On the C200, in RAW, it only shows you CLOG or CLOG3, so you effectively have to guess your exposure. For the kind of work I film I don't have time for Neat Video to denoise the shadows on hours and hours of exports.Īnother issue with the C200 is you don't have the ability to accurately monitor CLOG2. Even when you overexpose by two stops, this image is just noisy. The noise in the C200's Cinema RAW Light files has always bugged me a lot too. From the larger files, to slowing down my computer during the edit and export, to being slower to make proxies to send to my editor over Dropbox or Frame.io, to being more work to color grade Canon Log 2, it has never been worth the hassle to me. Here is why I sold it to switch to the Canon C70.ħ:28 - Recording full quality and proxy simultaneouslyĩ:19 - Better slow motion performance and settingsįor my workflow (editing in Premiere Pro with my full-time editor living in another state), I tried to implement Canon Cinema RAW Light, but I never film in it on the C200. In March 2019 I bought a C200 used for $5,500 and have used it as my main camera the past 21 months. I've owned a bunch of various cameras from Canon, Sony, and RED over the past ten years and have used Canon Cinema cameras as my main cameras for the past 6+ years running my video production company. I just sold my Canon C200 and bought a Canon C70 cinema camera to replace it, so in this video I'm going to explain why.
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