Canon EOS C500 Brochure & Specs page 6

PRODUCING A SEAMLESS AND
EFFICIENT 4K/2K WORKFLOW
The EOS C500's workflow is almost entirely determined by the nature of the chosen digital recorder
operating with the camera at either 2K/HD or 4K. In the case of the former, there is an essentially
seamless transfer of 2K/HD component 4:4:4 RGB into the post-production suite – the primary variable
being the choice of 12-bit or 10-bit system operation. Transcoding to other industry file formats may be
desired, and some external recorders can handle this function; some deliver DPX files as their output. In
the case of 4K shooting, the unique four-component Canon RGB Bayer RAW signal faithfully transports
all of the 4K Bayer color encoding via 3G-SDI interfaces to the recorders. Within the various recorders,
these Canon files are managed in different ways.
Workflow varies between moviemaking and television production, and is even more dependent upon
the innovation and practices of all involved. How file backups are implemented, dailies prepared,
whether initial workflow is preferred on set or near set – all of these decisions are based upon technical
and creative philosophies. Flexibility is the key, and Canon reached out to the established recording
manufacturers. Each has quite different implementations within the recorders themselves. They offer
different outputs, and some have ancillary media-management stations.
Innovative Approach to 4K RAW Systemization
The fact that Canon chose to structure the 4K RAW file in
complete accordance with the universal 3G-SDI interface
standard adds a truly unique systemization strength to the
EOS C500 system. The 4K serial RGB Bayer RAW signal can
be passed directly though any digital router that embodies a
3G-SDI SMPTE interface, and can be input to any production
switcher that also utilizes such an interface.
When mobile hand-held shooting is used, the RAW signal
can be connected to a miniature wireless transmitter
mounted on the camera and the RAW file can be sent to a
recorder elsewhere on the set. In addition, the RAW signal
can be sent over a fiber link using 3G-SDI compatible
input-output encoders, and also sent to a transmission
encoder that accepts 3G-SDI inputs and then sent via
satellite, cable, or Telco link, depending upon the nature of
that encoder.
For live television production, the ability to pass the 4K RAW
file through an existing 3G broadcast infrastructure opens
up significant systemization degrees of freedom.
4K RAW Workflow
Again, it is the choice of 4K RAW recorder that will
predetermine much of the overall workflow. One recorder
will transcode the Canon files to 4K high level ProRes and a
lower data rate proxy, with both recorded on an SSD card.
The card reader takes these files directly into post-production.
Offering an alternative, this recorder will also record and play
back the Canon 4K file and output this via a Thunderbolt
interface to a Mac or PC workstation loaded with Canon's
RMD software. The latter application debayers these 4K files
and converts them to RGB DPX files that then can go
straight to post-production.
Another recorder records the Canon 4K files to SSD cards
that are then loaded into their own media management
station. Here the files are cloned and directly output for
connection to a computer while being separately converted
to 4K DPX files during playback. This workflow offers the
choice of creating the 4K DPX files in the computer with
Canon Cinema RAW Development (CRD) software, or using
the 4K DPX files created in the media station itself. While
recording, this recorder simultaneously debayers the 4K and
outputs it as a quad 3G-SDI for live monitoring.
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EOS C500 4K Production Workflow (Generic Workflow)
EOS C500 4K RAW Recorder
3G-SDI
• AJA
• Codex Digital
• Convergent Design
• S. Two
• Finish Astrodesign
• Keisokugiken(KGC)
CF Card
(For Reference)
EOS C500 2K RGB 4:4:4 Production Workflow (Generic Workflow)
EOS C500 External Recorder
3G-SDI
CF Card
(For Reference)
"From camera to mobile to DI bank the
look is controlled the whole way through
and we get to start coloring right away
creatively."
John Daro / Senior Colorist for "Man & Beast"
Develop Software
(Cinema RAW Development)
Color Grading
EDL
NLE
Proxy File
Color Grading
EDL
NLE
Proxy File
Digital Recorders – The Nerve Center of
2K/HD and 4K Workflows
File-based workflows have become the norm in contemporary
digital production, closely emulating Digital Intermediate (DI)
workflows developed for motion picture film origination that
has been scanned to digital. Canon is presently working
closely with six international digital recording manufacturers
to optimize 4K/2K/HD acquisition systems. These recorders
come in many flavors – some record the files directly
uncompressed and output the same upon playback, others
transcode the files to other alternatives like ProRes,
while still others debayer within the recorder and deliver
RGB DPX files.
In the case where the Canon 4K files themselves are
delivered, they can be played into a computer with Canon
Development Application software that will debayer and
output 4K RGB as DPX files.
2K or HD 4:4:4 Recording workflows
Production generally starts with a decision to work with
either of the 12-bit or 10-bit depth RGB outputs that can be
selected on the EOS C500 camera. Canon Log has been
applied to either format to ensure faithful capture of the
camera's total 12-stop dynamic range. An external recorder
accepts this RGB 4:4:4 2K or HD output via a 3G-SDI input
and records it as DPX files onto SSD cards. The cards are
subsequently loaded into a reader that transmits these files
via fast Thunderbolt, Firewire or USB to a Mac or PC
workstation.
Another recorder directly records the RGB 4:4:4 to SSD
cards and then loads these into a compact, on-set media
management station that can, in turn, perform a variety of
transcodes and play back the programming as DPX files,
ProRes, and Open EXR, all of which can then go directly into
the grading process. Yet another recorder internally
transcodes the input to ProRes at a high level and records
those files and a secondary lower data rate proxy version.
Their associated reader plays these back into the post-
production grading system.
The 50 Mbps MPEG-2 proxy files recorded in-camera are
sent to a non-linear editing/NLE system. The EOS C500's
compatibility with Material Exchange Format (MXF) for
MPEG-2 internal recordings to removable CF cards ensures
a high level of compatibility with a wide range of profes-
sional NLE systems, from such familiar vendors as Apple®,
Avid®, Adobe® and Grass Valley®. Final conform is done
directly on the DPX files.
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