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Edit. Just did a black balance but didn't help. Tried different white balances didn't help. Seems to prominent at shutter speeds between 1/48 - 1/120. I'm in a 50Hz country and tried both 50Hz and 60Hz but to no avail. Sometimes I don't see the green bar but then it returns, I think this happens moreso after I pan from a tungsten light source over to the fluorescent light but can't say for sure yet. It also happens on both 24fps, 25fps and 60fps... haven't checked 30fps yet.

The green bar is there with Canon lenses as well. This only seems to be happening with fluorescent tube lights. I haven't tried to dial it out with any Picture Profiles of White balances yet. Any ideas? Edit. Just did a black balance but didn't help. Tried different white balances didn't help. Seems to prominent at shutter speeds between 1/48 - 1/120. I'm in a 50Hz country and tried both 50Hz and 60Hz but to no avail. Sometimes I don't see the green bar but then it returns, I think this happens moreso after I pan from a tungsten light source over to the fluorescent light but can't say for sure yet. It also happens on both 24fps, 25fps and 60fps... haven't checked 30fps yet.

Good thinking Liam, and thanks for your point. I'll try to recreate the issue and with the same lens and try some other lenses in the process. Will report back.

Aaron, Inazuma... thanks for jumping in with your thoughts. Interesting to hear that you've switched to WDR Inazuma. I remember you commenting that WDR was rubbish. For sure it would be great to have more 'solid' info from the pros who have worked into the PP setting to really pull the best out of the camera. I think that the green bar seen in the top of the frame might be some kind of reflection/ refraction of the fluorescent tube within the Sigma 18-35. It could also be that the fluorescent light is built in a part of the world where standards are different, inferior, adulterated. I'll try and recreate the green bar with other fluorescent tubes and report back. Aaron, at first I thought that I might have made a big mistake with the C100 MkII with everyone beating the Sony/ Blackmagic drum. But in putting it through the paces, I've really come to appreciate the look and feel that I'm getting out of it... it just looks fucking great! Never mind just how practical it is.

Hi folks, my basic approach has been to use C Log for daylight shooting and then switch to WDR (wide dynamic range) for night shooting. Yesterday I was doing some night shooting under mixed lighting. In reviewing the material, I noticed that a fluorescent source cast a green bar across the frame. I did a little research and learned that Canon cameras can have some issues with fluorescent sources: http://www.cinematography.com/index.php?showtopic=65661. This lead me to consider the camera's picture profile settings and maybe trying to modify a profile to better deal with mixed sources that contain fluorescent light. In heading into this, and after a little Googling I found this site: http://www.nathanblairfilm.com/canon-c100-color-profiles. The site does not contain any info on profile that will deal with a green colour bar issue I'm seeing in the supplied frame grab but did start me thinking about modified Picture Profile that would kick the C100 MkII towards a better image. The short of this is that I'm curious to know: 1) What, if any, Picture Profiles folks are using in the Canon Cine cameras? The gist of what I've been reading is that both C Log and WDR have the same amount of dynamic range so just go with WDR if you don't want to work as hard to grade the footage. Anyone care to confirm or deny? 2) Has anyone else seen any kind of green bar across any of their footage under fluorescent sources? 3) Has anyone modified a Picture Profile to something that they know and trust to deliver something better than what the camera shipped with. For run and gun etc. I tend to like to set it and forget it but I am willing to step up to enable profiles that may be suited to deliver better results. Happy to hear your thoughts...

Sony FS7, FS5, A7Rii and Canon C100 Camera Test: https://vimeo.com/150603420

I'm constantly reviewing material after big day and nights out in the streets. The C100 MkII with the Sigma 18-35mm just smokes! The colour, detail, look and feel. Crazy good.

