Canon R5 Announced with 8k

Thanks Chuck - yeah the guy does amazing work. I'd love to see his prints in real life. It's an insane amount of photoshopping and I love how complex the finished product is, but still with a nice overall composition

No music was client's choice - I pushed them on the option. But I think they wanted something very dry
 
Back to some R5 talk and a possible solution for documentary work.

If Im not mistaken this is the first mirrorless/DSLR with internal 4K DCI 10-bit 422, great AF, IBIS and good low light.

The perfect small A or B-cam for docs.
Overheating?
For best results during longer takes we might use 4K/25(30) super35 crop (downsampled from 5,1) - no pixelbinning, no time-limits according to Canon - AND the Metabones RF-EF adapter.

We use the adapter all the time on the R (on gimbal). Works fine. And it gives an extra stop too.

With this set-up we would be back on FF and have great render according to specs.

Problem solved? What do you think?

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The rest:
8K is a bonus for certain occations. (I dont mind cropping, useful sometimes for op-doc).

What we dont know is DR and RS.
I expect DR to be R-ish, good but not the best and RS to be usable.

I wanted GH5 to be that perfect allrounder but the indoor low light wasnt enough. The DR or the AF not perfect either. The RS great though. Pefect travel movement cam.

(Fuji XT-3/4 only 420 4K 10bit right? (H265). Sony A7s only 420 8-bit 4K (H264))

This is of course before A7siii comes out...
 
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Vino said:
If I'm not mistaken this is the first mirrorless/DSLR with internal 4K DCI 10-bit 422, great AF, IBIS and good low light.
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All of the R5 IBIS shown from pre production cameras looks wonky compared to Olympus or Panasonic. Here's a typical example. ( starts about 1:30 in the video )


Now this might be because it's a pre production camera, or perhaps a bad lens choice, or perhaps bad camera set-up. ( Lok generally knows his stuff )
 
Vino said:
Back to some R5 talk and a possible solution for documentary work.

If Im not mistaken this is the first mirrorless/DSLR with internal 4K DCI 10-bit 422, great AF, IBIS and good low light.

The perfect small A or B-cam for docs.
Overheating?
For best results during longer takes we might use 4K/25(30) super35 crop (downsampled from 5,1) - no pixelbinning, no time-limits according to Canon - AND the Metabones RF-EF adapter.

We use the adapter all the time on the R (on gimbal). Works fine. And it gives an extra stop too.

With this set-up we would be back on FF and have great render according to specs.

Problem solved? What do you think?

—-
The rest:
8K is a bonus for certain occations. (I dont mind cropping, useful sometimes for op-doc).

What we dont know is DR and RS.
I expect DR to be R-ish, good but not the best and RS to be usable.

I wanted GH5 to be that perfect allrounder but the indoor low light wasnt enough. The DR or the AF not perfect either. The RS great though. Pefect travel movement cam.

(Fuji XT-3/4 only 420 4K 10bit right? (H265). Sony A7s only 420 8-bit 4K (H264))

This is of course before A7siii comes out...
Click to expand...

Good points. The quality of the long form FF 4k mode is yet to be seen as well. I am waiting until all of the cards are on the table - R5 & R6, Sony A7sIII and the Panasonic GH6(s). I love the GH5's handling and video oriented design. I also love the value the R5 & R6 bring to the party with strong sills & video. I have never been in love with Sony's image but "everything is new" gives it a shot. I also prefer that Panasonic has a decent 24bit XLR audio option. Sony has an ancient 16bit option and Canon has nothing. It has been very convenient to have decent quality audio on the GH5. Using a Canon will force one to use 2nd system for EVERY job, which lets face it, this ilk of camera does not always need the top where convenience helps justify some lower paying work. There would be a lot of sales waiting for Canon if they made one of these XLR adapters. If you are going to go all out on the video specs, why not back it up with better audio???

Anyway, it is a great time for camera choices, sucky time for paying for them!
 
Wow this is a giant thread. Anyone buy the R5 or R6? I watched a Youtube review. My impressions were the R5 is expensive and the R6 price point is reasonable. But the over heating issues is a deal breaker wouldn't fit what I would expect from a professional camera. Outdoors in the sunlight I could see these cameras shutting down when you least expect it during a shoot. IMHOP no amount of quality is worth very short record times that could get even shorter due to heat issues. I've also had bad experiences with full frame (banding issues with venue led lighting). My understand the refresh rate of FF sensors are slower and more susceptible.
 
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They are both the world's best-sellers right now. Several people here have preorders in as they will be impossible to find if you didn't put one in early (but at the same time some of us are also waiting to see what Sony says in a week).
 
Source: https://www.youtube.com/watch?v=97Gm1ui9W_U

qrEX56i.jpg


Z4Ffhi5.jpg
 
Peter C. said:
Wow this is a giant thread. Anyone buy the R5 or R6? I watched a Youtube review. My impressions were the R5 is expensive and the R6 price point is reasonable. But the over heating issues is a deal breaker wouldn't fit what I would expect from a professional camera. Outdoors in the sunlight I could see these cameras shutting down when you least expect it during a shoot. IMHOP no amount of quality is worth very short record times that could get even shorter due to heat issues. I've also had bad experiences with full frame (banding issues with venue led lighting). My understand the refresh rate of FF sensors are slower and more susceptible.
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My take on it. First and foremost it is a stills camera and you can bet your bottom dollar that as a Canon stills camera, it will be darn near bullet proof as a stills camera. Video is secondary, plain and simple. I don't care how much emphasis has been placed on it. Look at it. It is a still cam. It is not a professional video camera. And at this point everyone knows the video limitations due to heat.
 
