Canon EOS C300 Mark II PL 手册
Image Performance Enhancements in the C300 Mark II
Abstract
The original EOS C300 digital cine camcorder employed an innovative new 4K UHD Super
35mm CMOS image sensor developed by Canon [1]. The readout system dissected that 4K
sampling into four parallel HD components. The summation of the two green components
reduced aliasing that, in turn, supported a higher Luma MTF [2]. The new C300 Mark II
preserves these basic strategies but within a totally new 4K CMOS image sensor design. The
new camera is intended to significantly extend the overall image performance of HD beyond that
of the C300 while further supporting the alternative 2K cinema format. A 15-stop dynamic range
is provided by a new photodiode design that simultaneously lowers the noise floor while
elevating the saturation level – offering excellent HDR functionality. The separate video
components are processed in a quite different manner than those of the original C300 – utilizing
a novel sample rate conversion system to further reduce aliasing and provide a more benign
appearance to noise within the formulated 2K / HD RGB 444 components. Picture capture rates
have been extended to a maximum of 120 fps progressive. The camera can manage a far
greater range of scene Illuminance levels by deployment of a choice of 5 separate ND settings
and a greater range of ISO sensitivity settings. Finally, unlike the C300, the new C300 Mark II
also originates a choice of high performance UHD or 4K cine video – constrained, however, to a
maximum picture capture rate of 30 fps progressive. This white paper will outline the advances
made in image origination and processing in the C300 Mark II and their contribution to the
enhancement of overall image performance. A separate white paper discusses in detail the
more powerful on-board recording options in the new C300 Mark II [3].
35mm CMOS image sensor developed by Canon [1]. The readout system dissected that 4K
sampling into four parallel HD components. The summation of the two green components
reduced aliasing that, in turn, supported a higher Luma MTF [2]. The new C300 Mark II
preserves these basic strategies but within a totally new 4K CMOS image sensor design. The
new camera is intended to significantly extend the overall image performance of HD beyond that
of the C300 while further supporting the alternative 2K cinema format. A 15-stop dynamic range
is provided by a new photodiode design that simultaneously lowers the noise floor while
elevating the saturation level – offering excellent HDR functionality. The separate video
components are processed in a quite different manner than those of the original C300 – utilizing
a novel sample rate conversion system to further reduce aliasing and provide a more benign
appearance to noise within the formulated 2K / HD RGB 444 components. Picture capture rates
have been extended to a maximum of 120 fps progressive. The camera can manage a far
greater range of scene Illuminance levels by deployment of a choice of 5 separate ND settings
and a greater range of ISO sensitivity settings. Finally, unlike the C300, the new C300 Mark II
also originates a choice of high performance UHD or 4K cine video – constrained, however, to a
maximum picture capture rate of 30 fps progressive. This white paper will outline the advances
made in image origination and processing in the C300 Mark II and their contribution to the
enhancement of overall image performance. A separate white paper discusses in detail the
more powerful on-board recording options in the new C300 Mark II [3].
1.0 Introduction
The C300 gained a reputation for high performance imagery – a testament to the excellent
performance of the 4K image sensor developed by Canon. That camera was, however, largely
television-centric in that it exclusively originated 1080-line HD from that single 4K image sensor
and recorded this on-board as 8-bit YCrCb 4:2:2 via an MPEG-2 50 Mbps codec at frame rates
up to 30fps.
performance of the 4K image sensor developed by Canon. That camera was, however, largely
television-centric in that it exclusively originated 1080-line HD from that single 4K image sensor
and recorded this on-board as 8-bit YCrCb 4:2:2 via an MPEG-2 50 Mbps codec at frame rates
up to 30fps.
It is clear that both digital cinematic technology and creative aspirations have been moving into
higher realms. The need to advance beyond the constraints of 8-bit depth and harness the far
greater flexibilities of 10 and 12-bit in support of creative postproduction processes cannot be
ignored. A choice between RGB 4:4:4 or YCrCb 4:2:2 video components is deemed highly
desirable to cover a wider range of origination possibilities. Higher frame rates are also sought.
higher realms. The need to advance beyond the constraints of 8-bit depth and harness the far
greater flexibilities of 10 and 12-bit in support of creative postproduction processes cannot be
ignored. A choice between RGB 4:4:4 or YCrCb 4:2:2 video components is deemed highly
desirable to cover a wider range of origination possibilities. Higher frame rates are also sought.
A totally new 4K image sensor has been developed that can be switched between 4K (with a
17:9 aspect ratio) or 4K UHD (with a 16:9 aspect ratio) to support origination for digital cinema
or for broadcast television. The camera outputs can be selected from a choice of four digital
sampling structures – two for cinema 4K or 2K [4] and two for television UHD [5] or HD [6] – all
having been standardized by SMPTE. The central design goal was to offer a substantial
extension of the 2K / HD options beyond the HD-only capability of the C300 while also adding a
modest 4K / UHD capability (that was totally absent from the C300). The C300 Mark II offers a
choice between HD or 2K – as RGB 4:4:4 components at either 10 or 12-bit at frame rates up to
30fps, or alternatively, YCrCb 4:2:2 at 10-bit with frame rates up to 120fps progressive. It further
can be switched to deliver 4K / UHD 10-bit YCrCb 4:2:2 at frame rates up to 30 fps progressive.
17:9 aspect ratio) or 4K UHD (with a 16:9 aspect ratio) to support origination for digital cinema
or for broadcast television. The camera outputs can be selected from a choice of four digital
sampling structures – two for cinema 4K or 2K [4] and two for television UHD [5] or HD [6] – all
having been standardized by SMPTE. The central design goal was to offer a substantial
extension of the 2K / HD options beyond the HD-only capability of the C300 while also adding a
modest 4K / UHD capability (that was totally absent from the C300). The C300 Mark II offers a
choice between HD or 2K – as RGB 4:4:4 components at either 10 or 12-bit at frame rates up to
30fps, or alternatively, YCrCb 4:2:2 at 10-bit with frame rates up to 120fps progressive. It further
can be switched to deliver 4K / UHD 10-bit YCrCb 4:2:2 at frame rates up to 30 fps progressive.
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