I'm so happy to hear that someone else is excited about the WideDR on this camera as I am. For so many clients I have don't want LOG footage and I use WideDR all the time. I also have a C70 and my B-camera is a R6. The closest I can get to WideDR in that camera is using the neutral profile and bringing the contrast all the way down. It's still too contrasty and need to take more out in post then add more contrast to the WideDR footage and anyway... you all know what's involved in matching different cameras. This is one of the main reasons I preordered this camera.
Thanks for your first impressions! Seems really like a great Camera :) I know you are a professional, but just a small tip on your audio: You should really apply a low cut on your voiceover at 50 Hz or something because there are some really heavy sub 50 hz plops in there, especially at 0:54 , 2:48 and 7:10 . I just watched it in my recording studio and the subs went a bit crazy there :-D
Any footage I've seen of yours I've been very impressed. You have great style. You also use Wide DR. Everyone raves about LOG but I kinda like WDR. It's such a nice start. Thanks!!
This footage is truly mind blowing, the best footage from a canon hybrid i've ever seen. Iam intrigued. Do you offer any classes on grading and general understanding of colour space and gamut?
Did you use a filter to get the sky to look redish? How did you do it? It's absolutely stunning. In fact are you using any filters? Your video colors look amazing. Can you make a video about how you do this?
No filters used on any of this. I occasionally use a 1/4 Black Pro Mist with the R5 C, but not on this shoot. I’ve obviously graded it, but that’s a pretty faithful presentation of how the sky looked that morning, believe it or not! I have several colour grading courses on MZed.com if you’re interested in that side of things 👍🏻
I really hope Canon adds video features back into the photo mode. Could you put that request in Ollie? The Cinema OS is great for when I have commercial gigs, but for weddings the speed of the photo mode is just superior. I missed moments on the C200 that I don't with the R5. I can jump from 8k raw, 23fps, 1/50 shutter, to 4k H265, 60fps, 1/125 shutter, S35 crop mode, with just two button clicks using the R5's custom video modes (C1, C2, C3). Doing all that with the R5c is back to 10-20+ clicks through a menu. Would've pre-ordered if I could use the R5c exactly how I use my current R5.
Really good points. It would seem that adding the video modes back in to the photo menu would alleviate some people’s concerns about AF in video mode too. One would assume this would be an easy change for Canon to implement, if they decided to do it. I’ll certainly feed it back for you. 👍🏻
I 100% agree with the custom profiles comment!! I have always wondered why Canon hasn't added C1, C2, C3 to their cinema camera menus. As you said, changing from 8K 24p to 4K 60p seems to take FOREVER on any of their cinema cameras but is a two button click process on the R5. That is the reason I use the R5 is most run and gun situations were I know I'm going to need to change frame rates and resolution.
Adding a video to the photo mode, even without the advanced raw codecs, would be ideal. I have the C70 and R5, and the C70 is relegated to doc work or static shots because of the lesser AF.
@@iconoclast6994 The AF performance in video mode on the R5 C is noticeably better than the C70, but not as good as the video mode of the R5. I’m sure this is an area where Canon will try hard to implement user feedback. The camera doesn’t launch for another two months, after all.
