Canon c300 mk 2


Got a green screen job coming up and the DOP has a Canon c300 mk 2.

The client wants 4k so that we can punch in a little to cover jump cuts and I want the best quality signal.

4k @ YCC422 10bit
2k @ RGB444 12bit / 10b

The Deliverable is HD on the web

Images will be lots of people midshot (mostly girls with lots of different hair styles)

So what do you think? Go with the 4k over the 444? Overthinking it for corporate work?

Also, would you shoot at 50 so that motion bur is reduced?

Here is the spec sheet for the camera and thanks in advance for your input.

Cinematography Solutions - EOS C300 Mark II - Specification - Canon India.pdf (234.4 KB)

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I wouldn’t want a greenscreen shot 422 @johnag


Also I wouldn’t worry about your motion blur. If you shoot 444 and you have a good greenscreen you can deal with the motion blur.

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It is one of my uninformed-artist level superstitions to never work with Canon cameras for VFX…


Do the 2k for the color depth. If need be use Resolve or Topaz for those shots you need to really push in on.

This might not be helpful, but this is how I prep almost any shot now. I pull it in and run it through neat video to denoise it, then I convert it from it’s orig colourspace to REC709. I then export is as an EXR sequence. I thin run that EXR sequence through Topaz Video AI upscaling to UHD8k with the Artemis HQ algorithm. I export as an EXR sequence from Topaz, so you then pull back in to flame an amazingly high quality 8k image sequence. Then in Flame I resize down to UHD, this may seem pointless but it’s not because the process of upscaling to 8k in topaz created the extra fidelity. So then my beautiful clean, sharp, noiseless 4k image is read work on. That process would work a treat with either of your source image options.

If you do this, zoom in close and see the insane difference in quality, esp at the edges, between the source image and the processed image. You’l never work from the camera RAW files again.

(I’ll make a vid detailing this process soon)

Does Topaz work best in rec?

Yeah it does seem to. I’ve got a project on ATM shot in ARRI log c quite high key. At first I upscaled it in Topaz as is, but I noticed it was smoothing some details it shouldn’t. So I converted to ACES CG, reduced the exposure a bit in ACES then converted to REC709 and upscaled in REC709 and got better results.

I would imagine the algorithm was trained on normal REC 709 footage, so that’s prob why the results are better.


even more so than the 422/444 issue, the c300 onky shoots h264 … not even sure if it can do all-intra.

definetely a bad choice for keying not matter how you look at it.