herein2020

6 hours ago, newfoundmass said:

That's the thing that I kinda hate about camera companies focusing on 10-bit 422. That was absolutely one of the things that got me to go with the GH5, but I don't need it for EVERY project. 420 is fine for a lot of my work. Heck, I don't mind 8-bit for the jobs where I don't need to do much, if any, color grading.

The more options the better, IMO.

I think only Canon forces you to use 422 for all of their 10bit modes and you are right, it is annoying to say the least. It is like the 8K in the R5....no one asked for 422 or 8K but that's what Canon went for and the result was endless overheating problems and footage that can't be edited on most computers.

I shot with 8bit and the GH5 for years, never had a problem as long as the WB was perfect and skin tones were properly lit. If I do end up traveling with the R5 I'll probably just shoot in 8bit so that I can actually edit the footage when I return.

3 hours ago, Django said:

R6 overheats less than R5 and when it happens there is a mode that'll let you keep shooting: FHD. 

I thought all modes used the full sensor readout so even FHD would overheat; it must be all 4K modes then.

3 hours ago, Django said:

Not ideal of course but the FHD is actually quite good. Obviously if money is no object: R5C is the way to go.

That said if FF isn't an absolute requirement the R7 could be a better choice than R6 as far as overheating.

Well I think the decision makes sense in that CLOG is much more useful in 10-bit 422 than any lower quality setting.

With any recent Mac (+M1) it edits perfectly fine. Definitely a problem though for older machines, you'll need to upgrade.

I think if money is no object the C70 is the way to go over the R5C (in fact I made this exact decision when buying the C70). Obviously if you need a hybrid camera then yes the R5C would be the proper pick as long as you can carry a backpack full of batteries or come up with a USB-C PD setup.

I get that 10-bit 422 will offer some miniscule amount of quality improvement, but I thought the image out of the S5 was perfect and it shot in VLOG with 420. Canon has to have seen the feedback that 422 cannot be edited on older Macs and most if not all Intel/NVIDIA/AMD GPUs. I have an RTX2080Ti in my editing workstation and it cannot accelerate 422 H265. So all I am saying is that it would be great if Canon offered a 4K H.265 4:2:0 option as well; I would rather be able to easily edit the footage vs a miniscule increase in quality which would be impossible to even see on YouTube or cell phones.

The C70 XF-AVC footage edits perfectly on my workstation, no idea what is different about it vs non XF-AVC footage when it comes to HW acceleration.

My workstation is an Intel workstation so there is still no GPU video card upgrade option that will support H.265 10 bit 4:2:2 HW acceleration.

3 hours ago, Django said:

That said, I've had zero issues with my R6. It handles well, is responsive, and despite a lighter feel it is solid, has survived being knocked over tripods and it's been brought into pretty extreme/harsh conditions shooting with firemen, snow, seawater etc. FWIW I've had camera failures with Nikon, Fuji & Sony. Never Canon. 

Obviously I'd feel much much more comfortable with an R3/1DX3 for those types of shoots but then again the R6 keeps on ticking for me so I keep pushing back the upgrade path (which is always good because new cameras keep coming out).

I haven't held an R7 but it appears somewhat on par with the rest of the lower/mid R range. I don't like the thumbwheel around the joystick.. but hey if you're upgrading from a Rebel T6 then it should def be a step up. 

That is good to hear that you haven't had any issues with your R6.  The R7 would definitely be an upgrade from a Rebel T6, but I can't imagine a cheaper body than even the T6 and even the T6 had a top screen not that I ever use it. It is worth next to nothing so I might as well keep it as a timelapse camera. I am not a fan of the thumbwheel either, but still not as bad as that fn bar for the EOS R.

3 hours ago, Avenger 2.0 said:

The build quality will indeed be a downgrade when you compare Canon mirrorless to DSLR. While not as bad as Sony, Panasonic has certainly a better and more quality feel. Somehow all Canon mirrorless feel like Rebel series now 😆

I don't get it, its like when the electric cars first came out.....they were hideous so most people associated electric cars with a prerequisite to be hideous. I feel the same way about Canon's mirrorless; there seems to be a prerequisite to be the cheapest body possible just because it is mirrorless. My C70 is a big step down in body quality from my C200 and the R5 is an equally big step down in quality from my 5DIV.

