Canon C300 Sample Footage

| 17-08-2021
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The EOS C300 Mark II Digital Cinema Camera integrates an 8.85 Megapixel Super 35mm 16:9 CMOS sensor that supports 4K (DCI) recording with a maximum resolution of 4096 x 2160 pixels. The camera fully utilizes the image data delivered by this 4K CMOS sensor to also enable Over Sampling HD Processing for 2K (DCI) and Full HD1080/60p recording. Just random test footage of Canon C300 Mark II. First time shooting with this incredible cinema camera. Enjoy in 4K!By GROFilm 2016Music by NCS Miko - Phanto.

I’ll preface this piece by saying we’re still waiting for a lot of the equipment for the Canon C700 to be available, so it’s only fair to call this more of a First Impressions than an actual review. However, Canon’s C700 is a highly-anticipated product, so I thought I’d take a barebones kit out for a test, write up my initial thoughts, and share some sample footage for those of you interested to see what this camera can do. In the full review, we’ll address RAW recording, viewfinder options, the control unit, the shoulder mount, and lens grip accessories. For this preview, though, I’m focusing only on internal recording and the camera itself, specifically the EF mount version without a global shutter.

First Impressions

I guess I’ll start with aesthetics. The Canon C700 basically looks like someone welded a big rectangular box to the back of a C300 Mark II. The two cameras share a sensor and many of the same features, including dual-pixel autofocus (on the EF version), 4K resolution, internal ND filters, CFast media, and 4:4:4:4 recording in 2K. In fact, unless you spring for the RAW recorder attachment, you’re not getting much out of the Canon C700 that you couldn’t get out of a Canon C300 Mark II. Sure, you’ll have 60p in 4K, 240p in cropped 2K, more input/output options, surround view, a more ENG-friendly body shape, and a few other features, but that’s not much considering that the price difference between the two cameras is around $17,000. That’s not to say that this isn’t an excellent camera, though, just that you’ll want to rent the Codex RAW recorder to get the most out of it.

On the positive side, there’s a lot to like here so far. Foremost, the dual-pixel autofocus is just as functional and helpful as it is on the C300 Mark II. I know there are fewer people who will use that feature in a cinema-focused camera like the C700, but it’s remarkably effective. There’s a shot at about 2:40 in the sample videos below that I think illustrates how handy the autofocus features can be under the right circumstances. I had the camera on a tripod about 100 feet away from my subject. The lens used in the test footage is a Canon 70-200mm f/2.8, wide open, zoomed in all the way to 200mm. As a test, I set the C700 to track his face while he walked straight toward the camera. The shot in the video was the first take, with no AF setting adjustments. You can see that the camera loses him very briefly about halfway through, but picks him right back up almost immediately. With a focus throw as short as the one on the 70-200mm, I’m secure enough in my focus pulling abilities to admit that the camera did a better job on this shot than I could have, especially on the first take. Dual-pixel autofocus might not be something you’d want to use on every shot, but it’s great to have when it’s needed.

Shooting 60p at 4K is also a feature a lot of people were disappointed to see missing from the C300 Mark II, and is another huge plus for the new Canon C700. High frame rate footage shot at a 2K crop is noticeably softer than native 4K footage, even when finishing in 1080, so it’s great to have at least slightly slow motion available in 4K. Finally, it’s nice to see Canon embrace a more professional standard for menu navigation. The control panel will be familiar to anyone who has worked with an Alexa, F5, Varicam, or any number of other cinema cameras in the last couple years. While the menu system isn’t flawless, it’s a lot easier to navigate than the one on the Canon C300. Professional users will also be glad to find more options for user-defined buttons.

Canon C300 and Sony F3 Raw Clips. /downloadsbox c300 compare F3 footage Review tets. PMW-350 sample footage from Norway. February 28, 2010 alisterchapman Leave.


  • Canon C300 Review. This is a full review on the streets of Time Square, NYC of the Canon C300.-Buy The Gear We Review Below-Amazo.
  • The Canon EOS C300 Mark II is Canon's update to its first generation cinema camera, the Canon C300, and is part of the Canon Cinema EOS line. Notable new features compared to the previous model are the implementation of a sensor capable of a 15-stops of dynamic range, 4K XFAVC and 12-bit internal recording, color matrices, and the ability to record raw motion video via external.

