Reviewing the C200 manual, it looks like there are equivalent settings to the C300 II. Not clear yet if the C200 will behave the same as the C300 II / C700 FF. Will need to go to Samy's and test. If the Canon tools will let you bake in advanced color settings using their transcode tool, it could work. Otherwise would only work with MP4/MXF recordings, which is what these custom picture styles were designed to do: get the best look in camera with the least amount of post work. Might be possible to use proxy recording to make working with RAW quicker in post (minimally as a grading reference).
C300: C300 II vs. C700 FF vs. Alexa (skin tones)
- Thread starter jcs
- Start date
Reviewing the C200 manual, it looks like there are equivalent settings to the C300 II. Not clear yet if the C200 will behave the same as the C300 II / C700 FF. Will need to go to Samy's and test. If the Canon tools will let you bake in advanced color settings using their transcode tool, it could work. Otherwise would only work with MP4/MXF recordings, which is what these custom picture styles were designed to do: get the best look in camera with the least amount of post work. Might be possible to use proxy recording to make working with RAW quicker in post (minimally as a grading reference).
The one custom setting I tuned for skin tones over HDMI has more accurate blue (was tuning for skin tones, blue benefited as a side effect. Also works internally*, was tuned using HDMI output color). I shot color charts from time to time, especially when working with matching the 1DX II (loaded with custom picture styles), to make sure nothing unwanted was happening with the color chips, however the primary goal was always skin tones.
* the HDMI tuned settings (totally different than the settings used on the C700 FF at the start of this thread. Highlights crispy from post-over-sharpening a bit (12-bit RGB 444 HD scaled to UHD)):
Pascal Parvex
Well-known member
Thanks Pascal! Look forward to future cameras with default settings that look as good or better! Kudos to ARRI (and Canon RAW stills + ACR) for the inspiration.