Canon EOS C300 Support Accessories

Canon EOS C300


Canon has just announced the release of their new EOS camera, the C300 and Zacuto is equipped with an array of new baseplates and C300 accessories months in the making ready to outfit this exciting new camera.  The C300 Camera is the most recent member of the new class of super 35 digital video cameras.  Canon will be releasing both PL and EF mount versions of the camera.  Other internal features include 1080p/24/25/30 and 720p 60 formats, 8 bit 4:2:2 signal, uncompressed HD-SDI as well as HDMI and simultaneous viewing on all outputs and screens.  Simultaneous viewing was one of the major drawbacks of the 5D Mark II.  This camera is designed for filmmaking, corporate and event shooting.  The C300 Camera looks amazing on the big screen.

The C300 Camera’s physical characteristics are unlike any of its predecessors.  It’s not a DSLR, it’s a video camera, but it’s built for making videos not photos.  Some key features include:

Zacuto has designed two completely new baseplates specifically for the Canon C300.  We will be offering both a Gorilla style baseplate and a studio style baseplate unlike any of our existing baseplates.  The camera’s shape and footprint requires some major changes to existing baseplates to get the camera to a position to be able to use a follow focus and proper lens to rod height for standard sized matte boxes.  This is especially true with short lenses that have the focus ring near the camera body and non-height adjustable matte boxes.  The Gorilla style baseplate for the C300 features 60mm spaced rod holes in the front of the base plate that allows users to mount a follow focus or other accessories in front of the camera.  It also uses our rod hole system on the side of the plate which allows you to mount an EVF or other accessories off the side.

Gorilla Baseplate  

The studio style baseplate is very flat and features four sets of 60mm spaced holes, one on each side of the baseplate.  This gives users a virtually unlimited amount of mounting options.  You also have the option of turning the baseplate into a cage configuration, using the mounting holes on the side of the plate.  When not using a cage configuration, the side holes can be used for an EVF, Zacuto articulating arms, rods and more.  The rods on the studio baseplate are located near the very bottom of the camera.  Because the Canon C300 is tall, the flatness of the studio baseplate helps to keep the center of gravity low for better control over the rig.   It is also necessary so that the rods are at the industry standard distance from the center of the lens allowing matte boxes and follow focus units to fit.  Plus, the camera has a 1” toe on the bottom of the camera which makes it difficult to get follow focus gears back near the camera body unless the follow focus is touching the toe.  The follow focus needs to be able to flip the gear to the right side and reach back.  The Zacuto follow focus can achieve this elegantly with our new C300 baseplate.


“This is a revolutionary design.  It’s basically an upside down baseplate where the camera just sits on the rods,” says Zacuto Product Designer and Director, Steve Weiss.  “We designed it this way for several reasons.  First off, the lens height to the bottom of the camera is taller than normal and would require a rod riser and a second set of rods to achieve the proper height to accommodate standard matte boxes and follow focus units.  The second reason is that it keeps a tall top heavy camera from getting any taller. Plus, we maintain our original design feature from baseplates that have rods that go all the way through underneath the camera. This makes it simple to adjust rod length for various sized lenses. It’s easy to slide the rods forward or back.  No rod extensions are needed for lens changes.”

We currently have four kit recommendations for the Canon EOS C300 and of course, like all Zacuto rigs, you can configure your kit in many different ways to suit your needs.  We have also developed a few accessories that will really make the rigging of this camera complete.  Check them out below.

Recoil for C100-C300-C500

The Recoil V2 for C100-C300-C500 cameras includes our Studio Baseplate and the Zacuto ENG Grip Relocator that positions the C100/300 removable grip at the rods for comfort and convenience. The Canon C100/300 removable grip attaches directly to our Relocator handle and our exclusive right angle cable connects to the port on your camera. We also offer a Lite version of this kit with the smaller Gorilla Baseplate and no relocator.

Watch The Zacuto Recoil Lite Video

c300 target shooter

Canon C300 Target Shooter- The most basic rig for lightweight run & gun shooting stabilization. The Target Shooter rig features our new Canon C300 Gorilla Baseplate and a Zacuto gunstock. Simply brace the Gunstock against your shoulder to stabilize your shot. This kit has minimal set up time. You can also mount a follow focus and EVF.

