4K, 2K et MXF 4:2:2 Excellente compatibilité avec les objectifs

DOC PROVISOIRE CEV.FR
Capteur CMOS Super 35 mm
Les caméscopes numériques C500 intègrent un grand capteur CMOS Super 35 mm de 8,85
millions de pixels dédié uniquement à la vidéo, permettant le traitement RVB 4 canaux en mode
RAW.
Le capteur possède une taille de pixel plus grande que celle des caméscopes professionnels
classiques, ce qui améliore la collecte de la lumière pour obtenir de superbes images haute
définition avec une sensibilité accrue, un moiré et des irrégularités minimum, un faible bruit et une
réduction des artéfacts dus au balayage rapide. À cela s'ajoute les avantages habituels des grands
capteurs comme la réduction agréable de la profondeur de champ.
Plusieurs formats d'enregistrement : 4K, 2K et MXF 4:2:2
Les caméscopes C500 et C500 PL offrent une vaste sélection d'options d'enregistrement, avec
enregistrement 4K RAW et 2K RVB 4:4:4 ou YCC 4:2:2 sur enregistreurs tiers externes pour une
qualité d'image exceptionnelle. Le 4K peut être enregistré en tant que 4K DCI pour le cinéma et
QFHD pour la diffusion.
Les caméscopes permettent également d'enregistrer des fichiers MXF MPEG-2 (4:2:2) à 50 Mbit/s
en simultané sur deux cartes mémoire CF. Des options d'enregistrement en enchaîné sont
disponibles. En mode de priorité MXF, le pré-enregistrement, l'enregistrement enchaîné,
l'enregistrement double ainsi que le ralenti et l'accéléré sont possibles. En modes d'enregistrement
4K/2K, le pré-enregistrement n'est pas possible.
L'enregistrement simultané sur périphérique externe en 4K ou 2K et sur cartes CF permet la
création simultanée de films HD de qualité Broadcast et de fichiers proxy pouvant être utilisés en
postproduction.
En fonction du format d'enregistrement 4K ou 2K utilisé, le ralenti et l'accéléré sont possibles à une
vitesse de 1 im./s ou d'une image sur deux pour plus de liberté de création. À l'instar du modèle
C300, pour l'enregistrement sur cartes CF en mode MXF, le C500 offre des cadences de prise de
vue de 1-30 im./s ou 1-25 im./s à une résolution de 1920 × 1080 et de 1-60 im./s ou 1-50 im./s à une
résolution de 1280 × 720.
Excellente compatibilité avec les objectifs
Les possibilités créatives des caméscopes numériques EOS C500 sont considérablement accrues
par leur compatibilité avec le large éventail d'objectifs Canon à monture EF (C500)
La gamme étendue d'objectifs EF Canon englobe plus de 60 objectifs différents, avec une plage de
focales totale allant de 8 mm à 800 mm pour ouvrir un champ énorme de possibilités de prise de
vue. Les réalisateurs qui filment déjà avec des objectifs PL peuvent désormais profiter de
l'excellente compatibilité du système EOS cinéma.
Les modèles C500 et C500 PL sont également compatibles avec la gamme d'objectifs cinéma EF
4K de Canon offrant une performance optique exceptionnelle de 4K (4096 × 2160 pixels) et une
compatibilité avec les capteurs de type Super 35 mm.
Le modèle C500 intègre un nouveau système de monture d'objectif EF qui, par le biais d'un levier,
fait tourner le verrou de l'objectif pour ne plus avoir à faire tourner les objectifs pour les fixer au
C500. Vous pouvez donc fixer et retirer de manière simple, rapide et sécurisée n'importe quel
objectif parmi la vaste gamme de Canon comptant plus de 60 modèles à monture EF, ce qui est
particulièrement utile pour changer facilement les plus gros objectifs montés sur support.
Modèle compact, modulaire et léger
Les caméscopes numériques EOS C500 et C500 PL possèdent un boîtier compact à conception
modulaire, qui leur confère une mobilité et une capacité d'extension fantastiques. La poignée
amovible et le panneau de commande orientable optimisent la maniabilité, tandis que le boîtier
robuste résistant aux éclaboussures renferme des composants en alliage de magnésium pour
bénéficier d'une rigidité et d'une résistance supplémentaire aux chocs.
Un écran LCD de 10,1 cm (4 pouces) et de 1,23 million de points tourne vers l'avant et l'arrière à
270 degrés. Il adopte ainsi une position optimale pour le port à l'épaule. Le panneau peut également
être tourné en vue d'effectuer le contrôle depuis le côté du caméscope et permet de vérifier
facilement la composition de la scène à faible distance. Les caméscopes sont équipés d'un viseur
1,55 million de points de 1,3 cm (0,52 pouce) au format d'image 16:9.
Haute sensibilité, niveau de bruit réduit
Les modèles C500 et C500 PL conjuguent haute sensibilité et faible bruit, ce qui accélère la
configuration de la prise de vue, limite les coûts associés à l'éclairage et augmente les possibilités de
prise de vue en conditions de faible luminosité.
Canon Log
L'appareil se distingue par son exceptionnelle capacité de personnalisation de l'image, grâce au
réglage de gamma intégré Canon Log qui assure une qualité d'image neutre sur une large plage
dynamique (800 %), pour un maximum de liberté en postproduction avec jusqu'à 12 stops de
latitude. Le réglage de gamma Canon Log est appliqué aux films 8 bits, aux données RAW 4K 10
bits ou au réglage de gamma 12 bits pour le RVB 2K.
Par rapport au réglage de courbe de gamma 8 bits, les réglages 10 et 12 bits ont pour avantage de
pouvoir reproduire les détails dans les zones sombres. Avec un réglage de courbe de gamma 10 et
12 bits, l'appareil enregistre bien plus d'informations sur les zones sombres, limitant ainsi le bruit et
permettant un meilleur niveau de détails.
Filtres gris neutres intégrés
Un système de filtres gris neutres intégrés à quatre couches offre trois densités (2, 4 et 6 IL), ND0
étant nul. Les filtres permettent de garder l'iris ouvert afin de créer une faible profondeur de champ
et un magnifique bokeh.
Intégration transparente dans les workflow existants
L'intégration simple au workflow, essentielle lors de la production cinéma numérique, est assurée
par les flux de travail 4K RAW et 2K RVB qui sortent directement sur une vaste gamme
d'enregistreurs externes. Après l'enregistrement, les sociétés de postproduction pourront intégrer le
format 4K RAW à l'aide de leurs procédures habituelles. Un progiciel gratuit, disponible en
téléchargement, permettra de traiter les films en 4K.
Le format de fichier MXF standard proposé par les modèles C500 et C500 PL permet d'enregistrer
des fichiers 4:2:2 Full HD sur cartes CF et est compatible avec la plupart des principaux logiciels de
montage non linéaire (NLE).
Correction de l'éclairage périphérique
Dans le C500, une fonction de correction de l'éclairage périphérique compense automatiquement la
quantité de lumière aux quatre coins de l'écran en fonction des caractéristiques d'éclairage
périphérique d'une vaste gamme d'objectifs à monture EF Canon.
« RAW cinéma » 4K
Grâce à l'ajout des modes de priorité de sortie 4K/2K à partir de deux connecteurs 3G-SDI, la
technologie des caméscopes EOS C500 et C500 PL s'étend bien au-delà de tous les précédents
modèles de la gamme EOS cinéma. La sortie « RAW cinéma » 4K est disponible à des cadences
pouvant atteindre 60 im./s ou 120 im./s en mode HRAW 4K. La sortie 10 bits offre encore plus de
liberté au niveau de l'étalonnage.
Codec MPEG-2 4:2:2
Outre la sortie 4K/2K, les modèles C500 et C500 PL utilisent également le codec 50 Mbit/s MPEG2 (4:2:2) de Canon, déjà utilisé dans les modèles C300 et C300 PL, permettant l'enregistrement
interne sur cartes CF au format MXF standard. Cet échantillonnage couleur 4:2:2 fournit le double
de la définition couleur verticale du 4:2:0, ce qui améliore les dégradés, affine les détails et lisse les
diagonales, en plus d'aider à éliminer le risque de bords irréguliers, de franges de distorsion et
d'artéfacts indésirables lors de l'incrustation (chroma keying).
Capteurs CMOS
Canon développe et fabrique ses propres capteurs. La marque a intégré dans les EOS C500 et C500
PL un capteur CMOS Super 35 mm de 8,85 millions de pixels. Ce capteur a une taille de pixel plus
grande que celle des caméscopes professionnels classiques, ce qui améliore la collecte de la lumière
pour améliorer la sensibilité et réduire le bruit.
Grâce à une vitesse accrue de lecture du signal, le capteur CMOS atténue l'inclinaison due au
balayage vertical (Rolling Shutter Skew), un phénomène fréquent avec les capteurs CMOS, où les
sujets en mouvement rapide peuvent paraître déformés en oblique, et limite l'incidence du moiré
tout en fournissant une haute définition avec 1800 lignes TV horizontales.
