Pro Video Tips
Illustration by John Hersey

Canon C100 overview


Pro Video Tips

with Anthony Q. Artis

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Video: Canon C100 overview

Probably the number one question people email me or ask me about is what camera should they buy, what camera do I own, what camera do I like. Well, today, for the first time on camera, I'm going to answer that question. And that is currently the Cannon C100. Now, I've been shooting video and film for 20 some year now and this is actually the first camera that I've actually ever bought. I've always had access to cameras, and I'll talk about how you can do that in other places, but I've never actually owned a camera until this C100 right now, and I'm very happy with this purchase.
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  1. 2m 8s
    1. Intro to Pro Video Tips
      2m 8s
  2. 17m 27s
    1. Controlling reflections in glass
      4m 7s
    2. Managing color with polarizers
      2m 32s
    3. Using a polarizer to adjust skin tones
      2m 0s
    4. Using polarizers when shooting landscapes
      4m 42s
    5. Ten polarizer tips
      4m 6s
  3. 14m 34s
    1. Supplies to get to hide lav mics
      2m 13s
    2. Hiding lavs in collars
      5m 16s
    3. Hiding mics in hair
      2m 17s
    4. Hiding mics in sheer tops
      2m 40s
    5. Hiding transmitter packs on talent
      2m 8s
  4. 34m 25s
    1. Canon C100 overview
      11m 33s
    2. Looking at the Atomos Ninja
      12m 20s
    3. Checking out the C100 menu options
      10m 32s
  5. 10m 28s
    1. Ten tips for set safety
      10m 28s
  6. 9m 18s
    1. Packing a truck
      9m 18s
  7. 19m 24s
    1. Putting together your lens kit
      1m 0s
    2. Normal lenses
      1m 54s
    3. Wide lenses
      3m 5s
    4. Ultra-wide and fish-eye lenses
      2m 53s
    5. Telephoto lenses
      4m 53s
    6. Super zooms
      2m 54s
    7. Macro lenses
      2m 45s
  8. 17m 22s
    1. The importance of exposure
      1m 31s
    2. Using waveforms
      5m 3s
    3. Using histograms
      6m 53s
    4. Using zebra stripes
      3m 55s
  9. 10m 20s
    1. Shutter speed overview
      3m 18s
    2. Different ways to use shutter speed
      7m 2s
  10. 10m 29s
    1. Tips for keeping your budget down
      10m 29s
  11. 10m 11s
    1. Working with batteries
      10m 11s
  12. 24m 39s
    1. External audio settings
      4m 2s
    2. Audio input menus
      9m 31s
    3. Audio output menus
      4m 6s
    4. Setting and monitoring your levels
      7m 0s
  13. 16m 33s
    1. Introduction to backlight
      1m 18s
    2. Types of backlight
      3m 51s
    3. Exposing for backlit shots
      5m 31s
    4. Backlighting translucent object
      1m 39s
    5. Avoiding lens flare and wash out
      4m 14s
  14. 13m 28s
    1. Booming techniques
      13m 28s
  15. 5m 42s
    1. Feeding your crew
      5m 42s
  16. 8m 36s
    1. Choosing between prime, servo, and manual zoom lenses
      5m 19s
    2. Running and gunning with prime lenses
      3m 17s
  17. 10m 55s
    1. Green screen lights and materials
      3m 47s
    2. Mounting the green screen
      1m 39s
    3. Lighting the green screen
      3m 8s
    4. Lighting your subject
      2m 21s
  18. 9m 28s
    1. What to look for when buying a tripod
      6m 13s
    2. Working with monopods
      3m 15s
  19. 23m 19s
    1. Choosing a camera
      3m 2s
    2. Preparation and supplies for a surf shoot
      2m 13s
    3. Dealing with lens fog
      1m 44s
    4. Mounting your POV camera
      3m 20s
    5. Tracking and shooting your surfer from the shore
      6m 56s
    6. Interview with Tony Cruz
      6m 4s
  20. 8m 37s
    1. Introduction to lens mounts
      1m 24s
    2. Canon mounts
      2m 0s
    3. PL mounts
      1m 59s
    4. Nikon mounts
      1m 24s
    5. Micro 4/3 mounts
      1m 50s
  21. 7m 30s
    1. Introduction to lighting ratios
      1m 19s
    2. Comparing ratios
      2m 52s
    3. Measuring light ratios
      3m 19s
  22. 10m 25s
    1. Ten Looks in Ten Minutes
      10m 25s
  23. 5m 36s
    1. Using camera height and POV to better tell your story
      5m 36s
  24. 9m 49s
    1. Tips for lighting an interview subject
      9m 49s
  25. 15m 5s
    1. Taking 10 pounds off your subject
      4m 1s
    2. Dealing with nose shadows
      3m 3s
    3. Lighting different skin tones
      2m 55s
    4. Putting makeup on your subject
      5m 6s
  26. 10m 4s
    1. Types of cookies
      4m 6s
    2. Making your own custom cookies
      2m 47s
    3. Controlling the look of a cookie
      3m 11s
  27. 18m 11s
    1. Introduction to shooting sports footage
      1m 15s
    2. Getting good coverage for your sport shoot
      5m 55s
    3. Camerawork for shooting sports videos
      5m 4s
    4. Gear to bring on your sports shoot
      4m 52s
    5. Wrapping up
      1m 5s
  28. 8m 34s
    1. Tips for using bounce light
      8m 34s
  29. 21m 43s
    1. Video portrait intro
      1m 51s
