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Checking out the C100 menu options

From: Pro Video Tips

Video: Checking out the C100 menu options

Now, I went over some of the basic overviews of the Canon C100 already. This is just if you're using certain lenses and the camera will usually Time code, again, you only got two choices there, Preset or Regen under the Mode.

Checking out the C100 menu options

Now, I went over some of the basic overviews of the Canon C100 already. So, what I want to do now is just take a look at the menu and some of the options that we have there. So, we'll know how to set this thing up the first time we use it. So, just going down the menu, light metering, really simple. The light meter just refers to this little meter that you see right there at the center bottom of the screen if I go ahead and lower it or raise it up. You can see exactly what that meter's doing. It' telling us that our ideal exposure's right about there. So, a couple of different modes for that. You got back lit if your subject was lit from behind.

Say the sky, or the sun or something was behind them. Spotlight, same thing. If you had a subject on the stage, otherwise we want that at standard. AE Shift is your auto exposure shift. Right here, on the side of the camera, you have a push auto iris, so if I push that, I'm going to go ahead and darken the frame, if I push that, you'll see that the camera automatically adjusts the exposure for me. Well, if I didn't like what the camera set for exposure, AE shift is where I would go ahead and tell the camera to either make that brighter or make it darker next time I press the auto exposure button.

So, that's all that one is. ISO and Gain is one we might want to look at right here. So, two choices. ISO for those of you that come from a DSLR and film background, you might prefer ISO. If you come from the more of a traditional video background, then you're probably more used to gain. But for now, I'm going to go ahead and leave that on ISO. Very interesting, below that is extended range. If you haven't already, and you own this camera or you're renting it, make sure you've got the latest firmware because with the latest firmware, you can actually get even more ISO range.

So, it used to top out at 20,000, now with the latest firmware, it tops out at about 80,000 ISO, which is way more light boosting than you would normally ever need. Iris, not much under there, just what increments we want to adjust it at. So, that's a iris. Shutter speed, we have a couple of different modes for shutter speeds, so you can go with speed, which is what most of us are used to, or, if you come from a film background, you might choose to go by shutter angle. It gets a little more complicated, but either or will work. We also have clear scan.

So, if you're dealing with any type of screens in the background and you're getting flicker off of a computer screen, try messing around with the clear scan and then we also have the extreme slow shutter mode right here which I'll show you some applications for later as well. So, if you want a very slow shutter speed, that's where you can get it, but otherwise, we're just going to leave this on the normal speed and of course we can also decide what increments we want that speed to go up in by adjusting it right there. Going on down here to flicker reduction. If you are getting any issues with some older fluorescent lights, sometimes you can get some flickering from the ballasts on those lights.

Well, right here on flicker reduction is where you can turn a feature on in the camera that will help combat some of that flicker. Below that, another very important one right here. We have the CP Cinema Locked, so that is your Cannon picture log lock. So basically, when we turn this on, it locks us into that cannon log mode. Now, this is an important mode for those of you that want the widest range of options, when you get into post-production for color correction, you want to have this turned on in a cannon log because that's where you really going to get the wide down and the grains out of this camera.

So, simply by turning on the CP Cinema lock on, it locks me into that mode, so no matter what other adjustments I try to make in here, none of them will go through. They're all overridden when I turn this lock on, so that is a mode you want to use any time you definitely want to use the Canon Gamma Log Curve. So, we're going to leave that on. Next here, I have EF-S lens, so if you do have a EF-S lens on the camera you can go ahead and turn it on, it just lets the camera know what type of lens you have on there. ABB is auto black balance. Now, auto black balance is similar to auto white balance and it's something you want to do periodically over the course of a long day.

And you would simply put a lens cap on or, if you didn't have a lens on, you would put the body port cover on. When you say OK, and once you did, it would actually start the auto black balance process. I'm not going to do it right now because sometimes it takes up to a minute or so, so I don't wait for that to happen. But that is where we would auto black balance the camera. Next feature up we have color bars. So, the color bars on this camera are turned on manually. I will go ahead and record a minute of those before each shoot that I did. If I also went into the audio menu and I turned on tone, this would be sending me bars and tone at the exact same time.

So, color bars will give you bars and tone, make sure you're not wearing your headphones, if you do turn those on. I'm going to go ahead and take lens cap back off so I can see what else is going on with the camera. So, going down here we have peripheral illumination correction. This is just if you're using certain lenses and the camera will usually let you know if you're using a lens where this is an option. You can go ahead and turn that on, for this lens it is an option, so it's going to go in and correct whatever funkiness might be caused. And that's pretty much it, as far as the camera menu.

I'm going to skip down here and show you one or two more things. Under Video Setup, we have Character Display. Notice that on this one I have it set to external out. And that's exactly what we want so that you guys can see this on the second monitor that I have here on top of the camera. However. If I were recording, this would be a problem because I'm now sending all the data that you see on the screen, that's being recorded, over top of my picture. So, if I change that just to viewfinder for a second, you'll notice that it goes off on the screen right there. That's because I told it not to send it out externally.

And now I'm going to tell it to send it out externally again. And also notice below that HD on-screen display telling me on or off. If I turn it off, it's not going out. If I turn it on again, now it is. If I had a standard definition screen, I would need to set it for that as well. So, you had to denote whether or not you're using standard definition or high definition monitor when you do that character display. But generally, that's something you want off. I always have it on, because I'm always teaching and doing demos, but in the field, definitely something you'd usually want off or else you could end up recording that information.