Processeur DIGIC DV III
Le processeur DIGIC DV III est le dernier né de la famille DIGIC DV. La puissance de traitement
accrue fournit un dégradé de couleur amélioré, une vaste plage dynamique et une reproduction
agréable des tons chair, en plus de prendre en charge des fonctions comme la personnalisation
étendue des images.
Caractéristiques
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Avantages
Technologies
Specs C500
Specs C500 PL
Les modèles à objectifs interchangeables Canon EOS C500 et C500 PL sont les caméscopes
numériques 4K/2K dernier cri de la gamme EOS cinéma de Canon pour les réalisateurs
professionnels.
D'une approche révolutionnaire, les caméscopes numériques C500 et C500 PL allient les
technologies vidéo 4K/2K de dernière génération de Canon à son expérience en matière de
fabrication d'objectifs et à la créativité du système EOS. Grâce à l'utilisation d'objectifs
interchangeables à monture EF (C500) et monture PL (C500 PL), la qualité d'image supérieure des
caméscopes C500 et C500 PL offre aux réalisateurs une liberté sans précédent au service de la
narration cinéma.
À qui sont-ils destinés ?
Les caméscopes numériques EOS C500 et C500 PL constituent une nouvelle référence en termes de
qualité et offrent une polyvalence qui plaira à une grande variété de réalisateurs professionnels
exigeants : des réalisateurs de films aux documentaristes, des grandes chaînes de télévision aux
réalisateurs publicitaires, ces caméras répondent aux demandes les plus pointues.
La haute technicité des caméscopes Canon 4K/2K alliée au codec MPEG-2 4:2:2 MXF offre une
excellente qualité d'image répondant aux exigences des réalisateurs, des diffuseurs et des sociétés de
postproduction, tandis que la connectivité entre les caméras permet une intégration facile en studio.
Les caméscopes C500 et C500 PL associent une qualité d'image exceptionnelle, la compatibilité
avec la série d'objectifs cinéma de Canon (à monture EF et PL) offrant des performances optiques
4K, un format compact et des options avancées de personnalisation.
Canon EOS C500 and C500 PL
Caractéristiques principales
• Capteur CMOS Super 35 mm de 8,85 millions de pixels Canon, optimisé pour une imagerie
de résolution 4K de qualité supérieure.
• Compatibilité avec la large gamme d'objectifs EF de Canon (C500).
• Nouvelle monture d'objectif EF cinéma (nom à confirmer) pour changer d'objectif en toute
simplicité. Compatible avec les objectifs EF existants.
• Compatible avec les objectifs PL standard (C500 PL).
• Trois filtres gris neutres intégrés.
• Conception modulaire et compacte.
• Modes d'enregistrement 4K RAW/HRAW « RAW cinéma », avec enregistrement sur
périphérique externe.
• Modes 2K RVB 4:4:4 12 bits et 10 bits, YCC 4:2:2 10 bits, avec enregistrement sur
périphérique externe.
• Enregistrement MXF MPEG-2 de 50 Mbit/s prêt à diffuser sur deux cartes CF.
• Haute sensibilité, des images à faible bruit à une valeur ISO allant jusqu'à 20.000.
• Personnalisation des images étendue, dont le réglage de gamma intégré Canon Log.
• Boîtier robuste et étanche fabriqué à partir de composants en alliage de magnésium.
• Intégration transparente dans le workflow existants
Parcourez tous les avantages clés
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Capteur CMOS Super 35 mm
Plusieurs formats d'enregistrement : 4K, 2K et MXF 4:2:2
Excellente compatibilité avec les objectifs
Modèle compact, modulaire et léger
Haute sensibilité, niveau de bruit réduit
Canon Log
Filtres gris neutres intégrés
Intégration transparente dans les workflow existants
Correction de l'éclairage périphérique
Capteur CMOS Super 35 mm
Les caméscopes numériques C500 et C500 PL intègrent un grand capteur CMOS Super 35 mm de
8,85 millions de pixels dédié uniquement à la vidéo, permettant le traitement RVB 4 canaux en
mode RAW.
Le capteur possède une taille de pixel plus grande que celle des caméscopes professionnels
classiques, ce qui améliore la collecte de la lumière pour obtenir de superbes images haute
définition avec une sensibilité accrue, un moiré et des irrégularités minimum, un faible bruit et une
réduction des artéfacts dus au balayage rapide. À cela s'ajoute les avantages habituels des grands
capteurs comme la réduction agréable de la profondeur de champ.
Plusieurs formats d'enregistrement : 4K, 2K et MXF 4:2:2
Les caméscopes C500 et C500 PL offrent une vaste sélection d'options d'enregistrement, avec
enregistrement 4K RAW et 2K RVB 4:4:4 ou YCC 4:2:2 sur enregistreurs tiers externes pour une
qualité d'image exceptionnelle. Le 4K peut être enregistré en tant que 4K DCI pour le cinéma et
QFHD pour la diffusion.
Les caméscopes permettent également d'enregistrer des fichiers MXF MPEG-2 (4:2:2) à 50 Mbit/s
en simultané sur deux cartes mémoire CF. Des options d'enregistrement en enchaîné sont
disponibles. En mode de priorité MXF, le pré-enregistrement, l'enregistrement enchaîné,
l'enregistrement double ainsi que le ralenti et l'accéléré sont possibles. En modes d'enregistrement
4K/2K, le pré-enregistrement n'est pas possible.
L'enregistrement simultané sur périphérique externe en 4K ou 2K et sur cartes CF permet la
création simultanée de films HD de qualité Broadcast et de fichiers proxy pouvant être utilisés en
postproduction.
En fonction du format d'enregistrement 4K ou 2K utilisé, le ralenti et l'accéléré sont possibles à une
vitesse de 1 im./s ou d'une image sur deux pour plus de liberté de création. À l'instar du modèle
C300, pour l'enregistrement sur cartes CF en mode MXF, le C500 offre des cadences de prise de
vue de 1-30 im./s ou 1-25 im./s à une résolution de 1920 × 1080 et de 1-60 im./s ou 1-50 im./s à une
résolution de 1280 × 720.
Excellente compatibilité avec les objectifs
Les possibilités créatives des caméscopes numériques EOS C500 et C500 PL sont considérablement
accrues par leur compatibilité avec le large éventail d'objectifs Canon à monture EF (C500) et
d'objectifs à monture PL standard (C500 PL).
La gamme étendue d'objectifs EF Canon englobe plus de 60 objectifs différents, avec une plage de
focales totale allant de 8 mm à 800 mm pour ouvrir un champ énorme de possibilités de prise de
vue. Les réalisateurs qui filment déjà avec des objectifs PL peuvent désormais profiter de
l'excellente compatibilité du système EOS cinéma.
Les modèles C500 et C500 PL sont également compatibles avec la gamme d'objectifs cinéma EF
4K de Canon offrant une performance optique exceptionnelle de 4K (4096 × 2160 pixels) et une
compatibilité avec les capteurs de type Super 35 mm.
Le modèle C500 intègre un nouveau système de monture d'objectif EF qui, par le biais d'un levier,
fait tourner le verrou de l'objectif pour ne plus avoir à faire tourner les objectifs pour les fixer au
C500. Vous pouvez donc fixer et retirer de manière simple, rapide et sécurisée n'importe quel
objectif parmi la vaste gamme de Canon comptant plus de 60 modèles à monture EF, ce qui est
particulièrement utile pour changer facilement les plus gros objectifs montés sur support.
Modèle compact, modulaire et léger
Les caméscopes numériques EOS C500 et C500 PL possèdent un boîtier compact à conception
modulaire, qui leur confère une mobilité et une capacité d'extension fantastiques. La poignée
amovible et le panneau de commande orientable optimisent la maniabilité, tandis que le boîtier
robuste résistant aux éclaboussures renferme des composants en alliage de magnésium pour
bénéficier d'une rigidité et d'une résistance supplémentaire aux chocs.
Un écran LCD de 10,1 cm (4 pouces) et de 1,23 million de points tourne vers l'avant et l'arrière à
270 degrés. Il adopte ainsi une position optimale pour le port à l'épaule. Le panneau peut également
être tourné en vue d'effectuer le contrôle depuis le côté du caméscope et permet de vérifier
facilement la composition de la scène à faible distance. Les caméscopes sont équipés d'un viseur
1,55 million de points de 1,3 cm (0,52 pouce) au format d'image 16:9.
Haute sensibilité, niveau de bruit réduit
Les modèles C500 et C500 PL conjuguent haute sensibilité et faible bruit, ce qui accélère la
configuration de la prise de vue, limite les coûts associés à l'éclairage et augmente les possibilités de
prise de vue en conditions de faible luminosité.
Canon Log
L'appareil se distingue par son exceptionnelle capacité de personnalisation de l'image, grâce au
réglage de gamma intégré Canon Log qui assure une qualité d'image neutre sur une large plage
dynamique (800 %), pour un maximum de liberté en postproduction avec jusqu'à 12 stops de
latitude. Le réglage de gamma Canon Log est appliqué aux films 8 bits, aux données RAW 4K 10
bits ou au réglage de gamma 12 bits pour le RVB 2K.
