Hi everybody, maybe anyone here is using a new Canon C200 recording to Canons new RAW light format.

I just recorded a few scenes as a test to a CFast card, installed Canons Raw ligth AMA plugin for Avid..

and wow! i could edit the CRL files natively.

What i dont understand is: while editing the files and color correcting them - do i really chahnge the same values like i could with Canons external RAW light development kit, where i can change white balance and a few more values like for example editing RAW stills in Lightroom.

Does Avid Color correction really work with the raw files? Or would it be better for me the go through the C-Raw Light development kit?

What is the best way and how are you guys working with CRL files?

Thank you!

Ingo

It’s raw "light" not raw so the files aren’t like true raw files from a Red Camera. I see no difference when white balancing in canon software compared to MC. The main difference I see is the canon software lets you convert the media to formats like CLog2/Cinema and a few others. That's not an option in Camera so If you want C Log2 with CInema Gamut then you'll need to convert it with the canon software. I happen to like the Cinema Gamut look so I convert the files then link to them in Media Composer.

May I ask, what format are you converting the CRL files to?

I’ve tried a few of the options but I really like the combination of Clog 3 and cinema Gamut. I like the color of cinema gamut. 

Maybe I'm mistaken. I thought with the Canon software you had to convert to totally new file format, like DPX or EXR. Are you saying you can gamma and gamut and keep the file in the CRL .CRM format?

This what I'm going off of: https://www.provideocoalition.com/canons-cinema-raw-light-codec/

Thanks so much!

I would love to get updates on your workflow. 

Anyone did the trip from MC to Resolve ?

i've had a C200 for about three months now and my workflow is use Canon Raw Development to de-bayer into C-Log 2 or 3 (depending on the content) and create new 4K Pro-Res 4444 master files and toss the original CRM's once the project is mastered. I find the 4444 files contain everything from the originals, grade beautifully in Resolve and are generally much easier to deal with.

I do the same. Pro Res 4444 bakes in the "log" look and the files are easier to work with. 

Great thank you. I'il give it a try next week.

Are you talking ProRes 4444 XQ or ProRes 4444  ? (for 4k) Any ideas how bit these files are compared to original Canon raw light ? 

If using Media Composer, don't you think it would make more sense to simply link to the RAW, transcode to whatever offline editing format you want and link it back to original prior to exporting it to Pro Res 4444 for grading in Resolve ?

Thanks

Yes, I am with you and normally that's what I'd do but Canon Raw Light is a little different.

The only 4K ProRes option in the Mac version of Canon Raw Development is 4444. The others are DPX RGB 16 & 10 bit and open EXR (Aces 1.0). In the Windoze version it's the same except no ProRes of course. It will do all the other file types in the ProRes family but only in 1080.

4K ProRes 4444 files are slightly bigger than the original Raw lite files but not by much.

At the moment, I feel like using the Canon software is the only way I know to be sure of the correct colour space conversion when de-bayering from Raw light. I don't actually know what Resolve is doing because the Raw controls are greyed out and unavailable - which is annoying. The  generated ProRes files are truly awesome. All the detail, colour and dynamic range is retained. It feels every bit the same as the Raw - effectively it is since the Raw controls are totally unavailable. The ProRes files are MUCH more manageable and less demanding for your computer to play and for final grading in Resolve.

My initial testing showed that transcoding in Avid using the Canon plugin was painfully slow.

I shoot quite a bit of 4K 50p that needs to be conformed to a 25 base for slo-motion playback. Resolve does that beautifully and I like to watch my rushes and do a quick one-light grade as I go rather than slap a Rec.709 LUT onto everything. Resolve is quite fast at rendering out to ProRes proxy or DNxHD 36 for editing and it also makes the matchback for final grade very simple. I keep the camera originals until the job is finished and then delete them.

If only the C200 could record sync'd timecode, it would be pretty much perfect.

I was wondering if any of you had a 2019 update on your workflow in MC using C200 Raw Light ?

Thanks

oze:

i've had a C200 for about three months now and my workflow is use Canon Raw Development to de-bayer into C-Log 2 or 3 (depending on the content) and create new 4K Pro-Res 4444 master files and toss the original CRM's once the project is mastered. I find the 4444 files contain everything from the originals, grade beautifully in Resolve and are generally much easier to deal with.

Sorry if my question seems unclever but I'm trying to learn about that workflow, if you debayer into C-Log 2 or 3 and convert to Prores 4444, what's the point of shooting RAW and not directly ProRes 4444 with Clog 2 or 3 directly un Camera? What are the gains of this extra debayering and conversion step before editing in Media Composer?