7 hours ago, kye said:

There seem to be some discussions appearing now about using Resolve to edit stills.  This thread on the colourist forums has one such discussion.

I haven't tried it myself, as I no longer do stills basically, but I'll admit that Resolve isn't that intuitive a tool for working with stills and the associated workflows.

I actually did watch a video on it, as much as I like Resolve, no way would it work for me with stills. Just because a program has the ability to do something doesn't mean the inefficiencies incurred while doing so would make it worth it in the end. After major events such as fashion shows, I need to cull over 2000 pictures quickly and process about 600-800 within a few hrs, no way would Resolve be able to support that workflow.

Also, for Real Estate, pretty complex retouching is required to get top quality results due to the DR limitations of modern cameras, Resolve would be a nightmare to try to replicate what I can do in a few seconds in PS.

16 hours ago, hyalinejim said:

I would love to be in Resolve 100% of the time but I'm too tied in to Premiere to switch, at least for work stuff. Sometimes I get asked to incorporate bits from an old video by a client. So I have projects within projects within projects sometimes. 

The other great thing is bringing print material from designers from Illustrator and InDesign into After Effects and eventually into a video.

 

So glad I was able to 100% ditch Premier years ago, DR feels light years ahead of it to me by now. i am still looking for a Lightroom replacement, if I can find one, I'll finally be done with Adobe for good. It never ceases to amaze me that no one has been able to beat Lightroom yet.

On 5/25/2022 at 1:32 PM, MrSMW said:

Actually I agree to an extent re. some of Canon’s stuff…

In fact if I wasn’t shooting what I am using, as I have said elsewhere, it would probably be a pair of R6’s and an R5.

I wouldn't trust a pair of R6's for a wedding unless you are shooting photography only with them. The R6 does not have any modes where it does not overheat and they still have the 30min recording limit.

That's why the R7 is so interesting to me, no recording limit and so far overheating seems to be somewhat under control.  Now that I have moved back to the Canon ecosystem (not that I ever really left due to my collection of EF glass),  I am thinking about picking up the R7 as an all-in-one travel photo/video camera and for personal use. Currently I use a Canon T6s for things like timelapses and when I travel for personal use. I pair the T6 with the FF Canon 24-105 F4.0 L lens but I never shot video with it since it only shoots in 1080p and is pretty terrible in low light.

I have some trips coming up and I've been asked to shoot some travel content but don't feel like lugging around the R5 or the C70. The R7 might be the camera I was waiting for.

I still don't understand Canon's decision to use 4:2:2 color sampling instead of 4:2:0 or why their cameras switch to H.265 when shooting in CLOG3. The combination of 4:2:2 and H.265 is impossible to HW accelerate on my editing workstation and I dislike making proxies (wastes time and no one mentions the power bill from leaving your editing workstation running all night). Based on the R7's detailed specs, this holds true for the R7 as well. The footage out of my C70 on the other hand is effortless to edit.

I am also concerned about the quality of the camera body. I was very disappointed in the R6, my R5 still doesn't come close to the workhorse build of my 5DIV, so I can only imagine what the body of the R7 will feel like. Panasonic of course is still cranking out magnesium bodies like the S5 but even that felt like a step down from the GH5.

According to the chart below, the R7 does have an uncropped 4K60FPS shooting mode, as long as that mode does not overheat, pairing this camera with a 24-105mm lens would give me a big upgrade over the Canon T6s for both photograhy and video.

On 6/16/2022 at 11:58 AM, MrSMW said:

Did you know (do you even care…) that the venerable S1R can shoot 10 bit, 5k 30p internally?

I didn’t until the other day but discovered it does so just for some amusement, tried it.

