Sony FX9 vs Canon C300 Mark III: Which is the Better Camera for Filmmaking?
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Sony FX9 vs Canon C300 Mark III: Which is the Better Camera for Filmmaking?

Both the Canon C300 Mark III and Sony FX9 are capable cameras, but which is better for solo shooters and for cinema use?

Both the Sony FX9 and Canon C300 Mark III are proven swiss army knives in the world of solo shooter filmmaking. The original Canon C300 was a spectacular success for Canon, and the FS7 was a spectacular success for Sony.

However, updates (the Mark IIs) for both had lackluster responses. They offered little in terms of additional features, and many had no incentive to upgrade.

Who will win this round?

In this article we’ll look at all the important specifications relevant to video and see which camera is the better investment for the next 2-3 years for the owner operator.

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The basics

CameraPrice of CameraLens Mount
Sony FX9$10,998E
Canon C300 Mark III$10,999EF

The Canon C300 Mark III is a buck more. The standard EF mount is non-locking. You need to pay $2,199 extra for the CM-V1 locking EF mount (called EF-C) from Canon.

Should you opt for a locking mount?

It depends on the lenses you are going to use it with. If you’re using cine lenses or heavier zoom lenses then definitely yes. If you’re just using Canon still lenses then probably not. Canon sells the following two adapters, both with shim kits:

  1. EF locking (CM-V1)
  2. EF to PL mount (PM-V1)
  3. B4 mount adapter

Since we are comparing both cameras for the solo shooter or owner operator, I’ll assume you are okay with the standard EF mount for this comparison.

For further reading:

The Sony FX9 has a locking E mount. This is more rugged than the standard E mount on Sony alpha mirrorless cameras. Again, this is only relevant if you’re purchasing heavier lenses like the Sony 28-135mm f/4 G lens.

For further reading

On the whole, I’ll give this one to the FX9 for the better lens mount.

What about the rest? Let’s find out!

Usability and Workflow

Cameras in this price bracket come with a certain level of image quality. And both Canon and Sony have decades of experience and trust in the broadcast space.

For a lot of professionals, in this price point, usability is as critical as image quality. If money were no object, for the best image quality, one can always opt for the Arri Amira or Red Monstro. These are the cameras used in high end television and documentaries.

Those who are purchasing the Sony FX9 and Canon C300 Mark III are mainly into documentaries, corporate videos, commercials, high-end weddings and maybe the occasional short or feature work.

In short, these are money-making tools.

If you can’t use the cameras quickly and efficiently to maximize image quality when you (and your clients) need it, they will cost you more money than any savings you might have made during purchase.

Buttons and dials

The general position of important buttons and dials is usually similar for all cameras. Most of the controls reside on the left, the operator’s side, for quick access.

Even though it seems Sony has more buttons the reality is Canon’s are completely customizable; and, they are easier to see and press in the field under tough run-and-gun situations.

What I’ve seen in practice is, this is more of a muscle-memory thing. You can make both cameras work, and it’s ultimately down to personal preference. You can always get used to either camera, and you will find good and bad things on both, so there are no deal breakers here.

Personally, in case you are interested, I prefer Canon’s layout. The buttons can also be illuminated in the dark.

It is important to draw attention to Canon’s non-operator side. There are dials there to be used by the non-operator. Also, there is the question of the placement of audio controls.

Audio

In the Canon C300 Mark III the audio functions are on the right:

This is an important distinction, because it makes clear that if the camera is on your shoulder, or if you are forced to pick a side due to space constraints (about half the time), then you won’t be able to ride the audio gain or headphone levels during a shot without using the customizable buttons.

The Canon 300 Mark II or the original C500 both had audio modules separate. The C200 has them at the back but to the left, so you could still access it if you were standing on the operator’s side.

Important!

It is pretty clear that the design goals of the Canon C300 Mark III lean more towards a two-person operation while the Sony FX9 leans firmly towards a one-person operation. Both can be used by a single shooter, but the FX9 is more friendly for all kinds of video work when you are a one-person operation.