Check out more photos of the C300 Target Shooter in our photo gallery.


c300 stinger


Canon C300 Stinger- The Stinger rigs uses the studio style Canon C300 baseplate. This rig is best used for balanced shoulder mount operation for long shooting days. This system is an in-line rig with dual handgrips and a 7lb counterbalance weight. It is the perfect kit to add a Zacuto EVF to for monitoring.


Check out more photos of the C300 Stinger in our photo gallery.

recoil v2

Recoil V2 – The Recoil V2 is the ultimate balanced rig for the Canon C100/300/500. In the Recoil concept, the camera sits directly on your shoulder like a typical ENG camera. The Recoil V2 is super light and stripped down (if you are looking for something even more stripped down, check out the Recoil Lite V2). The Recoil V2 starts with our Studio Baseplate.





recoil lite v2


Recoil Lite V2- This is a stripped down version of our larger, standard Recoil V2 rig. The Recoil Lite V2 is compatible with the Canon C100/300/500, RED Scarlet and Epic cameras. In this Recoil concept, the camera sits directly on your shoulder like a typical ENG Camera. The Recoil Lite starts with our Gorilla Baseplate, which attaches to the camera with 3/8” 16 and ¼” 20 screws.





Other Accessories:

zicro coldshoe


Zicro Cold Shoe- The Zicro Cold Shoe allows users to mount the camera’s swivel LCD screen on any 15mm rod, Zacuto Zamerican arm or traditional articulating arm with a Zacuto Zud.




C300 grip relocator  with right angle

Handgrip Relocator- This camera accessory allows you to move Canon handgrip (included with the camera) from the side of the camera to a more comfortable position and articulate as traditional Zacuto handgrips do. The Handgrip Relocator works as a grip for maintaining the ability to control the camera’s start/stop function, exposure and menus from your right hand.

Want more photos? Take a look through our photo gallery!

*Also, take a look at the Canon C100!

*Get more information on Canon C100, C300 & C500 Rigs and accessories

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27 Responses to “Canon EOS C300 Support Accessories”

  1. Demetri on November 5th, 2011 5:52 am

    Sorry fo the offtopic guys, I love your gear, it’s the most reliable gear I’ve ever used on my jobs.

    Are you working on the line of RED Scarlet rigs and accessories? I think that there’s a lot of folks out there who aren’t interested in 300C at all but have invested in Scarlet and are familiar with your product. So are Scarlet rigs and components coming?

  2. on November 5th, 2011 3:37 pm

    Nice, it looks like a digital Bolex!

  3. Jorge on November 6th, 2011 5:49 pm

    This camera cannnot overcrank at all, and its recording codec is 8-bit color fidelity, NOT 10-bit. Buyers, beware! Too bad Zacuto had spend all their time and energy on designing these various rigs jsut for the $20,000 Canon Cinema EOS C300 camera. When most everyone I know of will be lining-up four deep to get the sub-$10K Red Scarlet instead, he-he-he! Last I head, when it comes to resolutions, 5K is still better than HD, but maybe not?

  4. Steve Weiss on November 7th, 2011 11:43 am

    Don’t get hung up in numbers Jorge.  This unveiling in Hollywood was attended by a who’s who in the biz, Martin Scorsesse, JJ Arbrams, Ron Howard, Robert Rodriguez and every major DP.  We were all shocked at the quality of the images projected on a 60′ screen in the Paramount theater.  The footage was grainless and I can’t image at this point of an image that would have a noticable differenece to my eye.  There is a point where it just doesn’t matter how many K it is.  Canon has found a unique way to strip the images off of the sensor for incredible color and sharpness. That’s the innovative part.  We saw four short films made with this camera, showing action, sci-fi, green screen, drama, all made by serious DP’s and directors, Ron Howard included.  Plus the RED at $10K is really not accurate, you need a lot of parts to make that camera work at that price point, I thinks by the time you get all of the RED components to make it apples to apples it’s around the same price point.  You’ll have to wait till me release Revenge of the Great Camera Shootout to see which you prefer.

