C200: C200 - broken ND

M

morgan_moore

Major Contributor
Hi my ND seems to be gone on my C200

pressing the puttons does not engage it or change the on screen display or make any motor sounds

Is it broken or am I being an idiot and somewhere there is a 'disable the ND' 'feature' that I have engaged?

Camera 'lock' is not engaged (i learned this one when all the switches on my fs7 'broke')

Hoping my local man can give the ND a wiggle
 
I read once on here about a ND slide detaching and it [obviously] rendered the whole mechanism useless. Can you see anything inside hanging or?
 
I cant - (not like when you fail to nd properly on the fs7 and get a dark corner) but my local man would have the skills to do a re-align retighten and replace any M1 screws - its not been rattling

Its either that or the motor which i guess would be a canon job
 
Or maybe the button/board is not activating it anymore, not sending the info/power.

Keep an eye out if any of the other buttons start to act up.
 
Conclusion.. four months and £500, clearly a tiny motor broke but they only sell 'the unit'

One more snafu and the thing is a write off?
 
morgan_moore said:
thats th joy of a c200, affordable to own.

menu cables and rigging the same as a c500

so your client can have your camera cheap or rent you the one they want at thier cost.
Click to expand...

For me personally the C3003 and c5002 would be making life easier but a waste of money as a purchase. I wouldn't be able to charge more based on local market rates and having a high(ish) rate for the c200 (and all other gear) already. I need 10 bit this weekend so will hire a c70 instead of the worst set up ever - c200 with recorder. If I had a longterm project I'd pick up a c3003 with expensive EVF and be happy for a long time. But then it's like why not go for a used amira and potentially charge more?
 
Ameras dont have af and weigh 15kg.

unless you have a first to focus it and a second to carry it i would not bother.

folk just missing that a c200 and stigma 18-35 is good enough for anything

thier film is sh-it because it doesn't have Brad Pitt or £10m to crash cars and the script isnt funny.
 
Have you used an Amira? I thought you'd be all over the solo op larger cam. I've never used one but want to see what the deal is. If the camera (and same EF lenses you'd be using with the canon) only has to make it to a tripod then that should be pretty manageable.

For unscientific best image, which scenario wins?:
- professional colourist grading your canon raw OR
- SMM grading amira footage
 
I hate big cameras. F3+recorder+monitor was too much for me.

Ive tried amera at a show. It is very thin and this makes it probably the best shoulder camera there is.

Under rated i think.

But i like cams you can gimble or hand luggage.

Glad you are a fan of my grading - feel free to offer critiqes when i post rather questions than sniping from the sidelines

smm- c200 grade. Comments?
 

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That frame looks awesome, I'd believe you if you said it was from a show on Netflix. I know episodic tv production values vary greatly but you get the point.

Do you grade completely from scratch with the canon raw clips?

In resolve, I:
- punch in to lose black bars
- change default sharpness from 10 to 0
- LUT (Canon log 2 to wide DR 709)
- adjust saturation/contrast
- windows if needed

This is about the extent of my "grading" skills, which is why I was wondering if me shooting and doing post with Amira or me shooting c3003 with professional grading would look better. I'm talking about a general true to life look rather than pushing one direction or another for story.

C200b with pro evf/PL mount would be great to test, except if you're in that environment then chances are the c200 isn't even in the conversation anyway.

These are my only real complaints:
- EVF great for solo shooting but gets in the way when building up as a production cam
- no 10 bit isn't a nightmare but still sometimes annoying (raw too big for online delivery and 10 bit would be perfect).
- too slow changing frame rates
- lacking options for monitoring/LUTs
 
Sorry - I thought you were having a dig that I would be better with a cheap camera and paying to have it made nice.

I do beleive the C200 is 'fine' and a show stands or falls on story, actors, art, whatever.

I did think I was good at grading, but some stuff has been at bit bad of recent times. Which I blame on..
-skills
-maybe being to much of an ETTR nut
-going canon after a decade of sony
-maybe the R6 is just not as good as the C200

I do what you say, having recently switched to the lut you mention.
I would saturate and contrast befroe the lut

I would like the no evf version, which would indeed build nice, but as one camera for every role I think C200 is it..
cheap, evf, raw, small, good cable management

I shoot raw.

I have maybe a trade show shoot coming.. Ill just shoot the mp4.. its a trade show noone will notice (esxpecially as I will use a dled fill light and $1000 mic)
Would I like a C300iii with better codecs .. sure . Or C500 with fullframe.. maybe.
An alexa or venice or f65 the size of a bus and no AF.. no thanks.

Im getting better at this.. and will redo it for the C200
https://www.youtube.com/watch?v=M8r2PGcjVW4
 
Last edited:
No worries! Thanks for the advice and the link.

For the job this weekend, the c70 rental wouldn't have included mini XLR cables which I don't have. So buying them in addition would send it to the same price as a c3003 hire so the decision's been made for me.
 
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