Cinema EOS Announcement on 19th Jan - EOS R5C

I've had it confirmed by two bonafide sources the AF issue with the R5c is not widespread, has not delayed shipping and the first units will be in our hands next week.
 
Liam Hall said:
I've had it confirmed by two bonafide sources the AF issue with the R5c is not widespread, has not delayed shipping and the first units will be in our hands next week.
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Update: Cameras have shipped from Canon so will land tomorrow or Thursday. Who has ordered one?
 
CineD just published the results of their dynamic range tests. R5 C 8K Cinema Raw Light LT ISO 800 developed in Resolve using Clog2 measures 10.2 stops. The noise floor is simply amazing.
 
jonpais said:
Resolve using Clog2 measures 10.2 stops.
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Since I own this camera now, I'm just going to skip the whole arguing-over-online-test-results.

Instead I'd like to direct the following to anyone who is interested in this camera: I used to have a Pocket 6K. I was very happy with the video files from it. I still think that camera (G2 now, or the Pro version) is by far the best bang-for-$ you can get if you are looking for something video only. Especially if you are happy with manual focusing.

But looking for a single camera solution, I sold it and went with the R5C. I take a lot of photos and I have had many Canon bodies before (and the lenses to go with them).

The ability to go from 45MP pro stills to 8K compressed raw, to 4K oversampled 10-bit, to 120p oversampled (really good looking) 4K in 10-bit, all with Face and Eye detect AF—without crop or 'gotchas', makes this camera a winner for me. The body should have been bigger.... *and other gripes* but the sum of the R5C's abilities makes it very unique, I think.

I still consider it 'early days' in terms of my testing, but I've tried the different formats in various in and outdoor conditions and I've NEVER felt "ouch, there's too little DR". I recommend anyone interested in the R5C to test it for themselves and see how it fits.

Depending who you're asking, the patch range is 15+ to 16 stops, measured in Imatest. There is noise at the bottom, but it's important to realise it's high resolution noise, which makes it look different from lower resolution, blocky noise. Using Resolve Color Managed with the raw setup as CLog2, I am very happy with the starting point I get. Natural looking images, even shooting into direct light that clips.

So, tip: make up your own mind. And: hitting 'playback' in video mode shuts the sensor down giving you the same standby time as in photo mode.
 
Dynamic range is one of the defining characteristics of motion picture film, which has greater than 13 stops of dynamic range, and is more important to me than resolution; and judging by the overwhelming popularity of the Alexa Mini and the excitement over Arri's upcoming s35 camera with its headline 17 stops of DR, most experienced filmmakers would appear to agree. Even almost a decade ago - eight years to be exact - the same publication deplored the poor dynamic range of Samsung's NX1, which at the time performed the worst of any camera they'd ever tested, 10.1 stops.

CineD was not at all impressed with the noise of underexposed R5 C footage in their latitude test either, which they say had large patches of pink and green chroma noise at -3 stops. While it's acknowledged that oversampling results in finer noise, it does not necessarily follow that a lower resolution sensor produces objectionable, blocky noise. The noise of an Arri or RED sensor has a very organic, filmic texture, something which Canon raw does not. It's unclear what is meant by 'depending who you're asking, the patch range is 15+ to 16 stops, measured in Imatest'. The Imatest results clearly indicate 10.2 stops of dynamic range. If you're referring to the Xyla chart, if you truly believe that the R5 C has 16 stops of dynamic range, I've got a bridge in Brooklyn to sell you.

Screenshots of RED Komodo R3D sample footage enlarged 999%.

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