Video Hummus

The new RAW light on 16GB M1 MBP will playback when viewer is set to “best performance” in FCP. Image looks fantastic. I’m not sure what is going on but there seems to be a screen brightness or even view assist problem in clog3 mode. I’m also still having problems with zebra 1+2. Zebra 1 is set to 55 and zebra 2 is set at 95 and only 95 is showing. I’ve tested multiple times and doubled and triple checked my settings. It works fine in 4KHQ.

Updated. v2.2 working like a charm. No, Canon annoying has 29m59s recording limits...👎🏻

Yes I’m very surprised. Up to 24 minutes of RAW light compared to standard 12 minutes with 256GB card.

Huh...I just see v2.1 on Canon USA. EDIT: I see they have 2.2 on canon Asia website. Man, they have terrible department communications.

I can’t get the new RAW light files to display in Final Cut Pro on a M1 MBP. I can import them but the video files are just all black. There is sound and FCP correctly applied Canon Log2 in the settings. Strange. Files playback fine on R5.

After a quick test mid-morning before work... I'm pretty happy with having CLOG3. It gives a slight bump in DR and if I protect highlights a bit and just bump midtones up slightly the image looks really nice. This is with Canons R5 CLOG3 corrective LUT. Really, really interested in RAW light and creating a workflow for that. Only issue I've encountered, and maybe I'm just dumb, is that it looks like Zebra 1+2 goes away in CLOG3 mode? I only have one set up zebras...

I always like to overexpose RAW just a bit. Not saying you can't.

Wow, this is an awesome update and fairly un-Canon of Canon. The two headline features for me are: Cinema RAW Light CLOG3 in 4K modes. I would like more tests on the differences of CLOG and CLOG3 on R5. Even in slashcams test image with the clouds the difference is slight but noticeable and takes away some of the video look. Would have liked to see a full stop improvement but I'll take it! I've mode in most cases, when shooting in 4KHQ mode, you can lift shadows and midtones with very little problems in the final image, so in some cases I expose for the highlights and lift in post and it looks really good. I wouldn't do that in RAW or non HQ modes though. The 8K -> 4K oversample really squashes noise and makes it super fine grained.

Version 1.3.0 of R5 firmware out in the wild and most likely to be released this week. Please, I hope it includes what they have been rumoring and also bug fixes. I had my R5 freeze on me twice when using 1.6x crop video mode. No other freezes except in this mode for me.

Yes, but CRAW light existed well before RF Komodo. I mean reading the RED patent it’s pretty clear about resolution and compression ratios but I’m not a patent lawyer so I’m sure it’s more complicated than that. Seems weird canon is the only mainstream camera manufacture with a internal RAW option. Z-cam ZRAW is like BRAW I do believe which isn’t quite the same thing but still offers more control than 10-bit log.

Cant they come up with a Panasonic version of Canon Cinema RAW Light? Something compressed up to the limit of that RED patent.

I would rather wait for compressed internal RAW then have to use a external recorder on a mirrorless camera. Kinda defeats the whole purpose of using a smaller camera in the fist place. Really surprised they didn’t put something faster than SD in the S1H. Kinda of a cripple move when the S1/S1R has CFX. They could have at least down some form of RAW for the camera.

Probably more related to economies of scale. All future cameras will probably have CFExpress. Easier to just reuse parts, software, firmware for all models going forward.

They no longer have "slow internal media" as an excuse anymore when we now have CFExpress Type B (not type A; its garbage imho) that is essentially running the same hardware and protocols as a M.2 SSD over PCIExpress (hence the 'express' in CFExpresses name!).

If the GH5S had good AF it would have been an insanely popular camera I think for many creators. A GH6 with good PDAF and decent lowlight and features that rival BM Pocket cameras would be an insanely popular camera. If they added internal ND and PDAF to anything it would be an insanely popular camera. I would like to see it, because a GH6 with oversampled 4K, internal ND, PDAF, full vlog and one of those fast but cheap MFT primes would make a great b-camera for me and I suspect a lot of others. The total package would be small and fast to deploy

this is pretty close:

Only because in most implementations 4K/1080p 16:9 aren't using the full horizontal width of the sensor. So your 24mm lens in DCI is actually closer to true 24mm FOV than when shooting 16:9 modes...unless your Sony.

I think a lot of companies are getting better and better at making the lens elements out of plastic composite materials without sacrificing optical quality. I do like the build quality of the Canon RF lenses. They are made out of "engineering plastic" but they feel super solid and survivable if tossed around. Plus the tear downs of some RF lenses by Lens Rentals shows they are pretty solidly constructed. I don't think I miss metal all that much. Although I sold it, the MFT Panasonic Leica 50-200mm f/2.8-4 was sexy and built well...even better than the PL 10-25mm f/1.7. I was a bit disappointed when I got that lens in my hand and compared it to the 50-200.

I really wish it was 24-70 f/2 or if focal length needs to be sacrificed for size/weight than a 24-60 or something. I really like 24mm. R5 with CLOG3 might be a good investment here. When the R5C comes out you can grab one of those as your main cam and the R5 will be a pretty sweet 2nd or 3rd cam. The 4KLQ is still much better than anything out of the EOS R. Long 4K60p shoots might become a problem on R5 has it does overheat in both FF and crop mode. It's too bad canon doesn't make wide, fast EF-S glass. BM wouldn't be a bad option here, especially the P6K Pro. The build quality is worrisome though.

Let's just rejoice its not using Sony CFExpress Type A. The tears of people dropping $2.4/GB versus $0.83/GB of future proof Type B.

The RAW out of the R5 gives you about 12 with a few more stops buried in the shadows that can be recovered. So I suspect CLOG3 will be under 12 stops, coming in around 11 for real world use. Which will match it with XT-4, P4K, and older Sony cameras and within spitting distance of S1/S5. If the rumored R5c doesn't improve DR, I might as well just stick with R5 until a better sensor comes out of Canon. Perhaps a FF DGO or newer tech. Will be interesting to see what the R1 will have. Will be a good indicator of where Canon's sensor tech is and is going.

Good news. Perhaps 1 extra stop. Any improvement would be welcome, honestly. DR is a major weak point with this camera in video especially for being a FF camera. I would at least like it to have better DR than my previous camera the GH5S! Looking back on some footage from that camera...I always felt like the DR wasn't good but the GH5s is no slouch for its sensor size. Well damn! Classic Canon. Kinda makes the C70 a bit crap. I wonder what the catch will be? I bet this is in response to Sony's FX6 and FX3 which are both full frame cinema cameras...well at least in the FX6 case.

Major QC problems with blackmagic cameras continue.

Yeah, I think we can generally put the image quality question of ALL-I vs IPB to bed with most modern cameras with decent bitrates above 150Mbps. Really comes down to editing performance but even that is less and less these days.

Does Canon still lock the white balance at time of recording in AWB mode? The one thing I really hate is changing the kelvin manually on R5. Too many button presses. On Panasonic cameras there was a dedicated WB button it was as simple as 1 button press and a wheel scroll. Same with setting custom white balance...holy mother of god. Everybody complained about the EOS R touch bar on the back but I wish they would have put a hybrid of that and the new controls on 1DXM3 instead of scraping it. I find myself rarely using the joystick anymore with such good tracking.