500 in the US. I knew this ahead of time, but held out hope... At that price point, I'm not pulling the trigger on a purchase. I wish I could, but financially it does not make sense. Will have to look to rent when needed on specific projects.


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## jcarapet (Apr 8, 2015)

*Re: Announcement: Canon EOS C300 Mark II, Stunning 4K Quality, Creativity and Versatility*

I don't shoot enough video to really comment. Though I would have like to have seen internal raw recording. That would compete with a lot of the market out there. Otherwise glad they upped the dynamic range.

Wonder what the max usable iso will be? Certainly not 102,000


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## Hector1970 (Apr 8, 2015)

Maybe someone could enlighten me.
In the nuts and bolts of this C300 Mark II how different is the sensor in it say a 5D Mark III or a 5DS.
How is it able to have 15 stops of dynamic range.
Is it a physically bigger sensor to a full frame sensor.
What extra is in a C300 that makes it over 5 times the price of a 5D Mark III?
Is it extra computing power within to allow 4K video or is the camera itself fundamentally different.

Other naive questions. Why would you even want support for an EF-S lens. If you can afford this would you not also be buying top class lens or you wouldn't see the benefit (or is it that if you buy one of these as a struggling videographer you won't have any money left).

The other naive question - I'm mainly a photographer but I've shot video on the 5D Mark III and 7D II.
I'm pretty impressed with the quality.
Would the video quality of this blow me out of the water or is it hard to see (or impossible to see) without a 4K screen?
I presume this is used by film makers or television program makers. I love good cinematography but it looked good on CRT TV's, HD Ready and HD. My eyes don't seem to notice the great leap forward in technology.
Is there too much time spent by videographers trying to improve the quality of the video itself rather than the quality of the film / program?
Is raw video overated or a great advantage?
(Maybe a bit like photography - a good photographer can make great photos out of ordinary equipment).


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## HurtinMinorKey (Apr 8, 2015)

I bet the sensor is the same as the c300, but the readouts are different. Is the 15 stops available in the full resolution? This would be telling if it wasn't.

And did they put the exact same monitor screen on there? I hope not. Screens have gotten a lot better in the past 4 years.


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## jeffa4444 (Apr 8, 2015)

Be interesting to see what the pixel pitch is thats one way of increasing DR to 15 stops normally at the expense of resolution. Alternatively it could be better S/N processing even up to quad readout with possibly diagonal as well as vertical & horizonal readout paths. Canon already use gapless microlenses on the pixel sites to maximise light collection so they must have got three stops from somewhere. 

Arri through better signal processing / coding moved the Alexa from 12 to 14 stops but by industry standards they also have large pixels and critial resolution is lower than the Red Dragon or Sony F65 / F55.


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## bsbeamer (Apr 8, 2015)

Hector1970 said:


> Other naive questions. Why would you even want support for an EF-S lens.



Super 35mm is basically a crop sensor - believe it's about 1.4x.

The EF-S 18-135 IS STM was sold as a package with the C100 for a long time and is currently being sold with the C100 Mk2 as a package:
http://www.bhphotovideo.com/c/product/1110666-REG/canon_0297c002_eos_c100_mark_ii.html

As an "upgrade" for those users, one would think Canon would continue support for EF-S lenses... and it looks like they have.

For a long time, STM lenses were only EF-S mount, except for the 40mm pancake.

With this being a Super 35mm sensor, you would need a pretty wide lens for true wide coverage. Something like the EF-S 10-18 IS STM could make sense for the right shot, or the EF-S 10-22. Other options are basically fisheye-style lenses.

The full frame 24-70's and even the 24-105 IS STM are not wide enough for a lot of usage with this sensor. Not many individuals can afford to purchase the Canon CN-E 14mm or the Canon CN-E15.5-47mm. Companies can, but many individuals would have to rent these. Having "ready to go" options in your arsenal for when a rental is not possible is a requirement for many.

Also, there are other lens manufacturers that make EF-S lenses, however most use the EF mount instead. The Sigma 18-35 F1.8 is a great lens option with a crop sensor. Also have the 17-55mm style lenses, some of which are fixed F2.8.


