After over a year of using the Canon C100 4k hack, I eventually had a shoot which needed slow motion. Canon XF100 and the hardworking GoPro3 usually do an incredible job, but for this shoot, I really wanted a shallow depth cine look, so they just were not an option. It turns out the initial Canon C100 4k hack can make slow motion video, and the results are only unacceptable, but quite usable. This undoubtedly takes some glow from the new mark two’s largest selling point – 1080P50.
I discovered about the slow motion trick from the initial overview of the camera of Philip Bloom although I immediately dismissed it on paper SD.
The hack itself owes its success to the oddly and is stupidly simple executed but AVCHD codec that was relatively robust. The first Advanced Video Coding High Definition standard lacks a native progressive mode, instead enveloping 25P inside a 1080-50i stream using PSF, (Progressive Segmented Frame) to be compatible with the h.264 Blu-Ray spec. Most players with a USB input and AVCHD files will even play when copied to a USB drive directly out of the camera, which makes reviewing rushes on the sofa a legitimate alternative.
The basic recipe: Canon C100 4k hack
A place to shoot at 50 I at 1/100th shutter to you would on any camera. Obey the 180-degree rule as There’ll be a little increase in light, so you may need to drop down half a stop. Then simply shoot your slow-mo shots as required but do make sure to switch back the camera to 25 P,1/50th once whole. That’s essentially it until…
Color If you are a Creative Clouder, you will be used to interpreting all of your clips as progressive, as they aren’t recognized correctly in Premiere Pro. At the bottom of the playback screen, the metadata reveals in case a clip is 50i or 25P (24P, 59.94i, etc.), make a note of all the clip numbers that show 50i and then after back in Premiere, emphasize them and make them a different colour. Then pick all the regular speed clips and employ the interpretation that is progressive.
Next, up, do a kind on the clips by ‘field sequence’ and drag all the clips that are progressive. Catch all the staying (new color) clips and place them at the end of the timeline, alter their speed to 50%. Now, all of a sudden you’ve converted those interlaced that was horrid looking ‘tape’ clips into beautiful, elegant, 1080P slow motion.
I actually wanted to highlight the young footballer’s skill and the amazement of the kids he was mentoring. We had minuscule time with the kids, so I knew that slow motion would effectively give me double the amount of footage and give the client some extra bang for his or her buck… So it is not too much a case of a fresh camera feeling, but undoubtedly a more camera sense, a tool that I’ll continue to use where appropriate on future occupations.