As far as audio specs are concerned, here are the features:

CameraSpecsInputs*Headphone
Sony FX94-Channel 24-Bit 48 kHz LPCM3-Pin XLR x 23.5mm
Canon C300 Mark III4-Channel 24-Bit 48 kHz LPCM3-Pin XLR x 2, 3.5mm x 13.5mm

*XLR inputs are phantom powered, both mic and line level.

The FX9 can control all four channels quickly and independently. It also has a hot shoe mount on top for additional audio modules if necessary:

  1. Sony XLR-K1M
  2. Sony XLR-K2M
  3. Sony XLR-K3M

These give you an additional two channels of XLR audio and the kit comes with a shotgun microphone as well. The ability to record multiple channels and control them individually is important, especially for run-and-gun interview situations. You could wire up a couple of interviewees, the interviewer and a backup and you’ll already be down four ports.

Of course, the same functionality can be added to the C300 Mark III as well, but at an added expense with the Canon EU-V2 Expansion Unit:

This gives you two audio controls on the operator’s side as well as two additional channels to record audio.

Timecode and Genlock

CameraTimecodeGenlockHeadphone
Sony FX9BNC, Input and OutputBNC, Input3.5mm
Canon C300 Mark IIIBNC, Input and OutputAdditional purchase3.5mm

To really equate both cameras, you need to add the additional Canon EU-V1 or Canon EU-V2 Expansion Unit which gives you:

  • Genlock
  • Additional XLR inputs (only V2)
  • Remote control
  • Ethernet control
  • V-mount plate with P-tap output (only V2)
  • DC output to other devices (only V2)
  • Lens control for certain supported lenses (only V2)

It is clear if you need the Canon C300 Mark III for any sort of regular broadcast work you will have to purchase the EU-V2 expansion unit. Also, if you have multiple accessories it’s a good way to power them as well. For this comparison though, it’s not really an easy decision. If your work is broadcast oriented, with multiple accessories, and you find yourself part of a multi-camera shoot most often, and genlock is important, the choice is a no brainer.

To be fair to the Sony FX9, it already has genlock built in. To make it a fair fight I’ll need to add the price of the Canon EU-V1 to this comparison. But, then, the Sony won’t have ethernet. So either we add modules to both cameras, or to neither.

With the Sony, you get the XDCA-FX9 Extension Unit:

This puts both cameras on an even keel. To summarize:

CameraModulePrice
Sony FX9XDCA-FX9$2,498
Canon C300 Mark IIIEU-V2$1,599

Wireless

This is where Sony has the upper hand. You need to add a separate wireless transmitter with the C300 Mark III.

With the Sony FX9, you have wireless built in, and then some with the XDCA expansion module. What you get:

  • 802.11 a/b/g/n/ac
  • 2.4 GHz and 5 GHz (the latter only in supported countries)
  • NFC
  • Cellular connection with the XDCA-FX9
  • Live streaming with the XDCA-FX9
  • Control the camera through the Sony app for tablets/smartphones

Built-in ND Filter

Both cameras have built-in ND filters, but they operate very differently.

CameraModuleType
Sony FX92 to 7 stops and Auto^Electronic Optical
Canon C300 Mark III2, 4, 6, 8, 10 stops*Manual filters

^You can move in increments between 2 to 7 or dial in any ND range from 1/4 (2 stops) to 1/128 (7 stops). To know how ND numbers relate to stops, read the complete guide to in-camera filters. If you select Auto the camera automatically controls exposure through the right ND setting. Sony’s videos have been impressive, but I feel the technology is only if you’re desperate. It’s not as seamless or elegant as riding the iris, for example.

*8 and 10 through using two NDs at the same time (6+2) and (6+4). Canon calls this extended mode.

To be honest, both settings get the job done. I prefer the Canon system, as each glass is separate. Even if you damage one, the others will still work. Sony has just one glass, and it is controlled by one mechanism. With modern cameras and their great ISO range you can really manage with discrete levels of ND.

Top handle

Both the Sony FX9 and Canon C300 Mark III ship with a top handle. Whether or not you’ll be using a cage or third-party top handle is a different question.