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## PureClassA (Apr 8, 2015)

4096 x 2160 = 8.847MP

Anything beyond that has to be scaled down to be 4k. The industry prefers native resolutions for obvious reasons. I imagine the pixel size (and ergo, the sensor size itself) can only get "so big" otherwise EF and more importantly, PL Mount, lenses would not produce an image circle big enough to cover it.

Sure a 5DIII has more pixels but they are binned down to make a 1080 x 1920 signal. Someday, a 20MP still camera sensor will be the native resolution for cinema, but until then, pixels get thrown out ;D


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## bsbeamer (Apr 8, 2015)

Just received the B&H Announcement for this - $15,999 body only
http://www.bhphotovideo.com/c/product/1134579-REG/canon_0635c002_eos_c300_mark_ii.html


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## Abn0021 (Apr 8, 2015)

Hector1970 said:


> Maybe someone could enlighten me.
> In the nuts and bolts of this C300 Mark II how different is the sensor in it say a 5D Mark III or a 5DS.
> How is it able to have 15 stops of dynamic range.
> Is it a physically bigger sensor to a full frame sensor.
> ...



I'll do my best to help you out. I do videography for a living, but not at the caliber to warrant purchasing/using this camera. 

_In the nuts and bolts of this C300 Mark II how different is the sensor in it say a 5D Mark III or a 5DS:_
Its a smaller sensor than the 5dMkiii but has a lot more computing power in the processing chip. It has 2 really powerful processors that are dedicated to only video shooting rather than 1 processor for a video and photo.
_How is it able to have 15 stops of dynamic range: _
I'm not entirely sure. Beyond me. EDIT: "The 15 stops is done by taking the raw sensor data and running it through dual image processors at two different ISOs (high and low) before making a composite image from the dual raw stream." - http://www.eoshd.com/2015/04/canon-c300-mark-ii-costs-15999-now-available-to-pre-order-eoshd-opinion/
_Is it a physically bigger sensor to a full frame sensor:_
This sensor is smaller than full frame, but slightly wider than APS-C. The c100-c500 were APS-C size sensors. 
_What extra is in a C300 that makes it over 5 times the price of a 5D Mark III?_
_Is it extra computing power within to allow 4K video or is the camera itself fundamentally differ_
Basically, its a better tool for shooting video. There are a lot of tools within the cinema line that arent found in the photography line. There's a lot to go into, but things like SDI out, 4K recording at much higher bit rates, C-Log 2, Built in ND filters, high fidelity audio recording and many other things. 

There are a few EF-S lenses that I've used on the C100 before. Like the tokina 11-16 or Sigma 11-35 F/1.8. These are EF-S only lenses that I really enjoy using. A lot of people hold onto their lenses for a long time and would like to hold onto that investment after coming from a t3i>c100 MkI>c300 MKII. 


_Would the video quality of this blow me out of the water or is it hard to see (or impossible to see) without a 4K screen?_
The quality is not in the 4k. There are cellphones that shoot 4k but the bitrate and quality is rather low. Similar to shooting a 12mp jpeg photo on your Iphone and doing the same resolution RAW from your DSLR. Same size, but the truth is in the data. 

_Is there too much time spent by videographers trying to improve the quality of the video itself rather than the quality of the film / program?_
Yes and no. I know a lot of people who just want to be on the cutting edge of tech, but do rather poor work. I've seen great things shot on a t3i and iphone. People who truly know what they are doing and how to get everything out of this camera will see the best results from this camera. It's like handing an amateur photographer a 1DX. Not going to make their family christmas photos any better, but in the right hands and application it would be great. 

_Is raw video overated or a great advantage?_
RAW video is not overrated. It's essentially the difference between shooting Jpeg and RAW on your DSLR. It makes your post production work flow a lot harder but can be totally worth it. There are times when shooting Jpeg is fine and same with video.


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## amigo (Apr 8, 2015)

The camera of my dreams has just arrived. And I can't afford it. 

I could always rent it when I need it, but I would rather have a camera that I own, use and know intimately from using it extensively.


