The Canon C300 Mark II Dual Pixel (EF) is a professional-grade 4K cinema camera. Key C300 Mark II features include:
8.85MP 4K DCI Super 35 CMOS sensor
Internal 4:2:2 10-bit in 4K and up to 4:4:4 12-bit in 2K
Record MXF to two cfast cards and proxies to SD
Capture up to 120p in 2K or full HD plus RAW out
In-Camera 4K Recording. The Canon C300 Mark II Dual Pixel captures 4096 × 2160 4K (that’s DCI, not UHD) at 24/25/30 fps internally in a trio of XF-AVC H.264 codecs. Twin 3G-SDI outputs enable 4K RAW output to a supporting external recorder for maximum quality. It also offers oversampling HD for capturing 2K/Full HD video at a variety of frame rates up to 120 fps.
Canon 8.85 Megapixel Super 35mm CMOS Sensor. This new 16:9 CMOS sensor provides 4K capture, but it also improves on many of its predecessor’s already great specs. The Dual DiG!C DV 5 image processors offer 15 stops of dynamic range (12 stops in the original), improved high ISO performance up to 102.400 and reduced rolling-shutter distortion.
Dual Pixel CMOS AF. This upgraded system has phase-detection autofocus with two photodiodes at each pixel, offering greatly improved speed and accuracy. The horizontal and vertical focus areas have been expanded to 80%, giving you maximum coverage for tracking your subject. The new Dual Pixel Focus Guide feature displays focus-assist information on the screen, enabling the user to easily see front and back focusing.
Canon Log Gamma 2. Designed to take advantage of the C300 Mark II’s 10-bit recording capability, the files produced using Log format enable a large degree of color correction/grading in post-production with minimal image degradation. Canon touts that it offers dynamic range up to 1600%.
Canon EF Lens Mount. The C300 Mark II is compatible with all of Canon’s servo-zooms, EF Cinema, and EF lenses—over 100 lenses, including compact primes, super telephotos, specialty tilt-shifts, macros, and fisheyes.
Refined Ergonomics. Like its predecessor, the Mark II features a modular design with removable components depending on your needs. Besides a different layout for buttons, memory cards, battery, and input/outputs, the Mark II also includes an improved low-angle top handle with additional mounting points. There’s a new 1.77MP OLEDEVF that provides greater color reproduction, contrast, and response.
Connectivity. The camera is equipped with two 3G-SDI, a genlock input, a time code input/output, and an HDMI output. Additionally, the camera’s various “assist-displays”—including waveform monitor, edge monitor, peaking, zebra, and magnify—can be output through SDI and HDMI. The C300 Mark II comes standard with two UN-5 1.6ft audio/video cables.
Dual CFast 2.0 Slots. To support the high amount of data transferred for 4K capture, the C300 Mark II records to CFast 2.0 memory cards. There’s also a single SD card slot for simultaneously capturing 2K/Full HD video and proxy recording.
Microphone-Compatibility Issue. Using this camera’s phantom power with the RODENTG-2 shotgun mic will cause an excessive amount of hiss, making your captured audio unusable. This issue only occurs with this specific mic and only when using phantom power. if you use battery power with the NTG-2, your audio won’t be affected.
Originally thought to be Canon’s answer to the Sony FS7, the C300 Mark II really fits better somewhere between the FS7 and RED.
The C300 Mark II’s color space reacts to artificial light better than...
Originally thought to be Canon’s answer to the Sony FS7, the C300 Mark II really fits better somewhere between the FS7 and RED.
The C300 Mark II’s color space reacts to artificial light better than the FS7 and the new C-Log2 rivals S-Log, giving the Mark II a slight advantage over the FS7 for shooters who prioritize bit depth and gradability. The high frame-rate limitations are disappointing but this just proves, once again, that color science is where Canon chooses to outperform. It’s a justified endeavor since the C-Series cameras are really just beefed up DSLRs.
Overall, this camera has almost everything for mid-range budgeted shoots but still doesn’t replace camera lines like RED or ARRI for high-end commercial shoots. However, with its ever-evolving support of Canon’s Cine Servo lenses, improved gamma curves and color gamuts, and logical positioning of on-board controls, this camcorder effectively breathes relevance back into Canon’s digital cinema lineup.
