Under the software sits a 1/2.3-type CMOS imager (roughly 8.29 MP effective) driven by the DIGIC DV6 processor. HDMI carries 4K UHD at 29.97, 25 or 23.98p with 10-bit 4:2:2 sampling; Full HD up to 59.94p, interlaced modes included, is oversampled from the 4K readout. The 20x optical zoom, f/1.8–2.8 with aspherical elements and an eight-blade circular iris, equals a 29.3–601 mm full-frame range. From 5 metres, the 65.6° wide angle takes in a stage about 6 metres across; at 25 metres, the 3.6° telephoto end still frames a waist-up shot roughly 1.6 metres wide. Optical stabilisation steadies that long end on a lighting bar or wall bracket.

Tracking only works when focus keeps pace. With Hybrid AF, an external phase-difference rangefinder reads the distance to the subject and contrast detection then fine-tunes sharpness, across Continuous, Face AF and Tracking modes. Under bright stage light, a motorised gradation ND (maximum 1/8) holds exposure without closing the iris, backed by gain up to 36 dB and shutter values between 1/6 and 1/2000 s. White balance runs from 2,000 to 15,000 K with Set A and Set B memories, and the Portrait, Sports, Low Light and Spotlight scene modes give a quick starting point. Gamma is limited to standard and BT.709, which keeps SDR streaming chains simple; for HDR or Log, the CR-N350 and CR-N400 are the better match.

Power, pictures and commands share one RJ45 1000Base-T port. With PoE+ (IEEE 802.3at, Class 4), a single cable runs the camera, while the supplied 24 V adaptor covers switches short on power budget. NDI|HX streams go straight into TriCaster or vMix galleries, and firmware 1.2.0 moved them to NDI 6. SRT and RTMP sessions reconnect automatically after a dropout, RTMPS covers platforms that require encryption, and RTSP/RTP serves recorders. IP video reaches 4K at 29.97 fps in 4:2:0 8-bit, or 1080p at 59.94 fps.

USB-C delivers a UVC webcam feed up to Full HD for Teams or Zoom rooms, and Canon's Webcam Driver can present the network stream to a PC as a virtual USB camera, sidestepping cable-length limits. Serial RS-422 (RJ45), infrared control and a 3.5 mm stereo jack accepting mic or line level, with plug-in power for small electret mics, finish the connector set.

The PTZ head pans ±170° at 0.2–300°/s and tilts from −30° to +100°, gliding between up to 100 presets. Running noise stays at NC35 or below, quiet enough beside open microphones in a podcast studio or council chamber. A front tally lamp signals on-air status, and the POWER/STATUS LED can be switched off for dark sets. Operators can drive it over Canon XC or Standard Communication from RC-IP100, RC-IP300 and RC-IP1000 joysticks, from the free Remote Camera Control software (up to 20 heads per computer), from the iOS Multi-Camera Control app or with the bundled IR remote. Setup and firmware rollout for up to 200 Canon devices run through the Multi-Camera Management Application. Image flip allows inverted ceiling mounting indoors, between 0 and 40 °C.

For a production house, a PTZ camera that frames its own subject trims crew on lecture series, corporate broadcasts, product launches and interview-led content, while sharing menus and controllers with the wider CR-N family. Before commissioning, load firmware 1.3.0, rehearse with the actual presenter and draw exclusion areas over audience seating: a short setup step that decides whether the Canon CR-N100 White Auto Tracking runs unattended for the whole session.

This version has a full Canon RA-AT001 Auto Tracking App license.

Specifications