jcs

RAW honey, of course.

It's only a matter of time before we have telekinetic bee drones for $.99

This JPG image is 8-bit 420 (everything we see online and with normal monitors is 8-bit. To see 10-bit one needs a 10-bit display, a video card capable of 10-bit output such as a Quadro/FirePro, and OS+software capable of 10-bit output (e.g. Photoshop)). The banding was caused by post grading where the 8-bit capture (Vlog?) wasn't sufficient for the grading, whereas the 10-bit version's extra bits allowed the final edit to be compressed to 8-bit 420 without banding. If one can't see the advantages of 10-bit and needs to save disk space, shooting 8-bit is a good idea.

Decent results for sure. Was going to ask if that was Miami, then saw the clues. Your username now makes sense MIA = Miami

I prefer these to our older and much more expensive Mackie HR824 (and the Basis 20/20 we used to have): https://www.amazon.com/Tannoy-Reveal-502/dp/B00J66GUGW/. This is the newer model, I'm using the 501a. As reported there a slight hiss (so did the other monitors), perhaps there is build variance, however I can't hear it over the fan noise of the MacPro. I chose these after listening to many monitors at Guitar Center (including the Adam brand listed in one of the lists in this thread). These provide a lot of clear detail, and Tannoys available at this price is amazing. For headphones, the Focal Listens are a killer deal (also have the Sony 7506 and Audio Technica ATH-M50 (both good for the price)): https://brightland.com/w/the-best-headphones/. The Focal Listens are more comfortable, more detailed, and more isolating than the 7506 and ATH-M50 (and also cost more). If you want the best headphones for the money, the Stax 3100 with Earpad Mod (will post pics soon) is by far the best deal, sounding as good or better than headphones costing $2000 or more: https://brightland.com/w/the-best-headphone-technology-to-date-electrostatic-stax-srs-3100-review/. I would not use these for primary mixing unless in a very quiet environment (open back). If your mix sounds good on the Focal Listens and the Stax, you're good to go. That said, for critical mixes I recommend listening to lesser headphones too, including iPhone/cellphone headphones as well. While I use a Sound Devices USB Pre2 which has killer preamps etc., I've used the Focusrite Scarlett 2i2 and the quality is amazing given the cost (still have one on a PC); make sure to get the version 2 / latest. I used to use a 56 channel RME Fireface 800 (rackmount); these newer and lower cost devices sound better to me (had Protools 24 hardware years ago too). If you are not doing recording, a USB headphone DAC + headphone amp will probably be the best bang for buck. Something like this might work depending on how the volume control works: https://www.amazon.com/FiiO-E10K-Headphone-Amplifier-Black/dp/B00LP3AMC2/ (also check out Z Reviews on YouTube for best bang-for-buck headphone preamps. If the line out isn't controlled by the volume control, you'll need a device that does or provides a separate volume control (as with the Scarlett 2i2)).

I thought you preferred fluorosulphuric acid and steel wool?

The camera is over one year old, so out of warranty. The user manual states to "clean the lens with a lens cloth (not tissue)"; it does not state the camera must be sent in for cleaning service (which would be ridiculous). The camera doesn't come with a front lens, so this appears to reference the rear viewfinder lens (also explains how to clean LCD in same section). If a camera is under warranty and there was a failure after properly following instructions (i.e. the coating is actually defective), if the warranty is not honored, in the USA one can pursue remedy via the Magnusson-Moss Warranty Act.