Bassman2003 said:
Good points. The quality of the long form FF 4k mode is yet to be seen as well. I am waiting until all of the cards are on the table - R5 & R6, Sony A7sIII and the Panasonic GH6(s). I love the GH5's handling and video oriented design. I also love the value the R5 & R6 bring to the party with strong sills & video. I have never been in love with Sony's image but "everything is new" gives it a shot. I also prefer that Panasonic has a decent 24bit XLR audio option. Sony has an ancient 16bit option and Canon has nothing. It has been very convenient to have decent quality audio on the GH5. Using a Canon will force one to use 2nd system for EVERY job, which lets face it, this ilk of camera does not always need the top where convenience helps justify some lower paying work. There would be a lot of sales waiting for Canon if they made one of these XLR adapters. If you are going to go all out on the video specs, why not back it up with better audio???

Anyway, it is a great time for camera choices, sucky time for paying for them!
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second this - a XLR adapter from Canon would be great, sooo convenient with those for Pana and Sony, especially on Pana where the batteries last long.
 
Run&Gun said:
My take on it. First and foremost it is a stills camera and you can bet your bottom dollar that as a Canon stills camera, it will be darn near bullet proof as a stills camera. Video is secondary, plain and simple. I don't care how much emphasis has been placed on it. Look at it. It is a still cam. It is not a professional video camera. And at this point everyone knows the video limitations due to heat.
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That makes sense that's what I was thinking for a photographer who wants an occasional video. There's been so much hype and a huge thread here gave me the impression it was a viable alternative. I've filmed with the Sony A7III and while its not designed to solely shoot video and has a 29 minute limit, it's still is useful for video.
 
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Most people will be filming with the R5 in short bursts for high-quality b-roll for commercials, music videos, fashion clips, product shots, etc. in which the camera will likely never overheat. Start and stop, start and stop...move around...start and stop, start and stop.

This isn't a camera for 45 minute keynote presentations in 8K, which would be a complete waste of resolution even if it was. The other 4K modes will not overheat, will be easier to work with, and will look great if you did need to shoot longer clips (with a slight pause around 30 minutes).

A compact package with stills, DPAF, IBIS, 10-bit, 8K, 4K/120p, nice colors, endless lens options, amazing menu and programmability and very nice ergonomics outweighs any worries about overheating most people will not even experience in the first place unless [again] they are purchasing this camera for the wrong type of work.
 
Tom Roper said:
I shoot weddings, lots of them. The client doesn't always specify whether a documentary or highlight reel was ordered. It is expected they want both. They want footage, lots of it, 125-150 takes, 2 cameras minimum, backup shots, safety angles, wide shots, slow motion. And don't miss any of the seminal moments that happen even before the ceremony starts, the arrival of bride and groom, getting ready shots, opening of gifts, reading of letters, wedding party shots, bridesmaids, groomsmen, bride and groom first look, the officiant, the groom's reaction to seeing his bride, bride walking up the aisle, the vows, lighting of candles, pouring of sand, exchange of rings, couple's introduction, first kiss, family portraits, the guests, the food, reception line, the grand entrance, dinner tables, buffet lines, the toasts, speeches, first dances, cake cutting, garter toss, bouquet toss, the money dance, the send off, just to name a few. And it's all HD. Those 5-7 minute highlight reels are a lot promotional bulls*%t, most of them. The couple just paid big money. They usually want *everything* covered and sometime want the raw footage too. You record the audio as well, mic the groom, plug into the soundboard, the pa, the dj, check the recording levels. And lights. You have lots of equipment, shooting sticks, charged batteries, and stage it beforehand, prepared for any eventuality, sudden showers, driving winds. You're on the go the whole time, without the luxury of being a cinematographer. Your highlights are culled from having lots of shots of everything, table settings, rings, dresses, shoes, hands, feet, faces, invitations, marquees, menus. It's serious work. Your equipment better be 100% ready for it. You too.
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I rarely shoot weddings but this is why I hate them. And the equipment: buying, renting, maintaining, transport, setup, breakdown... If you want to make money you have to limit new equipment purchase, but with each new year...
 
Peter C. said:
That makes sense that's what I was thinking for a photographer who wants an occasional video. There's been so much hype and a huge thread here gave me the impression it was a viable alternative. I've filmed with the Sony A7III and while its not designed to solely shoot video and has a 29 minute limit, it's still is useful for video.
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Oh yeah, they can be good on things like one handed gimbals for some quick b-roll or other beauty type shot, but I would go nuts trying to use one as a primary camera, even without the recording limits.
 
I downloaded the files, imported them in FCPX, ARRI Log C Lut applied, minor tweaks.

OMG

R5-1.jpg

R5-2.jpg

R5-3.jpg

Bad news: no realtime playback on a maxed out 2019 i9 Vega48 iMac
 
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