amazing content! I film weddings and corporate video and I have doubts between as7III and r5C? My key points are Dynamic Range and Image quality. C70 could be an option but form factor, price of batteries and run and gun situations are important for me. Thank you for your attention
Great video! I’m excited to have a solid b cam to my C70 and I still do a lot of paid photography work which I know this will excel at. Thank you for the insights! Can’t wait to get it soon
Thanks so much for this intro to the camera. I know its impossible to judge via youtube or even 4K vimeo but is it possible to make some raw ungraded clips available as I think you had done with your C70 video. That would be fantastic. I am assuming that you were using the R5C for your to camera pieces. It is not a criticism in any way but although the detail on your face is sharp and who doesnt like a man with a tan, an issue I often have, is balancing the skin tones with the colour of lips. For me its a kind of lipstick affect that I do stuggle with when pushing the saturation on the R5 and even with s-log3. Do you generally grade yourself to look "natural' or do you prefer a more saturated "commercial" look. The only reason I ask is that I have found the out of camera look of Clog 2 associated with the cinema cameras from canon as the ultimate narrative documentary look and they seem to have the oscars to prove it. Not cinematic but more forward and present than film or a film emulated look typically associated with Hollywood and now Netflix, and requiring almost no grading at all. It was a feature of the 5D ii that all that sharpening and saturation would be turned right down before rolling and with the advent of these highly detailed images there does seem to be a look that has a far more digital aesthetic, almost hyper real. Also blacks seem to be crushed. I know its not intential but both you and CVP's look at this camera seem to both feature silhouetted back lit sunsets and its very hard to tell much about the DR in those cases as so much of the detail and shading is lost. As an experienced colourist I was wondering what you think it would take to make this image more "filmic" and less digital in post. Does this camera have the DR to do this? I appreciate that this isn't the goal of every videographer but if the success of BMPCC4K and 6K speaks to anything it is how BM have established a filmic "arri" like look almost straight out of the box. It has detail without looking sharpened and so seems to have that more regressed filmic aesthetic whilst retaining fidelity. I appreciate that any camera may well be a pro mist or lowcon filter away from this look but it speaks to DR and the way the image moves and as this camera is likely to come up against the C70 a lot in comparisons I wonder how the DGO sensor compares, or even Clog 2 to 3?. In the same way that looking at a high end TV in John Lewis or marvellling at the detail of an iphone screen can all look staggeringly detailed, vivid and impressive, it isn't necessarily attractive or aesthetically pleasing. Its interesting that the BBC special news reports, I guess using an FX9 often feature insanely shallow depth of field and a incredibly desaturated look. I undertsand that this may be a fashion but it does mirror a particular kind of "cinema" aesthetic, often seen with programs using full frame and often a Venice. Does this look then require the images and the grade to live in a very different part of the curve and DR to really work? I know it can do vivid but do you think that these cameras like the R5C have the DR subtlty to do this? With the advent 8K video as the new normal I would love to know where you think the vivid (wild life doc) aesthetic is heading and particularly how it affects colourist who seem to like high fidelity acquisition and then seem more and more to rely on high end film emulations in post to give a creative look? Thanks again for the excellent video and your thoughts.
Hi Ken. First and foremost, the link to download my clips from the camera is near the top of the description. Secondly, my PTC was shot with the C70 and I graded it to look neutral, though with a touch more teal in the background. Everything in this video was graded in FCP X, as that’s what I was editing in and I didn’t have the time nor inclination to roundtrip to Resolve. As for the backlit demo footage, you’ll see in the raw clips that there is a tonne of detail in the foreground subjects - I’ve simply darkened them to suit the mood of the video. At no point did it really feel like I was using a 14 stop DR camera, but I’m sure in time, shooting in more situations, it would become more noticeable, especially compared to the 16+ stops of the C70. The C70/C300 MK III have a great Arri-like feel to them, so I’d choose those cameras if that was my goal. The R5 C is more like a RED, I guess, highly detailed and with rich colours. 👍🏻
@@korrofilms I am sorry to ask but I shoot with canon Sony bm and red and arri for that matter and each has its own “look” that as a short hand I defined as more forward or present (typically more digital) and more regressed (more film). These terms are just things I have made up myself. I really don’t know what criteria is affecting each camera type to give each it’s specific starting look but would live to know how to even approach this. Is it dr, curve, colour space, processing etc? As an experienced colourist how do you and other colourists refer to this sliding scale from digital to filmic, technically? Eg In sound its often referred to as presence that brings a sound forward in a mix. Some lenses like Cooke’s are synonymous with a deeper dimensionalIty. Are there reference books to explain why a digital image actually looks the way it does beyond getting into the theory of debayering and analog to digital conversation. Sorry it seems so obtuse to be bringing this up in this post but it really doesn’t seem like this is addressed by anyone or well understood beyond using a black promist filter or a film emulation and the significant difference seems to be embodied by cameras like the r5s as opposed to what BM seem to be doing with the ursa 12k?? What is actually going on? A painter might look at the flatness reflectivity of the pigments or add a titanium base to affect luminance. Even the Anish Kapoor most black fiasco speaks to the quest for the deepest black but what is the equivalent in terms of cinema camera imaginary? I’m truly sorry to ask but you are probably the most considered colourist on UA-cam and as an exacting and authoritative communicator and professional I’m sure you must face this issue all the time? Apologies and thanks. If this seems to much to respond to I totally understand.
