Absolutely, and agree with you. But look at this spec list real quick:
-Super 35mm Sensor
-UHD 3840 x 2160 at launch (DCI 4K is planned for early 2015)
-Dynamic Range: 14 Stops
-Base Sensitivity: ISO 2000
-Internal 4K XAVC 10-bit 4:2:2 (Intra/Long GOP) up to 60fps
-1080p up to 180fps
-MPEG HD, 4:2:2, 50 Mbps (HD only)
-Apple ProRes (with future upgrade and XDCA-FS7 extension unit)
-12-bit 4K or 2K RAW recording (with XDCA-FS7 extension unit and external recorder)
-Slow & Quick Motion for over-and under-cranking
-Dual XQD card slots (with dual recording support)
-Supports S-Gamut3Cine/S-Log 3 encoding
-Environmentally sealed electronics
-Built-In ND Filters
That's Sony's new FS7. Just go head and compare that the C300 for a second. Now, the FS7 body costs $8,000.00 vs the newly reduced C300 body for $11,999. Looking at that, why in the world would anyone choose the C300?
I know I'm starting to sound like a Sony fan boy, but I'm not trying to. I have a bag full of L glass and love my 5Dmk3 and 6D to death, but on a spec vs price ratio, it is ever increasingly making less and less sense to stay with Canon for the Cinema line when for the same price as the C300 I can get a body, external recorder for uncompressed 4k, and a lens.
These cameras are all investments. Once enough of your clients are asking for 4k that you feel you'd make more money investing in 4k, invest.
I do think Canon has nicer colors and the codecs are much more manageable (had a really rough time posting with F5 footage and found the camera difficult to work with on set, too) but if you need these specs, this is sure a lot cheaper than the competition! Remember, though, that the XDCA-FS7 is a necessary requirement to get timecode sync, and that's the key differentiating factor between the C100 and C300 (and the FS700 and F5).
If I had clients asking for 4k I'd take a good look at this. If you do, it looks like an awesome choice! The sample footage looks really bland to me, but I thick SLOG3 seems like a big enough improvement on SLOG2 (which I found quite awful) that it might be less trouble getting nice looking footage out of this than people have gotten out of the F5 and FS700, both of which have very "video" colors, odd noise, and an unpleasant color channel clipping that certain varieties of SLOG3 have mitigated according to Art Adams.