Capteur CMOS Super 35 Mm Plusieurs Formats D'enregistrement
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 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.
Caractéristiques • 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 • 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. Camera Sensor Super35mm type CMOS System RGB primary colour filter (Beyer array) Total pixels per sensor 9.84 megapixels (4206 x 2340) Effective pixels per 8.85 megapixels (4096 x 2160) sensor NTSC Mode 0.3 Lux [F1.2 lens, 24 dB, 29.97P mode, shutter speed 1/30] Minimum illumination 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] Sensitivity 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%)] S/N Ratio PAL: 54dB (Typical) [1920x1080/25.00P, Canon Log base sensitivity ISO850 (Dynamic range 800%)] Dynamic Range During normal shooting: 300% With Canon Log gamma: 800% (ISO 850 or above/gain 2.5 dB or more) Horizontal Resolution Up to 1000 TV lines or more (1920 x 1080i mode), depends on lens used. Lens Mount Canon EF Mount with Cinema Lock Camera Equivalent to 1.53x the focal length of EF lenses; Focal length (3840x2160/1920x1080); Approx x 1.46 (4096x2160/2048x1080) As indicated for EF-S lenses and Canon cine lenses Peripheral illumination YES (dependent on lens used) correction 3 glass filters in camera body: 2 stops; 4 stops; 6 stops. Operate via body ND filter or wireless control. Focus control Via lens, wireless control or wired remote (dependent on lens used) Iris control 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. Image stabilization Depends on lens used system Type DIGIC DV III Recording 4K/2K: External recording device required Video storage media HD: Type 1 Compact Flash memory cards (2 card slots) CF card: UDMA4, 30MB/s or faster (40MB/s or faster for Type Fast/Slow recording) Recording time 64GB CF card: Up to 160mins (1080/50i @ 50 Mbps) 4K/2K: Dependent on external recorder Recording file format 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) Recording format 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: Recording frame rate 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. Slow/Fast motion* 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: 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 Interval Record (available options may differ according to recording mode selected) YES. 1, 2, 3, 6, 9 or 12 frames Frame Record (available options may differ according to recording mode selected) Pre Record (cache record) YES (3 seconds) Relay Recording YES (CF Card) Double Slot (simultaneous) YES Recording Scan Reverse YES. Vertical, Horizontal, Both HD->SD conversion NO Internal Data Transfer MOVIE: Yes (CF card to CF card) Photo storage media SD/SDHC memory card During video recording: 1920 x 1080; Still quality During playback: 1920x1080, 1280 x 720 System Size 10.1 cm (4"), 100% view Dots 1.23 million Image quality Brightness, contrast, colour, sharpness, backlight, black white adjustments Adjustable Up/down/left/right according to camera configuration Waveform Monitor Waveform Monitor and Vectorscope Focus Assist Peaking; Magnifying; Edge Monitor (using waveform display) Peaking Peaking 1, Peaking 2 (Colour, Gain, Frequency customisable for each) Level 1; Level 2; Both Zebra Output via HD-SDI or HDMI On/Off (Aspect ratio, Aspect marker, Safety Zone Area, Safety Zone, Grid, Markers Horizontal, Centre) Size 1.3cm (0.52") Dots 1.55 million Image quality Brightness, contrast, colour, sharpness, backlight, black white adjustments Adjustable Vertical tilt Correction lens + 2.0 to -5.5 diopters Audio in XLR inputs with 48V phantom power (x2), 3.5mm microphone input jack Headphone output 3.5mm stereo jack Video monitor output 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 9, including 2 presets (CINEMA and EOS Std) Configurations SD/SDHC memory card (all customisation data and metadata), up to 20 Storage Medium 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. 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 Designed from the professional HD cine ground up to serve camera system, Cinema the evolving needs of EOS system fuses Canon’s the cinematography proven video technology world, it comprises one and lens heritage with revolutionary EOS C300 EOS creativity to give you camera in two versions – unprecedented freedom industry-standard PL-lens to tell every story. 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
2 3 We spent years studying the film Those were the parameters we A system to grow with changing and TV industry and its changing gave our optical, electronic and needs - adding new lenses, needs before bringing this mechanical engineers. We camera bodies and enhanced system to market. We learned challenged them to design a new shooting and editing features, that HD imaging was still HD system that could provide as technology advances. Canon evolving – and that a new image immediate benefits to working doesn’t claim to have all the sensor, advanced digital cinematographers. Equipment answers at this point. But with processing codec and 4K that would fit production budgets the help of industry experts and HD as it was meant to be lenses specially created for already stressed by rising professionals like you, we’ll keep moviemaking could elevate HD competitive pressure and learning, evolving and innovating to a new plateau of performance uncertain economic conditions. in the 21st century. 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 A family of Canon EF Cinema lenses designed specifically the ground up to serve the evolving needs of the for cinematography applications. Seamless compatibility cinematography world. One revolutionary EOS C300 with a wide range of accessories and production tools. camera in two versions – Canon’s EF mount or Unrivalled versatility – and limitless potential for growth. industry-standard PL-lens mount. This is the Canon Cinema EOS system.