  5. Andrew on November 9th, 2011 8:56 am

    I’m sure the C300 produces perfectly beautiful images. I checked out Laforet’s short Mobius in 1080p on Vimeo, and it looked great. 
    But the Scarlet looks great as well. And the minimum cost of a working package is supposedly only gonna add up to 13 or 14 grand. How much does a working package for the C300 add up to? I assume $20,000 is for only the camera itself with no lenses, just like Scarlet’s $9750 price is. 
    But even if it’s not a price issue… I do still have to take opposition to the idea that 1080p is comparable to 4k when we’re talking about supposed “cinema cameras” here. I know that the C300’s footage probably looks perfectly fine on a big screen. But don’t you think that if you saw a side-by-side comparison of even the cleanest, crispest 1080p next to even average 4k… that you’d see a noticeable improvement in detail?
    I just don’t understand Canon’s decision to make it a 1080p camera. I mean, why not at least 2k? I know there’s not really a notceable difference between 1080p and 2k, but it really does come down to it just being a question of “Why?” Why not just make it 2k if you’re selling this thing as a cinema camera? And considering that they gave it a 4k sensor anyway… why in the hell not give it 4k output?
    I think Peter Jackson said it best in his love letter video to Red (I know, biased because he’s Red fanboy, but still): 2k was just a settlement of “Well, if we can get video that high, it would be acceptable as a replacement for film.” But 4k is where video actually starts to exceed film. And the people working on The Amazing Spider-Man, who’ve seen full 5k footage out of the Red Epic, have said that it evokes the same feeling as watching a 65mm film.
    Do you think that 1080p, no matter how clean it may be… is ever going to be given that kind of a compliment? I highly doubt it. 
    The C300 doesn’t represent any kind of forward thinking. It represents being content to settle with something that’s just good… for now. RED, on the other hand, is thinking forward and trying to push digital cinema to the area where it truly can replace film and even one day exceed it once and for all. That’s the real reason why the C300 pales in comparison to the Scarlet. 

    And as much as I’m looking forward to Revenge of the Great Camera Shootout… its not really gonna mean much for most of the people watching it if we can’t tell, since we’re gonna be watching it all in compressed 1080p. And even you guys are only watching it on 2k screens (unless you’ve gotten a 4k projector since GCS 2011). If you were able to watch the RED cameras’ footage in it’s full glory, I guarantee there wouldn’t be any comparison to the C300. 

    Now if they’d priced the C300 at the prosumer level and marketed it as a camera for indie filmmakers… it would have been historic and given the Scarlet some very serious competition. But pricing it so high and marketing it to Hollywood level filmmakers… I don’t see it being very popular at all. No matter how good it may look (for a 1080p camera ;) )

  6. Steve Weiss on November 9th, 2011 10:12 am

    You are getting to hung up in the numbers, you talk about 2K 2048×1556 which has no noticable difference between 1K or 1080p 1920×1080.  The aspect ratio is a hair difference.  Also the difference between the cameras is two things, the sensor.  These are two totally different sensors and the only way you can view the difference is on screen.  My iphone can take a 4K picture but it looks nothing like my 5D picture at the same resolution.  The real difference between these cameras is how Canon is stripping the data off of the sensor and how it reproduces colors, that has nothing to do with how many K it is.   Another real differenece is how well it works in low light.  I’ve seen a film shot at 6000 iso at the Canon event and it was grainless.  I need to see that out of Scarlet before I can make a decision.  This can effect you lighting, which effects speed of shooting and amout of lighting instruments needed AND budget.  Now to your price differences.  I wasn’t talking about lenses.  I don’t think the Scarlet includes a handle, LCD screen, EVF, or camera control grip. Those items will bring it to 18K I beleive.  Canon includes all of that.  Also not sure if the scarlet includes onboard recording.  Another factor is how long it takes to offload the RED media, that could be problematic for some shoots, others might night mind.  You really shouldn’t make your decesions based on paper, you should make it visually.  What I saw at the Canon presentation looked Alexa like to me.  Now maybe the scarlet will look the same or even better.  But I think we are getting to a point where we are starting to split hairs on better and it’s more going to be about what asthetic you like.  One feature about the scarlet I like is being able to shoot 120fps, but it drastically changes the lens focual lengths.  Wait till Revenge of the Great camera shootout which will be a blind viewing, not knowing which camera and this will eliminate all of the fan boys to really see the difference.  Plus who are you?

