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  1. I noticed the banding but assumed it was YouTube compression since I haven't seen it on C70 footage before. I believe uploading in 8K fixes some of these compression issues on YT. What I love about the C70, in contrast with the R5's more brittle image, is the highlight roll-off, color saturation (especially in low light), and overall cinematic quality, which are all evident in those clips. The image is nice and creamy:
  2. C70 in low light featuring rich tones and subtle gradations: RAW in this camera would be amazing, but you don't really need it. The camera is already reaching C300/C500 RAW quality with XF-AVC:
  3. Canon rep also confirms that there is no open gate, but leaves door open for future firmware (14:10):
  4. Correction: 16 bit is a number from CVP's claim on the C70's DGO. But I don't see how they came up with that number . . . Technically: 2 x 14bit (16,384 gradients) = 15 bit or 32,768 gradients. Still, it is much more than the 12 bit (4,096) in the R5's video mode.
  5. As proven by numerous tests, 10-11 stops is the best DR that the R5 can yield when shot in RAW. R5/R5C has no Clog2 during the RAW encoding. Selecting the Clog2 gamma in Resolve will yield the same DR: All of this makes sense when you realize you are comparing a 12 bit sensor readout in the R5 to a 16 bit source (2 X 14 bit readout in DGO mode) in the C70. Canon rates the C70 at 16+ stops, significantly above any claims they have made for the R5.
  6. There is no contest between C70 and R5/R5C when it comes to DR:
  7. Official Canon preview video from the upcoming stream confirms that only one camera (i.e., R5C) will be introduced during Jan 19 event: "a new addition to the Cinema EOS family . . ." This better be good. There is no point in adding a dizzying array of codec options if the dynamic range of this camera has not been improved.
  8. The current Cinema RAW Light on C200/C300 III records at 1Gbps, so this "LT" is a slightly more efficient/compressed version of what they already have. It should bring the image much closer to the levels of the C300 III RAW footage, which has better detail and colors (at the price of more noise in the shadows). Despite the rumors I posted above, I'm doubtful that Canon would undercut the R5C announcement by also revealing the new 8K cinema cameras. I would imagine a separate announcement later in the year for such revolutionary 8K DGO sensors. As you suggest, it may well be more of a "tease."
  9. Correction: According to Canon, C70 Cinema RAW Light recording will be internal to the SD card: https://www.canon.co.uk/video-cameras/eos-c70/?fbclid=IwAR2nBNoajqaNaIfH_u0du_JtTESFDUEEjCauYmzFwG1wGoxkgLjGc00TtY4 Cinema RAW light The EOS C70 now offers users the ability to capture Cinema RAW Light internally to SD cards*. RAW provides you with greater image quality and flexibility in post-production. On-top of the existing 10-bit XF-AVC currently found in the EOS C70, 12-bit Cinema RAW Light LT features data rates up to 645Mbps, offering much more manageable/efficient file sizes to streamline your workflow, while retaining the same benefits of RAW. Simultaneous recording of Cinema RAW Light and XF-AVC Proxies is also supported. * firmware available in March 2022
  10. https://www.canonrumors.com/more-than-just-the-canon-eos-r5c-will-be-announced-on-january-19-2022/ According to this source, Canon will also announce the following: RAW option for the C70 (this must be external); RF cinema glass; and C300/C500 8K cameras. I guess the R5C is just a stop-gap until we get those proper 8K cinema cameras. Canon is milking the R5 one more time . . .
  11. True. I had to look this up as I don't own an R5. The camera switches to 12 bit readout in Electronic Shutter mode. That is a serious problem. This is why Canon Cinema Cameras since the original C300 have always used 14 bit readout at the sensor regardless of the video encode. So, the R5 sensor, at least in its current configuration, is possible destined for poor video DR even with a shiny new "C" next to it. Perhaps this is correct, but if they can add CLOG 3 to the R5, then CLOG 2 should not be a problem.
  12. R5's dynamic range in stills mode is much better than the current video performance of around 10-11 stops. The R5 sensor should yield a higher DR, but the problem is the video encoding. Canon's Cinema "RAW" utilizes the Log profiles that are built into the camera. This is true on all the cinema cameras. For comparison, CLOG2 performed well on the old C300 II sensor from 2015, so there is no reason why it can't work with the much newer R5 sensor. Combined with Cinema RAW Lite, XF-AVC, upgraded ports, unlimited recording time, and the new XLR hot shoe, it makes for a compelling cinema cam far beyond the capabilities of the original R5. Withholding CLOG2 from this camera only makes sense if they want to protect the C70 or the future Cinema EOS 8K cameras.
  13. Clog2 is overkill for a hybrid camera such as this. It is also not necessary as the camera has been designed with Clog3 implementation, which can theoretically yield 14 stops of DR according to Canon. There is some extra shadow detail in Clog2, but highlights are very similar to Clog3: If this camera ships with uncropped 6.7K RAW video from a 30MP BSI sensor with improved DR and RS over the R5/1DXIII, it will be very compelling at $6,000 USD for certain shooters. However, those who need a broadcast field camera should obviously purchase a C70 or FX6 and not even think about these hybrids. There you will find all your relevant log functions and the waveforms required to expose them correctly!
  14. You basically get what you pay for here with these cameras. The special thing about the Komodo, however, is the ability to match the color of much more expensive RED cameras: What ultimately segments Komodo from Dragon and Gemini is the lack of HFR, more REDCODE compression options, and a pro interface or connections. Otherwise, RED is delivering some serious image quality that threatens its own high-end cameras.
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