6 7 Superb Performance for Exceptional Results 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 EF Cinema lenses – discrepancies. On zoom lenses geared inner focusing minimises focus-induced changes in the angle of view, reducing focus breathing virtually to zero. Capturing the essence of your vision
Canon’s range of 4K EF Cinema lenses is exclusively designed to Uncompromising Design Cinema Zoom Lenses EF Cinema Prime Lenses for Working Professionals Canon Cinema zoom lenses offer The brilliant series of EF Cinema prime stimulate creative expression and meet or exceed the exacting EF Cinema lenses provide markings on extraordinary optical performance for lenses offer spectacular 4K-image quality angled surfaces on both sides of the barrel, demanding high-end productions. Available and a full frame image circle, in lightweight, production standards of contemporary cinematographers. making it easy to read focus and aperture in EF and PL mount configurations with compact designs. Three models for EF settings from behind or either side of the fluorite, aspherical lens elements and mount cameras – CN-E24mm T1.5 L F, Reliable and robust, they include a host of advanced features, camera. Focus markings can be switched advanced optical design, these unsurpassed CN-E50mm T1.3 L F, and CN-E85mm T1.3 L from standard labelling to metric. Industry EF Cinema lenses are capable of 4K image F – offer consistent form factors and marking ensuring unsurpassed image quality and exceptional usability standard manual control rings are designed reproduction. The wide-angle CN-E14.5– optimised for motion picture production. in every shooting situation. to maintain the proper amount of resistance 60mm T2.6 L S/SP provides industry-leading Whether you shoot with a Canon EOS C300 with consistent operating torque. For zoom breadth of range; the telephoto CN-E30– or EOS DSLR, you will appreciate the compact lenses, a covered flangeback adjustment 300mm T2.95–3.7 L S/SP rivals best-in-class and consistent lens design; and your mechanism is included. Lenses also share zoom magnification and telephoto focal audience will love the results from the Our current line up of 7 EF Cinema lenses, including wide-angle uniform gear position, diameter and rotation length. Together these lenses cover the range 11-blade aperture diaphragms, fast t-stops angle as well as front lens diameters, most commonly used in cinema shooting. and proven Canon lens elements. and telephoto zoom lenses for EF and PL Mounts and prime enabling the film crew to quickly change Additional cine lenses are already under lenses without adjustment of the rig setup. lenses for EF Mounts, covers the basics – with more on the way development, reflecting Canon’s to stimulate your creativity. commitment to offer the broadest range of professional cinema lenses to meet your needs, now and in the future.
8 9 L-Series Lenses EF Lenses for Cinema EOS – 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, A world of creative options 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 Cinematographers may now expand their professionals every opportunity to leave no story untold. boundaries with the extensive selection of over 60 Canon EF/EF-S lenses, a robust line with over 70 million produced.
EF Lenses for Cinema EOS Perfected in Canon laboratories and proven in Their compatibility with the EF mount of the the field, Canon’s EF lenses offer one of the EOS C300 not only gives the Cinema EOS finest and most comprehensive lens lineups system access to the finest optics on the available to cinematographers and market, it also opens up new creative videographers. All share Canon’s renowned possibilities with Canon speciality lenses – accuracy, clarity and optical brilliance to bring including Tilt-Shift, Macro and Canon’s amazing fresh perspective to your vision. The range EF 8–15mm f/4L Fisheye USM zoom lens. includes over 60 prime and zoom lenses in a Many lenses support Canon’s advanced variety of configurations – from our flagship Peripheral Illumination Correction feature, Macro Lenses Tilt-Shift Lenses Fisheye and zooms to compact fixed focal length lenses. which renders beautiful consistent colour and In revealing the finest detail and achieving TS-E Lenses incorporate tilt and shift Fisheye Zoom Lenses brightness across the entire image plane. extraordinary edge-to-edge accuracy at very movement capabilities to bring the shooting Super wide-angle and special effects shallow depth-of-field, macro photography advantages of technical view cameras to the photography captures each subject from a can be the ultimate test of optical performance. EOS system. Tilt movements alter the angle of unique perspective. The Canon EF 8–15mm Canon’s superb lens line includes six ultra- the focal plane between the lens and image f/4L Fisheye USM is the world’s first fisheye precise macro lenses and three screw-on sensor, modifying depth-of-field independently zoom lens to create circular images with a close-up lenses, plus a Life-Size Converter EF of the lens aperture. Shift movements slide the 180° angle of view on full-frame DSLRs. With
EF Speciality Lenses EF Speciality and two Extension Tube accessories. lens’s optical axis along the plane of the image its ability to focus as close as 8 inches (0.2m), sensor, enabling videographers to correct or the Canon EF 15mm f/2.8 Fisheye lens can alter perspective to almost any angle and add realise exceptionally sharp images throughout unimagined drama to a scene. its broad focus range.