Viewfinder and LCD

Both the Sony FX9 and Canon C300 Mark III ship with an LCD.

This difference also tells an important story. The FX9 has a smaller 3.5″ (2.76 million dot) LCD with a loupe positioned for shoulder mounted filming. Sony believes will mostly be using the camera handheld. Hence the single grip and viewfinder.

The C300 Mark III has a lower resolution 4.3″ (1.23 million dot) touchscreen LCD. The lower resolution doesn’t really matter if it’s used like an LCD. At the time of this writing Canon hasn’t published the nits rating.

The C300 Mark III is for multiple kinds of filmmaking and videography, and you have to pick and choose what kind of viewfinder you need. You have three choices:

  1. Canon EVF-V50 OLED (1.77 million dots) – tiltable.
  2. Canon EVF-V70 OLED (2 million dots) – four buttons, false color and zebra, right position for shoulder mount, joystick and self-illuminating.
  3. Third-party viewfinders like a Zacuto Gratical (1.3 million dots) with an EVF mount.

I really don’t see the point of the V50. It’s ergonomically very limited, but it’s also cheap. I think most people would prefer the third-party viewfinder.

Autofocus

The Canon C300 Mark III has Dual Pixel AF with support for Touch AF and Face Detection AF. Canon is the class leader here, and with Canon’s range of cinema lenses there’s nothing left to say.

What is dual pixel AF? According to Canon:

For DAF, each pixel in the camera’s CMOS sensor is configured with two photodiodes. Two independent image signals can then be detected at each photosite and compared using phase-difference to provide autofocus with compatible lenses. DAF can survey the scene and recognizes not only whether the subject is in focus or not, but in which direction (near or far), and by how much.

Canon USA

Now, about Sony. The the only camera manufacturer that has AF competing anywhere near the level of Canon is Sony. But so far…only in the mirrorless camera space. The Sony FX9 is the first major video camera from Sony that brings that level of AF to video:

Developed by Sony’s camera engineers, enhanced Fast Hybrid AF combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. In addition, Face Detection intelligently recognises and locks on to human faces.

Sony Pro

It goes without saying AF for video works best and most reliably only with native lenses. That means Canon EF for the C300 Mark III and Sony E for the FX9.

Image Stabilization

According to Canon:

The EOS C300 Mark III includes the same built-in five-axis electronic IS introduced with the EOS C500 Mark II that works with almost any lens, including anamorphic.

Canon USA

From Sony:

…meta data generated by FX9’s built-in gyro allows you to creatively choose the balance between the level of shake-compensation and the resolution of trimmed 4K imagery. This feature is also compatible with any E-mount lens and allows for far faster processing than conventional NLE stabilisation (sic) workflows…

…handheld footage can be transformed with Sony Catalyst Browse/Catalyst Prepare software* in post-production to look as smooth as if it were shot with a gimbal.

* Catalyst Browse/Catalyst Prepare Ver.2019.2 is required.

Sony Pro

The Sony workaround is not really practical. I’m not sure who would take the time out to work with Catalyst Prepare just to stabilize shots. With Canon EF lenses, though, you can combine electronic IS (note, it’s not mechanical IBIS like Sony alpha mirrorless cameras) with IS on the lenses, so I’d be more inclined to give this one to Canon.

Let’s stop here.

There are other ergonomic considerations as well, though I feel they are more of a personal preference. E.g., some people like the top handle of the C300 Mark III, others hate it. Some like the rosette and single shoulder mount system and others don’t care much for it. It all depends on your shooting style and needs.

What you need to understand is both form factors have been around for a long time, and both work. The only way you can know is if you use it yourself for a while.

Comparison of video features

Now let’s get into the camera video specifications:

Sensor

CameraSizeISO RangeNative ISO
Sony FX935.7 x 18.8mm-3 to 18 dB*800/4000* in S-Log3
Canon C300 Mark III26.2 x 13.8 mm160-25600800 in C-Log2^

*Dual Native ISO. 18 dB is about 51,200 ISO.

^C-Log 2 has the highest dynamic range, at a whopping 16+ stops with dual-gain output. With C-Log 3 you get 14 stops.

