EOS C70 and EOS C300 Mark III: Canon's 4K DGO cameras compared

Despite their strikingly different designs, the Canon EOS C70 and Canon EOS C300 Mark III share many similar features and specifications. Both cameras use an identical Canon-developed 4K Super 35mm DGO sensor, and both are compact enough to be used by single-camera operators. But there are some distinct differences between them.

The EOS C70 is Canon's first RF mount Cinema EOS camera, with DSLR-like handling, advanced image stabilisation and dual SD cards, which unlock multiple recording options. The EOS C300 Mark III is heavier, and its more modular design allows it to be rigged to suit varied production requirements. Unlike the EOS C70, it uses the established EF or PL lens mount, and it has the capability to record in Cinema RAW Light for maximum post-shoot flexibility.

So which camera is right for you? Here, we explore the features of both cameras, with expert insight from Paul Atkinson, Pro Video Product Specialist at Canon Europe.

At the heart of both cameras is a 4K Super 35mm DGO sensor, developed by Canon. The innovative Dual Gain Output (DGO) technology reads out the image with two different amplification levels – one optimised for shadow detail, the other optimised for detail in bright areas – to deliver a higher dynamic range of more than 16 stops.

Sharing identical imaging technology means that these cameras complement each other beautifully. "There may be some barely measurable differences in image quality, just because the RF lenses used by the Canon EOS C70 are a bit more modern in their design," says Paul. "It's only when you come to Cinema RAW Light that you'll notice a difference, as obviously the EOS C70 doesn't record RAW. But even then, you can still successfully use the EOS C70 as a B-camera in a production with the EOS C300 Mark III as an A-camera, because when everything gets graded down it's likely to be going to the same output."

Both of these Super 35mm Cinema EOS cameras are comparatively compact, but the EOS C70 takes portability to another level. "The whole concept is to bridge that gap between the capabilities of a Cinema EOS camera and the mobility and ease of handling of our mirrorless and DSLR cameras," says Paul. "That has resulted in the smallest and lightest cinema camera in the range to date. The EOS C300 Mark III is about half a kilo heavier.

"The EOS C70 is very much designed for somebody to operate on their own, and I can see it being used on a lot of documentary shoots. On 'run-and-gun' shoots in certain environments, you might want to use something that doesn't actually look that much like a video camera. A larger, more obvious video camera can start to attract the attention of people – and they may not necessarily be people whose attention you want to attract."

The EOS C300 Mark III's modular design, however, provides the flexibility to tailor it to a whole range of shooting scenarios. "It's designed to be used in its basic form, without any expansion units, by single operators or small crews," says Paul. "But when you come to more demanding projects, the ability to use expansion units means you can rig it up to suit your needs."

Both cameras use Canon's fast and accurate Dual Pixel CMOS AF. "Each camera has the capability to emulate the way a manual focus puller works," explains Paul. "So it starts off quickly and slows down just before focus is achieved, to give you a more natural-looking focus pull."

The main difference here is the addition of the EOS iTR AFX system on the EOS C70. This intelligent tracking technology can keep people in focus, even when they've turned away from the camera. "It's incredibly useful for the single operator or self-shooter," says Paul. "Normally, when a camera loses the face that it's following, it will either just look for something else to focus on or not do anything until it picks up a face again. With its deep learning technology, iTR AFX will realise it's not just a face but a head, so when the person turns and walks away it will continue to track them."

There are diffferences in how these cameras are set up for internal recording. The Canon EOS C70 has two slots for easily available SD cards, while the EOS C300 Mark III has two CFExpress cards to support RAW recording, plus an SD card slot for XF-AVC Proxy recording, firmware updates and transferring camera settings to another body.

The EOS C70 offers extensive recording combinations, explains Paul. "You can do the traditional relay recording, where card B starts recording automatically once card A is filled up, and you can do dual recording for an in-camera backup. But you can also have different codecs and different data rates recorded simultaneously.

"You're also able to do that on the EOS C300 Mark III, where you can record Cinema RAW Light to the CFExpress cards, and then proxy files to the SD card. What's new on the EOS C70 is the extensive range of additional recording options." These include the ability to record UHD on card A and Full HD onto card B, XF-AVC on card A and MP4 on card B, or even HEVC 4:2:2 10-bit on card A and 4:2:0 10-bit on card B.

While the two cameras have been designed to meet the needs of different users, as Paul indicates, they both offer image quality that matches the other beautifully. "Using the Canon EOS C70 as a B camera or a second unit camera to the EOS C300 Mark III, the footage should weld together very easily and effectively," he says.

The EOS C70 is the first Cinema EOS camera to use Canon's pioneering RF lens mount, but it's also compatible with EF lenses via Canon's EF to RF mount adapters. In this way the EOS C70 can work effortlessly with lenses in your current kitbag. "You can use any of the EF to EOS R Mount Adapters," says Paul. "But the new Mount Adapter EF-EOS R 0.71x will maintain the field of view of a full-frame EF lens on the Super 35mm sensor, as well as giving you an effective one stop increase in light transmission."

The Canon EOS C70 also provides a seamless upgrade from a Canon EOS R System camera to the Cinema EOS range. "If people happen to have a Canon EOS R5 or an EOS R6, it means they have a full-frame mirrorless camera and a Cinema EOS camera that can be set up very similarly to complement each other. This way, you could use the Canon EOS C70 as your main camera and the Canon EOS R5 or EOS R6 as your backup."