Tips to Shoot and Edit Cinema Raw Light on the Canon C200

[@glassglowz]

This is BY FAR the best video explaining how to use the RAW from my C200 in Davinci Resolve! I was so confused with CLog2 & CLog3 as well as the Color Matrix settings. Thanks for clearing this up!

[@BenjaminRowlandTV]

This should be required viewing for any C200 owner / user. Great information!

[@michielrotgans]

Really good video. Especially the part of selecting the gamma and color space in camera can be considered as a viewing LUT cleared up a lot for me. I thought it would be like that but everybody I asked couldn't answer. Thanks folks!

[@ShareGrid]

Awesome to hear that! That's why we knew it'd be good to get this out to everyone. Thanks for watching!

[@for751]

This video has answered so many of my questions. Thank you Brent and Loren for putting this together!

[@ShareGrid]

Rod Guajardo Awesome!! So happy to hear that. Thanks for watching!

[@yohanvanlangendonck3245]

Does FCPX do the same thing when I import my media, transpose them to log 2 automatically? Thanks

[@just.do.something]

I've been testing raw in c200, and it's scary noisy in the blacks. This did help clear some of that up. Also, auto black balancing very important.

[@ShareGrid]

Glad it cleared some stuff up..noisy is no good!

[@nicholastoo858]

Very educational! Thanks!

[@ShareGrid]

Thanks for checking it out, man!

[@petrub27]

Standalone gamut maping with a lut will only work if image is exposed properly with grey card

[@robojim4000]

oddly, there is no canon LUT to get cinema gamut / clog2 into rec709 / clog 3 so what is said at 12:12 is wrong. The LUT applied in post doesn't take it away from cinema gamut, yet in the video the clog3 preset (rec709) is being used

[@ShareGrid]

Jim Elliott thanks for the response. From a Canon rep: While you wouldn't want to do standalone gamut mapping with a simple LUT, you can use DaVinci's color management to transform Cinema Gamut into BT.709. On a clip by clip basis you can do this with the Open FX Color Space Transform tool, or at a project level using a color managed workflow. You can of course also debayer into various color spaces using Canon’s own Cinema RAW Developer, or a program like Adobe Premiere that supports advanced RAW debayer options.

[@PacoPradas]

Thank you very much, I just bought the Canon C200 and I really liked your work. I'm uploading some test videos to my channel

[@ShareGrid]

Awesome! Share it here when its up!

[@dominiquejordan5653]

So the proper exposure for middle grey on the C200 is 39IRE or 33IRE? By the way this video is super helpful and informative.

[@robinbaldrian3352]

Thank you guys, for this informative video. Regarding Image Quality and Color Science, would you recommend buying a C200 or an URSA Mini Pro G2 ? Would you prefer Cinema RAW Light 12 Bit at 25 fps over the BRAW 12 Bit files?

[@ShareGrid]

Thanks for checking out the video! Both of those cameras have the capability to create amazing images. Those Codecs are both very strong and have tons of latitude to play around with color and white balance in post. It really comes to preference and budget for each specific production.

[@pbfilms6356]

Amazing video! Thank you. Would love a more detailed explanation of setting up rec record and having the C200 send a 4:2:2 10bit image out.

[@ShareGrid]

NEBlackshirts yes! Great point. So as far I as I understand (this is Brent from the video) you can send a 4:2:2 10 bit signal to an Odyssey (for example) or an external recorder if you so choose.

[@pbfilms6356]

Thank you Brent. Do you know what the file type is of the 2K 4:2:2 file? Is it a .CRM file like the CinemaRaw Lite file?

[@ShareGrid]

Does this help? www.4kshooters.net/wp-content/uploads/2017/06/Canon-C200-Output-Chart-e1496335001543.jpg

[@pbfilms6356]

Yes...thanks. It's a .CRM file. That's what I assumed it would be.

[@trevenlepage5909]

I don't think it would be crm as it doesn't record raw externally.

[@EvilJamesGuy]

Very nice explanation. Just want to clarify. Output to odyssey is 2k at 10-bit w/ 422 max 60p?

[@storyfrontier]

same question as me

[@ChicoDaUno]

hopefully theyll respond soon . I have the same question .

[@ChicoDaUno]

Great info .A little confused about what he said at the end though .With Shogun Inferno or an Odysse can you get 10 bit out of the c200 & if so, is that in 4k , 2k or Hd ? Hope to hear back soon . Peace

[@ShareGrid]

Thanks for your inquiry! When the camera is set for Cinema RAW Light recording, the SDI can be configured to send out a 2048x1080 10bit signal. However users have reported that that output image looks softer than when the camera is set to 1930x1080 MP4, so we are not currently recommending that workflow anymore until Canon can clear up what is happening. The 1920x1080 10bit 422 output when the camera is set for MP4 looks great however!

[@ChicoDaUno]

Thanks for the response .

[@ocubex]

Why can't Canon get the C200 to use the same naming convention for the Raw and Proxy files?

[@janreichle4017]

Great video. It would be great for Loren to do a post on how to reconnect 2K proxies with the Cinema Raw Light without using Cinema Raw Development software, for projects that are quick turnaround, but need the flexibility of raw and will grade in Davinci for final export. Currently I am feeding TC into Audio CH2 via lock it box.

[@ShareGrid]

Jan Reichle excellent point! I’ll let Loren know you asked for that as he’s always creating new videos for Canon!

[@janreichle4017]

Thanks so much! It's a workflow that has not been discussed that much online. Would be great to avoid transcoding.

