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Hi Bob, do you know if Shotput Pro 'stitches' spanned AVCHD files together?

Inazuma. The quality of audio is better in AVCHD, is that not a concern for you?

I've been fooling around with the C100 MkII for the past few hours. So far so good but it's now time to start working with the files in PP. I noticed that the file folder structure is different to anything I've seen before so I did a search and came up with this video. Data Import Utility? Can Anyone tell me if this is the way to go or is there a better solution? Also, I'm think that it would be best to import and keep the original files in their folder structure, and then make a Prores copy to a second drive. Does someone have a workflow that works well?

Good call Flynn. If you take a look at his other posts (not only on this site) he's all about this kind of bottom-feeder behaviour. A sure sign that he's on the road to nowhere.

Rub-n-tugela strikes again. Thanks for the update Shield. I'd be curious to hear how you feel about the switchover in the days ahead.

After 15 years, I recently deleted my profile from mandy.com as they were sending spam that I couldn't turn off. Also I found their platform ancient. Does anyone use another service that is more relevant to the times?

Couldn't have said it better Squig.

JG, do I understand you correctly that folks are 'extending' or somehow 'stretching' the C-log beyond it's more 'narrow' scope - as Inazuma has stated he has done to get better colour and blacks? And if so, can you please explain in simple terms how and why folks are using this 'emergency trick' for reducing noise? Then your insight will make greater sense.

I'm hearing that the C100 MkII does it's best in C-log in reasonably well lit (day) situations, and Wide DR during low light (night) situations. Is there any truth in this? Also, with all that there is to contemplate in this big wide world, I'm wondering if there are any 'tried and true' settings that one can just 'set it and forget it' when using the camera for a long form documentary where one wants the most of the material to have the same look/ feel. I'm excited about this camera because of its workhorse ability and solid colours right out of the box and would be happy to step into a trusted set up profile that I can run with. Ya know? Here is some info that I've been gathering along the way: Dan McComb: Using a lower ISO won’t cause more noise, but will result in less dynamic range, in particular in the highlights. Instead of using a lower ISO, use an ND filter. Also, to reduce noise, I recommend overexposing by about a half stop. Canon doesn’t recommend this, but Shane Hurlbut does and my testing has confirmed that this camera needs a little extra light to keep the noise down. Ebrahim Saadawi: Activate waveform, expose until just before 100%. Trust me, this is the best image for the C100 C-Log in noise, DR, colour, skin. You'll see when you try it. The image is so much thicker and nicer when brought down while falls apart while pulled up. It's so easy to expose as the waveform is super fluid (real time at 25 fps). And yes ETTR even by pumping up ISO, on the C100 an under exposed 850 image is noisier than an ETTR 3200 image. But ideally, ETTR with iris and shutter and lights at 850 native ISO. Yes if you don't want to spend the huge effort of neat video in post, in shoots where you're going above 6400+ ISO, increasing the NR to 5 in the menus gives a ENORMOUS lowlight advantage with no detail loss. Beyond that you start losing. Also test using WDR instead of C-Log. Especially for +6400 ISO with +5 NR. I would actually shoot the first one shot in WDR at 850 ISO under sunlight just to avoid the initial momentary disappointment you might get with seeing your first shot in C-Log, especially if it's in lowlight, with Cinema Lock (no DR) and exposed down a bit. WDR serves GREAT in fast jobs, some people even prefer it for grading. So compare both too as a test.

Hi Inazuma, very good to hear your report on using the C100 MkII. Thanks! With your comment on getting a better image (more saturated colour and darker blacks) out of the C-log by changing settings, are you NOT able to get these things from the C-log by grading it? In other words, do you have to make these changes to the "Setup Level" and "Colour Matrix" to get the more natural and pleasing colour and blacks? Is this not possible from your tests of the camera's default C-log? Also I know you said that you can't find anything on the net about making the above changes to get the best out of it but if possible please share anything you find where someone has given some decent advice on how to set the C100. I will do the same. Thanks again!