No sweat Lintelfilm, happy to help. We have a decent forum here. I've got the 14mm 2.8L (21mm equivalent) but have mostly parked it for the 16-35mm f4. The 14mm doesn't really sharpen up till f8. The 16-35mm f4 is very sharp the whole f range so that is more useful to me. Plus the zoom. Yes the f4 of the 2 zooms can be bring me to switch out for a faster lens despite the great ISO of the C100 MkII. I normally grab the Sigma at this point. I never really shoot over ISO 6400. Not yet anyway. I gave the 17-55mm a good look but it feels like an update is just around the corner. Plus I hear it can be a dust magnet and out here the dust is just over the top. The 24-105 seems a half decent compromise. But I'm not exactly wild about having to swap the 24-105mm during shooting to get wider, but ah well. Here are a few clips I found a long the way that helped give me a half decent impression of what the camera could render with different lenses: https://vimeo.com/66462804 https://vimeo.com/75135055

Everything is a compromise but the C100 MkII is a great base to create finely detailed images with GREAT colour. It may be a little over priced but I'm willing to pay more for a camera that is fairly well thought out compared to others that are not. Personally I'm sick of camera companies fucking with their customers. We all are. In trying to select a new camera for a doc project out here in Asia, I found myself viewing clips on my smaller monitors and then decided to throw the same clips up on a big screen from a beamer and this is what really drove home the Canon images for me. COLOR. They just look great. And, the C100MkII also has great sound with controls which for me is critical. The DAF is your best friend during run a gun. Focus peeking is amongst the best I've ever worked with. 1080 60p slowed down 50% still looks great. People love to bash the codec but so far I've very pleased with the results if you nail exposure and there are plenty of onboard tools to help with this. Choose lens that compliment. This is critical. I, and many, like it partnered with the Sigma 18-35mm as a fast wide. I'm also using the Canon 16-35mm f4 when I want wide deep dof during movement. Canon 24-105 (for a run and gun), Canon 100mm f.2.8 IS for interviews. I would love to start using legacy glass to see what is possible in the future and when I'm back to the West. At the end of the day it's about what you actually need the camera for? This camera is a great all-arounder and in the right hands will sing with the best of them.

I've said this before. These camera companies constantly consultation with one another as to what they are going to turn out and who is going to up the ante from time to time. And I'm willing to bet that there is an agreement in place that everyone sticks to where none of them will put forward revolutionary products or features that undermine those of their competitors. I know it sounds half crazy, especially with competitive nature of capitalism being what it is, but it's the only thing that can explain this slow trickle of infuriating incremental updates and releases. And, you would think that companies like Blackmagic would be the wildcard that would tear the traditional players a new asshole but I'm not so sure about their approach either. And if this is actually the case, then I'm left scratching my head on where the fuck are the Chinese cannibalistic opportunists? I really start to see the value in looking back in time for my next camera.

I like. I don't like. I like. I don't like. I like. I don't like. I like. I don't like. I like. I don't like. I like. I don't like. I like. I don't like. I like. I don't like. I like. I don't like. I like. I don't like. Oh the duality.

Several forum members will have an identity crisis soon.

For sure Oliver. But can we please somehow coax these folks towards a little originality? It's like there is a runaway factory stamping these guys out. And just when I thought I'd left it behind in Europe, it's hit Asia. Really ridiculous.

Aside from all this camera stuff, any takers on when we are going to see the end of beard rock as fashion? Surely it should be over by now.

Ebrahim, I'm finally logging back in from one terribly smouldering Asian megacity tonight asking that you rest easy in the quiet confidence that there is weight behind your words and they do carry forward. I for one, am lensing this incredible city on the C100 MkII and could not be happier with the image I am getting. Killer. Some of what you and others on this forum mentioned in our discussions helped confirm that I was headed in the right direction with my purchase. For sure I'd be happy to see a comparison between the FS5 and the C100 MkII but I'm pretty confident I made the right decision. And towards your concern on being labeled a 'Canon Fan', it's no secret that there are a lot of folks who are harbouring hard feeling over the idea that Canon has somehow abandon them for not including more in their releases. Some of these folks have even named their websites after their product lines and that has got to sting a little in the wee hours of the night. I'd even reason that some even carry on taking shots at Canon somehow hoping that they get the message and finally give more. In any case, I would take Andrew's jab too seriously as I'm pretty sure he's just defaulting to his upbringing in a nation that has given rise to some remarkable forms of humour. And finally, I think it's understood that there are all kinds of folks in this game with all kinds of reasons. For me, although I enjoy the 'most' unusual kinds of storytelling, I don't see feature length documentaries including 240fps very often and with that I rest easy knowing that at the end of the day remarkable storytelling is what gets me paid and having a camera that helps me do this is where I put my coin. To each his own. Herzog's Rogue Film School Rules 9) Censorship will be enforced. There will be no talk of shamans, of yoga classes, nutritional values, herbal teas, discovering your Boundaries, and Inner Growth.

