Remember the C300 Mark II? The Canon EOS C300 Mark III is an update to the Canon C300 Mark II in name only. This camera is a close relative of the Canon EOS C500 Mark II; in fact, the C300 III’s body is identical to the C500 II. This means the C300 III is more modular than its predecessor, and that it can use all the accessories designed for the C500 II. There’s also anamorphic desqueeze support for 2x and 1.3x lenses.

Canon Super 35mm Dual Gain Output Sensor. This next-gen CMOS sensor provides 4K capture, but it also improves on many of its predecessor’s already great specs. It generates high dynamic range by combining images using pixels shot with a saturation-prioritizing amplifier for bright regions while using a lower-noise amplifier for darker areas. It’s capable of dynamic ranges beyond sixteen stops and is compatible with Canon’s Dual-Pixel CMOS Autofocus.

DIGIC DV7 Image Processor. The speedy DIGIC DV7 processor works in tandem with the imaging sensor to guarantee high frame-rate recording. This processor also powers the autofocus system, Cinema RAW light recording, HDR output, image stabilization, and proxy recording.

Dual-Pixel CMOS Autofocus. This autofocus system has phase-detection autofocus with two photodiodes at each pixel, offering greatly improved speed and accuracy. DAF can detect whether your subject is in focus, to which degree it’s in focus, and in which direction. You also get Touch AF and Face Detection modes.

Electronic Image Stabilization. The EOS C300 III includes the built-in five-axis image-stabilization system previously seen in the EOS C500 II. It works with just about any lens, including anamorphic lenses.

Canon Log 2 and 3 Gammas. Designed to take advantage of the C300 Mark III’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 Log 2 gives you the largest dynamic range and image details, and is most flexible in post, but it requires more time in color correction. Canon touts that it offers dynamic range up to sixteen stops. Canon Log 3 is an alternative that gives you a shorter turnaround time with an only marginally reduced, 14-stop dynamic range.

Canon Cinema RAW Light and XF-AVC Recording. The Canon Cinema RAW Light codec lets you internally record RAW and DCI 4K data to dual CFexpress cards via the dual CF express media slots. Cinema RAW Light’s 16-plus stop dynamic range gives you a lot of freedom for grading while producing files that are 1/3 to 1/5 times the size of Canon Cinema RAW, balancing image quality and codec efficiency. You also get the new XV-AVC codec that lets you record 4K and 2K images directly onto CFexpress cards. On top of the standard Intra-based XF-AVC codecs, a new lightweight Long GOP-based codec boasts a data rate that’s less than half of a conventional Intra codec.

Proxy Recording. The C300 III’s image processor allows it to simultaneously record 2K proxy files, which have a lower bandwidth that make them ideal for initial file sharing and rough cutting. While you’re recording Cinema RAW Light to an internal CFexpress card, you can also record an XF-AVC 2K 4:2:0 8-bit proxy to an internal SD card.

Canon EF Lens Mount. This C300 Mark III 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. Please note that you’ll need to set the camera to a cropped sensor mode to use some cine and EF-S lenses.

Microphone-Compatibility Issue. Using this camera’s phantom power with the RODE NTG-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.