Par rapport au réglage de courbe de gamma 8 bits, les réglages 10 et 12 bits ont pour avantage de
pouvoir reproduire les détails dans les zones sombres. Avec un réglage de courbe de gamma 10 et
12 bits, l'appareil enregistre bien plus d'informations sur les zones sombres, limitant ainsi le bruit et
permettant un meilleur niveau de détails.
Filtres gris neutres intégrés
Un système de filtres gris neutres intégrés à quatre couches offre trois densités (2, 4 et 6 IL), ND0
étant nul. Les filtres permettent de garder l'iris ouvert afin de créer une faible profondeur de champ
et un magnifique bokeh.
Intégration transparente dans les workflow existants
L'intégration simple au workflow, essentielle lors de la production cinéma numérique, est assurée
par les flux de travail 4K RAW et 2K RVB qui sortent directement sur une vaste gamme
d'enregistreurs externes. Après l'enregistrement, les sociétés de postproduction pourront intégrer le
format 4K RAW à l'aide de leurs procédures habituelles. Un progiciel gratuit, disponible en
téléchargement, permettra de traiter les films en 4K.
Le format de fichier MXF standard proposé par les modèles C500 et C500 PL permet d'enregistrer
des fichiers 4:2:2 Full HD sur cartes CF et est compatible avec la plupart des principaux logiciels de
montage non linéaire (NLE).
Correction de l'éclairage périphérique
Dans le C500, une fonction de correction de l'éclairage périphérique compense automatiquement la
quantité de lumière aux quatre coins de l'écran en fonction des caractéristiques d'éclairage
périphérique d'une vaste gamme d'objectifs à monture EF Canon.
« RAW cinéma » 4K
Grâce à l'ajout des modes de priorité de sortie 4K/2K à partir de deux connecteurs 3G-SDI, la
technologie des caméscopes EOS C500 et C500 PL s'étend bien au-delà de tous les précédents
modèles de la gamme EOS cinéma. La sortie « RAW cinéma » 4K est disponible à des cadences
pouvant atteindre 60 im./s ou 120 im./s en mode HRAW 4K. La sortie 10 bits offre encore plus de
liberté au niveau de l'étalonnage.
Codec MPEG-2 4:2:2
Outre la sortie 4K/2K, les modèles C500 et C500 PL utilisent également le codec 50 Mbit/s MPEG-
2 (4:2:2) de Canon, déjà utilisé dans les modèles C300 et C300 PL, permettant l'enregistrement
interne sur cartes CF au format MXF standard. Cet échantillonnage couleur 4:2:2 fournit le double
de la définition couleur verticale du 4:2:0, ce qui améliore les dégradés, affine les détails et lisse les
diagonales, en plus d'aider à éliminer le risque de bords irréguliers, de franges de distorsion et
d'artéfacts indésirables lors de l'incrustation (chroma keying).
Capteurs CMOS
Canon développe et fabrique ses propres capteurs. La marque a intégré dans les EOS C500 et C500
PL un capteur CMOS Super 35 mm de 8,85 millions de pixels. Ce capteur a une taille de pixel plus
grande que celle des caméscopes professionnels classiques, ce qui améliore la collecte de la lumière
pour améliorer la sensibilité et réduire le bruit.
Grâce à une vitesse accrue de lecture du signal, le capteur CMOS atténue l'inclinaison due au
balayage vertical (Rolling Shutter Skew), un phénomène fréquent avec les capteurs CMOS, où les
sujets en mouvement rapide peuvent paraître déformés en oblique, et limite l'incidence du moiré
tout en fournissant une haute définition avec 1800 lignes TV horizontales.
Processeur DIGIC DV III
Le processeur DIGIC DV III est le dernier né de la famille DIGIC DV. La puissance de traitement
accrue fournit un dégradé de couleur amélioré, une vaste plage dynamique et une reproduction
agréable des tons chair, en plus de prendre en charge des fonctions comme la personnalisation
étendue des images.
Les spécifications de produit ne sont actuellement pas disponibles.
Sensor
System
Total pixels per sensor
Effective pixels per
sensor
Minimum illumination
Sensitivity
S/N Ratio
Dynamic Range
Horizontal Resolution
Lens Mount
Camera
Super35mm type CMOS
RGB primary colour filter (Beyer array)
9.84 megapixels (4206 x 2340)
8.85 megapixels (4096 x 2160)
NTSC Mode 0.3 Lux
[F1.2 lens, 24 dB, 29.97P mode, shutter speed 1/30]
PAL Mode 0.25 Lux
[F1.2 lens, 24 dB, 25.00P mode, shutter speed 1/25]
NTSC: F9
[1920x1080/59.94i , ISO640 (0dB), 2000 Lux, 89.9% reflection]
PAL: F10
[1920x1080/50.00i , ISO640 (0dB) , 2000 Lux, 89.9% reflection]
NTSC: 54dB (Typical)
[1920x1080/29.97P, Canon Log base sensitivity ISO850 (Dynamic range
800%)]
PAL: 54dB (Typical)
[1920x1080/25.00P, Canon Log base sensitivity ISO850 (Dynamic range
800%)]
During normal shooting: 300%
With Canon Log gamma: 800%
(ISO 850 or above/gain 2.5 dB or more)
Up to 1000 TV lines or more (1920 x 1080i mode), depends on lens used.
Canon EF Mount with Cinema Lock
Focal length
Peripheral illumination
correction
ND filter
Focus control
Iris control
Image stabilization
system
Type
Video storage media
Type
Recording time
Recording file format
Recording format
Recording frame rate
Slow/Fast motion*
Camera
Equivalent to 1.53x the focal length of EF lenses;
(3840x2160/1920x1080); Approx x 1.46 (4096x2160/2048x1080)
As indicated for EF-S lenses and Canon cine lenses
YES (dependent on lens used)
3 glass filters in camera body: 2 stops; 4 stops; 6 stops. Operate via body
or wireless control.
Via lens, wireless control or wired remote (dependent on lens used)
Via body, grip, wireless control or wired remote.
1/2-stop, 1/3-stop or FINE control.
Possible to maintain constant F-number during zoom.
Depends on lens used
DIGIC DV III
Recording
4K/2K: External recording device required
HD: Type 1 Compact Flash memory cards (2 card slots)
CF card: UDMA4, 30MB/s or faster (40MB/s or faster for
Fast/Slow recording)
64GB CF card: Up to 160mins (1080/50i @ 50 Mbps)
4K/2K: Dependent on external recorder
HD: Material eXchange Format (MXF); OP-1a pattern
4K:
RAW/HRAW, 10 bit (4096 x 2160/3840 x 2160, Canon Log
only)
2K:
RGB 12 bit (2048x1080/1920x1080, 4:4:4, Canon Log only)
RGB 10 bit (2048x1080/1920x1080, 4:4:4, Canon Log only)
YCC 10 bit (2048x1080/1920x1080, 4:2:2, Canon Log only)
HD MPEG-2 Long GOP:
50Mbps CBR (4:2:2) MPEG-2 422P@HL;
35Mbps VBR (4:2:0) MPEG-2 MP@HL;
25Mbps CBR (4:2:0) MPEG-2 MP@H14
4K 2K:
60 Hz (NTSC) mode: 59.94P / 29.97P / 23.98P
50 Hz (PAL) mode: 50.00P / 25.00P
24.00P mode: 24.00P
HD:
50Mbps: 1920 x 1080/59.94i, 50i, 29.97p, 25p, 24.00p, 23.98p;
1280 x 720/59.94p, 50p, 29.97p, 25p, 24.00p, 23.98p.
35Mbps: 1920 x 1080/59.94i, 50i, 29.97p, 25p, 23.98p;
1280 x 720/59.94p, 50p, 29.97p, 25p, 23.98p.
25Mbps: 1440 x 1080/59.94i, 50i, 29.97p, 25p, 23.98p.
