The Canon EOS C300 Mark III introduced a new technology to the Cinema EOS System: a Dual Gain Output (DGO) sensor. This sensor, now also shared with the compact Canon EOS C70, captures exceptional image quality with wider dynamic range and low noise, making it ideal for HDR output. By producing two separate images at different amplifications in real time and then combining them, the DGO technology creates breathtaking, immersive cinematic imagery.

Director of Photography Ben Sherlock, best known for his stunning cinematic documentaries for the likes of the BBC and National Geographic, has been using the Canon EOS C300 Mark III since its release. Here he shares his impressions of the game-changing sensor technology and the impact it has had on his work, thanks to the camera's stunning 16+ stops of dynamic range.

On the DGO sensor, each pixel is read out at two different amplification levels, one high and one low, and the two read-outs are then combined to make a single image. The higher amplification read-out is optimised to capture clean details in darker areas, while the lower amplification read-out is optimised to capture the details in brighter areas. When the two are combined together at pixel-level accuracy, the details in both the highlight and the low-light areas are maintained and enhanced, which enables the camera to achieve an impressive higher dynamic range in excess of 16-stops in the EOS C300 Mark III and EOS C70 when shooting in Canon Log 2, with superb HDR acquisition capabilities.

The DGO technology does not consume any more power than a conventional sensor, so it doesn't affect battery life. The tech is also compatible with Canon's renowned Dual Pixel CMOS autofocus system and electronic in-body IS for fast, reliable focusing and a super-steady image.

The DGO sensor gives improved ISO performance and flexibility in the field by reducing the noise particularly in darker areas to offer exceptionally clean low-light image quality. Ben has seen the results of this when shooting in a range of challenging conditions, including very low light and high-contrast scenes caused by fast-moving action.

"There's just something about the image – it looks so clean and organic," says Ben. "People just punch out of the screen in such a dramatic fashion. You point this camera at a person and they just instantly look better on screen.

"When I've been shooting incredibly dark or high-contrast scenes, this camera has been the standout one that I've been using. In those very high contrast or dark scenes, the image that's come out of it has been beautiful."

With an improved dynamic range, shooting with a DGO sensor carries further flexibility through to post production, particularly when grading footage of darker scenes.

"When you bring footage shot on the EOS C300 Mark III to grading, as soon as it sits on the screen, it just stands out against everything else that I've shot," says Ben, who will often have shot in Canon Log 3 and then graded for Rec. 709 deliverables.

"It's a joy to work with in post production. I've pushed the images really far. We've been shooting in some very dark conditions, filming with fire, so you're dealing with very high-contrast images, because you want to have someone's face correctly exposed but then you also want to have that fire well exposed.

"In post production, we've been pushing the cutters massively and really trying to pull up the shadows and really trying to bring down the highlights. It seems like no matter how far we push it, it doesn't snap. It just retains all that lush information – which is witchcraft, if you ask me!"

Unlike with alternative methods such as Dual ISO, the benefits of DGO apply to a range of ISO levels, maximising image quality regardless of the shooting environment. Canon says users can concentrate on shooting in a natural state without the hassle of switching the base ISO according to the brightness of the shooting scene.

"I shoot with a variety of different cameras," Ben says, "and that's a problem now because now I've got this EOS C300 Mark III footage which just jumps out at you. There's something so rich about the textures that are in there, the colours, the detail – but no noise. It's just the most organic feeling image that I think I've seen."

Modern movie-making and high-end episodic television productions are now seeing even greater demand for HDR content and particularly the ability to shoot in low-light scenes. Canon's breakthrough Dual Gain Output technology supports such a look without compromising the reproduction of highlight details.