Bringing the Big Guns, the Canon C300 Mark II

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Our company owns several Canon C300, C100, and the new C300 Mark II. The Mark II shoots beautiful high dynamic range footage in 4K and offers a large amount of image customization built in. We know this, you know this, so what are some features not often talked about?

On a corporate shoot for a local tech giant, I had the opportunity to take advantage of a few sweet little gems that could really help you in a pinch. We were using several Canons and only one was the Mark II. We had a small crew so lighting and audio were put together as quickly as possible to sound and look good. In order to synchronize the cameras, it is easy to use the audio tracks in Adobe Premiere, but that doesn’t leave much backup. Thankfully, the C300 Mark II comes with a genlock OUT and can embed timecode in HDMI out.

If this doesn’t thrill you, then let me elaborate. Timecode will allow you to keep your records synchronized enough such that audio and video will match and you can cut between cameras without any jump in time. Genlock gives you the ability to completely synchronize the field rates of video sources. So you can actually synchronize your camera with a professional switcher, scaler, recorder, and video monitor.

Available on AVSuperfly

Available on AVSuperfly

I noticed that most professional AV gear comes equipped with a genlock in port, even a genlock pass through (like the Barco Image Pro). None of this gear could step up to the plate to actually be a genlock reference. So the Canon C300 MarkII has taken that bold move and offers to be a master clock.

The other Canons we were using had genlock in, which when connected to the Mark II genlock source, reboots the camera into the correct field rate. Then, the timecode is sent through HDMI to the shogun recorders we were using (which also have genlock in). Now, audio as a method of synchronization is just redundant. That relieves that stress!

In post, I discovered that despite my best efforts to match the look of each camera in the field, there was a significant difference between the C100 and C300. Again, the virtues of both cameras saved me as it was easy to make some minor adjustments to the picture levels and make it virtually indistinguishable.

We are certainly proud of our cameras and glad we invested in them. They do a lot towards a high production value shoot. Please contact us if you have any questions regarding these cameras or want to rent them. We can put you in touch with AV Superfly, a streamlined rental company in the San Francisco Bay Area.

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