10 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 size comparison (not to scale) CMOS sensor into three channels (Red, Blue and Green) to maintain the rich resolution Full Frame (16:9 video capture area) and clean colour fidelity formerly possible Super 35mm (16:9 video capture area) High Definition, only in three-chip sensor designs. APS-C (16:9 video capture area)
Exceptional Quality 4/3 sensor (16:9 video capture area)
EOS-1D X EOS C300 and EOS 7D / EOS 5D Mark II EOS C300 PL EOS 60D Technology – but never for its own sake. Technology to Super 35mm Canon CMOS Sensor Modelled on the Super 35mm 3-perf motion Thanks to an effective resolution of 8.3MP, the simplify your shoot, increase your options, advance picture film standard, Canon’s CMOS sensor image sensor utilises an innovative 3-channel has an active image size of 24.6 x 13.8mm. readout technique that delivers RGB video your art, accelerate your project turn time and lower It utilises 3840 (H) x 2160 (V) photosites components without the need for debayering 3840 to perform the crucial optoelectronic algorithms. From these original video costs. The technology behind Canon’s Cinema EOS transformation of digital imaging. Each components, a native 1080-line readout system draws on everything we’ve learned about digital photosite is a generous 6.4 x 6.4 micrometers can be selectively derived. 2160 in area and each has a microlens that ensures This high resolution sensor allows the EOS image capture – and every innovation that truly serves the highest efficiency in light transfer to the C300 and EOS C300 PL to include an optical individual photodiode. low pass filter (OLPF) that operates at a higher your creative effort Proprietary technologies within the photosite cut-off frequency, reducing Moire effects and simultaneously lower the image sensor noise improving resolution of detailed subjects. floor while enhancing the photon capacity of A high-speed readout significantly reduces the vertical ‘skewing’ effect that can be the photodiode – a combination that assures 1080 superb dynamic range (up to 800% when characteristic of CMOS image sensors. using the Canon Log Gamma function). 1920 Canon EOS C300 (EF Mount) Signal processing equivalent to that in a 3-chip RGB system and EOS C300 PL (PL Mount) To integrate easily into the working style and This offers huge potential for speciality equipment array of film crews and production applications where cameras must be houses, the Cinema EOS system offers two controlled remotely, such as nature powerful, modular camera bodies - the EOS documentaries or reality TV. The EOS C300 PL C300 and EOS C300 PL. The EOS C300 has a has a PL mount and is compatible with a Canon EF lens mount and is compatible with all new series of Canon EF Cinema lenses of Canon’s EF lenses – over 60 in all - including (PL mount), as well as the majority High sensitivity, low noise Canon Log Gamma; EOS C300 and EOS C300PL – ISO and Dynamic Range specifications (Canon Log, Progressive scan) compact fixed focal length, super telephotos, of third-party optics available for 35mm Canon developed the 8.3MP CMOS sensor 800% Dynamic Range S/N 18% speciality Tilt-Shift, Macro and fisheye. motion picture cameras. found in the EOS C300 and EOS C300 PL to GAIN ISO Built-in Canon Log Gamma is a special Ratio GRAY Communication contacts built into the mount capture images using a wide pixel pitch for nonlinear transfer function specifically allow lens functions such as focus and aperture detailed, low-noise blacks and impressive designed to deliver neutral image quality with 41dB 6.7 Stops 30dB 5.3 Stops 20000 to be adjusted wirelessly via the optional Canon dynamic range even at higher sensitivities. wide dynamic range for maximum freedom 45dB 6.7 Stops 26dB 5.3 Stops 12800 Wireless File Transmitter WFT-E6. High performance image capture is possible in post-production. By managing the at up to ISO20000. disposition of quantisation bits, Canon Log 50dB 6.7 Stops 20dB 5.3 Stops 6400 ensures excellent tonal reproduction within The sensor offers not only high sensitivity with 53dB 6.7 Stops 14dB 5.3 Stops 3200 low noise but also high resolution and both highlight and lowlight areas shallow depth-of-field, reduced rolling shutter of a digital image – maintaining a total 54dB 6.7 Stops 8dB 5.3 Stops 1600 dynamic range of 800%. Shooting in Canon artefacts and low power consumption. 54dB 6.7 Stops 2.5dB 5.3 Stops 850 Working together, Canon’s Super 35mm Log mode, cinematographers can set the Canon Log Base Sensitivity Canon CMOS sensor and DIGIC DV III Image camera exposure value using their usual light 54dB 6.8 Stops 2dB 5.2 Stops 800 meter practices. Processor achieve a remarkably high 54dB 6.8 Stops 0dB 4.9 Stops 640 signal-to-noise ratio that lets you record with great detail and impressive dynamic range 54dB 7.8 Stops -4dB 4.2 Stops 400 even in minimal light. 54dB 8.1 Stops -6dB 3.9 Stops 320
Canon Log – Ensures tonal reproduction for both highlight EOS C300 PL EOS C300 and lowlight regions during post-production. with PL mount with EF mount
