Video Hummus

Really hope Canon continue down this path of small, somewhat affordable EOS Cinema cameras. The R5 is a compromised camera but it makes more sense to me now with the release of the C70. A Canon photo-hybrid R5 with a C70 as dedicated video camera starts to make a lot of sense in a real-world usage for a solo or small crew. A solo operated can lean heavily onto having internal NDs, onboard multi-channel audio, and really great AF, letting us focus on other things like story and getting the shots. The R5 can fill the role as a excellent photo camera with the same excellent AF but still be a useful b-camera. Plus the lenses can be shared. You can still shoot HQ 4K in ASPC mode on the R5 and it looks excellent without being timer-limited. And even though the 4KLQ is not spectacular for YouTube it’s good enough. If you run EF glass you get the useful Nd adapter that is like having built-in ND somewhat.

Despite that topic and all your work you put into investigated it, my eyes do see a difference. It’s shot dependent and wider angle shots with more movement in the scene see the biggest gain. However, almost everything on YouTube is destroyed by heavy compressing codecs to save on bandwidth. There is a threshold for “good enough” that is reach by even budget cameras. As always, content is what you should be worrying about on YouTube not image quality. There are channels out there with multiple 100K subscribers and views that are filmed on GoPro.

DaVinci Resolve has a good upscaler. I doubt it’s available in the free version. There are dedicated programs you can pay money for like Topaz that are pretty amazing. But yes, you are just getting the extra bitrate from YouTube which is what really matters. Sorry, I admit I didn’t read your post closely enough. Maybe upgrading to FF EF would be better in the long run as it can be adapted to many things and works great with the benefit of adapters. that add extra useful features, to Canon RF cameras. Canon is usually always softer looking, sometimes to a fault. I would say the EOR R cameras and onward are soft but not to a fault.

There is some footage in this one.

Canon EOS R if you are ok without 4K 10-bit out of the camera. Honetly, for YouTube even 1080p that has been up scaled to 4K for YouTube looks good enough for what YouTube is at the moment. Other than that its the waiting game.

@ntblowz what’s your impression of the R5? How is the AF in 4K120p? If you have newer EF glass, is the AF essentially the same as running RF on it? I’m seriously thinking about picking up an R5 despite the artificial timer. Im still going to wait for firmware update to see if they add another c-log and lower bitrates in 8K. They’ve hinted the lower bitrates will maybe improve recording times, ie they adjust the timer. 😒 And for to see if Apple Silicon macs will make a difference in editing 8K and 4K all-I. Would really like to see dynamic range closer to S1H levels for a real upgrade over GH5S.

This is from B&H. I’m assuming they are saying .cube 3D to mean you can make your own .cube and load them in?

I just don't understand the form factor. It looks like a Zcam, will compete directly with ZCam, and the Zcam E2 is now defunct. GH5 owners will surely want something closer to a GH5 or even something S1H sized if it meant they got internal NDs, RAW or ProRes internal, autofocus, IBIS. This is either entirely a prototype housing for ease of testing or, maybe a long shot, the bigger boxy body with a MFT organic sensor in there. I would much rather see something more integrated like a C70 design than a cube. But all of that just doesn’t make sense to me unless they want to get organic sensor out in the wild. I think its fair to say most people that want a low-tier cinema camera are wanting S35 or bigger sensor and most want FF now full stop.

C70 has this. I’m looking to do something similar. Either C70 or R5 (I’m hoping they improve the R5 in light of the upcoming A7IV or A7RV) to help keep it competitive. Sony and Canon have pulled away from the pack and are battling out the Mid/Pro market. Canon overcompensated with the R5 exactly for this reason and then artificial software limited it so as to not hurt their upcoming cameras. Maybe later they will loosen the restrictions...shitty business but business nonetheless. OR I could also go for EOS R purely for photography since that camera is still good for that until they either fix the R5 or come out with a R5 Mark 2 that isn’t crippled. But for the time being I’m thinking of buying used EF glass with EF-RF+ND adapter and C70 with the focal reducer adapter on the C70 to maximize the image out of it. Over time I’ll acquire more RF glass and hopefully we will see a FF sensor trickle down to a C70/C50 style cinema camera.

If it doesn’t have AF it’s dead in the water in my view. I can already see the reviews...

