C200: Canon C200 RAW Lite Workflow in FCPX

G

Gregormann

New member
Picked the C200 up last week and have so far been really impressed with the general ergonomics and handling. I'm completely new to RAW though, and had a few questions regarding the RAW workflow in FCPX.

I'd rather not be doing long round trips and extra transcoding, so would like to find the optimal method for importing the footage into FCPX. Where I've become a little confused is with the colour gamut options within FCPX. At times it feels like there is a lot of exposure latitude, and at other times it feels very limited and I'm wondering whether this could be down to the colour gamut choice.

Here's my current workflow:

> Create a new library
> Modify Library and set colour processing to 'Wide Gamut HDR' instead of Standard
> Create a new Project and set project colour space to Rec 709
> Import footage
> Change the lut from FCPX's automatic CLOG2 or 3/Cinema Gamut to Canon's official 'CinemaGamut_Clog3_to_WideDR' LUT

And then go from there. Is this pretty consistent with what others are doing in FCPX with RAW files? Or is this method somehow limiting what I can do with the footage in post?
 
With so much technical opinion out there these days, you simply have to do what's best for you.

Go through all of the options/settings. Which one does your brain like? Or your eyes for the current project you're working on?

Is a fraction of dynamic range from one vs. the other worth it? Any major color changes? Any noise in one and not the other?

---

What you are doing now is fine. Experiment more and think outside the box.

Most people do what someone says is the correct way to do things. Well, maybe something else may work better for you or at least for that particular footage at that time.
 
P.S. I know that's a vague answer...but the point is that there isn't one way to do something and you need to explore a bit.

For example, I'm currently looking at a ProRes RAW clip from the Sony FS5 in FCP X, and instead of using the 'Sony S-Log3/S-Gamut3' or 'Sony S-Log3/S-Gamut3.Cine' option under the 'RAW to Log Conversion' in the specs, I'm using the 'Canon Log 2/Cinema Gamut' setting because it's a bit flatter and I like the way it looks with my current LUT.

So I'm using a Canon setting on a Sony camera because that's what is best for me.
 
NorBro said:
With so much technical opinion out there these days, you simply have to do what's best for you.

Go through all of the options/settings. Which one does your brain like? Or your eyes for the current project you're working on?

Is a fraction of dynamic range from one vs. the other worth it? Any major color changes? Any noise in one and not the other?

---

What you are doing now is fine. Experiment more and think outside the box.

Most people do what someone says is the correct way to do things. Well, maybe something else may work better for you or at least for that particular footage at that time.
Click to expand...


Cheers, I think that's fair advice and I think a logical voice in the back of my head has been telling me this either way.
 
I just did the same and I have to say, it's a tie for me, but I am kind of digging my C200 CRL footage with the Arri Log C LUT applied. I also like the latest batch Canon official 'CinemaGamut_Clog2_to_WideDR' LUT and even the same LUT but to the REC709 is often usable. To me, LUTs are just a starting point, I really don't think images sing until you apply CC.
 
puredrifting said:
I just did the same and I have to say, it's a tie for me, but I am kind of digging my C200 CRL footage with the Arri Log C LUT applied. I also like the latest batch Canon official 'CinemaGamut_Clog2_to_WideDR' LUT and even the same LUT but to the REC709 is often usable. To me, LUTs are just a starting point, I really don't think images sing until you apply CC.
Click to expand...

I always start with the Arri LUT. I haven't stopped to examine why, but it just looks better to me than the Canon LUTS on their own camera...
 
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