C200: Anyway to capture 4k 60p RAW?

L

Lkorver

Well-known member
The only way I'm seeing to get high speed in 4k RAW internal is shooting 59.94, which then plays back in real time, not slow-motion. Would love to shoot high speed that I can review in slow-motl in camera like the c300? Is this possible? Also, don't want the editor to have to conform all the 59.94 to 23.98 if they don't have to. Thanks in advance!
 
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Lkorver said:
The only way I'm seeing to get high speed in 4k RAW internal is shooting 59.94, which then plays back in real time. Would love to shoot slow-mo that I can review in slow-mo in camera like the c300? Is this possible? Also, don't want the editor to have to conform all the 59.94 to 23.98 if they don't have to. Thanks in advance!
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Nope. Not possible in RAW on the C200. Possible with the terrible 120 fps 1080 that I have used exactly once.
 
Ah ok, was afraid of that...But the 59.94 is perfectly useable as 60p when placed in a 23.98 timeline?
 
Keep in mind that you have to tell the NLE what to do with the footage.

60p (59.94) in a 24p (23.98) timeline will play back at normal speed if it's just added in as is. [The NLE will just drop frames and the motion may look weird depending on the shutter (as it should).]

If you would like slow-motion, you'd have to choose the correct settings. In FCP X - for example - you'd highlight everything in the timeline and click 'automatic speed'. This would leave 24p material in a 24p timeline alone (since there are no changes there), and the 60p would automatically be conformed to slow-motion.

You'd see those 60p clips stretch out and play back slower.
 
Is there any way to conform the 59.94 footage to 23.98 at the file level? Back in the day I would use MPEG Streamclip to do this, but currently I only know of working solutions within NLEs. This is a problem when working with linked proxies because at least in Premiere when you choose to interpret the footage as 23.976 the proxy remains at 59.94 which makes everything out of wack.
 
Assuming you're on Windows (because with Apple you could use FCP X and export HQ files for Premiere, or Compressor or even vintage Cinema Tools) there is probably a variety of overseas software that can do it.

MPEG Streamclip hasn't been supported in years but still a useful industry-standard. Maybe HandBrake?

I don't know Premiere but maybe there's a setting to notify the software/proxies about the retiming. (I think there is in Resolve.)
 
Hmmm I forgot about Cinema tools... (I’m on a Mac but don’t have final cut though)

I don’t think there’s a setting in Premiere to tell it to retime the proxies (I’ve had several friends who use Premiere that are equally flummoxed by this)
 
I might have to test the waters. 90% of the projects I produce get edited by my editors who all use Premiere and that's what I'm used to as well for the 10% of the time I hop on and do an edit so our entire post workflow is pretty entrenched in Adobe.

It would be nice if Canon's Raw Development utility would do this. Especially given Canon's commitment to it's own raw format moving forward with the C500MKII and C700 models as well, it'd be nice to give it an update. (Or just update the C200's firmware to put 60p inside a 23.98 wrapper.....)

I'm 2 years into shooting with the C200 and it seems like I'm still doing a new proxy and/or raw conversion workflow for almost every project. Currently I'm ditching the SD card proxies and making my own 2K Prores Proxies through Canon's Raw Development utility so it plays smoother inside Premiere (and looks better throughout the edit). This is working pretty good, except for when I have 59.94 clips....
 
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Yeah - if anything - you do want the conforming/over-cranking to happen in camera like in true cinema cameras. (Even the Sony mirrorless cameras do it.)

Have a setting for framerate and a separate setting for a project/timeline.
 
chris f said:
I might have to test the waters. 90% of the projects I produce get edited by my editors who all use Premiere and that's what I'm used to as well for the 10% of the time I hop on and do an edit so our entire post workflow is pretty entrenched in Adobe.

It would be nice if Canon's Raw Development utility would do this. Especially given Canon's commitment to it's own raw format moving forward with the C500MKII and C700 models as well, it'd be nice to give it an update. (Or just update the C200's firmware to put 60p inside a 23.98 wrapper.....)

I'm 2 years into shooting with the C200 and it seems like I'm still doing a new proxy and/or raw conversion workflow for almost every project. Currently I'm ditching the SD card proxies and making my own 2K Prores Proxies through Canon's Raw Development utility so it plays smoother inside Premiere (and looks better throughout the edit). This is working pretty good, except for when I have 59.94 clips....
Click to expand...

Wow, that sounds like a torturous workflow. You owe it to yourself to at least take a lesson or sit with an experienced editor in FCP X working with CRL to see how much time and mental anguish it would save you. It's so much easier. It would eliminate almost every issue you are experiencing. We use FCP X to generate our proxies on ingest, Prores Proxy, I think they are 45Mbps? it is time consuming though, if I was doing this a lot, I'd need a faster computer. I have a top of the line 2018 iMac 27" (non Pro), but CRL edits fine, but the generation of proxies takes quite a while.
 
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