Sony claims 15 stops of dynamic range, and if past performance is any indicator I believe the images will get close! But seriously, that dual gain performance definitely gives the C300 Mark III the edge.

Here are the official videos from the respective companies.

In RAW

CameraMax. ResolutionBit Depth
Sony FX94096 x 2160*16-bit^
Canon C300 Mark III4096 X 216010/12-bit^

*Currently it can only go to 3840 × 2160. DCI 4K is a future firmware update coming October 2020.

^Sony RAW is via a future firmware update an only possible through the XDCA-FX9 extension unit. Canon RAW is actually Canon RAW Lite, written internally, at about 1/3 to 1/5th data rates. The maximum data rate is 1 Gbps (125 MB/s).

I definitely pick the Canon C300 Mark III here. For these solid reasons:

  1. You can record RAW internally.
  2. Data rates are manageable.
  3. Canon RAW is read by every important NLE directly.
  4. 4K at 120 fps!!

In 10-bit 4:2:2 internally

CameraMax. ResolutionData RateFormat
Sony FX94096 x 2160*240-600 Mbps^XAVC-I/L
Canon C300 Mark III4096 x 2160160-810 MbpsXF-AVC

*Currently it can only go to 3840 × 2160. DCI 4K is a future firmware update.

^Depending on the frame rate. In Intraframe mode. Interframe bit rates are too low. Note: Sony writes the data rates as MBps which is incorrect. It should be Mbps. MBps or MB/s is 8 times Mbps!

For the average shooter, the data rates on the Sony FX9 are more manageable. We’ll take a closer look at media card rates below. I also don’t understand why 4K DCI is a special firmware update. I mean, after all these years, why is it still even a thing?

For me the Canon C300 Mark III strikes a great balance here. The data rates are on par with Prores HQ, and the codec edits great, similar to XAVC-I.

Both cameras can record HD proxies simultaneously.

What about frame rates?

CameraMax fps at 4KMax fps at 1080p
Sony FX960 fps*180 fps*
Canon C300 Mark III120 fps180 fps^

*60 fps is with a crop, in Super 35mm mode. 180 fps is currently not available, it’s a future firmware update.

^180 fps is in 2K/Super 16mm mode.

The Canon C300 Mark III can record 120 fps in 4K, enough said.

Tip

You can’t wait around hoping for the firmware to drop, or you might as well just wait for all of the firmware to be updated prior to buying the FX9. By then the price will have dropped a bit too!

Super 35mm and anamorphic modes

The FX9 is a full frame camera, and it has a Super35 mm mode. The C300 Mark III is a Super35mm camera. Both have anamorphic modes that allow for desqueezing in camera (for only standard formats).

The FX9 can do DCI 4K at up to 60 fps in Super 35mm mode, but in a future firmware update.

The Canon C300 Mark III cannot do true anamorphic due to the smaller sensor height. If you really wanted that option you are better off with the C500 Mark II.

For true anamorphic, the sensor needs to span at least 21.95mm x 18.6mm. The FX9 delivers that, the C300 Mark III doesn’t.

Inputs and Outputs for Video

Both cameras have important SDI ports and the obligatory HDMI port:

Camera12G-SDI3G-SDIHDMI
Sony FX911Type A
Canon C300 Mark III11Type A

Atomos have announced 16-bit Prores RAW from the FX9, but only with the extension unit. You need the newer and more expensive Neon range. To be honest I don’t know how practical this is.

Media Cards

Media card costs are an important percentage of ownership:

CameraDual card slots#Price per GB^
Sony FX9Yes, XQD + SD$1.8/GB
Canon C300 Mark IIIYes, Dual CFexpress + SD$1.56

^Sony XQD G cards 240 GB. Sandisk CFexpress 256 GB. CFexpress is a newer version of XQD, and the form factors are interchangeable. But XQD does limit the maximum data rate in camera so you’ll never get internal RAW with XQD.

#The SD card is useful to record proxies for faster editing. The proxies are 8-bit 4:2:0.