I hear you on having a video and stills camera in the same box, every time I pick up my old 5D I still marvel at what a little powerhouse it was back in the day. It still is actually. My visa was just confirmed so I'm going to pull the trigger on the C100 MkII here in the next 24 hours unless something seriously derails me. I dived as deep as I could into all possible camera/ lens/ sound combinations, the pros, the cons and everything in between. In the end everything is a compromise but I trust that the C100 MkII will allow me to tell a better story because that in the end, is really where the magic is. So let's see. I've got a very short time now to pull all the pieces together. I'll be around in the following weeks after I get settled out there and roast up some C-log.

I don't know if it means anything to you Gregor, but the C100 MkII is currently selling here for 4400 incl. VAT. And when I see the colour of your Canon materiel, I rest easy and drop into the subtleties of the storytelling in a better way. But I also dig the 120 FPS and other bells and whistles of the Sony cams.

Groucho Marx’s letter of resignation to the Friars’ Club: “I don’t want to belong to any club that would accept me as one of its members.” Rest easy David

Thank you for your continued updates Inazuma. From my research, I am hearing that an external recorder does not make that much difference. Of course this is just what I'm reading and seeing form others and would be happy to hear more from others who have experience.

On second thought, I'm with you. I wasn't considering the newly arriving hordes.

Ebrahim, you my friend are a star

http://www.danmccomb.com/tips/canon-c100-mkii-configuration-guide/

Nice choice of camera Inazuma. I'm curious about your questions as well: When using C-log what is the best way to find exposure? Looking at monitor? Exposure meter? Waveform? Zebras?Should I use noise reduction?Can I change the autofocus rack speed? Hoping other can chime in as well.

- No Nicolas, you could shoot them.

Many of us here are in exactly the same situation. My advice for you: Buy a C100 Mkii or C300 and just tell your clients that the image is downscaled from a 4k sensor in camera so this will save them on post production time and money. Plus Canon has great colour to begin with, so they they will save on colour grading. If the clients don't like or accept this... then take them out back and shoot them... not with your camera... but a large caliber hand gun. Finished. And after others find out about what you've done, for the reasons you have, you will get more work then ever before.

100%. And I'm thinking, that just like any other fad, that at one point there could very well be a mass exodus away from these candy colours.

Thank you Andrew, great to have your insight and perspective here. So far, no one has mentioned anything to due with overheating in 4k on the A7sII.

Yes exactly. They are doing what is good for themselves, which one can't exactly fault them for, but this just does not add up for folks like me. All they have to do is just look at what the other camera companies are designing and do the same but with the better codecs, sensor etc. and price that they are known for. Not being in the camera manufacturing business myself, maybe this is just to much to ask for. But methinks it should somehow be possible. Alas.

Yeah I agree, it's what prompted me to put this together: Kit. Kitted out. David Hasselhoff tying off down by the Spree. Rig. Rigged out. Rigamortis setting in. Brick. Bricked. Bertolt Brecht. Crop. Cropped. Copping a feel. Color Science. Pseudoscience. Bitched appliance. Baked in. Burnt in. Can I borrow a filter? Game changer. Lame stranger. Grandma take me home. Bit depth. She wept. Red Raw. Redrum. All work and no play makes Jack a dull boy. Backlit sensor. Optical condenser. Magenta. Your girlfriend's placenta in a Chinese noodle house. Highlight. Lowlight. No light. Roll off to light another one up. IRE. Knee. Well maybe, lets see. H264. Noise floor. Back screen door, blowing in the wind. Gamma curve. Gamma globulin. Happy Halloween. 10 bit. 8 bit. 2 bit good for nothing. 2k. 4k. Jonny Holiday. Dynamic derange. A dog with mange. Home, home on the range. Log. Lut. Luddite. Neophyte. Is that a S-curve in your pocket, or are you just happy to BNC me? Coming in to Los Angeles, bring in a couple of RGBs. Out and about. S-login' it out. Node. Teal. Indian hand meal. Color pallet. Cleft palate. Focal. Fecal. We the people. Form factor. Hamstercaster. Should of asked her faster.

Damn, was confirming the country's beer reinheitsgebot last night so I'm off to a late start. I look forward to your comments and insights.