Recording Indicators and Tally Lights - R5C Tip 26

Knowing when your camera is recording is important, whether you're the operator or the talent in front of it. And video cameras include multiple recording indicators: the R5C has at least 5 different ways it can incidate that it's recording. These are the tally light, card access led, on screen record indicator, the top LCD record indicator, and as of firmware 1.0.6.1 a large on screen tally light.
In this video, we'll look at each fo these recording indciators, and how to customize them to your needs.
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Chapters
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00:00 Intro
02:47 Controlling the Record Indicators
02:52 Tally Light and Card Access Indicator
04:27 OSD Record Status
06:05 Bonus Tip: Turning off the OSD for HDMI displays
06:45 OSD Tally
11:19 Recommended Settings

[@csound55]

Useful info, thanks.

[@studiodevis]

Thank you very much! As usual, very informative, very helpful. Canon should pay or sponsor your channel as it is the best source of information about Canon R5c. Keep up the good work!

[@PointsInFocus]

That would be nice. Thanks for the support and thanks for watching.

[@VideoBaseie]

Do you have any tips for the best recording format for the R5C with a focus specifically on ease of editing?
I've been using xf-avc and it's been a nightmare to edit with. Long GOP is a struggle without proxies and while ALL-I is better the file sizes are pretty chunky at about 2gb per minute of recording (almost double what my URSA G2 records using quicktime)
I'm getting to the point where I'm considering selling the camera as it's just so frustrating to edit the native files. And premiere pro is constantly throwing up "error retrieving frame" errors.
My turnaround times for projects are very short and I'd love to just be able to back up the files and begin editing. I hadn't tried mp4 files yet in the camera, I'm praying these are easier to edit with, I don't mind if I lose some dynamic range if it improves the edit workflow

[@PointsInFocus]

The biggest problem with post processing with the R5C, and really anything that doesn't shoot ProRes, is the combination of 4:2:2 chroma sub-sampling with AVC or HEVC compression. This significantly limits your options for software ane GPUs to maintain hardware acceleration.
On the hardware side, the only GPUs that support decoding 4:2:2 content are Intel's (the iGPUs in 10-gen and newer CPUs, and Arc PCIe GPUs), and Apple's M1 and newer CPUs.
Compounding that, as far as I can tell, though my information comes from tests done in late 2022 by Pudget Systems, only DaVinci Resolve Studio will do hardware decode of 4:2:2 content. So a big part of the Problem here is also Premier Pro. You'd think for a "professional" program, Adobe would have better support for professional formats without needing a super computer to deal with it.
That said, I tend to stay away from XF-AVC in general, it's a lot of bits that to my eye at least isn't noticeably than 10-bit HEVC MP4s.
All that said, here's what I'd recommend trying at least in a testing situation. If you must keep using Premiere, if you can try shooting in 4:2:0 chroma sub-sampling. This will mean shooting in MP4, in the HEVC compression mode. This should be GPU accelerated on most systems, so it should be quick to edit.
Barring that, if you really need 4:2:2 support, and you have the hardware (or have a spare PCIe slot and can drop $100 on a Ark A320 GPU) you can try working in Resolve, though that might be a bigger problem as that requires learning another program.
As for replacing the camera, you'll likely see similar problems if you're shooting in 4:2:2 HEVC or AVC on any other platform.
Hope that helps some.