Cinema EOS Announcement on 19th Jan - EOS R5C

morgan_moore said:
if you get the c200A you can literally film with the body and an xlr mic - thats pretty stunning being the smallest professional package that is relible and controlable and robust.

I like the B model and say you were a gimbal op then it is the thing.. but for walkabout the A is pretty spacial.

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I bought the r6 so I could 'pop' to an event in the city centre on the bus and do a few shots.. but in reality id take the c200 with a proper mic, proper ND and semi sensible battery life.
(i own c200, r6, and my colleague has 2 r5s)

an event.. filmed on the z6.. https://vimeo.com/527072583 this made some money.

crappy test.. c200, r6 https://youtu.be/nbnF7_5ffmk
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Thanks for the videos, I do not have a problem with image quality with neither for the type of work I do. I am even okay with the 8bit on the C200 since it has a raw option. The R5c is a toy but it's one that can do 8k/60p in raw, the biggest problem with those toys is that they lack in I/O yet they are hybrid if you do some photography. The new Tascam xlr hot shoe audio adapter solves part of the problem but the mini HDMI is a problem.

My biggest gripe with the C200 is it's EF mount and that I can not use RF lenses on it. At the same time for interviews I would probably be using a 50mm most of the time and for multi-cam conference shoots I will have the proper I/O's. The C200 is going to excel in form factor and i/o yet the R5c will beat it in every other category. It might be best to be patient and wait till next month to see what Canon and others will release for the NAB.
 
do not have a problem with image quality w.. even okay with the 8bit on the C200 .... The R5c is a toy but it's one that can do 8k/60p in raw,

Its not clear if you need a tool or 8k ?

I get the ef rf thing is a bit of a mess right now for canon esp on the c70 as there is no s35 rf mount zooms.

I like the chance to roll in a trough of cheap ef.. others will be more on the rf thing which is probably better lookin 5 yers forward.
 
morgan_moore said:
do not have a problem with image quality w.. even okay with the 8bit on the C200 .... The R5c is a toy but it's one that can do 8k/60p in raw,

Its not clear if you need a tool or 8k ?

I get the ef rf thing is a bit of a mess right now for canon esp on the c70 as there is no s35 rf mount zooms.

I like the chance to roll in a trough of cheap ef.. others will be more on the rf thing which is probably better lookin 5 yers forward.
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Frankly the 8k is a bonus and future proof for our investment. I am sure it will come in handy every once a while but it is not a necessity at the moment !!!. One of my favorite RF lenses is the 28-70mm/2, combined with the R5c full frame would be an amazing combo both for interviews and b-roll.
 
the tone is generate by 'matching' to the card in resolve - I agree not pleasant.

I have a thread in the c200 forum which shows my interpretive grading from the shoot, using arri lut and the feedback has been positve.

what I cant see is either camera having a major advantage in terms of sharpness.
 
morgan_moore said:
the tone is generate by 'matching' to the card in resolve - I agree not pleasant.

I have a thread in the c200 forum which shows my interpretive grading from the shoot, using arri lut and the feedback has been positve.
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Got it. I found the YouTube video first, which led me to this thread. I wasn't aware of the C200 forum thread (5687804-smm-testing-c200).

I love the footage coming out of the C200, but the DGO sensor of the C70 looks very tempting.

morgan_moore said:
what I cant see is either camera having a major advantage in terms of sharpness.
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I'm ok with this. I'd rather have great skin tones, colours, dynamic range rather than 'sharpness'. But there is a marked difference between the R5C and the rest of the pack.

See ProAV TV test here: https://www.youtube.com/watch?v=MZzVwX22IiIv=MZzVwX22IiI
 
The reason to test sharpness is to see if the r6 non raw codec is full of artifacts vs the C200.

