UPrezzing HD footage from C300 to 2K
 

How does a Uprezzed HD Footage from C300 stands up for a 2K theatrical projection ? Ofcource with proper color corrections etc but technically speaking does this idea holds any ground in terms of quality ?

Re: UPrezzing C300 to 2K
 

Not quite sure what you mean by 'UPrezzing C300 to 2K' or did you mean 4K, I don't think that's possible even though the C300 and C500 ( and C100) share the same sensor.

As to whether the quality of the C300 is good enough for 2K theatrical projection, the 2013 Cannes Palme d'Or winner ' Blue is the Warmest Color' was shot on two C300's using Angenieaux lenses. That's quite a feather in the cap for Canon's Cinema Eos branding. But with the films long and graphic lesbian sex scenes I doubt Canon will be pushing the links between the C300 and this film. But the film has picked up glowing reviews from many top film critics, so who knows.

According to a short post on fdtimes.com ' two cameras were provided by PhotoCineRent in Paris. Because production lasted 4 or 5 months, the cameras were purchased by the producers instead of rented. The cameras came with Canon mounts, and files were recorded internally to CF cards. Two Angénieux 28-76 mm Optimo zooms were also purchased for the production, fitted with Canon mounts (an Angenieux option).'

The film has also hit the news over a dispute between the film's crew and the director Abdellatif Kechiche. A statement released to the press by the French film union Spiac-CGT -- fifteen of whom worked on Kechiche’s production -- has brought a number of allegations against the director and his team over five months of filming: complaints of “workdays of 16 hours reported as 8,” and other violations of the Labor Code.

This dispute might be the reason it's not possible to find out more detailed information about how the C300 performed within a film making environment.

Re: UPrezzing C300 to 2K
 

But generally speaking Hd footage when uprezzd to 2K how does the quality stands up ? Is it qualitative for a theatrical release (pl dont discuss the content & other attributes its a purely about quality)

Re: UPrezzing C300 to 2K
 

There is no problem displaying HD on a 2k projection system.

2k is 2048x1080 and HD is 1920x1080.

You won't be able to tell the difference.

Re: UPrezzing C300 to 2K
 

I know this forum tends to limit itself to technical issues but what exactly do you mean by quality?

As Chris Medico has accurately pointed out ' There is no problem displaying HD on a 2k projection system.
2k is 2048x1080 and HD is 1920x1080 '

I've produced films shot with a with a Sony PDW700, 1920x1080 HD, which have been projected on the largest screen at the O2 Cinema and looked superb.

If the content and and as you put it 'other attributes' are outstanding anything goes really - Blair Witch Project was shot on 16mm and Hi-8 and Restrepo on HDV.

Re: UPrezzing C300 to 2K
 

short answer shortened: no human with just their eyes would ever be able to discern 1080 from 2k. there's barely any difference. the only noticeable difference might be in marketing for those who think that 2k is in any way a significant step up from 1080.
2.5k from the BMCC is on the other hand a very nice step up, and of course up and up etc... etc...

Re: UPrezzing C300 to 2K
 

For what it's worth. At the C300 launch, Canon presented all of the creative shorts on the big screen at Paramount Studios main theatre. It's a really big screen. (25x51') I was seated in about the middle of the theatre and the footage looked stunning. Many, many of us embarrassingly walked up to the screen mid film to ...ummm...pixel peep...there were a lot of people shaking their heads as they walked back to their seats to enjoy the film.

2k projection is no problem for this camera.

Re: UPrezzing C300 to 2K
 

I shot a documentary that combined footage from on a Sony EX-1, a Canon 5D and Canon Digital Rebel T2i, all in 1080P. The final film was converted to a DCP (Digital Cinema Package) file resulting in a 2K version. I saw that film screened all over the country, several times on huge screens, and it looked great.

The chip in the c100, c300 and c500 is a huge leap beyond those in the cameras I used on that film two years ago.

Not all DCP conversion software is equal, however. The software used on our film was easyDCP.