12 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 When mounted, the included audio control Designed with unit provides two XLR audio inputs with +48V phantom power. A 3.5mm microphone terminal is also built in to the camera. Audio is filmmakers in mind 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 Low Power gain control (-Infinity to +18dB). Additionally, Consumption a 3.5mm headphone terminal with 16 The EOS C300 and EOS C300 PL are Compact Modular Design High resolution volume settings offers accurate audio extremely efficient, requiring a minimum of around 10 watts of power during recording. The EOS C300 and EOS C300 PL are LCD for easy operation monitoring. This low power consumption helps to achieve surprisingly small (133 x 171 x 179mm) and The 10.1cm (4”) backlit 1.23 megapixel a compact, light body design and long battery easily hand-held at just over 1.4kg – ideal for monitor and control panel is designed for Comfortable Ergonomic Controls life (up to 205 minutes with the supplied shooting situations that are challenging for easy operation. It rotates 135° left/right or The moment you pick up the EOS C300 or BP-955 battery). larger cameras. A rotatable and removable 270° down – and can be mounted directly on EOS C300 PL, you’ll feel right at home with a hand grip with a control dial and function the camera body or the handle unit so the logical layout of buttons and dials that make buttons allows for hand-held shooting in DSLR EOS C300 and EOS C300 PL can operate from operation simple. The detachable grip rotates Wireless Control for style – or remove it and use the supplied thumb any angle. The bright 1.55 megapixel 360° in 15-degree increments so the start/ Remote Shooting rest for completely stripped-down shooting. electronic viewfinder also tilts up to a stop, iris control and multi-controller buttons Greater mobility when you need it – that’s The EOS C300 and EOS C300 PL also have convenient 60° angle. are always literally at your fingertips. Four the advantage of Canon’s optional Wireless Compatibility with manually-operated built-in Neutral Density separate start/stop buttons and 15 other Third-Party Accessories The LCD includes a built-in Waveform Monitor File Transmitter WFT-E6. The EOS C300 and glass filters offering 2, 4 and 6 stops of filtering. customisable buttons distributed over the (WFM) function that shows the overall EOS C300 PL come preconfigured so that Not only is the EOS C300 series compatible Dust-proof, splash-proof design Sealed areas camera body mean quiet and intuitive access. brightness of a scene and a Vectorscope (VS) camera settings can be viewed and securely with an extraordinary range of PL and EF Large dials positioned in two places can be to display real-time hue and saturation levels. controlled on third-party devices with lenses, it’s also compatible with major customised for different functions and are For sharp focus there are two peaking modes common web browsers, including third-party shooting accessories like matte Rugged, Durable and Quiet easy to operate from all angles. A lock switch and a magnified focus assist function. computers, smartphones and tablets without boxes, flags and support rods, geared control The EOS C300 and EOS C300 PL are designed turns off all controls except the recording the need for additional software. With the rings, marking disks, and knobs for follow Camera and to run cool, quiet and clean. They feature a button and the function buttons. Small ridges WFT-E6, the camera can be controlled from focus. So you can step up to the Cinema EOS lens only dust-proof and splash-proof design that between the buttons help prevent activating up to 150 metres away over an 802.11 system and not worry about leaving your includes sealing gaskets around the edges of functions by mistake. b/g/n/a wireless network. You can start favourite equipment behind. all access covers, dials fitted with o-rings on and stop recording and also adjust white the axis of rotation and button key-tops sealed Pre Rec for Shooting in a Single Take balance, gain and other parameters as well with rubber. The built-in cooling system For situations where there is no second take as control the focus and aperture of Canon includes a heat-dissipating duct in the centre and action shoots when things can happen EF lenses. Shot mark and metadata input With of the body, a graphite sheet that conducts are available, along with a live view of the monitor unit with little warning, the Pre Rec feature sensor heat towards the heat sink, three continually records approximately three current composition. ventilation holes and a cooling fan that pulls seconds of full motion imaging to buffer With monitor hot air out through an exhaust opening. memory. When you press the record button, unit and handle All air is directed through a discrete these seconds are automatically added to the pathway that keeps dust particles away from shot – and you’ll have a welcome margin of sensitive components ensuring rugged, insurance to capture the unexpected. reliable operation.