Holy cow, - it’s better than the 4k 60p I have been getting out of all the S cameras shooting the Natural profile.

It’s a 3:2 format, but so what.

There’s no log available but the Flat profile is quite gradeable.

I kind of knew it existed actually but had simply dismissed it as the 6k doesn’t look as good as the 4k so just ‘assumed’ 5k wouldn’t either.

Wrong!

I shot a few scenes back to back against my usual setting and it’s much nicer so giving it a run out at this weekends wedding…

Had to flip everything to NTSC on all 4 cameras and will be working on a 24p timeline instead of my usual 25, but I can squeeze a little more out of my slo mo as it will be 60p @ 40% instead of 50p @ 50%.

All the 30p will be @ 80% and only the static talky bits will be in real time, ie, 24p timeline shot at 24fps.

So: 24 @ 100%, 30 @ 80% and 60 @ 40%.

Could be a ‘game upping’ weekend… 🤔

I know nearly nothing about the S1R other than its the high resolution version of the S series but I did know they all shoot above 4K depending on the rigging. Even the S5 can output 5.9K over HDMI. Panasonic really didn't hold anything back with these cameras.

2 hours ago, Django said:

We've all been there, that said I try and strive to do more than "good enough" these days. Maybe its because my scene is very competitive since post-COVID (videographers are hungry), so that keeps me on my toes. Also my clients are more and more savvy when it comes to video, phones can do a lot these days and they pay for results that show. The infamous "cinematic" term gets thrown often.

That doesn't mean shooting RAW anamorphic (although I'd like to give it a shot in near future) but I mainly shoot with primes (Canon L, Zeiss & vintage Leica) and spend time grading (to the point where I now charge extra budget for that).

As for details vanishing on social media/smartphones, that's true but shooting vertical may be an interesting option to make most of the limited display real-estate. The C70 is one of the only cameras out there that has a vertical mode. Open Gate is also good for this but not an option here.

 

You actually do not have to shoot vertical to get vertical video, most of my content I post on YT and IG and the content fits perfectly on both platforms. I would much rather shoot landscape and have the option of posting a vertical version vs shooting vertical with no ability to post a landscape version. The trick is to set up the aspect ratios in Davinci Resolve, and when you are shooting, frame the content in a way where it will work in both orientations. 

One of my favorite features of the S5 was the ability to set up aspect ratio guides which I used to frame the social media content within the landscape orientation. This is also why I discovered the bug in the C70 which does not let you set a custom aspect ratio; so far Canon hasn't bothered to do anything about it. I've been shooting this way so long though that I mentally adjust the framing to accommodate both in post.

Here is a sample video where it is in landscape:

And here is the same video on Instagram:

https://www.instagram.com/p/Cdq3QJtlyQs/

5 hours ago, Emanuel said:

I like Autel offer or I wouldn't have posted here and there but the whole point is what DJI delivers today -- Autel cannot compete:

Nor Nano+ against the Mini 3 Pro @ 4K 60p.

 

My point was that all the paper specs don't mean anything if the drone won't take off every time you need it to. 

I live in an area surrounded by airports, and I had nothing but problems flying DJI drones due to geofencing. So for me today, the best drone on the market for what I need is the Autel EVO II 6K. 

Sure on paper the latest DJI drones have better camera specs, but I am shooting commercial drone jobs nearly daily with the EVO II so it is the best drone to me.

When it comes to drones and cameras in general, it is the whole ecosystem that makes one platform a better fit for your work flow vs another; paper specs are only a small part of it. Pretty much any modern drone or camera is overkill for most people, its the rest of the story that makes a difference.

16 hours ago, TomTheDP said:

True but what about the more cool bokeh and unique perspective. Everything is overkill these days though. My friend AC'ed a 10 second social media ad with the fx9 and after seeing it on instagram I concluded it could have been shot on a phone.

So true, I have added many details and focused on subtle nuances when shooting and editing and none of them were visible on a cell phone nor could you really communicate the original intent within the few seconds you could keep people's attention span so why bother.

