Canon EOS C300 Mark II vs Sony FX6

is the image worth the price?

The Canon C300 mkII has been a controversial camera due to debates about its image quality and dynamic range. While some tests show it has 12 usable stops of dynamic range, others claim it has 14. However, the camera's pleasing color rendition and the addition of an 'Alexa matching' profile called Production have received positive feedback. The C300 mkII performs well in artificial and mixed light, which is a weakness of Sony's line. The reviewer finds that the images from the C300 mkII look better than those from the Sony FS7, even without significant grading. The difference in color between the two cameras may be worth the higher price for some users. However, others may find that cameras like the F5, FS7, or FS5 are already good enough for their needs. The original C300 is still sufficient for many factual TV shooters, especially since most broadcasters have not yet moved to 4K. Ultimately, the decision on whether the C300 mkII's color matters will depend on individual preferences.

Canon C300 MKII Review: Part 1

The Canon C300 MK II is a camera that offers improved features and functionality compared to its predecessor. It has a similar size and weight, with a redesigned top handle that provides better stability. The camera now uses detachable audio/video cables, which are interchangeable and easier to repair. The power system has been upgraded, requiring new batteries that are more expensive. The camera has assignable buttons and improved focus features, including face detection and tracking. It also offers new options for slow motion and pre-record functions. The camera records to C-Fast 2.0 cards and has improved terminal outputs for monitoring and external recording. It now includes an internal microphone and the ability to record proxy files. Overall, the camera offers a range of new features and improvements for professional videographers.

Canon EOS C300 Review

The Canon EOS C300 is a midrange professional video camera that struggles to find its place in the market. It has a modular design with many buttons and controls, but it is quite bulky and heavy when fully loaded. The camera offers direct control over exposure settings and includes on-screen waveform and zebra highlights for exposure monitoring. It lacks an autoexposure mode, which may disappoint documentary filmmakers. The C300 has a variety of I/O ports and a removable handgrip and handle. The external LCD panel can be folded down but blocks some controls when folded. The camera records video at up to 1080p30 resolution with good color sample rate and bitrate. It uses an 8.3-megapixel Super35 image sensor with high ISO shooting capabilities. The autofocus system is capable but struggles in dim light. Overall, the C300 is a capable camera but its high price makes it a tough sell, especially when compared to the more affordable C100 Mark II or the higher-end C500.

Connecting IT to Broadcast

The Canon EOS C300 Mark II is a revamped version of the original C300 camera. It features a new sensor, high data rate memory cards, high bit depth recording, and a new codec. The camera supports 4K/2K film resolutions as well as UHD/HD, and offers a wide range of recording formats. It has improved ergonomics, including a flexible configuration and improved handle design. The camera has a wide color gamut and supports HDR recording. It also has autofocus with focus assist and can be remote controlled. Overall, the C300 Mark II is a versatile camera suitable for various productions.

Canon C300 Mark II Lab Test – Dynamic Range 2 Stops Less Than Expected

The Canon C300 Mark II camera, priced at $16,000, has been highly anticipated by customers. However, in a lab test, it was found to have a dynamic range of only 12.3 stops, instead of the claimed 15 stops. The camera also exhibited noise in dark areas, even at its base ISO of 800. Comparisons with other cameras showed that the C300 Mark II performed similarly to the Sony FS7, but fell short of the Arri ALEXA in terms of dynamic range and noise performance. The camera's high ISO capabilities were also found to be underwhelming. Overall, while the C300 Mark II had some advantages over the FS7, it did not meet expectations in terms of image quality.

DPReview TV: Sony FX6 Review

The Sony FX6 is reviewed in comparison to the Sony a7S III. The FX6 is described as a cinema camera version of the a7S III. The review discusses how the FX6 compares to the a7S III and which one the reviewer would choose.

Sony FX6 reviewed – the lowlight cinema camera champion

The Sony FX6 is a lightweight and fully featured full-frame cinema camera. It has a larger sensor, new media options, higher frame rates, and XAVC-I 10bit 422 internal capture. The camera is small and light, with an adjustable smart grip and multiple mounting points for the monitor. It has two card slots that accept UHS-II or UHS-I SDXC cards, as well as CFexpress Type A cards for higher frame rates. The camera has flexible audio options with two XLR inputs and the ability to capture up to 4 channels at once. It has a 10.2 megapixel back-illuminated CMOS Exmor R sensor and offers S-Log3, S-Gamut3, S-Gamut3.Cine, and S-Cinetone. The FX6 features an electronic variable ND filter that allows for smooth transitions and a rack focus effect. It has fast hybrid autofocus with face-detect AF and real-time eye AF. The camera has impressive low light performance with an ISO range up to ISO 409,600. It offers multiple battery options and has a dynamic range of 15+ stops. The FX6 has a rolling shutter, but it is minimal and not a problem. It uses the Sony E Mount and has a wide range of lenses available. The FX6 is a solid cinema camera with incredible low light performance and high frame rate capture. The autofocus could be improved, but overall it is a great choice for narrative filmmaking, documentary filmmaking, run and gun videography, corporate and event videography, and marketing video production. The body of the camera is priced at $6,000, with kit options available.

5 Takeaways from Alister Chapman’s ‘Definitive’ Sony FX6 Review

The Sony FX6 is a powerful camera with a 10.2MP full-frame sensor and Bionz XR image processor. It offers 4K recording up to 120p with 10-bit 4:2:2 color depth. The camera has filmmaker-friendly features like built-in ND filters, XLR audio, and a modular design. The autofocus is impressive, with excellent tracking and face detection capabilities. The FX6 offers various recording modes, including 23.98fps and straight 24fps, and supports the widely accepted XAVC-I codec. It features S-Cinetone for a filmic look and has useful zebras for exposure monitoring. The Cine EI mode allows for log shooting and easy color grading. Overall, the FX6 delivers high-quality images and is a great addition to the Sony Cinema Line.

The New Sony FX6 - The Definitive Review by Alister Chapman

The Sony FX6 camera has dual card slots that can accept SD cards or CFExpress Type A cards. CFExpress cards offer faster transfer speeds. The camera can record in UHD and DCI 4K, with various frame rates available. It uses the same codecs as the FX9, allowing for 10-bit 4:2:2 recordings. The default setup includes the S-Cinetone gamma curve for a film-like look. Exposure aids include zebras and a signal monitor with waveform, vectorscope, and histogram displays.

Sony FX6 Review First Look – An Almost Perfect Camera

The Sony FX6 is a compact and lightweight camera that offers excellent recording quality and low-light performance. It has a versatile form factor and features like electronic variable ND filter and touch screen. The camera shares similarities with the a7S III and FX9, but offers unique capabilities such as RAW output without the need for additional accessories. It has impressive frame rates and autofocus functionality, making it a great choice for indie filmmakers. The FX6 is expected to be the successor to the FS7 and will be available in December for $5,998 or €5,500.

An Honest Review Of The Sony FX6 — Farmore

The Sony FX6 camera has a strong and durable top handle with great audio features. It is reliable and durable in various climates. The camera offers a variety of codecs and resolutions, with the XAV-L codec being recommended for long interviews or multicam shoots. The dual native ISOs of 800 and 12,800 provide excellent low light capabilities. The only downsides are the handle's locking mechanism, limited options in Super 35 mode, and the current difficulty in purchasing the camera due to supply chain issues. Overall, the camera is highly recommended with minimal issues.