C200: SHOT ON THE C200 - Completed/released/commercial projects only

Just a friendly reminder:)
PLEASE READ BEFORE POSTING:
Since another thread became clustered with debates about the camera (and its shortcomings) itself, I'm trying to start this as a VIDEO and SPECS only thread.
I suggest posting completed commercial projects only, just to keep the info value high and keep it better comparable to ones own style of shooting.
So please no test shots/camera reviews aso.
After watching a couple of completed projects shot with a certain camera, everyone can get an understanding of what to expect from that camera.
If you feel the need to discuss certain aspects of a video or the camera itself, please start a separate thread.
I hope others will do a similar thread for all the other cameras out there.
 
Is it just me or do some people need to work on grading before shooting in c log 2 raw? Not criticising any of the above, I'm just looking at the land rover ad... And it shows the difference
 
Greg Hughes said:
Is it just me or do some people need to work on grading before shooting in c log 2 raw? Not criticising any of the above, I'm just looking at the land rover ad... And it shows the difference
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I suppose in some cases it could be artistic choice rather than lack of skill perhaps.
 
Two Canon C200, one on tripod, one on a Dana Dolly
.MP4


Glad to answer any questions about how the C200 performs in a real, high pressure, studio clients sitting in chairs type of scenario, but moving that over to a separate thread so please don't post questions in this thread.








 
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Great stuff PD. How did you mount the Quasar Tubes?

Were the skypanels part of the lighting package? If being used in the way shown, would you use them again over an HMI?

Also, in another thread your lighting set up description is different to this post ^^ (4x/6x, not 8x/4x). (I'm only trying to help clear things up for anyone else following!)
 
rob norton said:
Great stuff PD. How did you mount the Quasar Tubes?

Were the skypanels part of the lighting package? If being used in the way shown, would you use them again over an HMI?

Also, in another thread your lighting set up description is different to this post ^^ (4x/6x, not 8x/4x). (I'm only trying to help clear things up for anyone else following!)
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Moved response to separate thread.
 
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puredrifting said:
Hi Rob:

We mounted the Quasar tubes with monofilament line from the T-bar ceiling tile.

The Skypanels were made available to me at the last minute, I had actually ordered a full tungsten package, we showed up in Atlanta and the set was smaller than it looked from drawings. We realized that if we used tungsten in that size room, our dancers would probably pass out from the heat. Fortunately the show was just wrapping on the stages next door and my gaffer did some snooping around. The production manager offered the Arris to us so I took advantage of their generosity. I ended up sending most of the tungsten package back to the rental house. I would use Arri LEDs over HMI anyday, they make NO noise and HMIs, in a room this small, would have been an issue with the buzz they make, since we were shooting dialogue. My gaffer offered his Arri L10 as a fill source and I kind of fell in love with it, that is a really versatile, super nice instrument.

As far as the frame sizes, we experimented and ended up using the larger sizes, I wasn't sure we could fit them into the room with the low ceilings but my grip and gaffer were very good at making things work (we ended up using the 8x8 tilted) so I wanted the larger sources, of course, since we had to cover multiple dancers with all different skin tones and wardrobe colors and shades. The white on white set didn't help matters, I was hoping to shoot on the show's sets, which were beautiful and in much larger areas but that didn't work out for various logistical reasons, the studio was already dressing the stages for a Sony Superhero movie that was ramping up. I have to say, I keyed from camera right and it looked pretty good but my lead dancer in the shots with three dancers had a tendency to flag the dancer on camera left and I ran out of time to try to fix it. They were all moving so it wasn't too bad but there were some instances when I would have liked to have setup an additional frontal fill light for them but that would have flattened out the overall look too and I liked the edgy yet soft look we created. All of the dances you see above were shot in two days, we were flying as we needed to get at least 2-3 takes of each dance sequence. Keep in mind Hurricane Irma was pounding us just a few feet outside the glass windows behind us, the crew had all wrapped shooting the show and were sticking around for us to shoot these, many of them had planes out to NYC, LA and Chicago the same day we shot these. The Hurricane canceled two of our shoot days, then we rented a generator to continue so there were some questions about if the talent could stay in Atlanta for us as they were also delayed two days and many had other gigs in their home towns booked. It was a crazy, relatively stressful shoot, simply because of the Hurricane. Atlanta was without power for four days.

Overall, it was a fun experience, the dancers energy was infectious and my Atlanta crew were pretty great overall. I have not seen the show yet but there are a ton of trailers of YouTube, hopefully it will be successful and we will get called back to do some S2 tutorials. The show is very dance focused and the people who work on it are really talented. Great crew too, the show looks very nice, especially for an on-line show.
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Thanks for the info, sounds like some really testing conditions.

How did you handle focus with the c200? Autofocus?
 
Dan, you're a valuable member here and I'm glad you share your knowledge with us. I would still like to ask you to respect the idea behind this "just videos and specs, no discussions" thread
and open a separate one to discuss all the interesting details of your production. This would also make all the info you give more accessible and not hidden inside this thread - thank you!
 
Spartacus said:
Dan, you're a valuable member here and I'm glad you share your knowledge with us. I would still like to ask you to respect the idea behind this "just videos and specs, no discussions" thread
and open a separate one to discuss all the interesting details of your production. This would also make all the info you give more accessible and not hidden inside this thread - thank you!
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Sorry man, you're right, forgot about the thread rules. I'll open a new thread and transfer all of the discussion. Appreciate you curating this thread.
 
TubEfingers said:
Images on this one had a really nice look, just the shot at the end of the guy holding the photo didn't seem to sit with the rest of the film for me,
to avoid hijacking this thread any suggestions on info on process/time/work required to prep/shoot/edit/grade C200 raw -it holds me back on the C200 over the EVA.
CFast costs, file size, ingest/process etc
If its not too much more than working on EVA Log 422 image it would be a consideration. I use FCPX on new MacPro. Thanks
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Hey I shot and directed that film and came across this thread. the shots of the guy holding the picture looks different for two reasons. 1. It was shot in MP4 and not Raw Light like the rest of the film. 2. It was shot mid day and not magic hour like the rest of the film. It was something added at the last minute. Thanks for watching!
 
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