C300: C100/C300/1DC question: is shooting C-log always preferable over the baked look???

N

Nicholas Natteau

Veteran
I'm so impressed with how great the picture is in it's "baked state" coming out of the C300, that I wonder if it's really preferable to shoot in C-Log if you're using the C300 for shooting documentaries.

I understand that C-Log gives you a lot more flexibility/freedom to tweak the image. And I can see why this would be preferable for a fictional piece. But given that the C300, C100, and 1DC do not shoot RAW, you're not going to be able to tweak the image as much as you would if you were shooting RAW with a C500 or BMC.

If you're like me and you're not experienced with color correction and can't afford to hire a professional colorist, are you not better off (safer) leaving the C300 picture profile set to it's default "off" state. Shooting C-log seems like an extra step (and a lot more post-work to do) when the baked picture already seems perfect. But that's just my personal opinion.

Curious to hear how the rest of you feel about the baked look coming out of the C100, C300.

Do you feel it's good looking enough? Or would you always prefer shooting in C-log?
 
Everything I post-produce myself I shoot in C-Log. Everything I hand over to someone else I shoot using a custom picture profile that is as close to "finished" as I can get - that is unless they ask for C-Log.
 
Thanks for replying Liam. What software do you use to color correct your C-log footage?

Editing with Premiere Pro CS6 and I'm unsure what color correction software I should be learning: PP CS6's built in color tools? Colorista II? DaVinci Resolve Lite?
 
Just start with the tools built in to Premiere, you can play with SpeedGrade and Da Vinci later. To get the contrast looking right you need to apply an "S" curve using "RGB Curves" then adjust saturation and colour balance with the "3-way" corrector. You can apply the same filter several times to he each clip to create different effects. Also, try doubling up the clip (copying it to V2) and have a mess around with blending modes.
 
Liam Hall said:
Everything I post-produce myself I shoot in C-Log. Everything I hand over to someone else I shoot using a custom picture profile that is as close to "finished" as I can get - that is unless they ask for C-Log.
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Hey Liam: What custom profile are you using for the baked in look? I too mostly shoot c-log, but i have some clients that dont grade at all.

Thanks!
 
If you need to shoot on a fast turnaround WDR seems to make the sort of shots that editors like, but like Liam, I'm drawn to C-Log for everything I edit myself (assuming that I have time for some grading).

I'd feel confident in handing over rushes to another editor using WDR, but there is sharpening built-in. That's something best left to the editor IMHO.

FCPX users should check out Graeme Nattress's Curves plug-in, using the 'B' setting. Tonalizer, Looks and even the built in tools are great, but Curves just beats the rest on its subtlety in the mid tones.

I'm still concious that the C100 does seem to lean towards green, especially in 'new owner' shots (including mine). However, whilst it's tempting to cook up a Picture Profile, one of the delights of moving to Canon was to leave all that sort of thing behind and just shoot. And do full-screen white sets.
 
hulkster2k3 said:
Hey Liam: What custom profile are you using for the baked in look? I too mostly shoot c-log, but i have some clients that dont grade at all.

Thanks!
Click to expand...

Brian Weed (Cowpunk52) has a couple of really good ones that he's shared - I've used both TrueVid and TrueCine:

http://www.cinemaeosuser.net/index.php?/topic/207-more-canon-c300-cps/

Abel Cine have some good ones. I've used AB Norm:

http://blog.abelcine.com/2012/03/23/canon-c300-scene-files-from-abelcine/

These are for C300, not C100.
 
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