YES (4K/2K dependent on external recorder)
4K:
RAW: 1 to 60
HRAW: 1 to 60 fps , 62 to 120fps (in 2-fps increment)
2K:
Interval Record
Frame Record
Pre Record (cache record)
Relay Recording
Double Slot (simultaneous)
Recording
Scan Reverse
HD->SD conversion
Internal Data Transfer
Photo storage media
Still quality
Size
Dots
Image quality
adjustments
Adjustable
Waveform Monitor
Focus Assist
Peaking
Zebra
Markers
Size
Dots
Image quality
adjustments
Adjustable
Correction lens
Audio in
Headphone output
Video monitor output
Recording
2K RGB 444: 1 t 60 fps
YCC 422: 1 to 60 fps , 62 to 120fps (in 2-fps increment)
HD:
1080p: 1-30fps in 1fps steps
720p: 1-60fps in 1fps steps
(available options may differ according to recording mode
selected)
YES. 1, 2, 3, 6, 9 or 12 frames, 25 time intervals
(available options may differ according to recording mode
selected)
YES. 1, 2, 3, 6, 9 or 12 frames
(available options may differ according to recording mode
selected)
YES (3 seconds)
YES (CF Card)
YES
YES. Vertical, Horizontal, Both
NO
MOVIE: Yes (CF card to CF card)
SD/SDHC memory card
During video recording: 1920 x 1080;
During playback: 1920x1080, 1280 x 720
System
10.1 cm (4"), 100% view
1.23 million
Brightness, contrast, colour, sharpness, backlight, black white
Up/down/left/right according to camera configuration
Waveform Monitor and Vectorscope
Peaking; Magnifying; Edge Monitor (using waveform display)
Peaking 1, Peaking 2 (Colour, Gain, Frequency customisable for each)
Level 1; Level 2; Both
Output via HD-SDI or HDMI
On/Off (Aspect ratio, Aspect marker, Safety Zone Area, Safety Zone, Grid,
Horizontal, Centre)
1.3cm (0.52")
1.55 million
Brightness, contrast, colour, sharpness, backlight, black white
Vertical tilt
+ 2.0 to -5.5 diopters
XLR inputs with 48V phantom power (x2), 3.5mm microphone input jack
3.5mm stereo jack
YES (BNC, SD output only via Synch terminal)
System
HDMI
YES (Type A, output only)
IEEE 1394 (Firewire) NO
USB
NO
YES
2x 3G-SDI (BNC, output only, embedded audio and time code),
HD/SD-SDI output
2x 2K Monitor Output (BNC, output only)
1x HD/SD-SDI (BNC, output only, embedded audio and time code)
Time code
YES (BNC, switchable input/output)
Genlock
YES (BNC, input only)
YES (BNC, output only, 5 modes: HD Sync, HD-Y, SD blackburst, SD
Synch
composite, Off)
Component out
NO
AV terminal
NO
DC input
YES
Remote Control
2.5mm mini jack
Terminal
Wireless Control
YES (optional accessory required for wireless control)
Terminal
Colour Bars
EBU, SMPTE, ARIB
Tally lamp
YES
Accessory shoe
YES (cold shoe, 3 locations: top of body, top of handle, front of handle)
Custom key
YES (15 assignable buttons; select from 30 functions)
Shooting functions
Manual exposure determined by shutter setting, iris setting, ISO/gain setting
Exposure metering
and ND filter setting
Exposure
NO
compensation
Auto Exposure
NO
mode
Push Auto Iris
NO
Exposure Lock
NO
Auto Gain Control
NO
setting
1-stop display: 320¹, 400, 800, [850]², 1600, 3200, 6400, 12800, 20000
ISO Sensitivity
1/3rd stop display: 320, 400, 500, 640, 800, [850]², 1000, 1250, 1600, 2000,
2500, 3200, 4000, 5000, 6400, 8000, 10000, 12800, 16000, 20000¹
NORMAL: -6dB, -3dB, 0dB, 3dB, 6dB, 9dB, 12dB, 15dB, 18dB, 21dB,
Gain setting
24dB, 30dB;
FINE: 0 dB to 24 dB (0.5 dB increments).
Control Modes
Off; Speed; Angle; Clear Scan (CS); Slow Shutter (SLS)
Shutter speed
1/3 to 1/2000 depending on frame rate and Shutter Control Mode
Shutter Angle
11.25º to 360º depending on frame rate
Slow Shutter (SLS) 1/3, 1/4, 1/6, 1/8, 1/12, 1/15, 1/25, 1/30 depending on frame rate
Clear Scan
59.94i/p: 59.94 - 250.27Hz;
50i/p: 50 to 250.78Hz;
Shooting functions
29.97p: 29.97 - 250.27Hz;
25p: 25 to 250.78Hz;
23.98/24p: 23.98 - 250.27Hz
Stored
Configurations
9, including 2 presets (CINEMA and EOS Std)
SD/SDHC memory card (all customisation data and metadata), up to 20
Custom Pictures per card
Gamma
8 profiles
Canon Log Gamma YES
Master Pedestal
-50 to +50
Master Black
-50 to +50 for each of R,G,B
Black Gamma
Adjustable Level, Range and Point
Low Key Saturation -50 to +50 adjusts colour saturation in low brightness area
Knee
Adjusts over exposure characteristic, start, slope, saturation
Adjustment for Level, H Detail Freq., Coring, HV Detail Balance, Limit,
Sharpness
Select, Knee Aperture and Level dependent sharpness
Noise reduction
Off, On (1 to 12)
Skin detail
Off, Low, Middle, High / Hue, Chroma, Brightness, Area, Y Level
Selective Noise
Off, Low, Middle, High / Hue, Chroma, Brightness, Area, Y Level
Reduction
Colour matrix
Phase, Gain and RGB adjustment, in tandem with Gamma selection
White balance
-50 to +50 white balance offset for R,G,B
Colour correction
Area selection / area revision of two areas
Setup level
-50 to +50 On/Off
Clip 100% IRE
Limits output to 100% after setup adjustment
Auto
NO
Daylight (5400K), Tungsten (3200K), Kelvin (2000K-15000K, 100K
Preset
intervals), Set A, Set B
White Balance Shift YES. -9 to +9 (Daylight and Tungsten only)
Black balance
YES
adjustment
Regen, RecRun, FreeRun, External, Hold (Drop frame available for some
Countup system
frame rates)
Start value setting “00:00:00:00”, Set/Reset selectable
Recording
16-bit 2ch (48 kHz) linear PCM
Control
Independent limiters and auto/manual settings
Microphone
YES
attenuation
Microphone level
YES
meter
Accessories
XF Utility and NLE Plug-ins, RAW Development software, Monitor Unit (LCD
and XLR), Handle Unit, Tripod base adaptor plate, Shoulder strap, Eyecup, EVF
Supplied
cap, Battery Charger CG-940, Compact power adapter CA-940, Battery pack
BP-955.
Storage Medium
Accessories
Batteries BP-955, BP-975, Compact Power Adaptor CA-930 (battery charger
Optional
only), Tripod Adapter TA-100, Wireless Controller WFT-E6.
Power
59.94Hz:23.9w (4K) 12.4w MXF priority (24Hz)
Consumption
50.00Hz 22.9w (4K)
Continuous
Supplied BP-955: Approx. 90 minutes (max @ 4K 50.00 Hz)
Recording Time Optional BP-975: Approx. 135 minutes (max @ 4K 50.00 Hz)
Miscellaneous
Body Approx 160 x 179 x 171mm (6.3 x 7.0 x 6.7 in)
Approx 185 x 249 x187mm (Body and monitor unit)
Dimensions
Approx 185 x 284 x 301mm (Body, Monitor Unit and
Handle)
Detachable handle
YES
Weight (camera only)
1820g
Weight (fully equipped)
2885g ( monitor unit, handle, BP-955, 2x CF card)
Operating Temperature range -5ºC to +45ºC, 60% relative humidity
Every cinematographer
has a story to tell
What you capture on set will define how your
story unfolds. Great stories demand superb tonal
accuracy, brilliant colour reproduction, subtle
image adjustments and surprising angles and
points of view, as well as digital robustness to
survive extensive post-production. For all this,
Canon has created the Cinema EOS system.
A ground-breaking
professional HD cine
camera system, Cinema
EOS system fuses Canon’s
proven video technology
and lens heritage with
EOS creativity to give you
unprecedented freedom
to tell every story.
2
Designed from the
ground up to serve
the evolving needs of
the cinematography
world, it comprises one
revolutionary EOS C300
camera in two versions –
industry-standard PL-lens
mount or Canon’s EF
mount – and a family of
Canon EF and PL-mount
interchangeable
lenses with the optical
performance, controls
and usability you need to
realise your creative vision
3
HD as it was meant to be
We spent years studying the film
and TV industry and its changing
needs before bringing this
system to market. We learned
that HD imaging was still
evolving – and that a new image
sensor, advanced digital
processing codec and 4K
lenses specially created for
moviemaking could elevate HD
to a new plateau of performance
in the 21st century.
Those were the parameters we
gave our optical, electronic and
mechanical engineers. We
challenged them to design a new
HD system that could provide
immediate benefits to working
cinematographers. Equipment
that would fit production budgets
already stressed by rising
competitive pressure and
uncertain economic conditions.
A system to grow with changing
needs - adding new lenses,
camera bodies and enhanced
shooting and editing features,
as technology advances. Canon
doesn’t claim to have all the
answers at this point. But with
the help of industry experts and
professionals like you, we’ll keep
learning, evolving and innovating
Practicality. Compatibility. Simplicity.
And excellence in HD imagery. With
the Cinema EOS system, Canon helps
working professionals make HD the
superb creative medium of the present.
Make it new. Give it impact. And make it
work within your budget. No matter what
you’re shooting – Hollywood movies,
indie documentaries, episodic TV series,
commercials, music videos – the Cinema
EOS system will raise your game without
compromising your productivity
4
5
Presenting the Canon
Cinema EOS System
A new HD system for a new century, designed from
the ground up to serve the evolving needs of the
cinematography world. One revolutionary EOS C300
camera in two versions – Canon’s EF mount or
industry-standard PL-lens mount.
6
A family of Canon EF Cinema lenses designed specifically
for cinematography applications. Seamless compatibility
with a wide range of accessories and production tools.
Unrivalled versatility – and limitless potential for growth.
This is the Canon Cinema EOS system.
