C300: C300 on a larger screen?

[roly]

Blue Ruin looks great, as does Blue is the Warmest Colour.

The single-take Veronica (winner of the Silver Bear for Cinematography at the 2015 Berlin Film Festival) was also shot on a C300 mkI. As was the Oscar-nominated and multi-award-winning Cartel Land. So I don't think it's the camera that'll get in the way of your film's success.

One advantage of the C300 is that it directly takes EF lenses. The Sony F3 really doesn't, unless you get an adaptor and use manual ones (like the Samyang/Rokinon). It is also much more portable, especially as the F3 really needs an external recorder to get the most out of it. On the other hand, the F3 takes PL lenses with the included adaptor.

Safety Not Guaranteed was shot on the F3, btw. It looks pretty good (tho' not as good as the two "Blues" IMO):

But puredrifting is right. It really doesn't matter what camera you shoot on. Ajami was shot on a Sony handycam. 28 Days Later on a Canon XL1. And you go "God this looks sh… wait, what's happening here? What's he doing…?" and you suddenly don't care about the camera any more…

 

[Jim Martin]

Do you remember which film it was? Like to check it out

The 2 to look at are Mobius by Vincent Laforet and XXIT by Sam Nicholson:
https://www.youtube.com/watch?v=DOi3u4tNqTY
https://www.youtube.com/watch?v=rO9n4aOQi00


Jim Martin
CinemaWorks

 

[New_Zealand]

they both were great film clips thanks

 

[miko meloni]

Even Cartel Land was filmed with a C300, and two Canon lenses (17-55 2.8, 24-105 4) . Oscar in the documentary competition, and winner in so many more festivals.
I like the low light capabilities of the Canon C line.

 

[Run&Gun]

A few years ago, I shot a promo on my C300(mkI) and one of my VariCam's with an actor promoting a new movie they were starring in, and it was to be shown in theaters preceding the previews and feature. I didn't personally see the final product projected, but my audio guy/gaffer for the shoot did and said that it looked good.

But puredrifting is right. It really doesn't matter what camera you shoot on. Ajami was shot on a Sony handycam. 28 Days Later on a Canon XL1. And you go "God this looks sh… wait, what's happening here? What's he doing…?" and you suddenly don't care about the camera any more…

How much of the final movie was shot on the XL1? The tech specs list Arri cameras(35mm and 8mm) and the XL1S(PAL).

 

[_Steven_]

The single take film shot entirely on C300 MK I is called Victoria

I shot a short doc entirely internally on the MK I and witnessed multiple of its screenings on the big screen on festivals and was amazed every time.

 

[IronFilm]

"Thicker" and "Thinner" are very easy adjectives to throw around, but they don't seem to actually mean anything. How exactly is the F3 image "thicker" than the C100? I don't doubt the F3 looks nice on the big screen, I just don't know it looks that much better than the C300 or C100.

I also think you're confusing the original price of the cameras against the images that are produced. The C100 mkII via the HDMI produces an uncompressed 8-bit 422 image (same as the C300), and is has a newer image processor than the C300, and unlike the C300, it does 60p. And in my experience, the images from the C100 upscale quite nicely.

10bit 444 is literally "thicker" than the thin 8bit from a C100 or C300

 

[IronFilm]

Safety Not Guaranteed was shot on the F3, btw. It looks pretty good

I believe Safety Not Guaranteed was shot with the internal codec and was pre S-log. Which is what really transformed the F3 into a whole other beast at a level up above.