@@KenFlanagan It’s a combination of everything - lens (elements, coatings, diaphragm), sensor (OLPF, resolution, photosite size), processing (debayering, ADC, gamma, gamut, colour matrix, NR, sharpening, encoding). These differences can be measured and recreated, though it is time consuming and requires a deep understanding of colour management and colour analysis. These differences are well understood by DoPs and Colourists, though there is no universal language we use to describe these differences, other than words similar to the ones you’ve chosen to adopt. The key thing is to see it, analyse it and then choose how best to recreate it - whether that’s filtration in-camera, or LUTs developed using charts.
Woww such an Awsome job man after watching this idk how anyone wouldn’t be convinced not to get this camera ONE question are you able to record in weird frame rates like 96fps 48fps stuff like that
@@korrofilms thank you! It is just hard for me to decided what to buy since R5c is cheaper, but what I like from c70 is the used of SD cards and better compression for editing
Interesting review! 👍🏻 As I'm deciding between this camera and the C70 may I ask you which one in your eyes has the best image quality and if there is a noticeable difference in terms on DR? I already have a camera to shoot stills so I was mostly considering if the DGO, internal ND and C-log3 of the C70 were making it a better choice compared to the FF sensor, the likely better AF and dual base iso of the R5C? Thanks a lot! 🙏🏻
Very good question! I couldn’t pick between them, so I’ve gone for both! I think each will bring a specific advantage to each shoot. The R5 C wins in sheer IQ, but the C70 wins in DR and overall flexibility (you could shoot anything anywhere with that sensor). Both cracking cameras, but if you don’t need stills and can only afford one, I’d probably go with the C70. 👍🏻
@@korrofilms Thanks a lot to share your experience! Actually the better AF and the 45Mpx stills capability of the R5C sensor are very tempting! However having way more DR is definitely a deciding factor for me shooting videos, so if you think the difference is substantiaI between the two, I would also likely go for the C70! 🙏🏻
Thank you Ollie, great reviews. Got one question: how's the battery life when shooting 4k or other non-RAW formats? Really curious about this. Thanks again!
Battery life with the LP-E6NH is between 30 and 40 minutes. I often had an Anton Bauer Micro Titon 45wh attached, using a dummy battery to D-Tap cable. Gave me 4.5hrs of continuous recording!
I’ve now also tested this with an Anker PD USB-C battery, and it looks like it’ll power the camera for a full day, easily! I actually got bored and stopped the test, when the battery was still showing as fully charged after two hours of continuous recording with AF switched on and LCD luminance set to +2 🤯
@@korrofilms Hi Ollie, thanks for this great first look video. Question for you, which dummy battery to D-Tap cable do you happen to use for this? I'm trying to find one with a much shorter cord, so I'm interested to see what others are using. Thanks!
@@dustinschmidtphoto I have a cheapy one from Amazon. I too would like to find a good short one, so let me know if you find one! Probably best bet is a v-lock plate with tails, and wire a dummy up to it yourself.
There are some WideDR clips in the ISO tests folder, but that’s not much use to you, unfortunately. I can say those cameras are identical in every profile, so won’t be an issue.
SO MANY OF CANON CAMERAS. THIS ONE IS REAL GOOD. WHY HOLLYWOOD PEOPLE DONT USE THIS AND AMAZON OR NETFLIX DONT ACCEPT THE MOVIE SHOT WITH CANON./. ANYONE CAN ANSWER THIS ?/
Agreed. It's so small that even if you film in 8K raw, it only has room for compressed HD. It really is that small! If only we had a JUMBO HDMI, then we might even get 16K raw output! Why, why, why Canon??? Shame on you for using the cripple hammer!
What an amazing interview with AVPro. So many questions answered, that never been discussed anywhere. Thank you!