I've only used the C300 II VF a few times outdoors. I wear glasses most of the time, though it's possible I was wearing contacts when looking through the VF, and perhaps oil from eyelashes created this pattern: Thought perhaps the coating was cracking/spiderizing on it's own. However after cleaning with ROR and microfiber: It came off. Microfiber is tricky in this small space, it's not perfectly clean. Going to get some optical swabs (vs. q-tips) to carefully (with very little downforce) get the edges and remaining spots. It's not really needed, it's clear enough to use (and was before cleaning, the pattern only showed up at that angle with light hitting it as shown). Since I rarely use the VF: I agree that it's insane and super not cool to have to pay over $700 to replace the entire VF assembly vs. just being able to replace the outermost element for around $100 (at most). I'd pay Zacuto $1950 (https://www.bhphotovideo.com/c/product/1242176-REG/zacuto_z_gre_gratical_eye_micro_oled.html) before I'd pay Canon $710 to replace this part (would probably get this package: https://www.bhphotovideo.com/c/product/1293748-REG/zacuto_z_c3002ergreb_c300_mark_ii_gratical.html). Photos with 1DX II (will post some production info for video soon).

Yeah, parts, labor, and shipping for C300 II. I'd probably get a Gratical-X (http://www.zacuto.com/gratical-x-hdmi-evf) before paying Canon $710 for the stock viewfinder (will be very careful when I clean it!).

Same issue with C300 II: http://www.dvxuser.com/V6/showthread.php?354171-C300-Mark-II-viewfinder-coating-all-screwed-up-unusable Looks like the coating is fragile and will come off when force is applied. Again, q-tips are a very bad idea due to force concentration. When wiping the solution with a wipe/optical-microfiber, it's important not to allow any finger to directly apply force- bundle/fold to create a 'spring buffer' between fingers and lens and slide (lens) or twist (viewfinder) without pressing into the lens surface (just enough force to keep in contact). Pancro (made by Panavision for their lenses) and disposable wipes is a good suggestion from that thread.

The profiles really won't have much effect on noise, they just increase the visibility or not (e.g. bringing up the blacks); this is from using the FS700 with internal recording. As @BenEricson noted, I'd be surprised if the picture profiles affect RAW out. In any case, I'd stick with a log format since you're using RAW out to ProRes (10-bits or more). Once you apply a LUT from log to 709, the blacks will be much darker and the noise less apparent. if still too much, Neat Video works very well (even though it's time consuming). If you can't add light when filming, perhaps consider getting a used A7S II (does really nice 120p). For some shots optical motion interpolators can work very well going from 120 to 240fps (or higher). This of course takes time in post, so you see the pattern :). Again, look carefully at the final delivery target for noise quality. If on YouTube/Vimeo (online streaming), you'll be surprised how much "free" NR you'll get (whether you want it or not, e.g when trying to get film grain to show up).

@Karl Hungus I would not use a q-tip from just the force concentration to a small point alone. You want to spread any downward force over the largest area possible to avoid damaging the optics. Second, q-tips aren't rigorously controlled in manufacturing for cleaning expensive optics. Something like this for those who want to be super careful (individually sealed): https://www.amazon.com/PEC-PAD-Lint-Free-Wipes-100per/dp/B0001M6K24/, https://www.amazon.com/Optical-Lens-Cleaner-Spray-Bottle/dp/B0002HMRF2/ (some folks reported ROR better than Eclipse: https://www.amazon.com/Photographic-Solutions-Eclipse-Cleaning-Solution/dp/B004WBR8C6/). If you apply the microfiber over the largest area with the least downward force, that will minimize the chance of any damage (really just want to move laterally with almost no downward force at all to remove the cleaning fluid). The truly best solution would be if the solution could completely remove everything then use compressed air to dry and blow away accumulate (basically touch free cleaning).

We had an FS700: +1 on ETTR and while I would not use Slog(x) for internal recording, it's fine if recording RAW to ProRes (10-bit). If after grading and compressing for final delivery (e.g. online streaming means at least 1 H.264 pass) the noise is too much, Neat Video is your best option (only after done with everything else- it slows down the workflow; no point even messing with it (other than a quick test to make sure the clips are usable after NR)). One of the secrets of the A7S I/II is the in-camera NR (probably more than the hardware). The FS700 is decent in lowlight, however slomo and super slomo needs a lot of light, else it's noisy, e.g. 240fps = 1/240 - 1/480 shutter.