With matte box, follow focus and monitor unit
Wireless Wireless 14 15 Transmitter Wft-E6 Controller 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 In post-production – creative options Taking it to the screen
XF Codec Image Quality CF Card Slots Black Balance Adjustment Accommodating Perfect for Mixed Shoot Editing To create digital files with the highest image and Terminals In ambient conditions that cause the black in File-Based Production The tremendous dynamic range of the EOS quality that are robust enough for major Image Files are recorded to inexpensive and the video signal to shift out of alignment, black The Cinema EOS system creates files in the C300 and EOS C300 PL with Canon Log post-production, the EOS C300 and EOS C300 easy-to-find CF cards in dual card slots - two balance can be easily adjusted to bring it back. internationally standardised Material eXchange gamma can be easily converted to industry PL use an MXF codec – the same codec used reusable 32 GB CF cards let you record more A simple process with the body cap on the Format (MXF) - wrapping video and audio with standard 10-bit Cineon (.cin) Log format, by Canon XF-series professional camcorders. than two and a half hours of 4:2:2 footage at camera, black balance adjustment is especially metadata in a single file that maintains access which assures smooth integration with With 4:2:2 colour sampling, image files have 50Mbps. You can even record to two CF cards useful the first time you use the camera (or to critical information throughout the industry-standard post workflow and finishing. double the vertical resolution of colour simultaneously or relay record and copy from when it’s been on the shelf for an extended production process. Files are recorded to The 24.00p mode matches the exact frame components created with 4:2:0 colour one card to another. period), when you’ll be shooting in a wide inexpensive and easy-to-find CF cards in dual rates of film cameras, so there’s no need for sampling, minimising jagged edges between range of temperatures or when the ISO card slots, giving you unlimited hot-swappable Industry- time-consuming frame-rate conversion. red and blue and ensuring ample quality for sensitivity or gain settings have been changed. storage on reliable solid-state media. Recording Modes standard Whether your entire production is digital or chroma key compositing with green screens. terminals With the realities of production in mind, the For industry standard peripherals, the EOS C300 your Cinema EOS camera is used as an A, B, or Custom Pictures camera allows you to record in a number of and EOS C300 PL have all the right terminals: C camera on a primarily film-based shoot, the XF Codec Quality Chart different modes, resolutions and frame rates. To achieve the look and feel you want in less Remote (2.5mm), Sync out (BNC), HDMI type integrity of your image and sound is assured These illustrations represent a colour image You can shoot in both PAL and NTSC modes at time during post-production, you can create up A out, GenLock (BNC), Time Code (BNC), HD/ through the editing process – and beyond. converted to RGB, after which each component 50Mbps (CBR), 35Mbps (VBR) and 25Mbps to 26 different Custom Picture settings, which SDI out (BNC), Headphone, SD card, DC IN signal is converted to monochrome. Since B-Y (CBR) with a range of settings for resolution, can include different image quality socket, plus MIC and XLR connectors (CH1 & Non-Linear Editing Integration and R-Y signals lack a brightness component colour, frame rate and recording time. adjustments, such as gamma, knee, colour CH2) when using the Canon Monitor/Controller and only indicate saturation, images produced Whether you’re shooting with the expectation matrix, sharpness, noise reduction and more. unit. The camera also includes a dedicated To