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## David_in_Seattle (Apr 8, 2015)

Wow, I'm thoroughly impressed with the spec sheet. Can't wait to receive a test model for work. I rented a c300 mk1 as well as a 1Dc for work last year just to see if it fit within our workflow, but turned down the c300 mk1 because of the fact that 4k video production was soon to be in our workflow.

We've considered moving toward a setup of Sony FS7's but we already have an abundant collection of L lenses for our photography work. Traveling with photo and video cameras that can use the same glass is essential for lowering cargo weight when flying.


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## LetTheRightLensIn (Apr 8, 2015)

Well if it is only 15 stops in HD then it might not be anything new at all regarding better sensors coming from Canon. If it is 15 stops at 4k then it is something.

(microlenses have nothing to do with it, low ISO DR is all about read noise)


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## andrewflo (Apr 8, 2015)

Have to give it to Canon, they really seemed to deliver with this one. "On paper" comparisons are usually where Canon gets beat down as opposed to real-world/field usage. With such a good spec list "on paper", I'm very optimistic about what this new camera can deliver in the field.


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## CarlMillerPhoto (Apr 9, 2015)

I'm certainly drooling right now. Shame it costs so much.


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## abbottoklus (Apr 9, 2015)

Ugh why is it SO expensive, Canon? WHY!?? How on earth could they call $16,000 "aggresive" pricing to compete with the Fs7. They're just spitting on the little guys with this, it's unfathomable how out of touch they are. This camera should be $12,000, tops. It just does not offer enough new to justify that price with so much competition out there.

Ya, it certainly outdoes the Fs7 in every category. But it is nowhere near enough to be worth double the price. As a small video/indy film producer, this is just too far out of budget. My friend's been waiting to bite on the Fs7 since it was first announced, we've been dying to see what the C300 mk ii would offer. But this price is absurd and now he's abandoning Canon for Sony, like so many other low-budget filmmakers have already done and more will be doing.

I'm just so mad that Canon has learned nothing. I bought a C100 last January and was already pretty bitter that my timing couldn't have been worse. I was hoping the mk ii could be a justifiable upgrade in price for either the 100 or 300. The 100 offered nowhere near enough to justify upgrading and the 300 is quadruple the price! Guess I'll be going with a GH4 for 4K for now then dumping Canon in 2 or 3 years with my next upgrade. So sick of this BS.


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## syder (Apr 9, 2015)

abbottoklus said:


> Ugh why is it SO expensive, Canon? WHY!?? How on earth could they call $16,000 "aggresive" pricing to compete with the Fs7. They're just spitting on the little guys with this, it's unfathomable how out of touch they are. This camera should be $12,000, tops. It just does not offer enough new to justify that price with so much competition out there.
> 
> Ya, it certainly outdoes the Fs7 in every category. But it is nowhere near enough to be worth double the price. As a small video/indy film producer, this is just too far out of budget. My friend's been waiting to bite on the Fs7 since it was first announced, we've been dying to see what the C300 mk ii would offer. But this price is absurd and now he's abandoning Canon for Sony, like so many other low-budget filmmakers have already done and more will be doing.
> 
> I'm just so mad that Canon has learned nothing. I bought a C100 last January and was already pretty bitter that my timing couldn't have been worse. I was hoping the mk ii could be a justifiable upgrade in price for either the 100 or 300. The 100 offered nowhere near enough to justify upgrading and the 300 is quadruple the price! Guess I'll be going with a GH4 for 4K for now then dumping Canon in 2 or 3 years with my next upgrade. So sick of this BS.



This camera clearly isn't designed for you. If a GH4 is good enough for your needs you absolutely don't need this. The C300 has been the camera of choice for a lot of broadcast work and for many movies as a B/C camera. This is designed to fulfill a similar role for the next few years, not to compete with consumer cameras like the GH4.

For the designated use the price is something that will pale in comparison to the other costs involved in production. And for a serious professional it would be money that is made back relatively quickly, just like the original C300. 