And RAW for download! Incredible!
I'm so happy to hear that someone else is excited about the WideDR on this camera as I am. For so many clients I have don't want LOG footage and I use WideDR all the time. I also have a C70 and my B-camera is a R6. The closest I can get to WideDR in that camera is using the neutral profile and bringing the contrast all the way down. It's still too contrasty and need to take more out in post then add more contrast to the WideDR footage and anyway... you all know what's involved in matching different cameras. This is one of the main reasons I preordered this camera.
👍🏻
Thank you! It’s on the list!
Brilliant little camera and your footage is 👌🏼
Looks fantastic. Thanks for sharing. Hoping to pick this camera up later this year.
Nice job Ollie. Great specced camera
Excellent video.
Looks great.
Can’t wait 🙌🏼
Cool video amazing camera
Thanks for your first impressions! Seems really like a great Camera :) I know you are a professional, but just a small tip on your audio: You should really apply a low cut on your voiceover at 50 Hz or something because there are some really heavy sub 50 hz plops in there, especially at 0:54 , 2:48 and 7:10 . I just watched it in my recording studio and the subs went a bit crazy there :-D
Thank you for the tip, Patrick. Audio is not my strong suit, to put it mildly, so constructive criticism like this is very helpful 🙏🏻
@@korrofilms No problem :) I also really liked your talk today at ProAV TV. Great insight into the use of the Camera!
Any footage I've seen of yours I've been very impressed. You have great style. You also use Wide DR. Everyone raves about LOG but I kinda like WDR. It's such a nice start. Thanks!!
Very kind of you to say. Thanks.
This footage is truly mind blowing, the best footage from a canon hybrid i've ever seen. Iam intrigued. Do you offer any classes on grading and general understanding of colour space and gamut?
Yes indeed, please see www.korroacademy.com for all my training courses. 👍🏻
Look at that sky in 8K glory.
I don’t have an 8k monitor + I’m looking at it on UA-cam so I can’t tell the difference. What does it look like on your end ?
Did you use a filter to get the sky to look redish? How did you do it? It's absolutely stunning. In fact are you using any filters? Your video colors look amazing. Can you make a video about how you do this?
No filters used on any of this. I occasionally use a 1/4 Black Pro Mist with the R5 C, but not on this shoot. I’ve obviously graded it, but that’s a pretty faithful presentation of how the sky looked that morning, believe it or not! I have several colour grading courses on MZed.com if you’re interested in that side of things 👍🏻
I really hope Canon adds video features back into the photo mode. Could you put that request in Ollie? The Cinema OS is great for when I have commercial gigs, but for weddings the speed of the photo mode is just superior. I missed moments on the C200 that I don't with the R5. I can jump from 8k raw, 23fps, 1/50 shutter, to 4k H265, 60fps, 1/125 shutter, S35 crop mode, with just two button clicks using the R5's custom video modes (C1, C2, C3). Doing all that with the R5c is back to 10-20+ clicks through a menu. Would've pre-ordered if I could use the R5c exactly how I use my current R5.
Really good points. It would seem that adding the video modes back in to the photo menu would alleviate some people’s concerns about AF in video mode too. One would assume this would be an easy change for Canon to implement, if they decided to do it. I’ll certainly feed it back for you. 👍🏻
@@korrofilms Thanks man! Ya, I imagine it's a super easy implementation seeing as current R5 firmware is 95% of the way there. Fingers crossed!
I 100% agree with the custom profiles comment!! I have always wondered why Canon hasn't added C1, C2, C3 to their cinema camera menus. As you said, changing from 8K 24p to 4K 60p seems to take FOREVER on any of their cinema cameras but is a two button click process on the R5. That is the reason I use the R5 is most run and gun situations were I know I'm going to need to change frame rates and resolution.
Adding a video to the photo mode, even without the advanced raw codecs, would be ideal. I have the C70 and R5, and the C70 is relegated to doc work or static shots because of the lesser AF.