Final Thoughts

I’m reserving any strong judgments on the Canon C700 until we get more accessories available for it. I think the RAW recorder and support equipment will add a lot regarding feature set and usability. That said, it’s promising so far. I’m just not sure it’s enough to entice people away from other cameras in this class, like the RED Weapon or Arri Alexa. Below you’ll find links to both graded and ungraded edits of some of the sample footage I shot. Uncompressed files straight from the camera are also available if you want to try a grade of your own. There are a lot of them, and they’ll take a while to download, so I’d start with these four: A001C029, A001C036, A001C043, and A001C046. As always, feel free to comment if you have any questions.

Click here to download some of the RAW sample footage to colorgrade.

Canon C300 Sample Footage Chart

Author: Ryan Hill

Canon c300 sample footage chart

Canon C300 Sample Footage Download

My name is Ryan and I am a video tech here at Lensrentals.com. In my free time, I mostly shoot documentary stuff, about food a lot of the time, as an excuse to go eat free food. If you need my qualifications, I have a B.A. in Cinema and Photography from Southern Illinois University in beautiful downtown Carbondale, Illinois.

The Boston Creative Pro User Group held another meetup at Rule Boston Camera tonight, with AJA’s Jay Ignaszewski doing a pitch for the new AJA KiPro features, and Canon’s Carl Peer doing a PowerPoint walkthrough of the new Canon 5D Mark III features. As excited as I am about the new 5D, it’s been written up quite a bit already, and Philip Bloom’s recent video review offers much more detail than what I was able to get from Carl, so I’ll forego covering that topic here.

Canon C300 Sample Footage Download

What I will cover is the talk by Rob Bessette from Finish Post, who shared his experience color grading some Canon C300 footage using a DaVinci Resolve. The footage was for a short film called “Hustle”, which originally started off off as a Canon C300 camera test by Dan Bérubé. The film was shot with an Arri 1K with a Chimera soft box, an Arri 650 and a couple of 300 fresnels as backlights, all of which were kept far enough away and used as spill light. This was supplemented with a few small LED lights hidden under pool tables and on people in the background at the bar. Exterior shots relied solely on street lights. You can learn more about the “Hustle” production over on Rick Macomber’s and Michael Murie’s web site.

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Rob started off with a walkthrough of his DaVinci Resolve workflow using sample footage from “Hustle”. His color grading breakdown for the video involved:

[list type=”circle”]
[item]Adjusting white balance first[/item]
[item]Using DaVinci’s keyer to perform some saturation shifts[/item]
[item]Brightening the subject by creating a power window around him/her[/item]
[item]Using the built-in tracker to have the power window “auto” follow the subject (this was the most impressive DaVinci feature by far)[/item]
[item]Leveraging the dynamics feature to fade in/out the tracker mid-shot to accomodate significant shifts in lighting[/item]
[item]And finally, darkening the region surrounding the subject with what looked like a standard vignette.[/item]
[/list]

Canon C300 Mark Iii Sample Footage

The whole color grading process took a total of 7-8 hours over the span of 2 days. Having worked with 5D, 7D, Alexa, Red, 16mm, 35mm, and now C300 footage, Rob described the C300 footage as having significantly more latitude compared to the 5D and 7D. For example, keying the C300 held up in cases where 5D and 7D footage would have quickly torn and become pixelated. In general, Rob described his color grading process in 2 parts:

[list type=”circle”]
[item]The first involves watching the video as a whole, seeing what mood and emotions it appears to be going for, and determining the colors that typically evoke those moods.[/item]
[item]The second part involves looking at the original exposure levels, and acknowledging inherent limitations of the footage, and using that to constrain what he ultimately goes for.[/item]
[/list]

Having worked with Rob before on my White Elephants and Skunked short films, I highly recommend you check out his color reel below, and visit him over on Finish Post.

Canon C300 Mark Ii Sample Footage Download

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