That's why I am perfectly fine with my middle of the road Canon 24-105mm and EF mount lenses.....I am shooting for my clients, not for myself and if the final product is good enough for them then it is good enough for me.

When I am shooting a creative passion project for myself that's when I tend to try to refine the details.

14 minutes ago, TomTheDP said:

The affordable RF, L and E mount anamorphics coming out are really making mirrorless cameras a great option. Although it really makes little sense to shoot anamorphic for content that will end up online. It is an artistic choice at that point.

Very true, or you could just shoot with a regular lens then add the bars on the top and bottom and call it anamorphic, your average YT viewer won't know the difference especially not on a cell phone.

21 hours ago, Django said:

I'm not a fan of digital sharpening. Makes the image look cheap video. If a lens/sensor is soft just let it be.

All I'm saying is the slight oversample of the R6 just outputs that extra resolve detail from my L glass which is really nice. Its not like its a radically sharp 6K/8K image either.

You can also counteract softness of the C70's 4K with indeed sharper lenses than the EF 24-105 which brings me to the next point..

Using the SB with EF glass is great, especially for that FF look and extra stop.. but the SB adds weight imbalance but also adds glass which softens the image and can result in ugly flares in direct or backlit scenarios.

This is where an RF lens like the 35mm F1.8 comes clutch. Its super compact, has superior IS than EF as it uses extra gyro info so excellent for handheld, is optically superior to EF adding that missing sharpness & is pretty fast at F1.8 so good for lowlight. Also being a native lens, the AF is gonna be bit more responsive. Give it a try sometime. Again its super popular with C70 users for a reason.. oh and best part is its like under $500.

 

..that said it is not a mojo lens.. great for run & gun but for a more high-end commercial or cine look I'd probably go anamorphic with the new sirui RF lenses if/when I get a C70.

or go vintage for straight up anamorphic dream mode..

 

That lens does look really good, if I ever do decide to switch to RF that lens would be one of the first one's I would get. For now my current setup works for me.  I believe in simplicity and a single lens mount for all of my cameras works best for me, that stabilization handheld though really looked good.

The Sirui lens definitely transforms the look, although I can't tell how much is the color grade and how much is the lens. For a more locked down controlled environment where you could properly pull focus, that would definitely be a good lens to have.

I quit DJI a few years ago, they make fantastic drones but the horribly invasive geofencing was the last straw for me. The best drone in the world is the one that takes off each and every time you need it to. I now use an Autel EVO II 6K and it fits my needs perfectly.

I use the LAANC system here in the USA to get flight auth, I don't need my drone demanding that I get approval from it as well. 

5 hours ago, Avenger 2.0 said:

The only thing I'm afraid of is low noise performance in any mode except the fine 4k (that has potential overheating).
Since line skipping or crop mode will effectively only use a 2,9x 'crop portion' of the sensor (line skipping doesn't have a crop, but only uses as much lines as the crop mode does).

So in that regard the low noise of M43 2x crop might even be better than the R7 modes that have a 2,9x crop.

True, I think a lot of testing will be needed to see how it performs in the real world. If it had dual native ISO like the S5 it would definitely put it on par with the S5. From what I have seen of the R7, I would also say the S5's body is definitely higher quality materials. Seems like everything is going to plastic these days.

On 6/8/2022 at 6:28 PM, Django said:

From what I've gathered from C70's CRL upgrade videos on YT, there seems to be minimal IQ increase when shooting RAW on this camera. I was expecting more sharpness/detail so I guess you could add that do the "disappointment" list although it is perhaps on the flip side proof of the XF-AVC codec robustness (pretty much ProRes equivalent).

The C70 has a pretty soft (non oversampled) 4K image generally speaking, which isn't necessarily a bad thing, although I mut say I've gotten used to the 5K oversampled 4K image from my R6. Just strikes that perfect balance of slightly oversampled but not insanely sharp 6K/8K. A bit like the C100 struck that right balance for FHD.

