The Canon Cinema EOS C300 Mark III is their go-to camera on the commercial production front, thanks to its flexibility to match different briefs.
“It can do anything we need. It’s so versatile and fits into whatever kind of project,” says cinematographer, Ville.
“We were positively surprised about the Auto Focus. The overall quality is amazing. Plus, the super slow motion is a great option.”
Recently, they worked on a night shoot filmed on a frozen lake and at night, the dynamic range of the EOS C300 Mark III came into its own.
“It performed great in the low light. Similarly, the dynamic range really shone in another film we made a couple of hundred metres below ground in a mine,” Aatu explains.
This flexibility is in no small part due to the DGO sensor technology found in the EOS C300 Mark III and the quality of the CN-E Cinema Prime lenses used to accompany them. Working together they create a better, sharper, more cinematic look – enhancing the production value of the aesthetic.
Similarly, the Auto Focus capabilities of the CR-N500 PTZ means camera operators like Ville can control multiple units seamlessly. The Dual Pixel CMOS Auto Focus is the same system found in the high-end cinema cameras such as the EOS C300 Mark III, so the Auto Focus on the PTZ provides cinema quality to a much smaller, cheaper camera.