The C300 Mark III is physically identical to the C500 Mark II except that it is based around a Super35 sensor. With lenses and cameras being similar weights, the balance point is where the lens meets the camera body. The benefit of having these smaller RAW files is that they can be recorded internally to the CFexpress cards. Relevant outputs are MON., HDMI, SDI OUT, and VIDEO terminal/EVF-V50. This enables you to record four separate audio tracks. Something the C300 Mark III can do that the C500 Mark II can’t is XF-AVC Long GOP 4:2:2 10-bit recording. Just like the C500 Mark II, the C300 Mark III features Electronic Image Stabilization (EIS). An inverse function was then created and this forms the basis of the recovery filter database that would control the correction circuit (in realtime as the lens aperture is operated) to return the video image quality to close to the state associated with the wide-open aperture setting. The C300 Mark III features dual CFexpress card slots as well as an SD card slot which you can use to record low-resolution proxies. Given that both the C500 Mark II and C300 Mark III share the exact same body, it is no surprise that they both weight 1.77 kg (3.9 lb). Read on. Firmware Updates C300 Mark III. Automatically obtains focal lengthWhen a lens that supports data transmission is attached, focal length data is automatically received through the digital contacts for shooting with optimized Electronic IS. Created with broadcast and film professionals in mind, the small and modular body houses the newly developed Dual Gain Output sensor that delivers outstanding image quality. The C300 Mark III is a super 35 beast with a lot of new tech and capabilities. It features a V-lock or AB battery plate and gives you two additional audio inputs (more on the audio later). A unique parallel readout process within the image sensor separately extracts the four individual components, including the two spatially offset green components (green has twice as many spatial samples as the red and blue components). Provide your booking code and email address you used for the registration, we will re-send the confirmation email to you. Canon EVF-V50 OLED Electronic Viewfinder 3938C001 for C300 Mark III & C500 Mark II Your Price: $699.00 Core SWX Nano-C98 14.8V Battery with D-Tap for Select Canon Camcorders NANO-C98 But let’s get back to the C300 Mark III, fast forward 9 years to the presence – first off, the Canon C300 Mark III feels very much alike the full-frame C500 Mark II (watch our first hands-on here and read our lab test looking at the dynamic range and rolling shutter of that camera here). The C300 Mark III will be $10,999 USD and the FX9 retails for $1 cheaper ($10,9998 USD). The US price for Cinema EOS C300 Mark III body is $10,999, now available for pre-order at B&H Photo Video/Adorama.The US price for CINE-SERVO 25-250mm T2.95 Cinema Zoom Lens is $29,999, now available for pre-order at B&H Photo Video/Adorama. The essence of the correction strategy is to move that frame under software control in a manner that counters the image shift created by the external vibrations and restores the image to its central position. The C300 Mark III offers high frame rates and internal RAW recording. DPAF also allows you to use the Dual Pixel Focus Guide. The power draw of the C300 Mark III (31W) is less than half that of the C500 Mark II (63W). The 5-axis stabilization also works in conjunction with Canon EF mount lenses that have stabilization. Dual Gain sensor architecture has been used by ARRI in their Alev III sensors for more than 10 years. It’s almost as if Canon is forcing you to go with the optional module so that you can control audio from the operator’s side. We made sure to keep certain measurements the same, in order for users to be able to continue to use certain Cinema EOS and third party accessories that they’ve grown to rely on. Let’s face it, although not a bad camera, the C300 Mark II was underwhelming in a lot of ways. The EOS C500, EOS C300 Mark II, EOS C700 & EOS C700 FF were all met with mixed reactions, and all those models failed to gain any real traction in the market. If you bought a C500 Mark II, you may well be looking at the C300 Mark III and questioning your decision. The modular body is expandable to suit all of your filming and the accessories are the same as the C500 Mark II for greater flexibility and compatibility. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. In the end, we are confident the design of the C300 Mark III will please both seasoned Cinema EOS users and newcomers alike.”. The camera can also shoot in 2K or HD at up to 180fps. However, the information we’ve received about this camera contradicts what we were told previously. If you want to know why cameras such as the new ALEXA Mini LF don’t have high frame rates I would imagine that it is because they want the Dual Gain Output to work in every mode on their cameras. Addressing the requirements of filmmakers, the EOS C300 Mark III features high frame rate shooting of up to 120fps in 4K and 180fps in 2K Super 16 mode. Comment - Let us know what you think of the Canon C300 MK III below! The Extension Unit 1 (EVU-1) $499 USD, offers multi-camera support with a Genlock interface, while Extension Unit 2 adds further interfaces, such as two more XLR inputs, ideal for broadcast applications and a V-Lock battery mount for extended recording times. The bitrate figure in brackets indicates the maximum bit rate at the highest resolution and frame rate. The next generation EOS C300 Mark III incorporates Canon’s newly developed 4K Super 35mm DGO sensor, with 4K 120P Slow motion, High Dynamic Range and Dual Pixel CMOS AF into the same body as the EOS C500 Mark II. Canon has just officially announced the new Cinema EOS C300 Mark III camera and a new 25-250mm zoom lens today. DGO is probably something we are going to see being used in future Canon sensors. The Canon EOS C500 Mark II 5.9K Full-Frame Camera Body is part of the Cinema EOS lineup of cameras, and it features a full-frame CMOS sensor with an effective 18.69MP resolution. There are two inescapable optical limitations to the sharpness of the video image that are originated in any lens-camera system. Canon states the image will be sharper with better detail and will resolve color better