@@iconoclast6994 The AF performance in video mode on the R5 C is noticeably better than the C70, but not as good as the video mode of the R5. I’m sure this is an area where Canon will try hard to implement user feedback. The camera doesn’t launch for another two months, after all.
amazing content! I film weddings and corporate video and I have doubts between as7III and r5C? My key points are Dynamic Range and Image quality. C70 could be an option but form factor, price of batteries and run and gun situations are important for me. Thank you for your attention
Thank you for the thoughtful review and the breathtaking footage! Quick question: what is the wooden handle visible at 7:31?
Thank you 🙏🏻. That’s SmallRig’s nato side handle. 👍🏻
@@korrofilms thanks!
Great review! Do you use Atomos Ninja for EOS R5 C?
Thanks. I have the Ninja V and Shinobi, though I don’t ever record with the Ninja, these days.
Great video! I’m excited to have a solid b cam to my C70 and I still do a lot of paid photography work which I know this will excel at. Thank you for the insights! Can’t wait to get it soon
Perfect camera for you, then! 🤩
What’s going on with the onions at 1:45 with that being from 8k RAW…?
😂 It’s the moon!
Thanks so much for this intro to the camera. I know its impossible to judge via youtube or even 4K vimeo but is it possible to make some raw ungraded clips available as I think you had done with your C70 video. That would be fantastic. I am assuming that you were using the R5C for your to camera pieces. It is not a criticism in any way but although the detail on your face is sharp and who doesnt like a man with a tan, an issue I often have, is balancing the skin tones with the colour of lips. For me its a kind of lipstick affect that I do stuggle with when pushing the saturation on the R5 and even with s-log3. Do you generally grade yourself to look "natural' or do you prefer a more saturated "commercial" look. The only reason I ask is that I have found the out of camera look of Clog 2 associated with the cinema cameras from canon as the ultimate narrative documentary look and they seem to have the oscars to prove it. Not cinematic but more forward and present than film or a film emulated look typically associated with Hollywood and now Netflix, and requiring almost no grading at all. It was a feature of the 5D ii that all that sharpening and saturation would be turned right down before rolling and with the advent of these highly detailed images there does seem to be a look that has a far more digital aesthetic, almost hyper real. Also blacks seem to be crushed. I know its not intential but both you and CVP's look at this camera seem to both feature silhouetted back lit sunsets and its very hard to tell much about the DR in those cases as so much of the detail and shading is lost. As an experienced colourist I was wondering what you think it would take to make this image more "filmic" and less digital in post. Does this camera have the DR to do this? I appreciate that this isn't the goal of every videographer but if the success of BMPCC4K and 6K speaks to anything it is how BM have established a filmic "arri" like look almost straight out of the box. It has detail without looking sharpened and so seems to have that more regressed filmic aesthetic whilst retaining fidelity. I appreciate that any camera may well be a pro mist or lowcon filter away from this look but it speaks to DR and the way the image moves and as this camera is likely to come up against the C70 a lot in comparisons I wonder how the DGO sensor compares, or even Clog 2 to 3?. In the same way that looking at a high end TV in John Lewis or marvellling at the detail of an iphone screen can all look staggeringly detailed, vivid and impressive, it isn't necessarily attractive or aesthetically pleasing. Its interesting that the BBC special news reports, I guess using an FX9 often feature insanely shallow depth of field and a incredibly desaturated look. I undertsand that this may be a fashion but it does mirror a particular kind of "cinema" aesthetic, often seen with programs using full frame and often a Venice. Does this look then require the images and the grade to live in a very different part of the curve and DR to really work? I know it can do vivid but do you think that these cameras like the R5C have the DR subtlty to do this? With the advent 8K video as the new normal I would love to know where you think the vivid (wild life doc) aesthetic is heading and particularly how it affects colourist who seem to like high fidelity acquisition and then seem more and more to rely on high end film emulations in post to give a creative look? Thanks again for the excellent video and your thoughts.
