Great explanation video, btw.

No - as a dedicated cinema camera, you're not going to get a non-cinema framerate or timelapse like you would with a still camera. I've done timelapse with a c100, but only in post.

You are very kind! The downside of this a free channel with no adshare is that the content will be slow to release, but I'm determined to keep it free.

@@cinemastudies2667 If I may suggest, I would say, focus your content on the newer models like Canon C70, C400, C300 Mark III and R5C, they're more recent as well as more in regular usage. Even those Canon C100 is still capable, it is more than a decade old. Newer models, newer tech with your explanation and knowledge would be perfect.

@@ankurbagai1056 Thanks - I made this channel mostly to support my students with the equipment available to them, so I make content based on what I have on hand. That said, we did just get a C70, so I'll likely be doing that soon.

Thanks, friend.

You may not have my dog.

Thank you!

If you're buying a camera and you want a high bitrate and/or the ability to shoot RAW, I wouldn't go for anything this old. The BMPCC6k does all of that for a very reasonable price (much less than the C70). It needs a little outfitting, but you're still getting away much cheaper for a current gen camera.

I filmed the inserts with the C100, but the talking head was shot with a Canon XA50.

@@cinemastudies2667 thank you

The lens cap protects the glass, but it doesn't block light as fully as the body cap. You want complete darkness in the body before running ABB.

@@joeyrizzolo ok thanks for the information!

*curtsy*

now give him a sub dawg.

@Fourgiv4 already did after 2 minutes of watching the vidoe

You have to take the housing apart to expose the board. Canon will do it for you, but it's a princely fee. That said, the internal lithium battery is rechargeable - have you tried connecting the camera to AC power and letting it charge?

@@joeyrizzolo Thank you for your assistance, I will connect the camera to AC power and let you know what happens. Thanks again for responding so quickly. It is common for KZbinrs to launch new items, but there are still users who need information about their old stuff.

I didn't notice this till your comment cos I'm just listening through my left ear bud 🤣

Thanks for this video!!! I particularly appreciated the black balance and white balance instructions. I am a beginner filmmaker

This is a great question. I probably let my personal preference bleed into this content a bit when addressing ISO. I think people get a little too hung up on Native ISO. It's a good baseline when you're looking at overall exposure, but there are so many factors that go into exposure that I find it foolish when ISO is treated as a fixed point when there are so many other choices affected by exposure that contribute to narrative. Shooting at native won't work if you consistently use a shallow DOP (especially if you have limited control over the lighting), and/or if you want a more open shutter. If you've seen 'Skinamarink,' that film doesn't make sense if the ISO of any shot were to fall below 30k. The C100 is also an older camera, which doesn't have the dynamic range of newer models, so an ISO of 10k on a C100 is going to be really noisy, much less so on a C70. On the C100, I find you get a lot more to work with at a lower ISO. All that said, I work exclusively in film production when it comes to gear, so these guidelines may not apply so much when considering still photography. Most professional photographers shoot exclusively in RAW, so I suspect Native wouldn't really apply anyway.

It's only the 1st gen that has a single screen position; most of the C100s on the market now are Mark 2s, which have a very articulate OLED screen.

@@cinemastudies2667 Thanks, I since learned it tilts up and down, just not to the side. I still see a lot of Mk1s on the market that are cheaper than Mk2

Excellent question. If you're in a country that uses a 50 Hz frequency, then yes, shoot in PF25. The standard frame rate in many of those countries is 25 fps.

You should be able to get a signal simply by connecting the HDMI. The configuration of your capture devices will need to be done on the switcher itself.

There are third party adapters you can buy that will accomplish this, though it's unlikely that the autofocus will work. I've never tried this pairing of lens-to-camera myself, but my understanding is that the F-series has manual aperture rings, so as long as you're okay with operating manually, your glass should work well. Bonus points for your profile name.

@@cinemastudies2667 Thank you very much. And autofocus with Canon or lenses with ef mount work fine?

@@Star-Trekking Yes - the biggest determinant of autofocus with Canon lenses will be whether you have USM or STM lenses. USM lenses are lightning fast. STM glass lags a bit. I rarely use USM myself, because with cinema I prefer a slower response anyway. STM was designed more for still photography.

@@cinemastudies2667 Thank you. Very kind. Thank you. Gianluca.

I'd still stick with the progressive option. The interlaced setting (60i) will require de-interlacing which, depending on your streaming setup, may not be possible and/or require additional software. I don't do a lot of live-streaming outside of prerecorded media so if anyone knows differently please chime in, but my understanding is that the ubiquity of larger bandwidth makes the interlaced option pretty obsolete for the average consumer.

Check out the c70.

laughing at your AWB comments...you have a wonderful delivery

It depends on the bitrate. On the M2, you can shoot in 24 or 35 mbps. I generally prefer AVCHD over MP4, but if you're shooting at 35 mbps on the M2, your only option will be MP4.

@@joeyrizzolo Thanks! I’ve briefly tried both and didnt find any difference between AVCHD in 24 and MP4 in 35 🤷‍♂️ In the official manual of Canon, video quality is considered a bit better in 35, while audio quality is theoretically better with AVCHD. I saw or hear no difference even on 5k iMac and a professional audio-interface and a headset, so I am confused with these two options really. It could be great to know what drives you into prefering one over the other one. It is not really clear so far, why canon gives these two options, so I would appreciate any idea behind it 🤔

@@popunicornpictures AVCHD is superior with regard to image quality. In general, a higher bitrate will also improve image quality, but only to a point. The reason your M2 locks you into 60 fps when shooting at 35 mbps in MP4 is because you wouldn't gain much by shooting in a higher bitrate in 1080 at 24 fps. The audio quality of AVCHD in the LPCM format is much higher because it is a lossless format. You may not notice a difference out of the can, but you'll hear it once you start editing the audio; LPCM is much more malleable.