If you compare apples to apples (4K to 4K), the data rates of the Sony FX9 and Canon C300 Mark III are about equal. However, the C300 Mark III also records RAW at a data rate of approximately 125 MB/s in 12-bit Canon RAW Lite. From Canon:

Dual card slots enable simultaneous internal recording of 4K Cinema RAW Light files (10/12-bit) or 4K XF-AVC files (4:2:2 10-bit) onto CFexpress cards…A Proxy can also be recorded onto an SD card, making editing work more efficient.

Canon Europe

That is a tremendous advantage for the C300 Mark III.

Battery life and Power

Here are the official numbers:

CameraPower DrawBattery life*Battery Voltage
Sony FX935.2 W127 minutes14.4V
Canon C300 Mark III31 W130 minutes14.4V

*See below for which battery.

CameraBatteryCost*Cost of 4 hours of operation
Sony FX9BP-U90 85Wh$399$754
Canon C300 Mark IIIBP-A60 90Wh$429$792

*As of this writing. Original batteries only, from B&H. You can always buy cheaper batteries, but the same applies to both cameras.

It is to be noted that the C300 Mark III ships with the larger A60 battery while the FX9 ships with a smaller (and newer) U35 battery. That’s a difference of $200 or so.

Which is the better camera for video?

Here’s a summary of each round, and the “winner”:

FeatureWinner – Solo ShooterWinner – Cinema
ErgonomicsSony FX9Tie
Native lensesCanon C300 Mark IIITie
Third-party lensesSony FX9Tie
Video featuresTieSony FX9
Image qualityNeed to testNeed to test
AF for videoCanon C300 Mark IIICanon C300 Mark III
Image stabilizationCanon C300 Mark IIITie
Media cardsTieTie
Battery lifeTieTie

Are you a solo shooter on a tight budget?

If yes, then the Canon C300 Mark III is the right investment for you. What you get:

  1. 4K at 120 fps, internally, right now
  2. World-class AF
  3. Extended ND
  4. Bigger LCD
  5. Better stabilization
  6. You’ll find Canon lenses everywhere
  7. Extra 3.5mm audio jack for emergencies
  8. RAW internally at low data rates
  9. RAW format supported by every important NLE
  10. Dual CFexpress slots, and SD card slot

These features put more food on the table because they allow you to shoot more kinds of projects as a solo shooter, and also allows you to join other productions as a second, third, or thirtieth shooter. When you are paid to Genlock, you can justify the price of an additional unit.

As for the FX9, most of the firmware updates are in the pipeline, you can track them here.

Are you working on high-end videos and low budget films?

Then pick the Canon C300 Mark III! Canon has these features ready:

  1. 4K at 120 fps
  2. Internal RAW that can be read by any NLE and grading application
  3. ND filter system
  4. EF mount system that’s already prevalent in cinema
  5. Dual pixel AF
  6. Incredible dynamic range at ISO 800, which cinema shoots can afford to film at.
  7. Dual CFexpress slots, and SD card slot

It’s a no-brainer, really.

What’s the bottom line?

I pick the Canon C300 Mark III. It’s the camera that excites me the most. The only potential downside here is if the image quality doesn’t match the hype. I hope to get my hands on a review unit as soon as the lockdown ends. For now, I leave you with this video from Canon:

What do you think?

10 replies on “Sony FX9 vs Canon C300 Mark III: Which is the Better Camera for Filmmaking?”

Deep gratitude here for so much readable and well-thought-out content from Wolfcrow. While I’m not a full-time videographer (I’m a writer/editor), I’d buy the Canon if its video service currently matches the excellent Canon photography support. Also because I dig the 24-105 f/4 L and figure it would be equally great for video alongside the 16-35/4 L IS, etc.