  7. Andrew on November 9th, 2011 7:02 pm

    I know the resolution is not the only importat element of a camera, and it’s foolish to think it is (which I don’t). But conversely, I also think it’s foolish to place too little importance on it as well. As I already referenced, people who’ve seen the full resolution images out of the Red Epic have said it’s almost like watching a 65mm film. I think people get too annoyed by the resolution hype and over-compensate by going too far with their “Resolution is just one number!” argument. I think that’s belittling to the impact that high resolution imagery can have. 

    That being said, C300 footage would probably do perfectly fine at the cinemas. But that’s right now, when 2k is the standard for digital cinema. What about a couple years down the line when 4k becomes the standard (which it probably will once Jackson and Cameron start releasing their films that were shot at 5k). Hell, maybe even 5k projectors will become prominent sooner than we may think. When that happens, no Hollywood production is gonna wanna be shooting in 1080p. And maybe that’s getting too hung up on the numbers, but when has Hollywood ever not done that?
    And this is, again, why I think it a bad decision to market a 1080p camera to Hollywood in this day and age. It would have been a fantastic camera for the indie folks. 
    Price difference may ultimately seem pretty negligible once you add everything up, but when you consider than the Scarlet offers a much more future-proof format, even if it ends up being more than the C300, it’ll still be a better bang for your buck. The Scarlet will probably still be an impressive camera 5 years from now. The C300 was rendered, for all intents and purposes, obselete 3 hours after it was announced. Anybody who has $20,000 laying around and wants a professional camera… I just don’t see many people choosing the C300 over the Scarlet.

    By the way… if any aspect of a camera is about splitting hairs when it comes to judging it, it’s color reproduction. Color quality is so subjective and conditional that it’s almost a non-issue. Color is always corrected or stylized in post anyway. Sure, technical data affects how easy the timing process will be (but even that’s a fairly negligible difference), but when you’re talking about the end product of a camera… people notice detail. Not color accuracy. At a time when everybody’s used to seeing digital color reproduction, seeing “accurate skin tones” isn’t a big draw for most people. So don’t try to tell me that better color reproduction makes up for lower resolution. When people saw The Dark Knight’s IMAX scenes, was it the color that blew them away, or the level of detail?
    Now dynamic range and low light capabilities is a big element. And if the C300 truly does win there, then yes, that’s a plus for it. But I don’t think RED does too shabby with that either. That’s something I’ll be interested to find out about in Revenge. 

    And I’m an aspiring amateur filmmaker in Vancouver, Canada. I’ve been hovering around this site for about a year and a half now. I love your guys’ content! Especially the camera shootouts!

  8. Joe Ferralli on November 18th, 2011 1:28 pm

    I really wanted to be blown away by the Canon. Truely, I wanted a camera that would compete with the Red One (from a company that wasn’t always in back order) at a compareble price point. I feel they fell very flat with this camera. 3 years ago, this would have been a contender but now, it just doesn’t make any sense. 20 grand for this? Really? No RAW? Overcrank at only 720? The image is nice but not 20k nice. Who would buy this when the F3 already exsists? Even ignoring the resolution wars, this camera is too little too late.

  9. Jiri on December 14th, 2011 6:41 pm

    Just a thought here… I am hearing a lot of comments about the reliability issues with Red Epic and the most recent debacle with Philip Bloom is just the most visible. I too am somewhat on a fence between Scarlet and the C300 and I have to say that as much as I would LOVE to shoot with the Scarlet, the reliability and delays scare me. Yes, it’s supposedly “future-proof” with the Dragon sensor coming “second half of 2012″ but given Red’s reputation that could be just as easily late 2014 or never. In the meantime, the current Scarlet sensor is worse in low light than the C300 and for me, being a documentary and TV cameraman/producer living in a small market without the readily accessible camera replacement if mine is down, the reliability is a big issue and may end up being the deciding factor.