    2. Video portrait camera work
      13m 32s
    3. Considerations for a video portrait interview
      4m 11s
    4. Bonus: Finished video portrait
      2m 9s
  30. 9m 48s
    1. Shooting at 24p
      3m 2s
    2. Using depth of field
      1m 37s
    3. Lighting for a film look
      1m 18s
    4. Using filters
      2m 31s
    5. Getting a film look with software
      1m 20s
  31. 38m 57s
    1. Introduction to professional car rigs
      7m 41s
    2. Attaching a side mount rig
      12m 58s
    3. Mounting a speed rail rig
      10m 54s
    4. Hood suction mount
      4m 27s
    5. Car rig safety tips
      2m 57s
  32. 14m 3s
    1. Manipulating the size of people
      6m 12s
    2. Manipulating the size of buildings
      2m 59s
    3. Making crowds look more crowded
      4m 52s
  33. 12m 32s
    1. Introduction to lighting cars
      5m 13s
    2. Lighting the car from outside
      3m 10s
    3. Lighting the car from inside
      4m 9s
  34. 13m 46s
    1. Packing your gear for air travel
      6m 8s
    2. What to do at the airport
      4m 39s
    3. Getting on the plane
      2m 59s
  35. 15m 53s
    1. Why you should hire an editor
      1m 29s
    2. Working with editors during pre-production
      3m 33s
    3. Working with editors during shooting
      4m 3s
    4. Working with editors after your shoot
      4m 18s
    5. Final tips on working with editors
      2m 30s
  36. 7m 46s
    1. Tips on avoiding scam film festivals
      7m 46s
  37. 5m 22s
    1. 36. Four common budgeting mistakes
      5m 22s
  38. 12m 13s
    1. 10 Filmmaking Lessons...I Learned the Hard Way
      12m 13s
  39. 9m 38s
    1. Why you get moire and aliasing
      2m 52s
    2. Avoiding moire
      6m 46s
  40. 18m 56s
    1. Tips on boosting your production value
      1m 46s
    2. Shooting with a shallow depth of field
      1m 36s
    3. Great audio and sound design
      2m 44s
    4. Keep your shots steady
      2m 32s
    5. Keep your camera moving
      2m 29s
    6. Location, location, location
      2m 15s
    7. Adding appropriate titles and FX
      1m 56s
    8. Hiring a colorist
      3m 38s
  41. 11m 19s
    1. Positioning yourself for the interview
      2m 29s
    2. Settings for camera and audio
      5m 57s
    3. Using a second camera
      2m 53s
  42. 8m 5s
    1. Tips on shooting an interview with one camera
      4m 25s
    2. Faking reverse shots and cutaways
      3m 40s
  43. 8m 58s
    1. The trouble with shooting windows
      1m 6s
    2. Dealing with exposure issues
      2m 55s
    3. Managing mixed color temperatures
      2m 16s
    4. Tips and tricks for shooting window scenes
      2m 41s
  44. 4m 35s
    1. Adjusting SMPTE color bars
      4m 35s
  45. 11m 32s
    1. Introduction to shooting discreetly
      1m 1s
    2. Scouting locations for a stealth shoot
      1m 47s
    3. Traveling and shooting low profile
      1m 25s
    4. Recording audio discreetly
      1m 25s
    5. Using discreet cameras and camerawork
      2m 22s
    6. Running interference
      1m 24s
    7. Adding production value with local resources
      1m 13s
    8. Always have a plan B
  46. 5m 44s
    1. Five things you can do when your production stalls out
      5m 44s
  47. 10m 44s
    1. Why to use an Interrotron
      3m 50s
    2. Setting up an Interrotron the traditional way
      4m 4s
    3. Nontraditional Interrotron setups
      2m 50s
  48. 6m 3s
    1. Five ways to achieve shallow depth of field
      6m 3s
  49. 9m 41s
    1. Tips for managing your media
      9m 41s
  50. 16m 23s
    1. Tips for renting equipment
      1m 25s
    2. Do your homework
      2m 39s
    3. Test the gear out
      4m 13s
    4. Get the best rate on your rental
      1m 49s
    5. Getting all the manuals
    6. Stay covered, with insurance
      2m 48s
    7. Dealing with damaged, lost, or stolen gear
      2m 30s
  51. 4m 36s
    1. Using your hotel TV as an ad-hoc monitor
      4m 36s
  52. 3m 49s
    1. Shooting an overhead tabletop demo with a mirror
      3m 49s
  53. 3m 0s
    1. Creating a visual heat-wave effect
      3m 0s
  54. 14m 0s
    1. 10 Tips for Shooting Live Events
      14m 0s
  55. 15m 22s
    1. Understanding the challenges of shooting live events
      3m 21s
    2. Shooting for the cut
      5m 20s
    3. Getting neutral shots and cutaways
      3m 51s
    4. Bonus: Final edited video
      2m 50s
  56. 14m 2s
    1. Tips for recording audio at live events
      1m 51s
    2. Plugging into a mixing board
      5m 52s
    3. Mic'ing the instruments
      1m 46s
    4. Mic'ing the speakers
      1m 55s
    5. Using a shotgun mic
      2m 38s
  57. 15m 59s
    1. Seven tips for better managing your crew
      3m 13s
    2. Get it all on paper first
      2m 6s
    3. Learn to delegate
      2m 12s
    4. Hiring is half the work
      2m 53s
    5. Understand how each person likes to work
      1m 34s
    6. Feed them good food
    7. Learn to speak their language
      1m 55s
    8. Goodbye
      1m 35s