The sharpness bothered me at first, until I realized it only bothered me because YT reviewers were telling me I should be bothered. I typically shoot in the fashion industry and sharpness is not necessarily a good thing for fashion shoots and event type work; models and fashion designers don't really want you to see every detail which would include the blemishes. I did notice that in Davinci Resolve it only takes seconds to add sharpness, but I stopped doing that early on. Not to mention the Canon 24-105mm lens is far from being a sharp lens at any focal length. My 50mm and any prime for that matter is way sharper.

If I shot something like product videos or macro type shoots then I would definitely use a sharper lens and probably add sharpening in post. But with the content I shoot, I really like the footage with its current level of sharpness. I do wonder if adding sharpness in post compared to shooting with a sharper image like the one that comes out of the R6 could look identical.

So for me personally, the softness of the image out of the C70 is not a disappointment. The C70 just has its own "look" in my book and that's not necessarily a bad thing.

My R5 arrived today and I did some quick tests with the video out of it. I actually like the C70's "look" better, the R5's video looked a little too clinical for me not to mention Davinci Resolve immediately locked up trying to play the footage and I had to create proxies......the R5 and R6 really need the XF-AVC codec. Fortunately I only got the R5 for photography; the R7 looks like it would be a much better b-cam for the type of work I do.

On 6/8/2022 at 6:28 PM, Django said:

Lens wise if the 50mm 1.4 is your favourite, may I suggest you check out the RF 35mm 1.8 IS Macro lens. Its affordable, converts to 50mm on the C70, is very compact, has great IS, fast aperture and bonus macro. It's my run & gun choice on the R6 (doubles as a fast 35mm/50mm depending on FF/crop mode). I've noticed a lot of C70 users depend on it as well.. 

The speedbooster is bolted to the C70 and hasn't come off since the day the C70 arrived. With my investment in EF lenses I don't plan on getting any RF lenses anytime soon if ever not to mention I really like my extra stop of light since the C70 does not have dual native ISO. My current lens lineup works pretty well for me, I just need to do more testing with the 50mm handheld to see how bad it is without lens IS.

The 50mm is fantastic when I can mount the C70 to a tripod or for short handheld interviews where I have time to put it on. I would like to start using it more for handheld detail shots at events, if I am stable enough to do that then that would be perfect.

On 6/8/2022 at 6:39 PM, TomTheDP said:

I think the benefit of 12bit raw these days is really when you need to correct for WB and skintones are in the shot. The 4k-6k coming out of most cameras is pretty stellar in terms of detail.

I agree. For me, the ability to correct the WB just isn't worth the extra hassle of dealing with RAW. As far as skin tones go, with 10bit footage as long as the WB is correct and the lighting isn't too horribly mixed I think even that can be easily fixed in post. Maybe not to the Hollywood level, but good enough for my typical client.

I shoot a lot of runway fashion shows where the lighting is absolutely terrible and I have always managed to get something useable without needing raw.

Just now, mercer said:

V60s are fast enough for the Raw Lite? That's not bad. The C70 doesn't have a CF Express slot, right? 

I updated my link, I put V90 Prograde into Amazon but didn't notice it came back with V60 cards. Here is the right link as well.

It does not have a CFExpress slot.

20 minutes ago, mercer said:

That makes sense. If I shot professionally at all, I'd probably shoot 1080p on a camcorder or C100 Mark II for social media content.

I am kinda curious about the camera though. Do you know how fast of cards are needed for up to 4K 60p Raw Lite? I'd mostly shoot in 24p. I'm thinking of renting one this summer for a short film and to just try out the camera. As much as I love my 5D3, I still get curious about these new cameras.

I have a pair of these for when I want to shoot at the higher bitrates.

13 hours ago, QuickHitRecord said:

I have control over AF speed with my Canon 24-105mm f4 ii on the C70. Don't know about the first version of the lens though.

I had to check, mine is not a Mark II. I actually purchased it in Jan of 2016 and the II came out in August of 2016 so that explains why I do not have focus speed control.

12 hours ago, mercer said:

How many C70 users shoot in Raw Lite? I found some pretty nice looking samples on YT? I wish I had an extra 5 grand lying around.

