Canon R5 Announced with 8k

At this point in his career, PM's job is to be a celebrity and not a super technical YouTuber. I'm sure he's busy pumping out lots of content, engaged in other business.

He would have mentioned it if his teleprompter/notes had it, but there's just too much information to cover every single detail about these cameras in a quick general summery video.

Plus, it's so minor that some may not even know about it or think it's even worth mentioning.
 
Plus we accept a broad range of sensor sizes as "super 35" so I don't see why we can't call if full-frame if it's slightly off
 
RGB Pixel Size:

Canon R5 - FF 8K (4.41 micron)
Canon R6 - FF 4K (6.56 micron)
BMD P6K - S35 6K (3.76 micron)
Sony F55 - S35 4K (5.12 micron)

Updated with R6 corrected
 
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One feature that's not really discussed is how the 1080p will look. I don't know how it looks from the 1DX Mark III, but everything from the 1DX Mark II and below in the history of Canon's full-frame stills camera did not have nice high-definition.

Hopefully it's better but a lot of people coming from Panasonic and Sony cameras might be shocked if it's not (but they are probably not coming for the HD anyway).
 
Tom Roper said:
RGB Pixel Size:

Canon R5 - FF 8K (4.41 micron)
Canon R6 - FF 4K (8.32 micron)
BMD P6K - S35 6K (3.76 micron)
Sony F55 - S35 4K (5.12 micron)

Updated with R6
Click to expand...

Is that R6 figure accurate? Newsshooter says it's 6.56 micron pixel size, which is about why I get by dividing .036/5472
 
NorBro said:
One feature that's not really discussed is how the 1080p will look. I don't know how it looks from the 1DX Mark III, but everything from the 1DX Mark II and below in the history of Canon's full-frame stills camera did not have nice high-definition.

Hopefully it's better but a lot of people coming from Panasonic and Sony cameras might be shocked if it's not (but they are probably not coming for the HD anyway).
Click to expand...

That's a good point, especially since it's not the same cropping for HD as 4K. So probably not the same readout and processing. And there's still plenty of need for HD even if its days are numbered. So that could be a deciding factor and a win for the A7SIII

But the HD on my 5Dmk3 is fine. Sure it's a bit soft. But if I needed more detail, I'd be shooting 4K. It's "HD" and that's what counts. I'd be more concerned about moire
 
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ahalpert said:
Is that R6 figure accurate? Newsshooter says it's 6.56 micron pixel size, which is about why I get by dividing .036/5472
Click to expand...
Sorry, it’s wrong. I thought it was 4k DCI wide with 1.06 crop so the math was for that. Didn’t realize it was oversampling. 6.56 is correct.
 
With the compact size and the 45mp stills the R5 could replace 3 cameras:
- S1R still camera
- S1 video b-cam
- GH5S with I use on a gimbal
I’m not too exited about mini D HDMI. Potential overheating doesn’t sound too good either. But I remember the a6300 was supposed to have these issues too but in real life I never had a problem. I find it worth to give it a try and preordered the R5. As I have a lot of EF lenses there’s no big risk but a great chance to reduce the equipment.
 
All the comments I’ve read above seem to be about 4K and hd!

Funny world.

Loads of nice 23mbs cams around super cheap - probably in your own cupboards!

Seems 8k raw is cool for some clips over multiple screens in a foyer :)
 
AF is the reason to be excited for these cams. I probably shouldn't say this, but the pocket 6K footage I've seen looks better than all R5/R6 footage I've seen. If the pocket had dpaf I'd buy it. But the R5/R6 are what they are and they look fine.

In the wedding space, I compete with Sony shooters who can nail focus on simple shots that I buzz. Like moving in from far to close on an object. Or tracking with someone wide open.

And being able to pull focus on those moves will help me for every other type of shooting as well, even when the client is not comparing my results to a Sony shooter.

The C200 is comparable but worse AF, worse low-light, harder to gimbal, no 10-bit.
 
The R5 is pretty close to what I want. But I would like it in a full sized body like the 1-series. That would allow for slightly more effective cooling too.

I view the 8K video more as a consequence of the 45MP sensor—which I like for stills—since I want to shoot video using the full sensor. But since I'm not looking for 8K video files, I'd turn to the over sampled 4K mode that uses FF. This isn't raw though.