7
Superb Performance for Exceptional Results
EF Cinema lenses –
Capturing the
essence of your vision
Canon’s range of 4K EF Cinema lenses is exclusively designed to
stimulate creative expression and meet or exceed the exacting
production standards of contemporary cinematographers.
Reliable and robust, they include a host of advanced features,
ensuring unsurpassed image quality and exceptional usability
in every shooting situation.
Our current line up of 7 EF Cinema lenses, including wide-angle
and telephoto zoom lenses for EF and PL Mounts and prime
lenses for EF Mounts, covers the basics – with more on the way
to stimulate your creativity.
8
Canon EF Cinema lenses are designed and engineered to fulfil contemporary
4K production standards, surpassing the performance requirements of any HD
imaging system. They feature large aspherical lens elements to achieve sharp,
consistent images in virtually every shooting situation. Anomalous dispersion
glass reduces chromatic aberrations and the 11-blade aperture diaphragms
ensure beautiful bokeh – while innovative glass construction counteracts
barrel expansion and contraction to avoid temperature-induced marking
discrepancies. On zoom lenses geared inner focusing minimises focus-induced
changes in the angle of view, reducing focus breathing virtually to zero.
Uncompromising Design
for Working Professionals
EF Cinema lenses provide markings on
angled surfaces on both sides of the barrel,
making it easy to read focus and aperture
settings from behind or either side of the
camera. Focus markings can be switched
from standard labelling to metric. Industry
standard manual control rings are designed
to maintain the proper amount of resistance
with consistent operating torque. For zoom
lenses, a covered flangeback adjustment
mechanism is included. Lenses also share
uniform gear position, diameter and rotation
angle as well as front lens diameters,
enabling the film crew to quickly change
lenses without adjustment of the rig setup.
Cinema Zoom Lenses
EF Cinema Prime Lenses
Canon Cinema zoom lenses offer
extraordinary optical performance for
demanding high-end productions. Available
in EF and PL mount configurations with
fluorite, aspherical lens elements and
advanced optical design, these unsurpassed
EF Cinema lenses are capable of 4K image
reproduction. The wide-angle CN-E14.5–
60mm T2.6 L S/SP provides industry-leading
breadth of range; the telephoto CN-E30–
300mm T2.95–3.7 L S/SP rivals best-in-class
zoom magnification and telephoto focal
length. Together these lenses cover the range
most commonly used in cinema shooting.
The brilliant series of EF Cinema prime
lenses offer spectacular 4K-image quality
and a full frame image circle, in lightweight,
compact designs. Three models for EF
mount cameras – CN-E24mm T1.5 L F,
CN-E50mm T1.3 L F, and CN-E85mm T1.3 L
F – offer consistent form factors and marking
optimised for motion picture production.
Whether you shoot with a Canon EOS C300
or EOS DSLR, you will appreciate the compact
and consistent lens design; and your
audience will love the results from the
11-blade aperture diaphragms, fast t-stops
and proven Canon lens elements.
Additional cine lenses are already under
development, reflecting Canon’s
commitment to offer the broadest range of
professional cinema lenses to meet your
needs, now and in the future.
9
EF Lenses for Cinema EOS –
A world of creative options
L-Series Lenses
Canon L-series lenses are highly regarded by professionals who demand
uncompromising optical performance in specialised situations. With
innovative Canon technologies such as Ultra-low Dispersion (UD) glass,
fluorite and aspherical elements, and Super Spectra Multi Coating, these
speciality lenses have earned their place on the cameras of serious
photographers and videographers across the globe.
Compatibility – your key to creativity, productivity and profit.
The lenses you already own and trust. The optical elements
and coatings that render every nuance of every scene. The
systems made famous by generations of the world’s finest still
photographers. All coming together in Cinema EOS to give
professionals every opportunity to leave no story untold.
Cinematographers may now expand their
boundaries with the extensive selection of
over 60 Canon EF/EF-S lenses, a robust line
with over 70 million produced.
Perfected in Canon laboratories and proven in
the field, Canon’s EF lenses offer one of the
finest and most comprehensive lens lineups
available to cinematographers and
videographers. All share Canon’s renowned
accuracy, clarity and optical brilliance to bring
fresh perspective to your vision. The range
includes over 60 prime and zoom lenses in a
variety of configurations – from our flagship
zooms to compact fixed focal length lenses.
10
Their compatibility with the EF mount of the
EOS C300 not only gives the Cinema EOS
system access to the finest optics on the
market, it also opens up new creative
possibilities with Canon speciality lenses –
including Tilt-Shift, Macro and Canon’s amazing
EF 8–15mm f/4L Fisheye USM zoom lens.
Many lenses support Canon’s advanced
Peripheral Illumination Correction feature,
which renders beautiful consistent colour and
brightness across the entire image plane.
EF Speciality Lenses
EF Lenses for Cinema EOS
Macro Lenses
Tilt-Shift Lenses
In revealing the finest detail and achieving
extraordinary edge-to-edge accuracy at very
shallow depth-of-field, macro photography
can be the ultimate test of optical performance.
Canon’s superb lens line includes six ultraprecise macro lenses and three screw-on
close-up lenses, plus a Life-Size Converter EF
and two Extension Tube accessories.
TS-E Lenses incorporate tilt and shift
movement capabilities to bring the shooting
advantages of technical view cameras to the
EOS system. Tilt movements alter the angle of
the focal plane between the lens and image
sensor, modifying depth-of-field independently
of the lens aperture. Shift movements slide the
lens’s optical axis along the plane of the image
sensor, enabling videographers to correct or
alter perspective to almost any angle and add
unimagined drama to a scene.
Fisheye and
Fisheye Zoom Lenses
Super wide-angle and special effects
photography captures each subject from a
unique perspective. The Canon EF 8–15mm
f/4L Fisheye USM is the world’s first fisheye
zoom lens to create circular images with a
180° angle of view on full-frame DSLRs. With
its ability to focus as close as 8 inches (0.2m),
the Canon EF 15mm f/2.8 Fisheye lens can
realise exceptionally sharp images throughout
its broad focus range.
11
Canon DIGIC DV III Image Processor
Designed and built by Canon, the DIGIC DV III
Image Processor delivers the highest image
quality at the highest speeds. It processes the
RGB representations originated in the single
CMOS sensor into three channels (Red, Blue
and Green) to maintain the rich resolution
and clean colour fidelity formerly possible
only in three-chip sensor designs.
High Definition,
Exceptional Quality
CMOS sensor size comparison (not to scale)
Full Frame (16:9 video capture area)
Super 35mm (16:9 video capture area)
APS-C (16:9 video capture area)
4/3 sensor
(16:9 video capture area)
EOS-1D X
EOS 5D Mark II
Technology – but never for its own sake. Technology to
simplify your shoot, increase your options, advance
your art, accelerate your project turn time and lower
costs. The technology behind Canon’s Cinema EOS
system draws on everything we’ve learned about digital
image capture – and every innovation that truly serves
your creative effort
Modelled on the Super 35mm 3-perf motion
picture film standard, Canon’s CMOS sensor
has an active image size of 24.6 x 13.8mm.
It utilises 3840 (H) x 2160 (V) photosites
to perform the crucial optoelectronic
transformation of digital imaging. Each
photosite is a generous 6.4 x 6.4 micrometers
in area and each has a microlens that ensures
the highest efficiency in light transfer to the
individual photodiode.
Proprietary technologies within the photosite
simultaneously lower the image sensor noise
floor while enhancing the photon capacity of
the photodiode – a combination that assures
superb dynamic range (up to 800% when
using the Canon Log Gamma function).
Thanks to an effective resolution of 8.3MP, the
image sensor utilises an innovative 3-channel
readout technique that delivers RGB video
components without the need for debayering
algorithms. From these original video
components, a native 1080-line readout
can be selectively derived.
3840
2160
This high resolution sensor allows the EOS
C300 and EOS C300 PL to include an optical
low pass filter (OLPF) that operates at a higher
cut-off frequency, reducing Moire effects and
improving resolution of detailed subjects.
A high-speed readout significantly reduces
the vertical ‘skewing’ effect that can be
characteristic of CMOS image sensors.
1080
1920
Signal processing equivalent to that in a 3-chip RGB system
High sensitivity, low noise
Canon developed the 8.3MP CMOS sensor
found in the EOS C300 and EOS C300 PL to
capture images using a wide pixel pitch for
detailed, low-noise blacks and impressive
dynamic range even at higher sensitivities.
High performance image capture is possible
at up to ISO20000.
EOS C300 PL
with PL mount
EOS C300
with EF mount
Canon Log Gamma;
800% Dynamic Range
Built-in Canon Log Gamma is a special
nonlinear transfer function specifically
designed to deliver neutral image quality with
wide dynamic range for maximum freedom
in post-production. By managing the
disposition of quantisation bits, Canon Log
ensures excellent tonal reproduction within
both highlight and lowlight areas
of a digital image – maintaining a total
dynamic range of 800%. Shooting in Canon
Log mode, cinematographers can set the
camera exposure value using their usual light
meter practices.