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Watch the Online Video Course Pro Video Tips
11h 47m Appropriate for all Apr 15, 2014 Updated May 12, 2015

Viewers: in countries Watching now:

Pro Video Tips is designed for busy videographers like you. This series brings you a new tip every week, on everything from controlling reflections to hiding mics. Host Anthony Q. Artis covers shooting techniques for particular video challenges like portraits, tools to help you control light and judge exposure, and advice for the traveling videographer, such as putting together a great lens kit or packing a truck. Come back every Tuesday for a new round of tips.

Anthony Q. Artis

Canon C100 overview

Probably the number one question people email me or ask me about is what camera should they buy, what camera do I own, what camera do I like. Well, today, for the first time on camera, I'm going to answer that question. And that is currently the Cannon C100. Now, I've been shooting video and film for 20 some year now and this is actually the first camera that I've actually ever bought. I've always had access to cameras, and I'll talk about how you can do that in other places, but I've never actually owned a camera until this C100 right now, and I'm very happy with this purchase.

This is a really, popular camera right now, it's essentially a cross between a pro video camera and a DSLR. So, if a full-sized video camera and a DSLR got together and had a baby, it would be the Canon C100. What is the price point of this camera? It's at about $6,000 or so which is very reasonable for the features that it has. Compared to its big brother, which is the C300, which has a price point of about $14,000. The cameras look almost identical.

