If you've built up a collection of Canon's ElectroFocus (EF) lenses for your DSLR, you'll be pleased to hear the C300 uses the same EF mount. Like a DSLR it can also capture metadata, so you'll have a record of he lens used, aperture and shutter speed. A PL-mount version is available for use with more traditional movie camera lenses. While both say 'EOS' on them, they won't even shoot stills - these are digital cinema cameras through and through.

Much like RED's modular cameras, which Peter Jackson is currently using to shoot The Hobbit, the C300 is designed as a starting point. It's up to you which lens you use and whether you want to add a handle, grip or video monitor. There are even four start/stop buttons so there's always one handy for whichever way you hold it.


Inside the C300 is an 8.29MP CMOS sensor that's equivalent to shooting on Super 35 (the film format first used by James Cameron in The Abyss). It captures full HD video - not the 4K of competitors, despite that being the resolution of its sensor - at 24 frames per second in the Hollywood-approved MPEG-2 and MXF formats. TO underline its pro credentials, it doesn't support autofocus or auto exposure. This ain't no Flip Video - it'll require real skill to operate.

By itself, the body of the C300 looks a bit like a chubby version of Canon's own 5D Mk II. That might sound bulky but compared to most movie cameras it's positively miniature. Add a similarly low-profile lens and you've got a seriously maneuverable bit of kit.

The C300 is designed for professional, but that doesn't mean it's without its techy trinkets. Add a WFT-E6B wireless transmitter and the C300 can be controlled remotely through the web browser of a smartphone or tablet.