EOS C300 and EOS C300PL – ISO and Dynamic Range
specifications (Canon Log, Progressive scan)
S/N
Ratio
Canon Log Base Sensitivity
This offers huge potential for speciality
applications where cameras must be
controlled remotely, such as nature
documentaries or reality TV. The EOS C300 PL
has a PL mount and is compatible with a
new series of Canon EF Cinema lenses
(PL mount), as well as the majority
of third-party optics available for 35mm
motion picture cameras.
The sensor offers not only high sensitivity with
low noise but also high resolution and
shallow depth-of-field, reduced rolling shutter
artefacts and low power consumption.
Working together, Canon’s Super 35mm
CMOS sensor and DIGIC DV III Image
Processor achieve a remarkably high
signal-to-noise ratio that lets you record with
great detail and impressive dynamic range
even in minimal light.
12
EOS 7D /
EOS 60D
Super 35mm Canon CMOS Sensor
Canon EOS C300 (EF Mount)
and EOS C300 PL (PL Mount)
To integrate easily into the working style and
equipment array of film crews and production
houses, the Cinema EOS system offers two
powerful, modular camera bodies - the EOS
C300 and EOS C300 PL. The EOS C300 has a
Canon EF lens mount and is compatible with all
of Canon’s EF lenses – over 60 in all - including
compact fixed focal length, super telephotos,
speciality Tilt-Shift, Macro and fisheye.
Communication contacts built into the mount
allow lens functions such as focus and aperture
to be adjusted wirelessly via the optional Canon
Wireless File Transmitter WFT-E6.
EOS C300 and
EOS C300 PL
GAIN
18%
GRAY
ISO
41dB
6.7 Stops
30dB
5.3 Stops
20000
45dB
6.7 Stops
26dB
5.3 Stops
12800
50dB
6.7 Stops
20dB
5.3 Stops
6400
53dB
6.7 Stops
14dB
5.3 Stops
3200
54dB
6.7 Stops
8dB
5.3 Stops
1600
54dB
6.7 Stops
2.5dB
5.3 Stops
850
54dB
6.8 Stops
2dB
5.2 Stops
800
54dB
6.8 Stops
0dB
4.9 Stops
640
54dB
54dB
7.8 Stops
8.1 Stops
-4dB
-6dB
4.2 Stops
3.9 Stops
400
320
Canon Log – Ensures tonal reproduction for both highlight
and lowlight regions during post-production.
13
Out of the box, and ready to go. In action, the Canon EOS C300
and EOS C300 PL may be today’s most versatile and powerful
HD creative tool. It includes every control you need, exactly
where you expect it to be. Industry standard interfaces for Time
Code, Genlock, HD-SDI, audio and wireless remote operational
control, tilt viewfinder and even Pre Rec to buffer memory.
All in a package so compact you’ll never want to put it down.
Rich Audio Controls
Designed with
filmmakers in mind
Compact Modular Design
The EOS C300 and EOS C300 PL are
surprisingly small (133 x 171 x 179mm) and
easily hand-held at just over 1.4kg – ideal for
shooting situations that are challenging for
larger cameras. A rotatable and removable
hand grip with a control dial and function
buttons allows for hand-held shooting in DSLR
style – or remove it and use the supplied thumb
rest for completely stripped-down shooting.
The EOS C300 and EOS C300 PL also have
manually-operated built-in Neutral Density
glass filters offering 2, 4 and 6 stops of filtering.
Camera and
lens only
With
monitor unit
With monitor
unit and handle
When mounted, the included audio control
unit provides two XLR audio inputs with +48V
phantom power. A 3.5mm microphone
terminal is also built in to the camera. Audio is
recorded uncompressed in 16-bit PCM format
at 48 kHz for high fidelity sound. Both XLR
inputs, as well as the mic terminal have the
option for automatic, as well as full manual
gain control (-Infinity to +18dB). Additionally,
a 3.5mm headphone terminal with 16
volume settings offers accurate audio
monitoring.
High resolution
LCD for easy operation
The 10.1cm (4”) backlit 1.23 megapixel
monitor and control panel is designed for
easy operation. It rotates 135° left/right or
270° down – and can be mounted directly on
the camera body or the handle unit so the
EOS C300 and EOS C300 PL can operate from
any angle. The bright 1.55 megapixel
electronic viewfinder also tilts up to a
convenient 60° angle.
The LCD includes a built-in Waveform Monitor
(WFM) function that shows the overall
brightness of a scene and a Vectorscope (VS)
to display real-time hue and saturation levels.
For sharp focus there are two peaking modes
and a magnified focus assist function.
Comfortable Ergonomic Controls
Dust-proof, splash-proof design
Sealed areas
Rugged, Durable and Quiet
The EOS C300 and EOS C300 PL are designed
to run cool, quiet and clean. They feature a
dust-proof and splash-proof design that
includes sealing gaskets around the edges of
all access covers, dials fitted with o-rings on
the axis of rotation and button key-tops sealed
with rubber. The built-in cooling system
includes a heat-dissipating duct in the centre
of the body, a graphite sheet that conducts
sensor heat towards the heat sink, three
ventilation holes and a cooling fan that pulls
hot air out through an exhaust opening.
All air is directed through a discrete
pathway that keeps dust particles away from
sensitive components ensuring rugged,
reliable operation.
The moment you pick up the EOS C300 or
EOS C300 PL, you’ll feel right at home with a
logical layout of buttons and dials that make
operation simple. The detachable grip rotates
360° in 15-degree increments so the start/
stop, iris control and multi-controller buttons
are always literally at your fingertips. Four
separate start/stop buttons and 15 other
customisable buttons distributed over the
camera body mean quiet and intuitive access.
Large dials positioned in two places can be
customised for different functions and are
easy to operate from all angles. A lock switch
turns off all controls except the recording
button and the function buttons. Small ridges
between the buttons help prevent activating
functions by mistake.
Pre Rec for Shooting in a Single Take
For situations where there is no second take
and action shoots when things can happen
with little warning, the Pre Rec feature
continually records approximately three
seconds of full motion imaging to buffer
memory. When you press the record button,
these seconds are automatically added to the
shot – and you’ll have a welcome margin of
insurance to capture the unexpected.
Low Power
Consumption
The EOS C300 and EOS C300 PL are
extremely efficient, requiring a minimum of
around 10 watts of power during recording.
This low power consumption helps to achieve
a compact, light body design and long battery
life (up to 205 minutes with the supplied
BP-955 battery).
Wireless Control for
Remote Shooting
Greater mobility when you need it – that’s
the advantage of Canon’s optional Wireless
File Transmitter WFT-E6. The EOS C300 and
EOS C300 PL come preconfigured so that
camera settings can be viewed and securely
controlled on third-party devices with
common web browsers, including
computers, smartphones and tablets without
the need for additional software. With the
WFT-E6, the camera can be controlled from
up to 150 metres away over an 802.11
b/g/n/a wireless network. You can start
and stop recording and also adjust white
balance, gain and other parameters as well
as control the focus and aperture of Canon
EF lenses. Shot mark and metadata input
are available, along with a live view of the
current composition.
Compatibility with
Third-Party Accessories
Not only is the EOS C300 series compatible
with an extraordinary range of PL and EF
lenses, it’s also compatible with major
third-party shooting accessories like matte
boxes, flags and support rods, geared control
rings, marking disks, and knobs for follow
focus. So you can step up to the Cinema EOS
system and not worry about leaving your
favourite equipment behind.
With matte box,
follow focus and
monitor unit
14
Wireless
Transmitter Wft-E6
Wireless
Controller
15
Canon’s Cinema EOS system works the way you
do. It integrates with file-based standards, can
match the exact frame rates of film cameras,
offers plug-ins for leading NLE programs and adds
every essential professional facility: slots,
terminals, tools, modes and adjustments – for
simple and seamless digital workflow.
A world of
creative options
XF Codec Image Quality
To create digital files with the highest image
quality that are robust enough for major
post-production, the EOS C300 and EOS C300
PL use an MXF codec – the same codec used
by Canon XF-series professional camcorders.
With 4:2:2 colour sampling, image files have
double the vertical resolution of colour
components created with 4:2:0 colour
sampling, minimising jagged edges between
red and blue and ensuring ample quality for
chroma key compositing with green screens.
XF Codec Quality Chart
These illustrations represent a colour image
converted to RGB, after which each component
signal is converted to monochrome. Since B-Y
and R-Y signals lack a brightness component
and only indicate saturation, images produced
from them look quite unnatural to the human
eye. To avoid confusion, the illustrations are
produced by conversion to monochrome and
then, for convenience, conversion of saturation
to brightness.
In post-production –
Taking it to the screen
CF Card Slots
and Terminals
Image Files are recorded to inexpensive and
easy-to-find CF cards in dual card slots - two
reusable 32 GB CF cards let you record more
than two and a half hours of 4:2:2 footage at
50Mbps. You can even record to two CF cards
simultaneously or relay record and copy from
one card to another.
Recording Modes
With the realities of production in mind, the
camera allows you to record in a number of
different modes, resolutions and frame rates.