For me and the type of things I shoot, the XF-AVC CODEC is all I need. My typical content ends up on websites and social media where the typical user is viewing it on their cell phone at 480P, so for me the extra storage, data rates, editing workflow, and the fact I would need faster cards to shoot at 4K60FPS isn't worth the small benefit of being able to change the WB. It is really nice though knowing I could shoot in RAW if I had a high enough paying commercial gig.

6 hours ago, gt3rs said:

It is lens dependent all the RF you can do but EF only a subset, R5 you can change for all lenses go figure.... R5c is the same as the C70

That is probably because they added fewer photography grade lenses into their CinemaOS database vs their photography OS. Its a minor annoyance and I am almost always shooting in 4K60FPS anyway so I can slow down the focus speed by up to 50% if I choose to in post.

11 hours ago, newfoundmass said:

Every camera in my price range has a limitation that I wish wasn't there. It just so happens that the S5's limitations are the ones I can live with the most. Same with the GH5. 

I don't think getting rid of your Lumix cameras and going with a Canon set up makes you a Canon fanboy. I think it just means you're making the best choice based on your situation and needs. 

The funny thing for me is that out of everyone it might be Olympus that checks the most boxes for me right now. I'm just in no position to purchase 2 (or 3) OM-1 bodies even if they weren't backordered. Strange times, though! 

I haven't read much about the R7, but with the R7 and possibly the speedbooster that @Avenger 2.0 mentioned, the R7 could actually be the perfect camera for your needs. From what I have read about the R7 it is going to be a real video and photography powerhouse (32MP sensor, R3's AF capabilities, 7 stops of IBIS, no 30min video record limit, 7K oversampled 4K, dual card slots, etc), I might even get one and use it as a dedicated C70 b-cam at some point; of course paper specs mean nothing, overheating, DR, ISO performance, etc will determine if it is all paper specs or real specs.

It is almost comical to me, Canon created the R5C a monstrosity that no one asked for (8K video, two complete operating systems, huge bulky fan, etc), when all we have ever asked for is clean useable 4K, dual card slots, great AF, their usual list of photography features......all of which they put into the R7.

8 hours ago, Gregormannschaft said:

Funny, I'm almost in the exact same boat as you (C200, S5) and am switching to Sony for the same reason. I need reliable AF. I've had too many shoots recently where I have limited time with talent and have had to shoot gimbal sequences. Even with a shinobi mounted to the gimbal I'm never 100% sure I'm in focus and that's not good enough really, especially if you only have one chance at the shot.

Exactly, I should be able to focus on things like lighting, composition, audio, the gimbal work, etc....not constantly hoping the footage is in focus. All of the gimbal follow focus systems I have seen looked clunky at best to me, the only thing that makes sense for my type of work is useable in body AF and the S5 just couldn't deliver that.

     So, I have now used the C70 for approximately 4 months for fashion shows, car shows, weddings, modeling promo videos....a decent mixture of the type of content I typically get hired to create.  I can say that the C70 is hands down the perfect fit for my type of work and I feel like a follow up was in order after using it quite a bit.

     The funny thing is, a lot of my initial observations I feel are still valid after using it for those projects, so the things that have stayed the same for me are:

CONTINUED DISLIKES

• No electronic level - very annoying I find myself having to straighten the horizon in post quite a bit, with everything else going on especially outdoors it can be difficult keeping the horizon level
• Digital IS - It is still jittery at times, but surprisingly when digital IS is jittery, Davinci Resolve's stabilization can usually remove it, unlike the warping effect that happens with wide angle lenses and IBIS