It costs more than the FS7, and everything points to it being a better camera. It costs less than an Alexa and will be a worse camera. The value Canon proposition for professionals at the moment is the C300 mark i. For people who work in broadcast 4K isn't yet needed, and with the massive price cut, the C300 is a bargain if you don't need 4K. And unless you're working for 4K DCP systems in commercial cinemas most people really don't.


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## sheedoe (Apr 9, 2015)

I want this camera. Is anyone looking to buy a kidney in the next 5 months? :


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## painya (Apr 9, 2015)

So they took a hint from Magic Lantern with Dual ISO


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## Woody (Apr 9, 2015)

LetTheRightLensIn said:


> Well if it is only 15 stops in HD then it might not be anything new at all regarding better sensors coming from Canon. If it is 15 stops at 4k then it is something.



They just took a page from the dual ISO function in MagicLantern. Works at both HD and 4k.


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## LOLID (Apr 10, 2015)

Can someone help me understanding why people are saying that this new C300 "outperforms" in every ways the FS7?
It is a real question, not condescending or sarcastic. I do want to understand...

4K = FS7 @ 60fps vs C300 II @ 30fps
1080p = FS7 @ 180fps vs C300 II @ 120 fps
Codec = FS7 @ 600mbps vs C300 II @ 410 mbps
Both external 4K raw recording
Ergonomics = in favor of FS7
Price = 2 FS7 vs 1 C300 II, WTF???
The only difference in favor of Canon would be the 15 DR vs 14 DR, not a huge difference.
I read, that FOR SURE (sarcasm here), color rendering would be in favor this all new C300, but in any event if one records raw, doesn't one edit colors in post?
O.


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## David_in_Seattle (Apr 10, 2015)

LOLID said:


> Can someone help me understanding why people are saying that this new C300 "outperforms" in every ways the FS7?
> It is a real question, not condescending or sarcastic. I do want to understand...
> 
> 4K = FS7 @ 60fps vs C300 II @ 30fps
> ...



I'm not a Canon rep, but I would assume they are claiming that when compared at the same recording settings the c300 mk2 outperforms the FS7. Yes, the FS7 has more recording capabilities such as 4k at 60p, but at 4k 30p the Canon has higher dynamic range, less noise, etc. etc. Then again, who knows? It's all just marketing. In the end, both cameras are great at what they can do.


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## PureClassA (Apr 13, 2015)

Well, Black Magic just released a a whole new firmware for their URSA cameras, which included firmware support a MkII Sensor that hasn't been announced yet. 120FPS in 4K RAW. Who wants to bet we see it tomorrow.... If they fixed their excessive FPN problem with this new sensor, it looks like I'll be looking to buy an URSA down the road. $5995 vs $15995 ....


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## verysimplejason (Apr 13, 2015)

PureClassA said:


> Well, Black Magic just released a a whole new firmware for their URSA cameras, which included firmware support a MkII Sensor that hasn't been announced yet. 120FPS in 4K RAW. Who wants to bet we see it tomorrow.... If they fixed their excessive FPN problem with this new sensor, it looks like I'll be looking to buy an URSA down the road. $5995 vs $15995 ....



https://www.blackmagicdesign.com/products/blackmagicursaminihttps://www.blackmagicdesign.com/products/blackmagicursamini


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## syder (Apr 21, 2015)

PureClassA said:


> Well, Black Magic just released a a whole new firmware for their URSA cameras, which included firmware support a MkII Sensor that hasn't been announced yet. 120FPS in 4K RAW. Who wants to bet we see it tomorrow.... If they fixed their excessive FPN problem with this new sensor, it looks like I'll be looking to buy an URSA down the road. $5995 vs $15995 ....



And unless BM have transformed their lowlight performance you're buying a camera that is only usable in the studio. The C100 looks better at ISO20k than the BM4k does at 1600. And thew C300mkii should be significantly better than the old C100. And that's ignoring every other issue that has plagued every camera BM have released. You might not need a reliable camera, but professionals do.

6k for a studio only camera that might work or 16k for a 15 stops of DR at high ISO in a trusted package. If you had the money - and anyone working with a professional budget outside of a newly graduated one-man production company does - there isn't much of a decision to make.


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