  10. gwf on December 26th, 2011 12:02 pm

    When and where can we buy the Zacuto C300 rigs and accessories (from UK)? Can’t see them on the Zacuto on-line store.

  11. gwf on December 26th, 2011 12:04 pm

    @ Jorge – for the record, what you say is untrue – the C300 CAN overcrank, but only at 720P up to 60fps.

  12. camerasaregood on December 26th, 2011 6:37 pm

    Yes, would also like to know when/where this will be available in the UK.

  13. Mandy on December 27th, 2011 10:06 am

    All Zacuto accessories are available through CVP (Creative Video Productions) in UK. We are still working on pricing the C300 rigs and accessories. The price list should be available within the next couple weeks. 

  14. Mandy on December 27th, 2011 10:06 am

    All Zacuto accessories are available through CVP (Creative Video Productions) in UK. We are still working on pricing the C300 rigs and accessories. The price list should be available within the next couple weeks. 

  15. Steve Hullfish on January 17th, 2012 5:26 pm

    Resolution is such a small part of the overall. If that’s all you care about, then the 5D MkII is better than an EPIC because the resolution is SOOOO much better… of course it can only shoot about 8 frames per second at that resolution but if all you care about is resolution then there you go. It’s also about the look of the camera. The post workflows, the usability. So many factors. The reliability of the company that’s delivering the product. The lenses…

  16. Anonymous on January 29th, 2012 6:14 pm

    Still waiting for prices…

  17. Mandy on February 2nd, 2012 3:06 pm
  18. Stephen McCarthy on March 13th, 2012 5:34 am

    Hi all.  re: Canon EOS C300 Handgrip Relocator –  This is a very useful item for me.  I’m wondering when it will be available and whether it is/will be possible to get it built for mounting from the operator’s right side off of a pair of standard, light-weight 15mm matte box rods (ala Aaton XTR handgrip).

  19. Mandy on March 14th, 2012 9:40 am

    Hi Stephen,
    We will be showing the Handgrip Relocator at NAB- mid April. It should be available shortly after that. It will attach to our handgrip off a 15mm rod. 

  20. Stephen McCarthy on March 19th, 2012 8:52 pm

    Thanks Mandy – Just did a first full-on day of verite today with C-300 w/ Zfinder EVF and one of your rod-mounted shoulder pads.  The camera’s showing promise in this regard but the hand-grip relocator is going to be a huge step forward.  Made do with Aaton grip for now but the relocator can’t arrive soon enough.



  21. Anonymous on April 17th, 2012 7:49 pm

    You outsource your sales to the UK? Iknow CVP, and they are a great company, but you do not have a sales staff in the US to sell your products? This can’t be true, right?

  22. Michael on May 3rd, 2012 3:44 pm

    Mandy, how can one get on a list to be notified as soon as the Handgrip Relocator is available?  Also, any more details on when that might be?  Thanks!

  23. Mandy on May 3rd, 2012 3:59 pm

    Hi Michael,

    We are hoping it will be available in about 4 weeks. Send me your email address and we can let you know available. 

  24. Guy Jackson DP on May 7th, 2012 11:09 am

    Hey Mandy,
    any news on the Relocator?
    i have been shooting with my C300 almost everyday since february and it is really the only missing link for my hand held work.
    i’m going to shoot a documentary around the world starting May 24 and wanted to know if there is a chance i will have one by then.
    thank you,

  25. Stephen McCarthy on May 14th, 2012 9:02 am

    I would echo Guy’s query.  I’ve got a couple of shoots in remote locations coming up with sharks and fossils for various science strands.  My C300 is going to be key partly on account of it’s power efficiency.  Hand-held will be key and, as with Guy, handgrip seems to be the missing link.  Please keep us posed. Early June would be ideal.  Thanks.

  26. David on June 13th, 2012 11:10 am

    When is the Relocator coming out? I was planning to get it with the Stinger…

  27. Zacuto on June 13th, 2012 11:36 am

    Hopefully, by the end of this month.  Watch this space!  You can sign up for updates here: or shoot me an email at and I can email you once it’s released.

    – Rachel