When Im on a shoot it will take me different times to rig each camera and convincing myself that the R6 is 'good enough' can be an on set time saver as I wont be scared of using it rather than rerigging (or even getting!) the C200

This is in fact a pro R6 video.. 'r6.. as sharp as the C200'

In terms of colour I need to investigate more deeply, get a handle on canon log 1,2,3 and build a set and match the lenses.. I was using the 50 1.8 c200 and 24-105 f7.1 zoom canon r6.

With lockdown, and all that bonkum.. its the first time Ive actually had to play with the C200, even though I done a load of jobs on it. The r6 too.

In the last 18months ive gone from Z6/fs7 to R6/C200 and bought my first ever canon lenses.

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edit.

Im not keen on the r5c or c70 as they wont make an A camera as they dont have the connectivity to show a director the image (unless skinny/sticky out hdmi is your thing) . they would both be fine b cameras (id take the c70) but they are too expensive for that to me.
 
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morgan_moore said:
The reason to test sharpness is to see if the r6 non raw codec is full of artifacts vs the C200.

When Im on a shoot it will take me different times to rig each camera and convincing myself that the R6 is 'good enough' can be an on set time saver as I wont be scared of using it rather than rerigging (or even getting!) the C200

This is in fact a pro R6 video.. 'r6.. as sharp as the C200'

In terms of colour I need to investigate more deeply, get a handle on canon log 1,2,3 and build a set and match the lenses.. I was using the 50 1.8 c200 and 24-105 f7.1 zoom canon r6.

With lockdown, and all that bonkum.. its the first time Ive actually had to play with the C200, even though I done a load of jobs on it. The r6 too.

In the last 18months ive gone from Z6/fs7 to R6/C200 and bought my first ever canon lenses.

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edit.

Im not keen on the r5c or c70 as they wont make an A camera as they dont have the connectivity to show a director the image (unless skinny/sticky out hdmi is your thing) . they would both be fine b cameras (id take the c70) but they are too expensive for that to me.
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Thank you, Sam. I now fully understand the context of your tests. Glad to hear you are happy with the R6/C200 combo!

As for Canon Log, I think Ollie Kenchington is pointing out something very important here: C-LOG2 was made for cameras that have a sensor with enough dynamic range, allowing one extra stop in the shadows. Applying C-LOG2 on footage from cameras with sensors that don't have enough dynamic range will just boost the noise in the shadows. (And if you're recording in CRL, no noise reduction will have been applied in-camera either.) Just something to be aware of. I guess this is why many C200 owners have been complaining about it as 'noisy'. (Ollie, please correct me if I have misunderstood you!)

https://youtu.be/GpMYwMm5cnU?t=1868
 
My experience of that shoot is that the c200 is a bit of a 'little artist'

get the exposure right and you have alexa beating footage

go half a stop down and noise pops up and the colours swing.

its not giving the freedom to not care like a raw still camera does..

but it still takes nice images.

I think most people underexpose it (including me on occasion)

But fr all that the un se\-xy r6 still stands up
 
morgan_moore said:
My experience of that shoot is that the c200 is a bit of a 'little artist'

get the exposure right and you have alexa beating footage

go half a stop down and noise pops up and the colours swing.

its not giving the freedom to not care like a raw still camera does..

but it still takes nice images.

I think most people underexpose it (including me on occasion)

But fr all that the un se\-xy r6 still stands up
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Yes... I don't think it is really fair to compare stills raw and video raw.

That being said... grading C200 footage is a much more pleasing experience than dealing with S*ny's 8-bit AVCHD files with the purple/magenta cast in the skin tones (before the FX6 and FX9 were released).
 
Abe, I have only one client, a national client asking for 4K, another local client that won't complain if you deliver in 4K but they'd rather have 1080p, and yet a another national client that said no to 4K period. This is unfortunate because 1080p removes the flexibility to crop out distractions from the frame. I love shooting 12K and 8K for myself though, at high frame rates. It gives me that coveted "videoish" look everyone craves. :Drogar-Shock(DBG):
 
Bugger.

I hope the defect is just in a batch of cameras and not all of them.

I was hoping to take the R5C to the Mid-East on Saturday. Did I say bugger?
 
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