The fan is pretty quiet. While you can set it to turn off while recording, it will turn on anyway if it gets too hot: https://www.manualslib.com/manual/994675/Canon-Eos-C300-Mark-Ii.html?page=61 We use ours in the studio plugged into the wall most of the time. Some of our lights have louder fans. A few years from now we'll look back and chuckle how cameras used to be big, clunky, and even had fans to cool the primitive electronics.

Haven't cleaned the C300 II yet, thanks for the warning. For DSLR's, I first use a blower to remove as much as possible, and water vapor (breath) and a quick wipe with microfiber. Was using soft/fluffy microfiber however they've begun to drop lint. Researched on Amazon and found ROR cleaner (supposed to be safe for all multicoated lenses) and really good microfiber for lenses on Amazon (no lint), ordered.

@tomekk- those look like fantastic LEDs. Excellent spectrum examples on their site as well, and excellent R9 performance. As competition heats up, expect even better light performance, not just in color but also thermal and luminous efficiency per Watt. Fiilex-sized (and build quality) point-source lights with more power will be amazing! (Aputure produces excellent light, however not in the same class in terms of size, build quality, and industrial design (to be fair, Fiilex are much more expensive lights per Watt/Luminous output)). Fiilex is just releasing the new 360 Pro Plus: http://www.fiilex.com/products/P360_ProPlus.php. At $995 ($845 without hue control (still has color temp control)) it's a few hundred more than the Aputure 120d, however it's also variable color (including optional hue control!), much smaller, IP24 weatherproof, and has many cool modifiers available. The Aputure uses 135W vs. 90W for the Fiilex (+ Fiilex is variable color), so I'd expect the Aputure to be brighter, however we'd need to see independent tests for lux at 1m for both lights). Fiilex has more powerful lights (e.g. https://www.bhphotovideo.com/c/product/1043613-REG/fiilex_flxq5ac_q_500_ac_5_bfresnel.html), at $2k we're no longer in the best-bang-for-buck category (the build quality and light quality is amazing. Would be interesting to see a comparison with the new Aputure 300d when released).

Premiere should work for FW capture: https://helpx.adobe.com/premiere-pro/using/capturing-digitizing.html#capture_with_device_control . If digital capture has issues with stopping etc., you can always get an analog capture device.

120D/T is much higher output than Fiilex P360EX. Decent lists: https://***URL not allowed***/7-awesome-led-soft-lights/, https://***URL not allowed***/?s=led+fresnel

I haven't tried them- best bet buy some that you can try and easily return if they don't work out. You really can't trust the CRI or marketing spiel. I always buy daylight (5000k or so), so all the lights match somewhat closely, even if sun is coming through window etc. (it's never perfect but you're better off with close color vs. all over the spectrum (unless you're going for an artistic/emotional effect). To see how well good light should look on your camera, shoot with just tungsten bulbs (and no other sources) with WB set correctly. Tungsten is a black body emitter which is continuous spectrum and more or less a perfect light source. Then when you test your LEDs (regardless of color temp), compare to the tungsten shots. You can also shoot outside in the shade using the sun as a reference black body source. Outside is a bit trickier since you'll get lots of bounced light from your surroundings (ideally with black, gray, or white bounce surfaces only). Same suggestion- perhaps purchase both lights and test them, keep the winner (and let us know how it turned out). Dracast has upgraded their panels, so I wouldn't count them out without testing. LED tech is constantly improving and manufacturers are upgrading the LEDs in their panels. We need more LED spot/Fresnels (have 3, but only use the Fiilex P360EX (others have bad color and noisy fans)). IMO variable spot/Fresnels + light boxes / umbrellas + barn doors (and all the other available shapers) are a lot more useful than panels, and can pack pretty small. I would check out the Aputure daylight Fresnels too (120d and new 300d when available). Like the reviews have said, the Fiilex P360EX isn't super powerful (it is also variable color temp), however it's a tiny versatile light (Fresnel and soft dome options) and color and build quality are excellent.

@DaveAltizer the 1DX II is excellent after creating custom picture profiles (not log emulations). Will post the results soon.