Hi Ken. First and foremost, the link to download my clips from the camera is near the top of the description. Secondly, my PTC was shot with the C70 and I graded it to look neutral, though with a touch more teal in the background. Everything in this video was graded in FCP X, as that’s what I was editing in and I didn’t have the time nor inclination to roundtrip to Resolve. As for the backlit demo footage, you’ll see in the raw clips that there is a tonne of detail in the foreground subjects - I’ve simply darkened them to suit the mood of the video. At no point did it really feel like I was using a 14 stop DR camera, but I’m sure in time, shooting in more situations, it would become more noticeable, especially compared to the 16+ stops of the C70. The C70/C300 MK III have a great Arri-like feel to them, so I’d choose those cameras if that was my goal. The R5 C is more like a RED, I guess, highly detailed and with rich colours. 👍🏻
@@korrofilms thanks so much for your reply and the link. Much appreciated.
@@korrofilms I am sorry to ask but I shoot with canon Sony bm and red and arri for that matter and each has its own “look” that as a short hand I defined as more forward or present (typically more digital) and more regressed (more film). These terms are just things I have made up myself. I really don’t know what criteria is affecting each camera type to give each it’s specific starting look but would live to know how to even approach this. Is it dr, curve, colour space, processing etc? As an experienced colourist how do you and other colourists refer to this sliding scale from digital to filmic, technically? Eg In sound its often referred to as presence that brings a sound forward in a mix. Some lenses like Cooke’s are synonymous with a deeper dimensionalIty. Are there reference books to explain why a digital image actually looks the way it does beyond getting into the theory of debayering and analog to digital conversation. Sorry it seems so obtuse to be bringing this up in this post but it really doesn’t seem like this is addressed by anyone or well understood beyond using a black promist filter or a film emulation and the significant difference seems to be embodied by cameras like the r5s as opposed to what BM seem to be doing with the ursa 12k?? What is actually going on? A painter might look at the flatness reflectivity of the pigments or add a titanium base to affect luminance. Even the Anish Kapoor most black fiasco speaks to the quest for the deepest black but what is the equivalent in terms of cinema camera imaginary? I’m truly sorry to ask but you are probably the most considered colourist on UA-cam and as an exacting and authoritative communicator and professional I’m sure you must face this issue all the time? Apologies and thanks. If this seems to much to respond to I totally understand.
@@KenFlanagan It’s a combination of everything - lens (elements, coatings, diaphragm), sensor (OLPF, resolution, photosite size), processing (debayering, ADC, gamma, gamut, colour matrix, NR, sharpening, encoding). These differences can be measured and recreated, though it is time consuming and requires a deep understanding of colour management and colour analysis. These differences are well understood by DoPs and Colourists, though there is no universal language we use to describe these differences, other than words similar to the ones you’ve chosen to adopt. The key thing is to see it, analyse it and then choose how best to recreate it - whether that’s filtration in-camera, or LUTs developed using charts.
@@korrofilms hey I really appreciate the time that you have taken to respond. Thanks so much.
Woww such an Awsome job man after watching this idk how anyone wouldn’t be convinced not to get this camera ONE question are you able to record in weird frame rates like 96fps 48fps stuff like that
No, you can’t.
you can not chose a specific one, but there is a great variety to chose from 1-120 ua-cam.com/video/KHueaFxfqYQ/v-deo.html
@@TomislavMoze oh so you technically can shoot in weird frame rates than
@@mcneilbelle yeah but not the ones you specifically pointed out 😅
@@TomislavMoze that’s ok I’m happy with something I just want to get that saving private Ryan and the hobbit unexpected journey effect
Nice review!
I have a question. What's the rig you use? Can I use a rig for R5？
SmallRig R5 cage
@@korrofilms Thanks!
Hi, do you consider c70 is not as good as R5c ? But why is still more expensive than R5c..., can't decide what to buy
No, I don’t consider it to be inferior to the R5 C at all. C70 is a better all rounder, but the image is far more detailed from the R5 C.
@@korrofilms thank you! It is just hard for me to decided what to buy since R5c is cheaper, but what I like from c70 is the used of SD cards and better compression for editing
What about the difference in hand. Does the fan extension cause any discomfort or awkwardness in the handling of the camera body compared to the R5?
Not at all, didn’t even think about it once.
Interesting review! 👍🏻
As I'm deciding between this camera and the C70 may I ask you which one in your eyes has the best image quality and if there is a noticeable difference in terms on DR?