Cross posting this reply from my other similar topic: I think I've managed to sort things out. I can shoot in 60hz to have 23.98p @ 48 shutter speed. When I check the waveform I only see a tiny amount of flicker. What I understand now is that when I switch from 60p to 23.98, the camera's shutter defaults to 1/60 and that's what was causing me to initially think that the camera was showing flicker at what I thought was 60hz 23.98 at 1/48 shutter speed. Too many hours with no sleep. Sorry for dragging folks in here on my oversight, Mattais was right that the flicker (so far) is minimal and manageable at those settings. Alright, back to the races.

I think I've managed to sort things out. I can shoot in 60hz to have 23.98p @ 48 shutter speed. When I check the waveform I only see a tiny amount of flicker. What I understand now is that when I switch from 60p to 23.98, the camera's shutter defaults to 1/60 and that's what was causing me to initially think that the camera was showing flicker at what I thought was 60hz 23.98 at 1/48 shutter speed. Too many hours with no sleep. Sorry for dragging you in here on my oversight, you were right that the flicker (so far) is minimal and manageable at those settings. Alright, back to the races.

Hi Zach, I think I understand the differences between American and European Hz standards and why etc but thank you for the Ablecine link What I'm trying to understand (from other C100 users) is if anyone has found a solution to the flickering. C-Scan, shutter angle, etc? Another way of coming at this issue is to just ask the question: Can I shoot at 23.98 in 50hz? Or is this not possible because 23.98 is a frame rate designed for a 60hz country and their electrical standard? After going over the Ablecine page I don't think this is possible and now I'm starting to think that I should have started the project on 50hz and 25p to keep everything flicker free when shooting in at 50hz country, but for some reason I though it smart to try and keep a 23.98 (24) frame rate. Any thoughts here? I don't know if it makes much difference but I'm editing in PPro and as I understand it is should be able to conform this without any trouble. Right?

Hi Mattias, thanks for jumping in here. I'm in the thick of it out here in Asia so your comment is most welcomed. I'll give your suggestion of staying at 60hz 23.98p a go but there is a good deal of flicker from fluorescent lights that can be clearly seen in the waveform that can also be seen slightly on the camera's OLED screen. And since this is a doc I'm shooting over the next year, and there will be a ton of material, I'm really trying to find a way to minimize this as much as possible. Ya know?

Not sure I understand this comment? Anyone else? Despite my last comment on thinking that I solved the issue, I enabled the camera's waveform monitor and could see that there was still signs of lighting flicker. Does anyone have the solution?

I've started a film some time ago on on a Sony EX1 shooting 23.98p, 1/48 shutter speed in a 50hz country. That camera allowed me to dial in a setting that would get around the lights flickering, I can't remember what the setting was anymore. The next camera that was employed on the film was the 5DM2 which at 23.98p, 1/50 shutter speed never showed any signs of lighting flicker at that frame rate. Now I'm on a C100 MkII. To get around the lighting flicker, I have to set the camera into 50hz but that does not seem to allow me to shoot at 23.98, 1/48 shutter speed. Only 25p. Given that I've already been shooting everything at 23.98, I think it is best to stay at this frame rate but I don't know how to enable this on the C100 while at 50hz. Does anyone know if there is a good way forward?

Somehow I got 23.98 at 50Hz. Reboot maybe. No flicker.

A little off topic but, the human eye sees more shades of green than any other colour. Evolutionary design/ survival mechanism.

It's somewhere in a thread I started on the C100 MkII. Some kind individual remarked about it. But here is what I found from canon: AVCHD AUDIO Linear PCM (16 bits/48 kHz/2 channels) (when 28 and 24 Mbps LPCM is selected) Dolby Digital 2ch (when 28, 24, 17, or 7 Mbps is selected) MP4 AUDIO MPEG-4 AAC-LC (16 bit/48kHz/2 channels) Bit rates: 35-17 Mbps: 256 kbps/less than 4 Mbps: 128 kbps I have Shotput Pro 5 also and will try to have a look as well. But even though this is the industry standard transfer utility, I've haven't head anything of it's stitching abilities.

I'm in a 50Hz country. When I set the camera to 50Hz (to stop lighting flicker) I no longer can shoot at 23.98 fps, only PF25 or 50i. The previous material of the project that I am shooting is 23.98 and I want to keep this frame rate. Who knows the work around?