Canon EOS C300 Mark II and XC10: new 4K cameras debut

Canon unveils the Cinema EOS C300 Mark II with 4K capability, as well as the XC10 4K video/stills camera and a 4K reference monitor


After months of rumours, which have grown far stronger with the approach of the NAB show, Canon has announced a 4K Cinema EOS camera, the EOS C300 Mark II.

It joins the the DP-V2410, a 24-inch 4K reference display, and another new 4K model, the XC10, a compact video and digital stills camera for aspiring filmmakers.

The EOS C300 Mark II is, available from September 2015 with an RSP of £11,299 excluding VAT.

Canon said it would enable filmmakers and broadcasters to record 4K video with 15-stops of dynamic range at high bitrates to internal CFast 2.0 cards.

Created for aspiring filmmakers, or ideal for use as a B camera in professional productions, the XC10 is a compact digital camcorder which Canon said offers the versatility to capture both high bit rate 4K video and 12MP stills, in one single device.

It will be available from June 2015 with an RSP of £1599.99.

The new DP-V2410 has been engineered for use on-set or on-location in both broadcast and cinema productions, to provide accurate and reliable output of 4K content. 

Thanks to a new HDR Mode, the display makes it easy to see both extreme highlights and shadow detail simultaneously, providing a more natural and realistic image.   

The DP-V2410 is expected to be available in Europe in Q4 2015.

Read on for more details about the cameras and displays.

Cinema EOS C300 Mark II.

The EOS C300 Mark II features an advanced imaging engine with dual DIGIC DV5 processors, new professional codecs and high dynamic range, which Canon claimed made it the most capable, flexible and accessible Cinema EOS video camera to date.

With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, with reduced colour bleed. The camera offers recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.

The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0 media, while simultaneously recording 4K RAW files to an external recorder. Additionally it has the ability to record 2K/Full HD Proxy files to an internal SD card at the same time.

The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, claimed the company, allowing operators to capture low-noise footage across a variety of challenging environments


The camcorder offers both full manual control, ideal for cinematic environments, as well as automatic modes. These include enhanced Dual Pixel CMOS AF (now covering approx. 80 percent of the frame vertically and 80 percent horizontally), auto white balance and Face Detection AF.

Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard NLE systems, streamlines integration of both 4K and 2K/Full HD footage into workflows. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codecs. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD.

The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16 or 24 bit and 48 kHz.

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Internally, the EOS C300 Mark II includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations.

The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.

The modular C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option.


XC10

Inheriting many of the Cinema EOS range’s features, Canon claimed the XC10 offers incredible recording versatility and is the ideal solution as a small, stand-alone camera for independent film makers or the perfect accompaniment as a supporting B camera in larger productions.

It features an advanced imaging engine, combining a specially developed 1-inch CMOS sensor and Canon’s new DIGIC DV5 image processor to capture 4K video at a wide range of variable bit rates.

The XC10 can record UHDTV standard (3840 x 2160) 4K footage to an internal CFast 2.0 card at up to 305Mbps, or Full HD (1920 x 1080) footage to an SD card at up to 50Mbps, with pro-standard 4:2:2 colour sampling for high resolution performance.


The XC10 offers a high ISO of up to 20,000, ensuring excellent results in low light conditions said the company, and a 12-stop Wide Dynamic Range, providing vivid detail in both highlights and shadows.

It features a specially developed 10x optical zoom lens, complete with Canon’s image stabilisation technology, and a versatile 27.3-273mm focal range (35mm equivalent, in video mode). Users can change between movie recording and still image shooting, capturing high quality 12.0 MP images, or extracting 8.29 MP stills from 4K video footage.

The body sports a rotating grip that supports a variety of shooting styles and feature controls, including a manual zoom and focusing ring.



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The camcorder features a 7.66cm vari-angle touch LCD, with 100% field coverage, providing direct access to the menu system through a simple set of cross keys, while an included optical loupe viewfinder, that fits the LCD, offers a more traditional shooting experience.

Canon’s new XF-AVC H.264 codec supports recording in both 4K and Full HD quality, enabling easy integration into industry- standard NLE systems. Canon Log Gamma also enables quality matching with content shot on Cinema EOS cameras. Additionally, videographers can freely shoot in 4K, and later down convert to Full HD, to enable greater flexibility in the editing process.

A selection of slow and fast motion recording modes – including up to 1200x fast motion in 4K/Full HD, and up to1/4x slow motion in HD – as well as interval shooting provide further creative opportunities.

The XC10 is also Wi-Fi compatible; enabling remote control of key features via a browser, smartphone or tablet.


DP-V2410

The new DP-V2410 has been engineered for use on-set or on-location in both broadcast and cinema productions, to provide accurate and reliable output of 4K content, facilitating live shooting for quality control, focusing and exposure confirmation, as well as on-set colour management and grading.

Sitting alongside the existing DP-V3010 in Canon’s 4K reference display range, the DP-V2410 delivers 4K (4096 x 2160) resolution with astounding accuracy in colour reproduction, claimed the company.

Thanks to a new High Dynamic Range Mode, the display makes it easy to see both extreme highlights and shadow detail simultaneously, providing a more natural and realistic image.


The DP-V2410 has also been optimised to support the DCI-P3 cinema standard, the ITU-R BT.2020 broadcast standard and ACES Proxy (ACES Ver. 1.0).

A new IPS panel with RGB LED backlight system enables a 2000:1contrast ratio, whilst Canon’s automatic colour and brightness correction system ensures consistent image quality, colour and luminance, over time.

Equipped with both 3G/HD-SDI and HDMI interfaces, plus a built-in debayer, the DP-V2410 is able to show native 4K RAW footage direct from compatible Cinema EOS cameras, which Canon said would save costs on an external debayer unit. In addition, an image quality link-up function automatically synchronises the colour settings from compatible Canon cameras, preventing settings errors.

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A range of on-set functions enable quick and easy content review, including a 4K capable Wave Form Monitor and Vectorscope which confirm signal data. Additionally the display features multiple 1D/3D-LUTs for convenient monitoring and an audio level meter for accurate sound recording.

Incorporating a sturdy handle and weighing just 12kg, Canon said the monitor would be easy to transport around sets, and is equipped with a 24 volt DC power unit to work throughout the day.

The DP-V2410 is expected to be available in Europe in Q4 2015. No pricing has been announced yet.