manage your recorded material more from them look quite unnatural to the human of significant editing and post-production, Settings can be created in-camera and saved to connection port for the optional Canon Wireless efficiently, the Cinema EOS system offers two eye. To avoid confusion, the illustrations are recording for compatibility with HDV editing, the camera or to an SD card for transfer to other File Transfer WFT-E6 unit. solutions: direct export to Non Linear Editing produced by conversion to monochrome and or simply creating the longest possible HD cameras. A number of natural colour settings (NLE) programs through a supplied software then, for convenience, conversion of saturation image files, the EOS C300 and EOS C300 PL are already included in camera, as well as a plug-in, or file management through Canon’s to brightness. will perform flawlessly. Cinema setting for post-production and EOS supplied XF Utility Software. Developed in setting to match images captured by a Canon concert with companies like Adobe, Apple, Avid EOS DSLR. and Grass Valley, Canon software plug-ins give you simple, lossless transfer. You’ll also have Fast Motion, Slow Motion Windows® / Mac® compatibility for cross- For more creative possibilities in post platform versatility. For professional editing or XF Codec Quality Chart production you can transform normal action file management outside of NLE programs, into intense high-speed motion up to 60x by Canon’s XF Utility software offers basic 4:2:2 capturing fewer frames per second, or capture playback, backup, metadata management Color difference signals: B-Y(Pb) Color difference signals: R-Y(Pr) more frames per second to slow down motion and much more – in a simple, logical package to 1/2.5x at 720p. You can also programme that doesn’t require extensive training. 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. 4:2:0 Color difference signals: B-Y(Pb) Color difference signals: R-Y(Pr)
16 17 Specifications Lens Specifications
– compatible with Canon EF and EF Cinema lenses EF Cinema Lens – compatible with PL mount lenses, including the Canon EF Cinema Lens range
Canon EF Cinema Zoom Lenses CAMERA SYSTEM cont. Angle Of View Object Dimensions at M.O.D. Max. Relative Focal Zoom Iris M.O.D. (from Front Approx. Size Mount Aperture Approx. Mass Image Sensor EVF Length Ratio Blades 1.78:1 1.78:1 image sensor) 1.78:1 1.78:1 Diameter (W x H x L) Sensor Super35mm type CMOS Size 1.3cm (0.52") (T-Number) 24.6 x 13.8mm 24.0 x 13.5mm 24.6 x 13.8mm 24.0 x 13.5mm System RGB primary colour filter (Beyer array) Dots 1.55 million CN-E14.5–60mm 5.35 x 6.42 x 12.52 in./ Image quality adjustments Brightness, contrast, colour, sharpness, backlight, black & white PL Total pixels per sensor 9.84 megapixels Adjustable Vertical tilt T2.6 L SP 79.2° x 49.9° 74.2° x 57.8° 65.2 x 36.7cm 66.9 x 37.5cm 136.0 x 163.1 x 318.0mm 1:2.6 at at 14.5mm at 14.5mm at 14.5mm at 14.5mm 9.9 lb./ Effective pixels per sensor 8.29 megapixels 14.5–60mm 4.1x 11 0.70m/2'4" Ø136mm Correction lens + 2.0 to -5.5 diopters 14.5–60mm 22.6° x 12.8° 20.7° x 15.2° 15.0 x 8.4cm 15.4 x 8.6cm 4.5kg Minimum illumination NTSC Mode 0.3 Lux. [F1.2 lens , 24dB, 29.97p mode, shutter CN-E14.5–60mm 5.35 x 6.42 x 12.83 in./ EF at 60mm at 60mm at 60mm at 60mm speed 1/30]. PAL Mode 0.25 Lux. [F1.2 lens, 24dB, 25p mode, Inputs/Outputs T2.6 L S 136.0 x 163.1 x 326.0mm shutter speed 1/25] Audio in XLR inputs with 48V phantom power (x2), Sensitivity NTSC: F9. [1920x1080/59.94i, ISO640 (0dB), 2000 Lux, 89.9% 3.5mm microphone input jack CN-E30–300mm PL 5.67 x 6.58 x 13.47 in. / reflection]. PAL: F10. [1920x1080/50.00i , ISO640 (0dB) , 2000 Headphone output 3.5mm stereo jack 43.6° x 25.4° 44.6° x 25.9° 98.8 x 55.6cm 101.3 x 56.8cm T2.95–3.7 L SP 1:2.95 at 144.0 x 167.1 x 342.1mm Lux, 89.9% reflection] at 30mm at 30mm at 30mm at 30mm 12.79 