You can shoot in both PAL and NTSC modes at
50Mbps (CBR), 35Mbps (VBR) and 25Mbps
(CBR) with a range of settings for resolution,
colour, frame rate and recording time.
Whether you’re shooting with the expectation
of significant editing and post-production,
recording for compatibility with HDV editing,
or simply creating the longest possible HD
image files, the EOS C300 and EOS C300 PL
will perform flawlessly.
Black Balance Adjustment
In ambient conditions that cause the black in
the video signal to shift out of alignment, black
balance can be easily adjusted to bring it back.
A simple process with the body cap on the
camera, black balance adjustment is especially
useful the first time you use the camera (or
when it’s been on the shelf for an extended
period), when you’ll be shooting in a wide
range of temperatures or when the ISO
sensitivity or gain settings have been changed.
Custom Pictures
To achieve the look and feel you want in less
time during post-production, you can create up
to 26 different Custom Picture settings, which
can include different image quality
adjustments, such as gamma, knee, colour
matrix, sharpness, noise reduction and more.
Settings can be created in-camera and saved to
the camera or to an SD card for transfer to other
cameras. A number of natural colour settings
are already included in camera, as well as a
Cinema setting for post-production and EOS
setting to match images captured by a Canon
EOS DSLR.
Fast Motion, Slow Motion
XF Codec Quality Chart
4:2:2
4:2:0
16
Color difference signals: B-Y(Pb)
Color difference signals: R-Y(Pr)
Color difference signals: B-Y(Pb)
Color difference signals: R-Y(Pr)
For more creative possibilities in post
production you can transform normal action
into intense high-speed motion up to 60x by
capturing fewer frames per second, or capture
more frames per second to slow down motion
to 1/2.5x at 720p. You can also programme
your camera to record a set number of frames
at defined intervals for amazing time-lapse
photography – and its frame recording feature
is perfect for stop-frame animation.
Accommodating
File-Based Production
Industrystandard
terminals
The Cinema EOS system creates files in the
internationally standardised Material eXchange
Format (MXF) - wrapping video and audio with
metadata in a single file that maintains access
to critical information throughout the
production process. Files are recorded to
inexpensive and easy-to-find CF cards in dual
card slots, giving you unlimited hot-swappable
storage on reliable solid-state media.
For industry standard peripherals, the EOS C300
and EOS C300 PL have all the right terminals:
Remote (2.5mm), Sync out (BNC), HDMI type
A out, GenLock (BNC), Time Code (BNC), HD/
SDI out (BNC), Headphone, SD card, DC IN
socket, plus MIC and XLR connectors (CH1 &
CH2) when using the Canon Monitor/Controller
unit. The camera also includes a dedicated
connection port for the optional Canon Wireless
File Transfer WFT-E6 unit.
Perfect for Mixed Shoot Editing
The tremendous dynamic range of the EOS
C300 and EOS C300 PL with Canon Log
gamma can be easily converted to industry
standard 10-bit Cineon (.cin) Log format,
which assures smooth integration with
industry-standard post workflow and finishing.
The 24.00p mode matches the exact frame
rates of film cameras, so there’s no need for
time-consuming frame-rate conversion.
Whether your entire production is digital or
your Cinema EOS camera is used as an A, B, or
C camera on a primarily film-based shoot, the
integrity of your image and sound is assured
through the editing process – and beyond.
Non-Linear Editing Integration
To manage your recorded material more
efficiently, the Cinema EOS system offers two
solutions: direct export to Non Linear Editing
(NLE) programs through a supplied software
plug-in, or file management through Canon’s
supplied XF Utility Software. Developed in
concert with companies like Adobe, Apple, Avid
and Grass Valley, Canon software plug-ins give
you simple, lossless transfer. You’ll also have
Windows® / Mac® compatibility for crossplatform versatility. For professional editing or
file management outside of NLE programs,
Canon’s XF Utility software offers basic
playback, backup, metadata management
and much more – in a simple, logical package
that doesn’t require extensive training.
17
Specifications
Lens Specifications
EF Cinema Lens
– compatible with Canon EF and EF Cinema lenses
– compatible with PL mount lenses, including the Canon EF Cinema Lens range
Canon EF Cinema Zoom Lenses
CAMERA
SYSTEM cont.
Image Sensor
Sensor
System
Total pixels per sensor
Effective pixels per sensor
Minimum illumination
EVF
Size
Dots
Image quality adjustments
Adjustable
Correction lens
Sensitivity
S/N Ratio
Dynamic Range
Horizontal Resolution
Lens
Lens Mount
Focal length
Peripheral illumination
correction
ND filter
Focus control
Iris control
Image stabilization system
Image Processor
Type
Super35mm type CMOS
RGB primary colour filter (Beyer array)
9.84 megapixels
8.29 megapixels
NTSC Mode 0.3 Lux. [F1.2 lens , 24dB, 29.97p mode, shutter
speed 1/30]. PAL Mode 0.25 Lux. [F1.2 lens, 24dB, 25p mode,
shutter speed 1/25]
NTSC: F9. [1920x1080/59.94i, ISO640 (0dB), 2000 Lux, 89.9%
reflection]. PAL: F10. [1920x1080/50.00i , ISO640 (0dB) , 2000
Lux, 89.9% reflection]
NTSC: 54dB (Typical). [1920x1080/29.97P, Canon Log base
sensitivity ISO850 (Dynamic range 800%)] PAL: 54dB (Typical).
[1920x1080/25.00P, Canon Log base sensitivity ISO850
(Dynamic range 800%)]
During normal shooting: 300% With Canon Log gamma: 800%
(ISO 850 or above/gain 2.5 dB or more)
Up to 1000 TV lines or more (1920 x 1080i mode),
depends on lens used
C300 Canon EF Mount
C300PLPL Mount
C300Equivalent to 1.53x the focal length of EF lenses;
As indicated for EF-S lenses and Canon cine lenses
C300PLAs indicated for Canon Cinema Lenses and other PL
mount lenses
C300 YES (dependent on lens used)
C300PLNo
3 glass filters in camera body: 2 stops; 4 stops; 6 stops.
Operate via body or wireless control.
C300Via lens, wireless control or wired remote
(dependent on lens used)
C300PL Manual via lens
C300Via body, grip, wireless control or wired remote. 1/2-stop,
1/3-stop or FINE control. Possible to maintain constant
F-number during zoom
C300PL Manual via lens
C300 Depends on lens used
C300PLNo
DIGIC DV III
RECORDING
Video storage media
Type
Recording time
Recording file format
Recording format
Recording frame rate
Slow/Fast motion
Interval Record
Frame Record
Pre Record (cache record)
Relay Recording
Double Slot (simultaneous)
Recording
Scan Reverse
Internal Data Transfer
Photo storage media
Still quality
Type 1 Compact Flash memory cards (2 card slots)
UDMA4, 30MB/s or faster (40MB/s or faster for Fast/Slow recording)
64GB CF card: Up to 160mins (1080/50i @ 50 Mbps)
Material eXchange Format (MXF); OP-1a pattern
MPEG-2 Long GOP. 50Mbps CBR (4:2:2) MPEG-2 422@PHL;
35Mbps VBR (4:2:0) MPEG-2 MP@HL;
25Mbps CBR (4:2:0) MPEG-2 MP@H14
50Mbps: 1920 x 1080/59.94i, 50i, 29.97p, 25p, 24p, 23.98p;
1280 x 720/59.94p, 50p, 29.97p, 25p, 24p, 23.98p.
35Mbps: 1920 x 1080/59.94i, 50i, 29.97p, 25p, 23.98p;
1280 x 720/59.94p, 50p, 29.97p, 25p, 23.98p.
25Mbps: 1440 x 1080/59.94i, 50i, 29.97p, 25p, 23.98p.
YES. 720p: 1-60fps in 1fps steps. 1080p: 1-30fps in 1fps steps
(available options may differ according to recording mode selected)
YES. 1, 2, 3, 6, 9 or 12 frames, 25 time intervals
(available options may differ according to recording mode selected)
YES. 1, 2, 3, 6, 9 or 12 frames
(available options may differ according to recording mode selected)
YES (3 seconds)
YES
YES
YES. Up/down, left/right, up/down/left/right image inversion.