And also, down here, a few more things under LCD setup. These are all pretty, you know, self explanatory, brightness, contrast, color. I generally never mess with any of these settings because I like to see exactly what it is that I'm getting for the most part, and I'll tell you about the exception to that in a second. Viewfinder setup, same thing, brightness, contrast, etc. You could do just black and white, for those of you who like to look at your monitors in just black and white, you can turn that on as well. And then, right here, we have view assist. So, view assist, I went ahead and turned on and you probably won't notice the difference there but on my LCD screen it does make a difference.

So, what this is doing is it is correcting the Canon log. So, remember I told you that Canon log gamma shoots everything really flat. Well, that's great for color correction. Not so great for looking at, and getting some idea of what your picture might look like. So, it can be very confusing, or a little bit disconcerting to look at your image and see these really flat, gray blacks, where you expect to see deep, rich blacks. So what this does, is just put some of that saturation back in, but just on the LCD viewfinder. So, it allows you to look at your image, closer to what it's going to look like after you've color corrected.

Just helps you out a little bit, psychologically. Some people like it, some people don't. I like to have it on myself. So Peaking, right here. We can turn the Peaking on right here in the menu. Or we can turn the Peaking on by using the Peaking button located on the side of the camera. And peaking here, you just have options where you can set exactly what those are going to be. Same thing with zebra stripes and, let me see, anything else. Very dangerous one right here that almost burned me the first time. I told you I was using this camera with the Atmos ninja two recorder and that is the zebra HD output.

If I turn that on right now, my zebra stripes are being recorded and sent out through the HDMI cable, so not something I ever want to record, so I'm going to go ahead and make sure that is turned off. Markers, again, if you want any type of grid. If you want to get a safety zone. All different types of markers, you can turn these on or off. I like to keep it simple, so the only thing I have turned on right now is a center marker. So, I'm going to leave turned on. But anything that you want as an overlay on your screen to help you with composition, you can find that under the markers area.

Time code, again, you only got two choices there, Preset or Regen under the Mode. And then you got Record Run or Free Run, and we want to be on Record Run. And usually, we want to be Preset, so we can start everything off at zero, but if you have it on Regen, it's just going to pick up from the very last time code, that you left off with. Either way, your recording's going to come out fine. It's just a matter of how you like to work with things. So, now let's look down here at the others menus. There are some important menu features on here that you'll want to access and one of them is the transfer menu function.

What this allows you to do, really simply, is to take all of the menu settings that you just set up in your camera, once you have them like you like them, save them to an SD card, and then you can just take that SD card out, put it into another camera, and you can recall those settings. So, you can transfer these menus from one C100 to another C100, all day long. So, once you have things set up like you like, just put it on the car, and you're good to go. Moving on down here. Assign button. This is another very important one that you'll want to do right from the start and that is that all of the buttons on the side as well as on the back of the camera can be assigned a value.

One of the ones I know you'll want to do right away, because they don't have an external button for these, and that is your headphone volume. So, you're headphone volume, as it stands from the factory, can only be controlled from inside of the menu. So, one of the first things I did was I went in here and I assigned buttons one and buttons three, which are located on the back of the camera, otherwise they would be playback buttons, I assigned those to be headphone volume buttons because I'm not using the playback buttons while I'm recording but I do need to access my headphone volume. So, you can assign a bunch of different things in there. So, that is where you can customize this camera.

And then, below that, the only other thing I'm going to show you guys down here is a double slot recording. So, if you go ahead and turn that on, this just allows us to record to both SD cards at the same time. Always a valuable feature. I would keep it on every time if you could, as long as you got enough SD card, there's no reason not to make a simultaneous backup. It's just going to be safer that way all around. So, that's most of the important things in the menu. Certainly not everything, but most of the features that you want to check every time. Remember, if you want your picture to look good, and you want your audio to sound good.

You don't just have to check your camera settings, you also want to check your menu settings.

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This video is part of

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Pro Video Tips

100 video lessons · 13481 viewers

Anthony Q. Artis
Author

 
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  1. 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
  2. 2m 8s
    1. Intro to Pro Video Tips
      2m 8s
  3. 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
  4. 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
  5. 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
  6. 10m 28s
    1. Ten tips for set safety
      10m 28s
  7. 9m 18s
    1. Packing a truck
      9m 18s
  8. 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
  9. 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
  10. 10m 20s
    1. Shutter speed overview
      3m 18s
    2. Different ways to use shutter speed
      7m 2s
  11. 10m 29s
    1. Tips for keeping your budget down
      10m 29s
  12. 10m 11s
    1. Working with batteries
      10m 11s
  13. 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
  14. 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
  15. 13m 28s
    1. Booming techniques
      13m 28s
  16. 5m 42s
    1. Feeding your crew
      5m 42s
  17. 8m 36s
    1. Choosing between prime, servo, and manual zoom lenses
      5m 19s
    2. Running and gunning with prime lenses
      3m 17s
  18. 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
  19. 9m 28s
    1. What to look for when buying a tripod
      6m 13s
    2. Working with monopods
      3m 15s
  20. 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
  21. 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
  22. 7m 30s
    1. Introduction to lighting ratios
      1m 19s
    2. Comparing ratios
      2m 52s
    3. Measuring light ratios
      3m 19s
  23. 10m 25s
    1. Ten Looks in Ten Minutes
      10m 25s
  24. 5m 36s
    1. Using camera height and POV to better tell your story
      5m 36s
  25. 9m 49s
    1. Tips for lighting an interview subject
      9m 49s
  26. 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
  27. 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
  28. 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
  29. 8m 34s
    1. Tips for using bounce light
      8m 34s
  30. 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
  31. 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
  32. 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
  33. 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

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