lb./ Video monitor output YES (BNC, SD output only via Synch terminal) 30–300mm 10x 30–240mm/ 11 1.5m/5' Ø136mm 4.6° x 2.6° 4.7° x 2.6° 9.6 x 5.4cm 9.9 x 5.6cm 5.8kg S/N Ratio NTSC: 54dB (Typical). [1920x1080/29.97P, Canon Log base HDMI YES (Type A, output only) CN-E30–300mm 1:3.7 at 300mm EF at 300mm at 300mm at 300mm at 300mm 5.67 x 6.58 x 13.78 in./ sensitivity ISO850 (Dynamic range 800%)] PAL: 54dB (Typical). HD/SD-SDI output YES (BNC, output only, embedded audio and time code) T2.95–3.7 L S [1920x1080/25.00P, Canon Log base sensitivity ISO850 144.0 x 167.1 350.1mm (Dynamic range 800%)] Time code YES (BNC, switchable input/output) Genlock YES (BNC, input only) Dynamic Range During normal shooting: 300% With Canon Log gamma: 800% Canon EF Cinema Prime Lenses Synch YES (BNC, output only, 5 modes: HD Sync, HD-Y, SD blackburst, (ISO 850 or above/gain 2.5 dB or more) Angle Of View Object Dimensions at M.O.D. SD composite, Off) Max. Relative Focal Zoom Iris M.O.D. (from Front Approx. Size Horizontal Resolution Up to 1000 TV lines or more (1920 x 1080i mode), DC input YES Mount Aperture Approx. Mass depends on lens used Length Ratio Blades 1.5:1 1.78:1 image sensor) 1.5:1 1.78:1 Diameter (W x H x L) Remote Control Terminal 2.5mm mini jack (T-Number) 36.0 x 24.0mm 24.6 x 13.8mm 36.0 x 24.0mm 24.6 x 13.8mm Lens Wireless Control Terminal YES (optional accessory required for wireless control) 4.66 x 4.66 x 4.0 in./ 2.65 lb./ Lens Mount C300 Canon EF Mount Colour Bars EBU, SMPTE, ARIB CN-E24mm T1.5 L F EF 24mm – 1:1.5 11 73.7° x 53.1° 54.3° x 32.1° 0.30m/12" 28.8 x 19.2cm 19.7 x 11.0cm Ø114mm C300PL PL Mount 118.4 x 118.4 x 101.5mm 1.2kg Focal length C300 Equivalent to 1.53x the focal length of EF lenses; Misc As indicated for EF-S lenses and Canon cine lenses Tally lamp YES 4.66 x 4.66 x 4.0 in./ 2.43 lb./ CN-E50mm T1.3 L F EF 50mm – 1:1.3 11 39.6° x 27.0° 27.6° x 15.7° 0.45m/18" 24.9 x 16.6cm 17.0 x 9.5cm Ø114mm C300PL As indicated for Canon Cinema Lenses and other PL Accessory shoe YES (cold shoe, 3 locations: top of body, top of handle, front of handle) 118.4 x 118.4 x 101.5mm 1.1kg mount lenses Custom key YES (15 assignable buttons; select from 30 functions) Peripheral illumination C300 YES (dependent on lens used) 4.66 x 4.66 x 4.0 in./ 2.87 lb./ correction C300PL No SHOOTING FUNCTIONS CN-E85mm T1.3 L F EF 85mm – 1:1.3 11 23.9° x 16.1° 16.5° x 9.3° 0.95m/3'2" 34.3 x 22.9cm 23.4 x 13.1cm Ø114mm 118.4 x 118.4 x 101.5mm 1.3kg ND filter 3 glass filters in camera body: 2 stops; 4 stops; 6 stops. Exposure Operate via body or wireless control. Exposure metering Manual exposure determined by shutter setting, iris setting, Focus control C300 Via lens, wireless control or wired remote ISO/gain setting and ND filter setting (dependent on lens used) 1 2 C300PL Manual via lens ISO Sensitivity 1-stop display: 320 , 400, 800, [850] , 1600, 3200, 6400, 12800, 20000 Iris control C300 Via body, grip, wireless control or wired remote. 1/2-stop, 1/3rd stop display: 320, 400, 500, 640, 800, [850]2, 1000, 1250, 1/3-stop or FINE control. Possible to maintain constant 1600, 2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, F-number during zoom 12800, 16000, 200001 C300PL Manual via lens Gain setting NORMAL: -6dB, -3dB, 0dB, 3dB, 6dB, 9dB, 12dB, 15dB, 18dB, Image stabilization system C300 Depends on lens used 21dB, 24dB, 30dB; FINE: 0dB to 24dB (0.5dB increments) C300PL No Image Processor Shutter speed Type DIGIC DV III 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 RECORDING 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 Video storage media Type 1 Compact Flash memory cards (2 card slots) depending on frame rate Type UDMA4, 30MB/s or faster (40MB/s or faster for Fast/Slow recording) Clear Scan 59.94i/p: 59.94 - 250.27Hz; 50i/p: 50 to 250.78Hz; 29.97p: 29.97 - 250.27Hz; 25p: 25 to 250.78Hz; Recording