Canon EOS-C100 Tips Collection

Category : Workflow

C100MyMenu

Canon EOS-C100 Tips Collection

  1. In order to get real progressive material out of AVCHD 25PFS/30PFS modes set or interpret the clips to progressive manually in your NLE – the clips are 25p but interlaced in when imported to the NLE using progressive in a interlaced movie container! Real 24p is available when switching to NTSC (set System Frequency to 60hz)
  2. You can not record movies in differnt frame rate (PAL/NTSC) on the same internal SD Card, but you can do so to the external Ninja2!
  3. The C100 cannot record 50p/60p but you can record 50i or 59,94i and later deinterlace with your NLE. It’s nearly FullHD and way way nicer and sharper then a 7D’s 720@60p!
  4. The C100 can record out to the Ninja2 without a SD Card in the Camera – just enable the HDMI Record Command!
  5. Assign the “My Menu” to assignable function button #14 (Shutter), because you can access Shutter nearly as fast with the joystick navigation.
  6. The user button #8 (Magn.) is perfect for the “View Assist” mode. This is usefull if you film with C-Log and want to quickly switch the “Graded C-Log Preview” on and off.
  7. My personal preference for the “My Menu“: System Frequency / Frame Rate / Rec Review / EF-S Lens / Color Bars / Periph. Illum. Corr. / Time Code / ABB / Initialize SD-A
  8. C100 User Manual
  9. Set your lens autofocus to MF (Manual Focus) if you want to move around the expanded focus assist crop-frame! Otherwise the zoom is locked to the center.
  10. Copy whole SD-Card structure to keep timecode for MTS files intact! At least when using Premiere CC! Ingesting movies with Adobe Prelude is also a good tip to add even more metadata and usefull clip-naming. UPDATE: Premiere needs the folder “BDMV” in order to read the clip-timecode.

The current complete Menu Setting from my C100, including all Custom Picture Profiles in the camera.

Last update: 2013-11-20 – including settings for november 2013 firmware update


 

Found a typo or mistake, please feel free to inform office@ntown.at. Thanks for reading.
Article written by Patrick Zadrobilek on 17.Apr.2013 (updated: 20.Nov.2013)

 


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Comments (9)

cem

Hi, when i copy the settings you are using my videos only have sound on the left side.(left headphone) Using a phantom pwrd shotgun mic.

3 years ago

    Sorry to hear, but check your mike-switches on the handle. Nothing is changed in the settings for Audio in the settings file. As far as I know you cannot change recording channels in Menu. Hope that helps!

    3 years ago
      cem

      Thank you so much , that helped. Also reading the manual too. Now i have two channels(after splitting them in post)1 from handle mic and the other one from the shotgun. They both give out sound from both of the earcups also. So its fixed! 🙂 Thanks bunch.

      3 years ago
Carlos

Great little tips, I really love the one of view assist. I was looking to streamline my onset workflow with my c100 and this pretty much is an amazing “update” to me.

3 years ago
Brian

Hi Patrick—

I really appreciate your posts. Helpful. I love my C100. I’m in a bit of a quandary regarding tip #10 (preserving timecode). When I copy the complete card to my raid, then import the AVCHD files via Premiere Pro CS6 or Prelude, timecode is maintained BUT the file names start with 00000.mts, 00001.mts, etc. While I’m grateful to have the timecode, the file names present issues when relinking (specifically, other projects/footage that have the same files names).

My other option/workflow is to use the Data Import Utility (from Pixela—which came with the camera. The AVCHD files are extracted from the card to my raid as individual .mts files with unique names. Great…BUT, I lose the timecode.

So my question is—is there a way to have the best of both worlds? Keep the timecode and have the file names not be the same for each project?

I appreciate any input you have.

~ Brian

3 years ago

    There is a way of remuxing the .MTS files to .MOV and adding the timecode with exiftool and ffmbc. This works well and after that you can rename the clips to any name you want – the timecode stays readable in Premiere without the original folder structure.

    EXIFTOOL:
    http://www.sno.phy.queensu.ca/~phil/exiftool/

    FFMBC:
    https://code.google.com/p/ffmbc/

    The windows batch script:
    @echo off"C:\Program Files (x86)\HAMILTON\BIN\exiftool.exe" %1 | find "Time Code" | awk '{print $4}' >_tcSet /P tc=< _tcdel _tc"C:\Program Files\Tools\Multimedia\FFmbc\ffmbc.exe" -i %1 -vcodec copy -acodec pcm_s16le -timecode %tc% %2_h264tc.mov

    Hope it helps,
    Patrick.

    3 years ago

    There is a way of remuxing the .MTS files to .MOV and adding the timecode with exiftool and ffmbc. This works well and after that you can rename the clips to any name you want – the timecode stays readable in Premiere without the original folder structure.

    EXIFTOOL:
    http://www.sno.phy.queensu.ca/~phil/exiftool/

    FFMBC:
    https://code.google.com/p/ffmbc/

    The windows batch script:
    @echo offexiftool.exe %1 | find "Time Code" | awk '{print $4}' >_tcSet /P tc=< _tcdel _tcffmbc.exe -i %1 -vcodec copy -acodec pcm_s16le -timecode %tc% %2_h264tc.mov

    Hope it helps,
    Patrick.

    3 years ago

    One important thing to add:
    The encoding container must be quicktime. Only Quicktime can have timecode.
    What I recently used is a re-encode to a LongGOP h264 in a quicktime container with 4:2:2 color subsampling and 50mbit datarate. This method also eliminates the “progressive-in-a-interlaced-container” problem.

    Batchscript:

    @echo offexiftool.exe %1 | find "Time Code" | awk '{print $4}' >_tcSet /P tc=< _tcdel _tcffmpeg.exe -i %1 -c:v libx264 -pix_fmt yuv422p -b:v 50M -g 50 -bf 2 -b_strategy 1 -flags +loop -coder 1 -subcmp 2 -cmp 2 -codec:a libvo_aacenc -b:a 256k -timecode %tc% %2_LG5050tc.mov

    Greets,
    Patrick.

    3 years ago
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