I already have a camera to shoot stills so I was mostly considering if the DGO, internal ND and C-log3 of the C70 were making it a better choice compared to the FF sensor, the likely better AF and dual base iso of the R5C?
Thanks a lot! 🙏🏻
Very good question! I couldn’t pick between them, so I’ve gone for both! I think each will bring a specific advantage to each shoot. The R5 C wins in sheer IQ, but the C70 wins in DR and overall flexibility (you could shoot anything anywhere with that sensor). Both cracking cameras, but if you don’t need stills and can only afford one, I’d probably go with the C70. 👍🏻
@@korrofilms Thanks a lot to share your experience!
Actually the better AF and the 45Mpx stills capability of the R5C sensor are very tempting!
However having way more DR is definitely a deciding factor for me shooting videos, so if you think the difference is substantiaI between the two, I would also likely go for the C70! 🙏🏻
Thank you Ollie, great reviews. Got one question: how's the battery life when shooting 4k or other non-RAW formats? Really curious about this. Thanks again!
Battery life with the LP-E6NH is between 30 and 40 minutes. I often had an Anton Bauer Micro Titon 45wh attached, using a dummy battery to D-Tap cable. Gave me 4.5hrs of continuous recording!
I’ve now also tested this with an Anker PD USB-C battery, and it looks like it’ll power the camera for a full day, easily! I actually got bored and stopped the test, when the battery was still showing as fully charged after two hours of continuous recording with AF switched on and LCD luminance set to +2 🤯
@@korrofilms THanks Ollie, that's kinda impressive😄
@@korrofilms Hi Ollie, thanks for this great first look video. Question for you, which dummy battery to D-Tap cable do you happen to use for this? I'm trying to find one with a much shorter cord, so I'm interested to see what others are using. Thanks!
@@dustinschmidtphoto I have a cheapy one from Amazon. I too would like to find a good short one, so let me know if you find one! Probably best bet is a v-lock plate with tails, and wire a dummy up to it yourself.
Thank You Ollie! Im Playing with some files (why I can't change ISO in Davinci just like 3rd or BRAW?)
You have to choose to develop the file with Canon and Clip Settings in the RAW panel.
@@korrofilms perfect thank you I had to switch decode quality to full res canon anyway file size are huge compared to Red 3rd correct ?
One features is no including than cinema camera which ND filter ????????
Curious how well the C70 and r5c widedr bt709 matches? Do you have some wide dr footage in your Dropbox?
There are some WideDR clips in the ISO tests folder, but that’s not much use to you, unfortunately. I can say those cameras are identical in every profile, so won’t be an issue.
@@korrofilms That is going to speed up workflow so much!
I love my r5c. Great pictures but videos get a v mount battery. She loves to suck !!!
As C70 Beta user, may we ask what the bitrate for 4k 24-25 FPS RAW LT is?
I can’t comment on bitrates at the moment, I’m afraid.
@@korrofilms Understand! Thank you so much for reply!
Can we use ef-s lens on r5c ?
No
@@korrofilms Thank you sir
Is he using an Atomos Ninja V?
Yes
How's the dynamic range vs the R5?
Same, though I've not shot any DR tests. It's the same sensor, so should be identical.
SO MANY OF CANON CAMERAS. THIS ONE IS REAL GOOD. WHY HOLLYWOOD PEOPLE DONT USE THIS AND AMAZON OR NETFLIX DONT ACCEPT THE MOVIE SHOT WITH CANON./. ANYONE CAN ANSWER THIS ?/
Micro HDMI port is very bad
Agreed. It's so small that even if you film in 8K raw, it only has room for compressed HD. It really is that small!
If only we had a JUMBO HDMI, then we might even get 16K raw output!
Why, why, why Canon??? Shame on you for using the cripple hammer!
Now will LUMIX drop GH6 with the price tag of half of price of Canon and this will be the end of R5C popularity in the market.
🤦🏻♂️
Gh6 not on the same league as R5c
poor low light performance leads to 5k glass and more
Sorry - this sounds much to positive in my ears….