SURPRISES

• Stabilization - I know I made a big deal about no IBIS, and yes, I do still think with IBIS it would be easier to work with...but...Davinci Resolve is so good at stabilizing the footage in post that I feel like the C70 was the right decision. gaining useable AF for me was worth losing IBIS. Also, the new DJI Ronin RS2 is so much better than the previous model that I find myself using it as a gimbal more than I used to.
• Audio Settings - I always struggle with audio, at events things can get loud quickly or at an impromptu interview the person may suddenly talk too low or too loud so in run and gun scenarios audio is always tough for me. One of my surprise favorite features is the ability to record 3 separate audio tracks from a single XLR input. I set track one to where I think it should be, track 2 to 6dB below that, and track 3 is set to auto. Out of the 3 tracks I usually end up with something perfect. I use the Azden SGM-250MX shotgun mic with the built in Mini-XLR cable to plug directly into the C70 and the setup is perfect for what I need.
• Favorite Lens - My favorite lens of all time for video work is the Sigma 50mm EF mount F1.4 Art lens but it does not have lens IS and I shoot mostly handheld so another surprise for me was that the Canon EF 24-105mm F4 L lens has become my favorite video lens with the C70. Thanks to the speedbooster it drops down to F2.8 which is still no lowlight monster, but with a Falcon Eyes F7 mounted to the top handle it gets the job done as long as the subject is close enough.

DISAPPOINTMENTS

• Sensor - Yes, believe it or not, I think the DGO sensor is a little overhyped. IMO the S5's sensor was on par or slightly better than the C70's DGO sensor. The S5 with its clean ISO4000 was more useful in more situations than the C70's DGO sensor. I would actually take the S5's FF sensor in the C70 body and with the C70's AF over the C70's sensor.
• Autofocus - This was another surprise to me. Canon's DPAF is pretty legendary, and I know the C70 got the cinema version of that which is not as good as say the R5's AF, but the C70's AF is downright unusable in strongly backlit scenarios and low light scenarios. By lowlight I mean late dusk, not completely dark at all. I had to switch to MF a few times during low light scenarios just to record something useable.

NEW DISLIKES

• AF Racking Speed - I don't know why, but with all of the EF lenses I have tested so far, it is not possible to change the AF speed when racking from far to near or vice versa. The speed setting is there but it is greyed out. Not sure if it is the lenses, or maybe it doesn't work through the speedbooster, or maybe it needs RF lenses to work, but it is annoying sometimes to not be able to control that.

NEW LIKES

• Storage - I can say with confidence that SanDisk 1TB Extreme PRO SD cards combined with the C70 is an awesome combination. I never even think about running out of space no matter how much I shoot in a day. I mainly shoot XF-AVC 4K 60FPS and for this, these cards can shoot all day without any buffer problems.  I can even shoot Cinema Raw LT at 4K 30FPS with no problems. 120FPS, ALL-I, and Raw 60FPS are all not possible with these cards, but I don't shoot those formats anyway.

OVERALL

  At the end of the day I am happy with the C70, it checks enough boxes for me and improves my workflow and shooting style enough that it was definitely worth it. Gaining a 95% solution for AF, integrated ND filters, and integrated XLR inputs while still being able to use all of my EF glass is exactly what I wanted. I hope to get at least 5yrs out of it.

  Here is a video I shot 100% handheld for a series on an upcoming runway show. All ground video work was done with the C70, handheld, and with a single lens; the Canon 24-105mm F4. I didn't have time to change lenses, and I didn't trust no lens IS with the 50mm so I stuck with the Canon 24-105mm EF mount F4 lens. I need to do more testing handheld with the 50mm before I will trust no lens IS for a project.

22 hours ago, TomTheDP said:

Yeah the C70 sensor is a tad overrated. I'd rather have the R5C, but than you lose ND's. The C70 is definitely a good all around camera.

From everything I have read the R5C is practically unusable for both photos and video due to horrendous battery life.  I wanted to like the R5C, I delayed my C70 purchase to give the R5C some more thought, but with no IBIS, the terrible battery life, and worse DR than the C70 or the S5 I decided to once and for all give up on trying to get the perfect hybrid camera. Also, the XLR adapter for the R5C came with its own long list of compromises and high price tag.

Funny enough, if the R7 does not overheat, the R7 with FF lenses might actually be the perfect hybrid camera; to me it is very similar to the S5 but with way better AF but lacking all of the excellent S5 video assist tools.

