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Andrew Reid

Canon C200 vs Panasonic GH5, a preview

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

Until it shoots 10 bit log, it's a non starter for me. I agree with Andrew in that RAW can be hassle even in a pro environment. I work on a lot TV shows in the US. Episodic, dramatic stuff for networks and such. Virtually all the shows (except Netflix), despite their multimillion dollar budgets, shoot pro rez on Alexa in Log C. They could shoot RAW but don't want to lose the time and endure the hassle of RAW. The bigger the show, the more money that time costs.

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1 hour ago, Bkn Soc of Cinematography said:

Until it shoots 10 bit log, it's a non starter for me. I agree with Andrew in that RAW can be hassle even in a pro environment. I work on a lot TV shows in the US. Episodic, dramatic stuff for networks and such. Virtually all the shows (except Netflix), despite their multimillion dollar budgets, shoot pro rez on Alexa in Log C. They could shoot RAW but don't want to lose the time and endure the hassle of RAW. The bigger the show, the more money that time costs.

In what role? Just curious. Camera department? If so I have a few questions. 

From what I've seen this is 100% true. Different flavors of raw are different flavors of pain so I try not to generalize that every raw workflow is a nightmare. But I would prefer 10 bit log prores over any other format as well.

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Take a look at RED webpages, a lot of films are shoot with RED Cameras. So I guess, if you really are professional, RAW is the thing. Those who are not there yet, are still on the 8 or 10 bit track.  Soon you can head over to Apple Store and buy a RED Raven.

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6 minutes ago, Asmundma said:

Take a look at RED webpages, a lot of films are shoot with RED Cameras. So I guess, if you really are professional, RAW is the thing. Those who are not there yet, are still on the 8 or 10 bit track.  Soon you can head over to Apple Store and buy a RED Raven.

Always great to not have to deal with internal processing. The most stunning example is the FS700. Internal: Crap, External: Actually still quite amazing.
Even on new cameras like the FS7/5, C200/300MKII the RAW is way better. Only cameras where there is no visible difference between RAW and compressed are the Blackmagic Ursa Mini Pro or 4.6k or the Varicam LT/35. 

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From Matthew Allard at newsshooter:

"Well today I found out directly from the Canon C200 engineers that the new codec that will be introduced early in 2018 will be XF-AVC YCbCr 4:2:0 8bit, and it will be a free upgrade (if you can call it that). It will also be recorded to the SD cards and not the CFast card."

http://www.newsshooter.com/2017/08/24/new-codec-coming-to-the-c200-in-2018-will-only-be-420-8-bit/

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