time 64GB CF card: Up to 160mins (1080/50i @ 50 Mbps) 23.98/24p: 23.98 - 250.27Hz Recording file format Material eXchange Format (MXF); OP-1a pattern Recording format MPEG-2 Long GOP. 50Mbps CBR (4:2:2) MPEG-2 422@PHL; Custom Picture 35Mbps VBR (4:2:0) MPEG-2 MP@HL; Stored Configurations 9, including 2 presets (CINEMA and EOS Std) 25Mbps CBR (4:2:0) MPEG-2 MP@H14 Storage Medium SD/SDHC memory card (all customisation data and metadata), Recording frame rate 50Mbps: 1920 x 1080/59.94i, 50i, 29.97p, 25p, 24p, 23.98p; up to 20 Custom Pictures per card 1280 x 720/59.94p, 50p, 29.97p, 25p, 24p, 23.98p. Gamma 8 profiles 35Mbps: 1920 x 1080/59.94i, 50i, 29.97p, 25p, 23.98p; 1280 x 720/59.94p, 50p, 29.97p, 25p, 23.98p. White balance 25Mbps: 1440 x 1080/59.94i, 50i, 29.97p, 25p, 23.98p. Auto NO Slow/Fast motion YES. 720p: 1-60fps in 1fps steps. 1080p: 1-30fps in 1fps steps (available options may differ according to recording mode selected) Preset Daylight (5400K), Tungsten (3200K), Kelvin (2000K-15000K, 100K intervals), Set A, Set B Interval Record YES. 1, 2, 3, 6, 9 or 12 frames, 25 time intervals White Balance Shift YES. -9 to +9 (Daylight and Tungsten only) (available options may differ according to recording mode selected) Frame Record YES. 1, 2, 3, 6, 9 or 12 frames Black balance (available options may differ according to recording mode selected) Black balance adjustment YES Pre Record (cache record) YES (3 seconds) Audio Relay Recording YES Recording 16-bit 2ch (48 kHz) linear PCM Double Slot (simultaneous) YES Control Independent limiters and auto/manual settings Recording Microphone attenuation YES Scan Reverse YES. Up/down, left/right, up/down/left/right image inversion. Microphone level meter YES Internal Data Transfer MOVIE: Yes (CF card to CF card) Photo storage media SD/SDHC memory card MISCELLANEOUS Still quality During video recording: 1920 x 1080; Dimensions Approx 133 x 179 x 177mm (thumbrest attached); During playback: 1920x1080, 1280 x 720 Approx 174 x 179 x 177mm (grip attached); Approx 185 x 284 x 301mm (grip, monitor unit and handle attached) SYSTEM Detachable handle YES Weight (camera only) C300 1430g LCD C300 PL 1630g Size 10.1cm (4"), 100% view Weight (fully equipped) C300 Approx 2700g Dots 1.23 million (grip, monitor unit, handle, BP-955, 2x CF card) Image quality adjustments Brightness, contrast, colour, sharpness, backlight, black & white C300 PL Approx 2900g Adjustable Up/down/left/right according to camera configuration (grip, monitor unit, handle, BP-955, 2x CF card) Waveform Monitor Waveform Monitor and Vectorscope Operating Temperature range -5ºC to +45ºC, 60% relative humidity Focus Assist Peaking; Magnifying; Edge Monitor (using waveform display) Peaking Peaking 1, Peaking 2 (Colour, Gain, Frequency customisable for each) All data is based on Canon’s standard testing methods. This Leaflet and the specifications of the product have Zebra Level 1; Level 2; Both. Output via HD-SDI or HDMI been developed prior to the date of product launch. Markers On/Off (Aspect ratio, Aspect marker, Safety Zone Area, Safety Zone, Specifications are subject to change without notice. ™and ®: All company and/or product names are trademarks Grid, Horizontal, Centre) 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
Lenses Handle unit Monitor unit
Cinema Zoom Lenses (Available in EF and PL Mount)
Thumb rest
Cinema Prime Lenses Grip (Available in EF mount only) Tripod base TB-1 XF Utilities Disc Ver. 3.0 EOS C300 / EOS C300 PL
Battery Charger Battery Pack Compact Power Adapter Shoulder Strap CG-940 BP-955 CA-940 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
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
Canon Inc. Canon Europe Ltd canon.com 3 The Square, Stockley Park Uxbridge, Middlesex Canon Europe UB11 1ET UK canon-europe.com
English Edition 0163W743 © Canon Europa N.V., 2012