Have a very similar form factor. But two big things that you don't get with this camera that you might expect at that price point, but want to make sure you know you don't get them. And that is, there's no slow motion or time lapse with the C100. So, that is definitely a trade-off. They're not going to give you everything for that $6,000. Something else to point out about this camera is the media that it shoots on. So, the Canon C100 shoots on these little SD cards. Very popular right now. This is really a marvel of technology, the fact that we can get 1080p HD video onto these little tiny SD cards.

They're cheap and accessible, but there's a tradeoffs for that. There's going to be a lot of compression. It shoots in the AVCHD format natively. That can be problematic for you when it comes to editing. A lot of people have problems with grading. It's just not going to hold up for color correction, special effects, things like that, you might want to do in post production. What is the plus side of working with these SD cards? Well, I'm going to turn the camera around right here on the back. And we lift up the view finder and you can see that it has dual slots right here. So, if I lift up that little door.

It takes two SD cards at the same time. And it offers dual slot recording. So, that means that I can either record to both cards at the same exact time, which is what I like to do. So, you can get a safety recording. We've got two identical recordings going on at the same time or I can do relay recording where when one card fills up, it crosses over to the other. So, whichever one is practical for you. I just like that you have an option and you do want to remember with this camera that you want to power it down before you change SD cards.

Your SD cards may not be very happy at all if you don't do that. Getting back to the camera sensor, I didn't mention the sensor yet. The sensor in this camera is a super 35 mm sensor. Now, a lot of people think that its full frame. It's not full frame. It's the super 35mm sensor. So, it has about a 1.4 crop factor. Will take the same lenses that you used on your Cannon 7D, by the way. 1080p records in a 420 color space, at 24 mb per second.

And that's okay. The big brother to this camera, the C300, records in a 422 color space. So this is 420, that's 422. But guess what. Here's one of the reasons this camera is so popular. Because using the HDMI port on the side here, I can come out and bypass all that compression and AVCHD nonsense. I can get around all of that and go directly into here, the recorder at the full sensor quality. So, essentially, for about another $1,000 or so, if you include the price of the recorder, as well as the solid state SSD drives that go in here.

I can get C300 quality out of my Canon C100. This records in very edit friendly .mov Quicktime files. So, very easy to edit with this. Incredible power house combination and again, that recorder records in pro res 422 120 megabits per second. So, this normally does 24 megabits per second coupled with the ninja recorder, I've got a much higher data rate, much higher quality of video. Also, another thing that I like about this camera is that you can record in that flat Cannon log.

So you can get this flat look, it's very good for color grading Couple the two together again and you've got some very professional features. Speaking of professional features, I love the fact that this has peaking, magnification, wave form monitors, zebra stripes, all the things that pros like to use are in this camera. So, if you know your way around a video camera, you'll be able to find your way around this video camera pretty quickly. Now, let's look at the ergonomics of the camera, this is one thing that a lot of people site that I love, as well.

It just feels right when you hold it. It's not too heavy the camera and the lens is really what's making it heavier. If I had a, you know, a smaller prime lens on this thing, it would be really nice and light. And even as it is right now, it's got a great form factor, really light. And then also, on the side here. Another thing is that it has all of your buttons, so, regular buttons, things that I need to access all the time are right here on the side, so I've got my wave forms, I've got my ISO, I've got my shutter speed. Everything that I might want to turn on or off in a normal course of shooting is located right on the side.

So, it's not like a Blackmagic where I might have to go into a menu and scroll through and touch the screen or anything like that. I don't have to do anything like that, so all-in-all ergonomics is great on this camera. Let's take a look right here at this little handle. This is cool because it can be customized, so this is another thing I think a lot of pros respond to with this camera is that you can very easily customize this handle right here so you can unscrew this, and you can twist it and rotate it. Everybody's got a little different style of shooting. We've got three different shooters here in the room.

And we each use this camera or the C300, which has the same ergonomics, in a slightly different way. The buttons that are located on here. Your record button, of course, is there, but your magnification button is right here at the push of the thumb. So, I'll turn that around so you guys can see that. You've got your magnification button. You've also got your little joystick to control the menu. I'm not a fan of the joystick. I'm a much bigger fan of Sony's click wheel which is the easiest, fastest way I've ever found to navigate any menu, but you're not going to get, you know, everything you like in every camera. So, joystick is there.

