The Canon C300 in simple English

As many of you probably know, Canon announced the EOS C300 in Hollywood last week along side celebrities such a Martin Scorsese. After reading all of the technical details of this ‘need to sell 4 first born children in order to purchase’ new system in the motion picture industry, we decided to write a post and explain to you what all of this means in simple English as it’s a pretty cool new ‘toy’!

The C300 comes in 2 versions, an EF mount (the standard lens mount on the Canon EOS family of lenses meaning “Electro-Focus”) and a PL mount (developed for both 16mm and 35mm movie cameras standing for “positive lock”). The C300 was modeled on Super 35mm 3-perf motion picture film standard meaning the Canon CMOS sensor has an active image size of 24.6 x 13.8mm or what is equivalent to a 16:9 (since 2009 the most common aspect ration for televisions and computer monitors).
This CMOS (complementary metal-oxide-semiconductor for those of your wanting to know!) sensor reduces rolling shutter skews which can be seen in fast moving objects or when panning side to side as a diagonal distortion like in this video.

Being available in both an EF and a PL mount it allows the user to choose the right camera and lenses to fit their needs in production.  If you are already a Canon shooter with EF lenses or if you are a cinema shooter with PL lenses you have the availability to use this camera.

The design of this camera is quite simple. It’s 5.2 (w) x 7.0 (h) x 6.7 (d) in inches. Being of this size it allows for exceptional maneuverability being able to shoot from just about any vantage point including close to the ground and right up next to wall or structures. Using the WFT-E6B  (new device announced with the EOS 1D X: sold separately) it can also be controlled from common devices such as an iPhone or tablet! Depending on what and where you are shooting,the C300 can accommodate situations where you need every last inch of space to count.

Components can be added or removed (such as hand grip, monitor, levers) to make sure that you can get into any space needed (providing it’s a tad larger than the camera!). Third party accessories can also be used as it’s built to industry standard. The one thing that I found quite unique in the design is that there are 4 (yes, four) start/stop buttons built in so no matter how it is being held, there is one close by. It also is dust proof, drip-proof and has an internal cooling system just in case you are in the desert and a sand storm comes through after shooting for 13 hours straight in the heat then suddenly your assistant decides to dump a bucket of Gatorade on you (total football moment). Knowing you are covered in all three situations you’ll have all of the peace of mind in the world!

Another nice feature on this camera is it is equipped with 2 CF card slots which makes it possible to simultaneously record video data to both CF cards. Also having both video formats, MPEG-2 (generic coding of moving pictures and associated audio information) and HD-SDI (High Definition Serial Digital Interface – a video format capable of producing 720p or 1080i), is very beneficial to filmmakers.

Now onto the lenses. Along with the C300, Canon announced two new lines of lenses. Included are the Wide-Angle/Telephoto Cinema Zoom Lenses (for EF and PL mounts) and the Single Focus Length Cinema Lenses for EF mounts. On the Wide-Angle/Telephoto side there is the CN-E 14.5-60mm T2.6 L S/CN-E 14.5-60mm T2.6 L SP and the CN-E 30-300mm T2.95-3.7 L S/ CN-E 30-300mm T2.95-3.7 L SP. In simple English this means there is a 14.5-60mm for EF and PL mounts and a 30-300mm for EF and PL mounts. 

Canon also came out with 3 Single Focus Length Cinema Lenses for EF mounts only. Included are the sexy 24mm, 50mm and 85mm (or CN-E 24mm T1.5 L F, CN-E 50mm T1.3 L F, CN-E85mm T1.3 L F to be technical). All of these seven new lenses are capable of delivering exceptional 4K optical performance (4096×2160 pixels compared to the 1920×1080 pixel count of Full HD) and offers compatibility with industry-standard Super 35 mm equivalent cameras as well as APS-C camera.

Pricing and Availability: So, here’s the part that may make you realize how much this camera has evolved from the 5DMkII. The Canon EOS C300 (EF Mount) is scheduled to be available as soon as January 2012 for an estimated price of $20,000. The PL Mount version is schedule to be available in late March 2012 for the same price. The 14.5-60mm lens (both EF and PL) are scheduled to be available in January 2012 for an estimated price of $45,000 each (yup, that’s right.). The 30-300mm lens (both EF and PL) are schedule for a late March availability for an estimated price of $47,000 each (again…). The three single focus lenses (only available for the EF mount) are schedule to be available late July 2012 for a estimated price of $6,800.

This leads to my next thought. While they were making the huge announcement in Hollywood, they commented on how 5DMkII was the predecessor to this. It doesn’t seem like the typical “next in line” type of product…more so quite a large leap into a whole new world. Let’s say you didn’t have any lenses for an EF mount (perhaps you rent all of the time!), in order to get started, saying you’d want a lens to go with it, the cheapest estimated price would be $26,800. Let’s say you want the EF mount camera and all possible new cinema lenses, you’d be handing over a grand total of at least $132,400… The approximate value of a brand spankin’ new Porsche 911 Turbo.

This camera , if you have the money, can be the greatest thing since sliced bread. When you put a camera and lenses up against a new Porsche 911 Turbo it bears the question, which one is more fun as a ‘big kid’? The C300 has a ‘fast-motion’ shooting mode, achieved by capturing fewer frames per second, to create action up to 60x normal speed…however the Porsche can reach a top speed of 197 and can go from 0-60 in 3.5 seconds. Which way would you go? ;)

In conclusion this camera is more of a technological showcase of the advancements Canon has made. The 5DMkII became highly popular because it was a camera that Indie Filmmakers could afford and easily get their hands on. If they couldn’t afford quite that, they had the 7D or even the Rebel T3i as a backup. Unfortunately this camera is in a league of it’s own. It can’t quite be compared to the RED Epic camera as it isn’t advanced enough but then isn’t very usable to photographers as the 5DMkII is. Aside from the cameras technical advances it’s a camera that won’t draw a leeward eye when on a Hollywood or Television set. It definitely doesn’t need to be justified to be there like some had to do with the 5DMkII.

I wanted to end this blog by asking some of our video experts their thoughts on the C300. Here is what they had to say:

Mike Duval: LPTG Family member
Pros:
- High Dynamic Range (12 stops)
- Time Code and Genlock
- HD-SDI  output
- Modular construction

Cons:
- Having to choose EF or PL mount
- Price…
- No AF on EF mount

Brian Tetrault: Awesome close friend to LPTG
Pros:
- Modular, interchangeable lens design–many many lens choices
- MPEG-2 4:2:2 to CF cards or using HD-SDI
- Possible 4k image quality–incredible.

Cons:
- Separate body for PL mount–why not an adapter?
- Could be very awkward to handhold for smaller production stuff–may still have to accessorize up in many situations.
- PRICE! $20k?? Really?

Tony Yu: LPTG Family member
Pros:
- EF Mount Available
- Many choices for EF lenses
- Aperture within camera
- Modular design

Cons:
- Viewfinder in awkward location if shoulder mounting or shooting from below
- No 60p at 1080
- Price…like everyone else.

Watch ‘Mobius’ – by Vincent Laforet filmed with the C300 – HERE
Learn about Canon’s new professional level of service, support and education HERE – video by MindCastle