 Okay, we're back again. Welcome back. Great. It's been a long minute and have not been able to make a couple more videos for you guys because of several work related issues that's been going on that kept me away. I'm glad to be back and I'm glad to be making videos and today we'll be talking about the C70s firmware update heating features. Features nobody's talking about. I'm not talking about the raw capabilities or the presence of the Intelva recording, which by the way, it's a beautiful thing now because I can take a small camera now. If you want to know about all these other features, there's several YouTube videos online that you can actually go do that. But after the intro, we get into it. Hit it. Recently Canon actually released, hold on, give me a second. Okay, so recently Canon actually released this camera, gave it a new firmware update and it was actually really cool because it added some super cool functions of adding the raw capability, which gave us two different compression of raw. The raw standard and the raw light that varied in bitrate and how much you could actually get in somewhere compressed that allowed you to record more. While the standard was less compressed than the raw light, the raw LT that's actually built-in camera. Before that, we're used to the XAVC, which was pretty then good for the most part of it. And they added a whole bunch of functions like the Intelva recorder, which allows you to now take a small camera like this and do time-lapse, which can fit into your motion control rigs and all those other smaller rigs you've had before that you actually use for time-lapse. But what could be cool though, I wish Canon, if you can hear me, we actually actually allowed us to actually have the raw recording for the time-lapse, which enables us to actually get in more details from our highlights, more grits, shadow, retention and more depth in the color. Like we have more color information to work with. That would have been super amazing. And now to the hidden function. Proud to now, the C70 has the ability to load up your own custom lookup table that's actually created for it. For this, you would have to make the lot to conform to the color space of the camera, which is in the C-Log2, C-Log3, PQ, HybridLog, whatever it is you're doing, your output and your input transform has to be aligned. So that's a separate process if you want me to like make a proper video on. Please leave a comment below and we'll be able to make a video on that. So having created your own custom loads, normally before the updates, you could actually load them into camera and actually have them baked into your footage. That was a great workflow for those who want to do fast turnaround music video that do not have the colors to be able to work on it and they just have their editors and they work in Premiere, which is not actually color pipeline as opposed to DaVinci Resolve. The downside of that is that you do not have a take back. It makes you shoot like film, like your choices are your choices, which is also beautiful because I'm literally getting tired of being able to almost change anything that you do not get to preserve your intent and your decisions. But with the update of the RAW, what that now means is that you can take these are custom loads that you've actually created for, whether they're film emulations or whatever it is you've created that you can load up into your camera. Now they cannot become your viewing lot, but you still have to be able to expose and retain your creative intent, right? So the raw function allows you to record the data underneath that will not have the lookup table baked into the file while your viewing file is actually displaying your lookup table. So you could actually create a lot that's two stops on the expose. For example, if you're shooting like dark scenes, which will force you to overlight, which if you're using the normal seven or nine available on the camera, it's a little bit very shy and not as aggressive, but with such kind, you'll be able to keep cleaner shadows in your blacks and it just opens an amazing door. What this means is that you could take your C500 Mac 2 or your C300 Mac 3 and actually match them up seamlessly with this function. You could have an even your Aero 5C, like for example, hold on a second. So we have like the Aero 5C and the C70 and this is how this is how they look like in terms of size. I don't know if you can see them. Okay, yeah, there. And that's how they look like in terms of size. You can take these cameras and I'm not talking from a point of that being your only camera or what that is. I'm talking from the perspective of we have different cameras for different situations. I could set up my C500, C300 to be like my main A-camera, the traditional one that goes on sticks, the larger build you get. My C70 could be my gimbal build. My Aero 5C could be my carry, but the Aero 5C does not have C-Log 2. So it's not interesting because you could take that your lot and actually adapt it for the C-Log 3 that's available on it. So all cameras will have the same view lot, the same call signs mapped to the tone of your dynamic range that you can expose maximum. And this saves you a huge tone in post when it comes to matching and creating your pipeline. Your post pipeline is one of the most important things after your lens choice and your light choices that actually happens in your creative process. And this will impact whether it goes right or it goes wrong. And nobody's talking about this and actually I'm hyping it up. We all hyping up the raw bed. This is literally huge because you get to like design custom choices that you could actually light to. And what that means is that most times when you record raw and you try to grade it in post, it's almost like you're taking a huge lump of rock, right? And you're chiseling away the marble put the other rough edges until you actually carve out, right? As opposed to assuming you have the mold already, right? And you take concrete and pour it to fill the mold or cement or whatever it is that you have to use and pour it to fill the mold. When you break the mold, it comes out exactly as you intended, not you hacksaw in a way. So you can see how that process is more faster than traditional process. It's all about being effective and efficient. So I don't know if this has been useful to you. You could give um this video a thumbs up so it helps the algorithm share this with a lot of people so that I know that it's useful. If you do want me to make a video on um making custom lookup tables and how you can load them to the camera, leave a comment below and um let's see what how much you get so we can actually allocate efforts in doing that. We'll get to talk about the RF-15 in the video you get. But for now, until next time, learn to improvise, adapt and overcome. Thank you.