mercer

I know you, specifically, were just joking, but this narrative has been seriously floating around other sites as an actual argument against the C200. Don't get me wrong as much as I love Raw, for media/storage purposes, I would have love to have seen Canon implement ProResHQ with a similar 10/12bit option. Or a 1080p Cinema Raw Lite. Honestly though, I think I'm more mesmerized by the fact that Canon, of all manufacturers, even made such a camera. If they'd only put some of this thinking into a 5DCinema camera, then I might actually put the money together for one. As of now, I'll be happy with my MLRaw.

Nice! What profile did you use?

This argument that a day's worth of footage would equate to the cards costing more than the camera is a complete straw man argument. Who on this site would ever purchase that many cards, or need to? A couple 256gb cards or a few 128gb cards would be more than enough to get you through the day if you offload while you cycle through cards. People with ML Raw have been doing this for years. It's hardly an issue.

The bit depth is TBA according to Canon.

Yeah unless you are specifically being asked for 4K, then I wouldn't switch. The D750 supplies a beautiful image.

You have to change it in the photo mode menu and then it will work in movie mode.

Don't you do more stills than video?

Canon batteries are smaller than V Mount batteries. The whole camera is smaller and lighter. There won't be any need for IR filtration. Unlikely to have any magenta issues. With all that being said, the UM is a great camera and I predict the C200 will be as well.

It just depends on how much control you want or need in post over the image. Of course you can edit and color natively to get the most benefit of Raw, but converting to ProRes 4444 will still give you 12bit color and will be a more traditional post workflow. Just look at the hundreds of BMPCC videos online. Shoot Raw and convert to ProResHQ and it still looks better than natively shooting ProResHQ. IMO.

Supposedly you can use an iPhone or iPad via wi-fi. I think some people on here have tried it with 1DX2 and it supposedly works well. But yes, some form of touch monitor would be needed. i think the monitor sells as a $600 accessory though... so that's still a near grand savings.

I said this a few days ago and I waivered a little bit yesterday but I think Canon really listened to the market here and once the FW update is released, early next year, this camera will be an all in one solution for many tasks. For your lower rent jobs, you have the 150mbps MP4, for the higher profile clients, you'll have the 302mbps XF-AVC (assuming they use the same as the XC10) and then for narrative, docs, and music videos you'll have Raw Lite. It seems like a great idea to me. Now even though I doubt I'll buy one, although I may rent it, I wouldn't need the full kit, so the 200B is even more appealing... 15 stops of DR at 12bit Raw with touch DPAF plus a plug in to edit natively in FCPX... all for $5999? I'm still surprised they even got this camera approved for production.

The FW update will be great for you then. I actually think a C100 mk iii may eventually come out as well. But it won't be for at least a year.

You know, this is totally off topic but I have heard that Canon considers them self a lens manufacturer more so than a camera manufacturer... I almost think they should make native lenses for the micro 4/3 mount. I assume that would be an odd business decision but man could they rake in the money.

Yeah, that's what I was trying to say... your version was much more concise.

But I'm unsure you'll need to. I just had a look at a screenshot of Canon Raw Development 2.0 and it looks like there are controls to process the Raw footage before you transcode it... but this is just a guess because the screenshot just showed WB and Sharpness. Also, I assume, the TBA plug ins will work like Resolve's Raw Tab works with CDNGs... but again too early to know for sure.

Are you using a speedbooster?

Very nice. One of the more organic images I've seen from the GH5. What lens did you use?

I believe the pixels are compressed but the image isn't processed like it would be in .h264 or a jpeg. It's a container not a codec. But I'm probably wrong, this is where my knowledge starts to get fuzzy. ?

I don't necessarily love the grades but JLog looks like a nice Flat Profile that is easy to extra oomph out of with simple corrections?

Oh yeah I agree with you, I just don't like Resolve... or should I say my computer doesn't like Resolve. I like FCPX and the ProRes files cut like butter on it. So when the Canon Raw Lite plug ins start popping up for FCPX and Adobe, yeah editing natively shouldn't really be any different than editing native .264 files or native ProRes files. Who knows how traditional the Raw workflow will be, but I hope there will be some way to convert my MLV files to work within the new FCPX Canon Raw plug in.

I'll have a look to see if I have any cards with footage. I don't edit natively and transcode to ProRes for storage and edit. I then usually erase the card, but I may have one lying around.

Compressed Raw is still Raw. 12bit 24fps is still 12bit 24fps even if transcoded to ProRes 4444. And I was just addressing his previous post about Raw workflow in general. Since CDNG is more known at this point, I used that as an example. Btw @Andrew Reid have you had a chance to test the 3K Raw from the 5D3? If so, thoughts? Sorry for OT.

@fuzzynormal you can process the color from the outset, but you don't have to. For CDNGs, once you bring the Raw files into Resolve, the only real necessity is to turn them into ProRes, unless you only use Resolve from ingest to export. It's probably smart to also fix your WB, if needed, before rendering as ProRes. Then open the ProRes files in your NLE, edit and color as you like. If you want more latitude you can send the project back to Resolve for color and then send it back to your NLE for delivery. I usually just use the ProRes files in my NLE for edit, color and delivery and never go back to Resolve. Some people use different Log profiles. For the 5D3 I use an app called MLRawViewer or a newer one called Footage that I can turn the MLV files directly into ProRes files as C-Log, sLog, Log C, etc. I highly doubt they are the exact curves but Log to Rec709 LUTS work well with them. It's a fairly simple process but it is time consuming. There are other processes that make ML even faster (MLVFS) With BlackMagic you can just ingest, edit, color, title, deliver using the native CDNGs. With the C200, it seems like it will be possible to edit natively but either way it will be a lot simpler with the proxy workflow.

Well you have been doing your research. Good on you. I only have a minute, I'll reply more in length later... Have you looked at any videos with the Meteor lens... I think it's a 16-69mm. It won't give you the semi-wide but it's a good one lens system if you want that 70s film look. See below for a video I found online when I was looking to get one... I love that look I had a love hate relationship with the Micro. At the time, and now, I'm forced to work on no budget, run and gun narratives. I write, shoot, direct and edit them. Well I am doing that now, finally. Anyway the Micro drew too much attention, so it wasn't good for my purposes, but I loved the images it produced. Since then I've used a 50D, a Pocket, another Pocket and now I have finally settled on a 5D3. I liked the Micro image better than the Pocket, it seems slightly different, but I prefer the form factor of the Pocket and I prefer everything about the 5D3 over the two... except I can't use an old c-mounts with it.

Sure Canon would get more latitude at 10bit with their MP4 150mbps mode but cLog was designed, or calibrated, to work with 8bit footage, as we all know vLog needs the 10bit container to get rid of the nasties.