when shooting in 2K, and HD. 12G SDI Support for 12G SDI allows for the EOS C300 Mark III to output 4K resolution up to 60p over a single BNC cable. Improved Auto Focus functions, extensive OSD customization and quicker start up times are some of the software improvements operators can look forward to. Just to be clear, anytime you select the full-frame shooting mode on the EOS C500 Mark II and you are recording XF-AVC you are oversampling the 5.9K sensor. The Sony FX9 offers a full-frame sensor and Electronic Variable ND. What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame. We posted some Canon Cinema EOS C500 Mark II specifications a couple of weeks ago, and we continue to receive trickles of new information about the soon-to-be-announced camera.. We have received some confirmation that the Cinema EOS C500 Mark II will have the same full-frame sensor as the Cinema EOS C700FF, and will be capable of recording in 5.9K internally to the CFexpress. Sharing the same core design as its full frame sibling the EOS C500 Mark II, The EOS C300 Mark III likewise benefits from impressive modularity, allowing the camera to adapt to any shooting scenario and camera support requirements. The sensor can operate in two different modes: Here are the various crop factors when shooting in different resolutions: What is very important in the EOS C300 Mark III is that the construction of the red, green, and blue components entails no algorithmic debayering processes. 16+ stops of dynamic range is a very bold claim. 2019 has been a quiet year for Canon’s Cinema EOS lineup, with only the announcement of the long-awaited Cinema EOS C500 Mark II. Canon Debuts New EOS C300 Mark III Customizable Cinema Camera, Plus CINE-SERVO 25-250 T2.95 Lens. Small changes such as 4-pin XLR power and tool less screws also simplify life on set, streamlining the production process. Two cameras that share the same exact body, with a lot of the same functionality and feature set, separated by only a few key items. That means you can’t use it if for example if you were shooting a 23.98p base and wanted to shoot at 60fps. This allows it to feature a 5.9K output in full frame, and crop (window) the sensor for Super 35 and Super 16 frame sizes while maintaining a high resolution. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. The EOS C300 Mark III is flexible and lightweight. Canon’s Cinema EOS C300 Mark III is the next evolution of Canon’s professional cinema camera range. If I was to guess as to why it doesn’t have an RF mount it would be that Canon engineers may be having issues trying to fit an internal ND system with the RF mount. It is also compatible with anamorphic lenses. That camera uses the smaller Super35mm size sensor, similar to APS-C. Facebook Twitter YouTube Instagram Sign up for our weekly newsletter! The EF mount comes standard, the PL mount is $1,600 USD. As you can see from the above chart, DPAF support works with the C300 Mark III in most frame rates, but if you are shooting in S&F, some shooting frame rates are not supported. I wrote an article last year about the changing direction of the camera market, In that article, I wrote: As Steve Jobs famously once said, “If you don’t cannibalize yourself, someone else will.” With companies such as Blackmagic, Z CAM, and Kinefinity disrupting the market, the big manufacturers need to start cannibalizing themselves if they want to stay relevant. The C500 Mark II is the latest Cinema EOS camera from Canon and looks to be positioning itself as a very versatile and capable camera! Focal Length can be saved You can select the focal length during shooting to optimize the electronic IS effect. The first path contains the regular, highly amplified signal. The Canon Recoil Pro is a shoulder rig designed specifically for the Canon C500 Mark II and the Canon C300 Mark III. User LUTs can also be created in software such as DaVinci Resolve, and then loaded via an SD card and separately stored. On paper, the C300 Mark III looks like a great camera and there is certainly a lot to like. The company announced both new additions, growing its offerings in the cinema and broadcasting space. Yes, it doesn’t have a full-frame sensor and it can’t record 5.7K RAW, but it does give you 4K at 120p in the exact same camera body with all of the same functionality. Relevant outputs are MON., HDMI, SDI OUT, and VIDEO terminal/EVF-V50. The successor to the Canon EOS C300 Mark II that Patrick uses as his B-cam is a versatile 4K Super 35mm Cinema EOS System camera. 12G SDI Support for 12G SDI allows the EOS C300 Mark III to output 4K resolution up to 60p over a single BNC cable. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. In February this year, the Canon C500 Mark II entered this prestigious list with the new codec Cinema RAW Light. The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic. Many shooters will be confused as to which offers the better value proposition. This flexible design can be configured according to the shooting and equipment requirements, right down to the lens mount – which can be changed between EF, PL or EF Cinema Lock without the need of converting by a service center. Users can also choose from a wide range of additional optional accessories that allow them to configure the EOS C300 Mark III camera to their preferences. Created with broadcast and film professionals in mind, the small and modular body houses the newly developed Dual Gain Output sensor that delivers outstanding image quality. "It's the perfect companion for the EOS C500 Mark … Canon is expanding its powerful digital cinema line with today's release of the brand new EOS C300 Mark III and the CINE-SERVO 25-250 T2.95 lens. The sensor has a physical size of 26.2 x 13.8 mm (29.6 mm on the diagonal. It is interesting to see that the C300 Mark III is the first Canon camera to use a Dual Gain Output sensor. A lot of C300 Mark II users jumped to the C500 Mark III without knowing a C300 Mark III would follow soon after. Canon has just announced the C300 Mark III, an S35 digital cinema camera that can record internally in 4K at up to 120p in either RAW or XF-AVC 4:2:2 10-Bit. With a power draw of just 31W Canon probably had to make a trade-off with how the Dual Gain Output works in the camera. 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