When learning still photography, I spent a lot of time (and money) buying LED lights to replace strobes (best bang-for-buck strobes I found were the Einstein E640s, fantastic light output and quality (one strobe can easily overpower the sun in broad daylight at the beach). However they don't fire 100% of the time (recommend perhaps Profoto as a step up or if doing full-time stills and traveling, etc.)). Even with gels and a light meter I couldn't get the LEDs which weren't great from the factory to produce nice skintones. Spending a lot more on Dracast LEDs, which are built like tanks, got closer, but they still didn't look great for skintones (magenta bias). The lower cost Aputure LSx series LED panels finally produced great skintones, as did the spot source LED Fiilex (fantastic skintones though not a great bang-for-buck and relatively low light output per dollar, plus the fan can be audible in recordings (it's pretty quiet, but not silent)). We talk a lot about how Canon has too much red, and red objects don't look right, etc. The reason Canon does this, is to make sure skintones look good. However for certain lights and conditions Canon's red bias can look no so good and must be fixed in post. To get a better idea of what camera and light makers have to deal with: https://www.provideocoalition.com/doestlcireallywork/ . CRI and even TLCI aren't great predictors of light quality. I can say I agree- only testing the lights has shown whether they work well for skintones/color accuracy. I recently replaced LED bulbs in my studio office to help make shooting video from my desk look better. The new Hypericon LED bulbs rated at CRI 95 were purchased to improve the light/color over these Crees which IIRC were 80-85 CRI. To the light meter, both bulbs have a magenta bias, but to the eye (and cameras) the bias is green. The CRI 95 Hypericons looked no better on camera than the older ~80-85 CRI Crees. At least they use 2W less power, 16W vs 18W. What's the deal with red and skintones? http://www.leapfroglighting.com/why-the-led-r9-value-isnt-important/ (read the article- they are actually saying the LED R9 (red) is the most important for skintones). If you are having trouble getting great skintones indoors, take a closer look at your lights, especially if using LED or fluorescent lights (my first lights used fluorescent bulbs designed for photography/film and they still had a green bias: skintones didn't look that great). If on an ultra low budget, tungsten with china balls is still perhaps the best bang-for-buck (provided all the lights in scene are tungsten).

Was wondering what city, then saw the bridge at 1:16: https://youtu.be/VGgZRrfXUBA?t=1m16s (Sydney Australia, did the bridge climb a few years ago- highly recommended!).

Ah, the noise you are hearing is the internal mic. If you are only plugging in one XLR mic, when you import your footage, you'll need to either reinterpret as mono (1 channel), or mute the other 3 tracks. In Premiere CC, I created a preset to reinterpret the audio channels as stereo (use only channels 1 and 2) since I use both XLR inputs in the studio. After I import the clips, I select all of them then apply the reinterpret preset. In FCPX I disable channels on the audio board (haven't researched how to reinterpret imported clips as a group). I used to have the fan turn off when filming, however now I leave it on since the mics are on booms in the studio, and when shooting handheld, the shotgun mic (Schoeps CMIT5U) does a really good job masking not just the fan noise but also the AF noise (really impressive- all that gets through is low frequency AF vibration from the factory mic mount (can remove in post with a low cut filter; should try the mic low cut filter). If using a better suspension mount should be silent. Haven't tested, but something like this might work: https://www.bhphotovideo.com/c/product/861386-REG/Rycote_037324_SOFTIE_LYRE_MOUNT_with.html). Electronics last longer when cool, so I'd leave the fan on unless you can truly hear it in the recording and/or you're trying to save battery for a specific location shoot.

2020 is larger than the 709 color space indeed so you'll need a 2020 to 709 transform to look normal (or view on an HDR display/HDTV which knows the file is 2020/HDR).

Using Audix and Schoeps mics we get very clean, low noise audio (all the Cosmic Flow episodes are using the C300 II). If after factory reset still noisy with a known good mic (and levels set around 5, and M (manual), not A (auto)), I'd take it in to where I bought it to have the camera checked out (especially if color isn't right too after factory reset).