If I'd be doing this, I'd try to shoot 8K raw (mostly shoot shorter clips/takes anyway) and benefit from Cinema Gamut and the Canon Log 2-ish transfer curve, and then transcode that into a new 4K master on import. No need to edit or store 8K files.
 
So, here they are... and I need to see dynamic range tests for both cameras before I regain my interest in them.

r6 is only IPB, I'm not sure I would prefer this one over, say, an XT4
r5 is expensive and only shoots raw video in 8k mode, which means huge amounts of data; it could be like a p6k but with full frame and AF, but if the dynamic range is not there then I don't see the point

BTW the 1.06x crop on the r6 is not a big deal in most cases but when my 24mm becomes a 25.5mm then I might care

edit: there's a very positive side: I don't think they have an edge over anybody else, but Canon is back in the <$4k game
 
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news from Atomos:
Atomos records 4K 10-bit 422 ProRes
or DNx from the Canon EOS R5 and EOS R6

Did someone already mention that Micro HDMI sucks? :shocked:
 
ahalpert said:
It also looks like the R5 will have overheating issues and be a jello cam in 4K24p since it oversamples from 8K...Unfortunately this overheating problem isn’t limited just to 8K...
Click to expand...

Besides the thermal issues it apparently cannot output anything to HDMI except 4k/59.94: https://www.bhphotovideo.com/c/product/1547009-REG/canon_eos_r5_mirrorless_digital.html/specs

Almost everything my doc team shoots is 23.98, and we use mostly ProRes acquisition via Atomos, so unless the listed specs are wrong we couldn't use the R5 no matter how good the AF and IBIS are.

Your previous point about the S1/S1H AF on a gimbal is valid. That is a significant issue. But we use MF for all non-gimbal work, which is not a big limitation. But with the R5 (and maybe R6) severe thermal limits -- even indoors -- we couldn't risk that on an interview or event. Despite the AF issue the S1H is designed for actual real-world production use. I can't see the R5 ever being approved by NetFlix, etc.

It will be interesting to see how the A7SIII stacks up in these areas.
 
joema, it appears the external recording is "up to 60P" in C-4K and UHD. I have micro HDMI from my GH4's but hate the pesky little connectors. Was really wanting to love this camera but am now on the fence.
 
ahalpert said:
That's a good point, especially since it's not the same cropping for HD as 4K. So probably not the same readout and processing. And there's still plenty of need for HD even if its days are numbered. So that could be a deciding factor and a win for the A7SIII

But the HD on my 5Dmk3 is fine. Sure it's a bit soft. But if I needed more detail, I'd be shooting 4K. It's "HD" and that's what counts. I'd be more concerned about moire
Click to expand...

Eight of my nine shoots, that I was lucky enough to get in the last four month's, were 720P(network). And the last was 1080P(internet). No, HD isn’t going away anytime soon. Heck, it’s 2020 and cable and DirectTV are still full of SD channels.
 
joema said:
Besides the thermal issues it apparently cannot output anything to HDMI except 4k/59.94: https://www.bhphotovideo.com/c/product/1547009-REG/canon_eos_r5_mirrorless_digital.html/specs

Almost everything my doc team shoots is 23.98, and we use mostly ProRes acquisition via Atomos, so unless the listed specs are wrong we couldn't use the R5 no matter how good the AF and IBIS are.

Your previous point about the S1/S1H AF on a gimbal is valid. That is a significant issue. But we use MF for all non-gimbal work, which is not a big limitation. But with the R5 (and maybe R6) severe thermal limits -- even indoors -- we couldn't risk that on an interview or event. Despite the AF issue the S1H is designed for actual real-world production use.I can't see the R5 ever being approved by NetFlix, etc.

It will be interesting to see how the A7SIII stacks up in these areas.
Click to expand...

Really? That’s gonna be one of your arguments?
 
Run&Gun said:
Really? That’s gonna be one of your arguments?
Click to expand...

It's not about the pedigree or camera's approval resume. That was simply an example to show the S1H is usable in real world conditions. Even on a low end production you can't risk the camera shutting down due to a known problem. Yes shutdowns and outages happen due to unknown and unpredictable problems, but I would never risk an important interview or event on a camera with such a severe known operational limitation. This of course assumes the preliminary R5 information is correct.
 
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