[@ericlombart]

Found this workflow suggestion from Andrii Taran and it's very efficient. You basically just batch rename all of the files to match, edit with mp4, export XML, then import only the raw files into Davinci. Just make sure when you're importing the XML into Davinci you uncheck "automatically import source clips to media pool" and "ignore file extensions when matching" and the clips will reconnect to the raw files instead of the mp4. kzbin.info/www/bejne/oHmvpmp6m6qKgNE

[@janreichle4017]

Thanks Eric! A great workaround. Will definitely share with editors posting my jobs. If only Canon had the same names for both proxies (.mp4) and cinema raw light (.crm).

[@damiencooper8334]

great Video. Unfortunately I can't load the 1D Lut into Final Cut for some reason. It keeps saying it can't load the LUT because it might be corrupted or not supported.

[@bearkat4160]

FCPX has Canon LUTS and others, built into the software. Choose info tab and put viewing as "settings" ....there you will see the LUTS built in. Has ARRI, Sony, RED, Panasonic, BMD etc LUTS also.

[@damiencooper8334]

Bearkat4160 yeah, it only has 3D luts though. To change log to rec709. Not log to another log

[@bearkat4160]

Ah yes, true...

[@tobyt3714]

What if you can't shoot in RAW & the footage is for live stream?

[@ShareGrid]

You would be much better going straight out of the SDI port into a switcher or adapter for live streaming. You could always record 8-bit mp4 beforehand and stream it after the fact.

[@carlosq00]

The LUTs shown in this video are not the same as what the download offers. There are no conversion from CLog2 to CLog3 LUTs in the download. Great video though. Thanks for putting it together.

[@ShareGrid]

When you download the LUT pack from Canon, currently called "Canon lookup table Version 201712", the Canon Log 2 to Canon Log 3 is under "1dlut > canonlog2-to-gamma-1dlut > full-to-full-range > CanonLog2_12-to-CanonLog3_FF_Ver.2.0"

[@carlosq00]

awesome thanks

[@moritzsieber509]

Thanks for this great Video! We received our C200 a few days ago and we have some problems with the export. We grade the footage in premier pro CC 2019 and every time we export the clip the footage is totally overexposed! Does someone know how to fix that? Thanks in advance!!

[@GardensoftheAncientsHerbal]

Do it in resolve then move to pro

[@tobyt3714]

@@GardensoftheAncientsHerbal noooo is that the solution?

[@GardensoftheAncientsHerbal]

@@tobyt3714 premier is not good at color. Davinci was made for color. Davinci recognizes more file formats also so more flexibility there. In fact you can do a fast rough edit in resolve then after color grading and picking your clips do all your transitions in premiere.

[@GardensoftheAncientsHerbal]

@@tobyt3714 there is no one solution. I told you what the programs are intended for, use your head.

[@garyking4032]

Some excellent info - thanks very much for sharing!

[@ShareGrid]

Gary King thanks! Glad it was helpful!

[@kadragepictures]

If I attach a SmallHD Monitor 7“, do I still see Canon Log 3 Lut? Or can I change what I see?

[@ShareGrid]

You can load 3D Luts onto Small HD monitors using an SD card to preview a different look. Hope this helps!

[@chrissinclair2519]

This video helps to understand that Resolve auto-converts to display C-Log 2. Is that the same treatment that FCPX 10.4 (which now supports CRM) displays?

[@avtoportret]

yes

[@microdoulo2250]

The sigma 18-35 work on Canon C200?

[@avtoportret]

yes

[@ShareGrid]

Micro Doulo if it’s an EF mount then yes!

[@avtoportret]

Nikon mount works too via adapter (no AF obviously)

[@microdoulo2250]

Excellent tutorial

[@ShareGrid]

Thanks so much! Glad it was helpful.

[@abettervideographer]

I wish we could simply view Canon Log 2 while shooting. omg.

[@GardensoftheAncientsHerbal]

Sux no raw out the sdi....

[@ShareGrid]

Yeah, that seems to be an issue with the technology that was available at the time of the launch of the camera. Since then, Atomos has come up with ProRes RAW which can be recorded over HDMI and the newer Panasonic S1H can output RAW..

[@ClaudiusNova]

So you handle the noise in Log 2 by changing it to Log 3 in post...doesn't make much sense to me

[@TomasVillegas]

Thanks for sharing!

[@MegaBull10]

Thank you!

[@ShareGrid]

Thank YOU for checking it out and good luck shooting!

[@PacoPradas]

my first test with C200: kzbin.info/www/bejne/l33NhISKp8algs0 my second test with C200: kzbin.info/www/bejne/l4DdkGqFfpmYqLs I hope to do something more beautiful in Barcelona soon.

[@МатричнаяПыль]

So the real question that pops to my mind is: If all you are essentially doing in the Canon Raw Development Tool, is debayering the "Raw" footage to one of Canon's curves...and as the guy said, just choose Log2, since it gives you the widest range... and then bringing it to DaVinci, why not just shoot in Log2?? Instead Canon introduces this so called Cinema Raw Light format, which you effectively..all you do with it, is just turn it to Log 2, before you start working on it, what's the whole point??

[@МатричнаяПыль]

Could it be, that it's just a marketing gimmick by Canon, so they can say that they have a raw camera? When in reality there is no apparent advantage of shooting in Cinema Raw Light, compared to Log2. At least I haven't seen a single one,from the guy's explanations.

[@cinemapromisedland9615]

Cinema-Nomad No you can change ISO, White Balance, and Metadata in raw THEN export it as ProRes 444 or whatever you want

[@PacoPradas]

my first test with C200: kzbin.info/www/bejne/l33NhISKp8algs0 my second test with C200: kzbin.info/www/bejne/l4DdkGqFfpmYqLs I hope to do something more beautiful in Barcelona soon.