Yes, because I’m convinced the holy grail of hybrid cameras will never come because, as someone said above, it’s in their best interests not to give it to you! At this point the system I’m most invested in, MFT, is barely breathing. No to mention the amount of stuff Panasonic would need to put into a GH6 for me to stay in a format that is rabidly declining is PDAF, Internal ND, and some kind of DR enhancement over the 11.4 stops max I get with my GH5S. I just don’t see it happening. Sony, I believe is to blame for some of Panasonic woes, so I’m not giving that company any money. Not to mention I find their cameras are soulless and uninspired. I don’t care how many specs and stops advantages their cameras have. That leaves Fuji and Canon, and Canon simply has more to offer. More interesting products. I just dont’ get them in a single camera. So now its a game of figuring out what two canon cameras will offer me all I want and work together lens wise the best. I really wish the C70 was full frame. To get the most out of it it makes sense to use the EF adapter and run EF glass on it. But I don’t own any EF glass and if I was going to buy new I would want to go RF so it will work on future RF mirrorless cameras...

I would choose H.265 if you have the hardware to work with it in post for the 50/60p stuff. It’s not a good capture format but it will have higher quality per bitrate than H.264. Depending on what profile they are using for H.265, 225Mbps is very sufficient for 50/60fps 4K. HFR video where there are 60/120 or more frames in a second each one is very similar so LongGOP compression works very well (except for lots of random motion of course).

No love for Storyblocks. That’s bullshit.

What are people doing they need to push stuff around that much?

External RAW via HDMI doesn’t interest me, personally. But it might be a great value add incase you want to squeeze out those extra stops of DR and match C300 Mark 3.

Yeah. The R5 is a mystery to me. It’s like they overcompensated and then crippled it at the last moment so they could do another generation of 8K cameras. The whole reason I’m thinking about moving to RF is for a future FF C70 style cinema camera from them. Or a R5 Mark II that isn’t horribly compromised. I just don’t see L-mount doing well and Sony of course is strangling everybody else.

If you don’t need RAW and were shopping for the C300 Mark 3 then you could get two of these and sync them up for the same price. They work better on a gimbal as well. Seems good to me. I’m still flipping between this or a R5. The RF glass prices are butt hurting.

Surely this means the ends times are near.

I think this camera is more aimed at solo shooter doing paid gigs like weddings, event shooting, small business commercial stuff, YouTube. You timecode jam two of these at a wedding and shoot to your hearts content. If it took stills it would be my all in one. But lets see what they do with the IDX RF camera. Very likely could be a FF C70.

I’m referring to the still rumored C50. The C70 has the C300 Mark 3 DGO sensor.

Thats a Zcam F6. Says so on the back! But the original picture looked like a boxy zcam type prototype camera taken with a 2009 cellphone camera.

I’m a bit bummed its not FF all the way. The S35 with RF mount is weird but makes business sense. If this had a FF sensor to compete against the FX6 it would be amazing. Instead they released an adapter to simulate the FF look on this sensor. But at above $4K the R5 is a better camera really unless you absolutely need long form recording at which point...buy the C70. It’s all but confirmed to be C200 sensor so no crippled FF sensor or anything. I’m hoping if I jump on the Canon ship that one day they will have a C70 sized cinema camera or smaller with internal NDs and FF sensor with 8K, RF, and maybe IBIS or at least gyro data for post stabilization.

That is the DGO sensor in action. It’s better to expose the C300III and this C70 evenly with the exposure meter. The missing RAW doesn’t really bother me. It would be nice to have a bit beefier codecs but honestly they get the job done when the colors out of camera are so good. If you really want to you can shoot 2 stops underexposed safety in clog2 and recover in post with almost not impact to the image. Use false colors in post to bring your skin tones to where they need to be and your golden. DGO will make sure the shadows stay clean. That’s good enough for me. Makes me wonder what the C50 is going to be? Just a cheaper crippled version with an older sensor? 10 bit? No HFR? Smaller?

No. This is why I’m finally moving away. The competition is just so good now with very little compromises. Kinda sad Panasonic didn’t step it up as they make very good stuff otherwise.

And if there is some weird artifact or something doesn’t look right you can now add motion blur in post, at the cost of processing time, to get a very pleasing and realistic result most of the time. I do it on drone footage all the time when foreground is closer and moving past the frame.