It works fine. It's okay. So, that is the handle there. Let's go ahead and take a look at what happens when we put on this. So, over here, we have the audio handle. So, if you want to get XLR audio, and that really is entry level for me. I wouldn't even consider buying any camera, and don't recommend that you buy any camera for professional video use unless it has XLR audio inputs. DSRLs obviously being the exceptions. So, that is the minimum to get into the game for me. And what's great, you know, with this camera, is that it has all of the features that you would find in a full size video camera.

But it has a lot of the same things that you would find from a DSLR. So, it really is a perfect marriage of the two. And when I say that I mean terminology even, can port over, so you can go with ISO or gain, if you're used to gain you can change it in the menu so that it only operates on gain, and the same thing when it comes to some of your other values in the camera. So, once you put the handle on, you just plug in this little port right here. Obviously you don't want to damage that, but I've had no problem with it, you know, getting much wear and tear on it. And it might not seem like it, but this is actually pretty solid and sturdy arm that it's not a problem.

Now, if you're not shooting audio, you can totally take this handle off and go MOS. Not something I do a lot. I like to have a dirty track, regardless of whether I'm, you know, plan on using it or not. But one option you do have is to go with a smaller DSLR microphone like this. So, if I wanted to go even lower profile than I get with this handle, I could always take the handle off, put this on. This is fine for just recording a little bit of B roll on the side. This'll pick up everything the same as if you had a DSLR. So, you do have a 3.5 millimeter stereo jack located on the side as well, so you can go either or if you'd like.

lenses. This camera takes Canon EF or EFS lenses, can use either or. If you use an adapter of course, you can use any type of lens, just like the Zeiss that I have right here. So, you can put on, you know, your Nikon lenses if you have the right adapter. You do have to beware that those lenses will be manual, however, so your camera's not going to give you the same lens readout it gives you when I have a lens on here. Which, speaking of which, this is a great starter lens if you don't have any lenses yet or any EF lenses. This is like the one that almost everybody rolls with.

It is a 24 to 105 zoom. Covers a wide range from wide to telephoto. Has autofocus and it also has optical image stabilization on the side. So, just a great starter lens. This is, like, the one and only lens you'll need until you can move up in budget level and buy a couple of primes. This is definitely what I would start off with. Taking a look back here, at the LCD screen, we can see those wave form monitors on there again. Great, nice, professional feature, not found on a lot of cameras, so I was very happy to see a wave form monitor on here.

This is probably the biggest weak point on this camera for me and that is that it only folds up and down. If you want to fold it sideways it doesn't go this way. You're going to break it if you try to turn it that way. It will only go this way, so from the side, you know, maybe I could look at that. You know, I do a lot of interviews sometimes solo where I'm sitting on the side of the camera. This isn't really going to cut it. I can't look at my, you know, view finder at a 45 degree angle, so you're pretty much limited to having it down flat like this. Possibly, if you're doing a overhead shot, you know, something like this might work out for you, but, it's not very versatile when it comes to the LCD screen, so.

That is a weak point, but the bigger weak point for me isn't the versatility of the LCD screen. It's the low res. The resolution on this camera is way higher than the resolution on this LCD screen, so if you're trying to judge your focus by eye you're going to get burned left and right. I did that when I first got this camera and right away I discovered that I had to go out and get what everybody says you should get for this camera and they're correct. And that is this Zacuto viewfinder. So, you're definitely going to want the Zacuto viewfinder if you own this camera. It's just going to help you judge the focus, and speaking of focus, I almost forgot to tell you guys about one of the biggest features on this camera, and that is the one push auto focus located here in the front so it does have auto focus with one push of a button.

But it's got a brand new firmware feature that you actually can have this upgrade. Has upgrade that you can send into Cannon right now. It's $500. It's just about to come out as we're recording this. It will be out by the time you guys see it. And that is continuous autofocus. So, for $500 more to the price of the camera, you can get continuous autofocus. Only works with certain lenses. But this is an incredible feature if you're doing documentary and journalism work that's going to allow to you track a subject as they move and still get good, clean autofocus. If you do sports work, documentary, definitely a feature you'll want to consider.

But all in all, I think this is a camera that gives you a lot of bang for your buck, and I think it's well worth taking a look at if you're just getting into camera or if you're moving up from the DSLR market.

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