I ended up buying the FX9. Some reasons. I had the 16-35 f/4 lense, and the 28-135, but theses are not very good for move but…ahh, well :) the gyro is great, really, I can apply about 5% and then some in Davinci. And the Auto focus mode, when in face priority, and quite slow( about 3) and set it in the “hold to object”, I can actually use the A.F in film situstions . I am still a little unsecure. I read on Netflix to just use Aces workflow, and output of course to rec7.09 .And I must say, when I read the scopes, after I expose , just by my eye, not any cards etc. Its almost perfect everytim. I hear, at least this Alister Chapman, also say its very easy to get exposure right . The clips with the 28-135 lense seemed a bot out of focus, not very sharp, actually……… I after that saw you video about the best Aperture for a lense, and I used f4, maybe I should back it off to around 5,6, but then its just not much SDF :) and it was frustrating , after buying the Xeen 24mm, to get to know that , neither the gyro, nor the A.F works with taht lense :), ok, and, I am shooting my full movie here in Meråker, Norway, this summer, but , some cam unprepared, some just “ohh, I am sick “….. and ” I need more time ” :))) but I will not give up ! thanks for all the intructions, and tips from WOlfcroe, since 2014 . regards Per

You’re welcome, Per. Just to clarify, a T2.8 on Super35mm is about a T4 on full frame.

Thank you Sareesh. It was a great comparison, one that I really wanted to read about. If I’m not mistaking (at least from reviews that I’ve seen so far) other reviewers have mainly been comparing full-frame to full-frame, but for me price is a bigger factor, so a comparison between the FX9 and the C300 M3 was what I wanted to hear about anyway. Also, thanks for arriving at an actual conclusion. Other reviewers side-step that part. One aspect, perhaps for the future, might be to put say a final price list for both cameras with typical lenses together at the end. I know prices differ across the globe, but most would understand if you went by say U.S. or EU (or both) prices as as general guideline. Thanks again.

You’re welcome! I’ll try to make the next one more detailed.

Interesting comparison. Very good detail, but amazing in conclusions. I don’t see such an obvious election in favour of Canon based on your features, analysis, especially for a solo shooter, where ergonomics or variable ND filters are key in my opinion. At the end, with this level of technology, I guess, is a matter of personal taste.

Thank you Sareesh for this rich unbiased comparison. As always, you do an extensive research prior to publishing since I first read your early blogs back in 2014.
We are about to acquire 3x Digital Cine Cameras for our TV Drama production in KSA Studios, and I was considering these two particular cameras for the type of production we mostly do. Worth to mention that we are now shooting a soap opera in UAE on 3x ARRI Alexas, in 2k Apple Prores 4444 XQ, and the image is great as all might expect yet, it doesn’t require such high end cameras to deliver in HD XDCAM 50i for TV broadcast or Net streamer in ProRes 422, especially that 90% of the scenes are indoors, in a studio where lighting a scene is much controllable.
I would like to mention that SONY FX9 doesn’t allow for recording in 24 Frame Rate, and its AF is much better in low light and has longer range of detection than the C300 MK iii, which excels in highlights.
Another important tip to share, is about the C300 MK iii image stabilisation, if the in lens IS switch is turned OFF the camera won’t do any IS, probably it is some kind of communication between Canon Lens and C300, whereby the C300 MK iii gets a command to deactivate IS (as if acknowledging that the operator doesn’t want to shoot with IS !?)

I have no need for a FF camera nor planning to invest huge amounts in glasses just to achieve wider viewing angles or shallower DOF. S35 is great for our work and C300 MK III is the one I choose for my production raising up the hat for the good job both have done.
For the SONY FX9 buyers I say congratulations on your choice, you will be also as satisfied as I hope the C300 MK III will satisfy mine.

You’re welcome, Issam. Thank you for sharing your experience. What lenses are you currently using?

I’m hoping for the lockdown to ease so I can get my hands on a C300 Mark III for testing. Stay safe!

Hi
We have the Cabrios, RED ONE primes with 17-50 & 50-150mm zoom lenses, Zeiss CP.2 & ARRI Master Primes, 2 mini Alexas, 3x SONY F55, 5x Canon C300, in addition to DSLRs and Mirrorless Cameras and Lenses.
Interesting to say that most DoPs I worked with picked the RED One sets always. They out performed the other prime sets we have.
I do prefer the Angenieux Optimo Zooms over any others for TV Series production and it is on my wish list.
Your tips are highly recognized and appreciated as I already know how experienced and methodical you are.
Stay Safe

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