MOVIE: Yes (CF card to CF card)
SD/SDHC memory card
During video recording: 1920 x 1080;
During playback: 1920x1080, 1280 x 720
SYSTEM
LCD
Size
Dots
Image quality adjustments
Adjustable
Waveform Monitor
Focus Assist
Peaking
Zebra
Markers
Inputs/Outputs
Audio in
Headphone output
Video monitor output
HDMI
HD/SD-SDI output
Time code
Genlock
Synch
DC input
Remote Control Terminal
Wireless Control Terminal
Colour Bars
Misc
Tally lamp
Accessory shoe
Custom key
1.3cm (0.52")
1.55 million
Brightness, contrast, colour, sharpness, backlight, black & white
Vertical tilt
+ 2.0 to -5.5 diopters
XLR inputs with 48V phantom power (x2),
3.5mm microphone input jack
3.5mm stereo jack
YES (BNC, SD output only via Synch terminal)
YES (Type A, output only)
YES (BNC, output only, embedded audio and time code)
YES (BNC, switchable input/output)
YES (BNC, input only)
YES (BNC, output only, 5 modes: HD Sync, HD-Y, SD blackburst,
SD composite, Off)
YES
2.5mm mini jack
YES (optional accessory required for wireless control)
EBU, SMPTE, ARIB
YES
YES (cold shoe, 3 locations: top of body, top of handle, front of handle)
YES (15 assignable buttons; select from 30 functions)
SHOOTING FUNCTIONS
Exposure
Exposure metering
ISO Sensitivity
Gain setting
Shutter speed
Control Modes
Shutter speed
Shutter Angle
Slow Shutter (SLS)
Clear Scan
Custom Picture
Stored Configurations
Storage Medium
Gamma
White balance
Auto
Preset
White Balance Shift
Black balance
Black balance adjustment
Audio
Recording
Control
Microphone attenuation
Microphone level meter
CN-E14.5–60mm
T2.6 L SP
Iris
Blades
14.5–60mm 4.1x
1:2.6 at
14.5–60mm
11
1:2.95 at
30–240mm/
1:3.7 at 300mm
11
PL
CN-E14.5–60mm
T2.6 L S
EF
CN-E30–300mm
T2.95–3.7 L SP
PL
CN-E30–300mm
T2.95–3.7 L S
Zoom
Ratio
Focal
Length
30–300mm
10x
EF
Object Dimensions at M.O.D.
M.O.D. (from
image sensor)
1.78:1
24.6 x 13.8mm
1.78:1
24.0 x 13.5mm
79.2° x 49.9°
at 14.5mm
22.6° x 12.8°
at 60mm
74.2° x 57.8°
at 14.5mm
20.7° x 15.2°
at 60mm
0.70m/2'4"
43.6° x 25.4°
at 30mm
4.6° x 2.6°
at 300mm
44.6° x 25.9°
at 30mm
4.7° x 2.6°
at 300mm
1.5m/5'
Front
Diameter
1.78:1
24.6 x 13.8mm
1.78:1
24.0 x 13.5mm
65.2 x 36.7cm
at 14.5mm
15.0 x 8.4cm
at 60mm
66.9 x 37.5cm
at 14.5mm
15.4 x 8.6cm
at 60mm
Ø136mm
98.8 x 55.6cm
at 30mm
9.6 x 5.4cm
at 300mm
101.3 x 56.8cm
at 30mm
9.9 x 5.6cm
at 300mm
Ø136mm
Approx. Size
(W x H x L)
5.35 x 6.42 x 12.52 in./
136.0 x 163.1 x 318.0mm
5.35 x 6.42 x 12.83 in./
136.0 x 163.1 x 326.0mm
5.67 x 6.58 x 13.47 in. /
144.0 x 167.1 x 342.1mm
5.67 x 6.58 x 13.78 in./
144.0 x 167.1 350.1mm
Approx. Mass
9.9 lb./
4.5kg
12.79 lb./
5.8kg
Canon EF Cinema Prime Lenses
Mount
Focal
Length
Zoom
Ratio
Max. Relative
Aperture
(T-Number)
CN-E24mm T1.5 L F
EF
24mm
–
1:1.5
CN-E50mm T1.3 L F
EF
50mm
–
CN-E85mm T1.3 L F
EF
85mm
–
Angle Of View
Iris
Blades
Object Dimensions at M.O.D.
M.O.D. (from
image sensor)
Front
Diameter
Approx. Size
(W x H x L)
Approx. Mass
19.7 x 11.0cm
Ø114mm
4.66 x 4.66 x 4.0 in./
118.4 x 118.4 x 101.5mm
2.65 lb./
1.2kg
24.9 x 16.6cm
17.0 x 9.5cm
Ø114mm
4.66 x 4.66 x 4.0 in./
118.4 x 118.4 x 101.5mm
2.43 lb./
1.1kg
34.3 x 22.9cm
23.4 x 13.1cm
Ø114mm
4.66 x 4.66 x 4.0 in./
118.4 x 118.4 x 101.5mm
2.87 lb./
1.3kg
1.5:1
36.0 x 24.0mm
1.78:1
24.6 x 13.8mm
0.30m/12"
28.8 x 19.2cm
27.6° x 15.7°
0.45m/18"
16.5° x 9.3°
0.95m/3'2"
1.5:1
36.0 x 24.0mm
1.78:1
24.6 x 13.8mm
11
73.7° x 53.1°
54.3° x 32.1°
1:1.3
11
39.6° x 27.0°
1:1.3
11
23.9° x 16.1°
Manual exposure determined by shutter setting, iris setting,
ISO/gain setting and ND filter setting
1-stop display: 3201, 400, 800, [850]2, 1600, 3200, 6400,
12800, 20000
1/3rd stop display: 320, 400, 500, 640, 800, [850]2, 1000, 1250,
1600, 2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000,
12800, 16000, 200001
NORMAL: -6dB, -3dB, 0dB, 3dB, 6dB, 9dB, 12dB, 15dB, 18dB,
21dB, 24dB, 30dB; FINE: 0dB to 24dB (0.5dB increments)
Off; Speed; Angle; Clear Scan (CS); Slow Shutter (SLS)
1/3 to 1/2000 depending on frame rate and Shutter Control Mode
11.25º to 360º depending on frame rate
1/3, 1/4, 1/6, 1/8, 1/12, 1/15, 1/25, 1/30
depending on frame rate
59.94i/p: 59.94 - 250.27Hz; 50i/p: 50 to 250.78Hz;
29.97p: 29.97 - 250.27Hz; 25p: 25 to 250.78Hz;
23.98/24p: 23.98 - 250.27Hz
9, including 2 presets (CINEMA and EOS Std)
SD/SDHC memory card (all customisation data and metadata),
up to 20 Custom Pictures per card
8 profiles
NO
Daylight (5400K), Tungsten (3200K), Kelvin (2000K-15000K,
100K intervals), Set A, Set B
YES. -9 to +9 (Daylight and Tungsten only)
YES
16-bit 2ch (48 kHz) linear PCM
Independent limiters and auto/manual settings
YES
YES
MISCELLANEOUS
Dimensions
Detachable handle
Weight (camera only)
10.1cm (4"), 100% view
1.23 million
Brightness, contrast, colour, sharpness, backlight, black & white
Up/down/left/right according to camera configuration
Waveform Monitor and Vectorscope
Peaking; Magnifying; Edge Monitor (using waveform display)
Peaking 1, Peaking 2 (Colour, Gain, Frequency customisable for each)
Level 1; Level 2; Both. Output via HD-SDI or HDMI
On/Off (Aspect ratio, Aspect marker, Safety Zone Area, Safety Zone,
Grid, Horizontal, Centre)
Mount
Angle Of View
Max. Relative
Aperture
(T-Number)
Weight (fully equipped)
Operating Temperature range
Approx 133 x 179 x 177mm (thumbrest attached);
Approx 174 x 179 x 177mm (grip attached);
Approx 185 x 284 x 301mm (grip, monitor unit and handle attached)
YES
C3001430g
C300 PL 1630g
C300Approx 2700g
(grip, monitor unit, handle, BP-955, 2x CF card)
C300 PLApprox 2900g
(grip, monitor unit, handle, BP-955, 2x CF card)
-5ºC to +45ºC, 60% relative humidity
All data is based on Canon’s standard testing methods. This Leaflet and the specifications of the product have
been developed prior to the date of product launch.
Specifications are subject to change without notice. ™and ®: All company and/or product names are trademarks
and/or registered trademarks of their respective manufacturers in their markets and/or countries.
1. 320 and 20000 are not 1-stop increments but represent highest and lowest supported ISO values
2. [850] = Lowest ISO sensitivity achieving 800% dynamic range with Canon Log function.
3. 50Mbps CBR mode, HD-SDI off, using EVF.
18
19
Eos C300 /
Eos C300 PL System
Handle unit
Lenses
Monitor unit
Cinema Zoom Lenses
(Available in EF and PL Mount)
Thumb rest
Cinema Prime Lenses
(Available in EF mount only)
Grip
Tripod base TB-1
XF Utilities Disc Ver. 3.0
EOS C300 / EOS C300 PL
Battery Charger
CG-940
Battery Pack
BP-955
Compact Power Adapter
CA-940
Shoulder Strap
SS-1200
EF Lenses
The following optional Canon accessories can be
purchased for use with the EOS C300 and EOS C300 PL:
Canon Battery Pack BP-955
Canon Battery Pack BP-975
Canon Compact Power Adaptor CA-9301
Canon Compact Power Adaptor CA-9402
Canon Wireless Controller WFT-E6
Canon Tripod Adaptor TA-100
Canon Tripod Adaptor TB-1
For charging BP-900-series batteries only.
CA-930 cannot be used to connect EOS C300 to mains power.
2. Includes DC-940 cable
1. Canon Inc.
Canon Europe Ltd
canon.com
3 The Square, Stockley Park
Uxbridge, Middlesex
UB11 1ET UK
Canon Europe
canon-europe.com
English Edition 0163W743
© Canon Europa N.V., 2012