So after it is all said and done, I guess I went full circle and am now officially a Canon fanboy again. I am using the money from selling all of my gear to buy an R5 for photography and as a quick B-cam for the C70 and the C70 is my A-cam for all video work.

Well for me the S5's time has finally passed. The lack of useable AF for the type of work that I do finally became too much to deal with. The Canon C70 has managed to meet and exceed my expectations in every possible video related area. Its AF is certainly not perfect either, but it is leaps and bounds ahead of the S5 and GH5 not to mention the integrated XLR inputs and internal ND filters has helped me set up and tear down faster than any previous camera I have owned.

For my fast moving run and gun type event work I gave up IBIS just to gain useable AF and so today I am getting rid of my C200, both S5's, and the GH5 since I haven't even turned on any of them since getting the C70. I have now shot multiple events and projects with the C70 and it has performed nearly flawlessly every time (hint: AF is terrible in lowlight/backlit scenarios). 

I still think if you can use MF for your work or if the AF is good enough for the type of projects that you shoot, the S5 is without a doubt the best hybrid photo/video camera out there for the price and offers the best of both photography and video, even audio is great with the XLR adapter, but for me the C70 is without a doubt a better fit. I still think the S5's greatest niche would be as a travel / mini doc hybrid photo/video camera.

With the S5 I was simply throwing away too much soft footage and it was always stressful trying to ensure people at events were in focus or that I at least managed to capture the peak action moment in focus.  Even simple handheld interviews I found myself using ISO4000 all the time just to increase the F stop to try to keep people in focus or I would use a wider lens. In the end I found myself making too many compromises and putting in too much extra effort just to keep the subjects in focus.

Surprisingly, at least to me, I still find the VLOG out of the S5 about even or maybe even slightly better than the CLOG2 I am getting with the C70 when it comes to dynamic range and colors. I know Canon's colors are legendary, and the C70's DGO sensor is supposed to be the best you can get below $10K at the moment, but there's something about the image quality out of the S5 with the Sigma 50mm and VLOG that I can't quite match with the C70.  I probably just haven't found the right CLOG2 to Rec709 LUT yet, but with the S5's VLOG I could grade it by hand without a LUT and get better results.

15 hours ago, newfoundmass said:

My primary reason for wanting a battery grip is that sometimes I need to record longer than 2 hours and there's not always an outlet near the optimal spot for the hard camera.

You will definitely want to look into the USB-C power options for that. Many options out there.....power bricks, vmount batteries, etc. The S5 is great because it uses so little power that you do not need a PD rated USB power source. 

On 5/3/2022 at 12:24 AM, newfoundmass said:

So I'm late to the party, but I've had the S5 for a few days and I must say I'm genuinely impressed. It's a real joy to use. It kind of blows my mind that it's an entry level camera, because it's capabilities are impressive. 

First, I was wrong to write it off because of the recording limit in 10-bit and 60p. It'd have been nice to not have those limits, but the 8-bit is quite nice with good colors SOOC. I think it will be more than sufficient for my event work, though I'll know for sure after this weekend. 

Low light is very good, at least as someone coming from a GH5. Speaking of the GH5, I've been able to match the two pretty easily. I was worried that wouldn't be the case, but I think using the GH5 and my G85 will work out okay as b and c cams. 

I LOVE that I not only can use the XLR module but that I can lower the pre-amps more than the GH5. That was always something that has bugged me. 

There aren't a ton of 3rd party accessories. It came with 3 OEM batteries, but I bought some third party batteries from Newmowa. They work pretty good, though after using the OEM batteries and seeing how long they last I probably didn't need to get them. They work with the GH5 though, so they're not a waste. I wish there was a third party battery grip, and more options for cages. Mine came with a Small Rig cage, which is okay, but it doesn't feel as robust and protective as the GH5 cage I have. 

Overall I'm very pleased. I had no intention of getting it until I was offered a great deal on one. Now I'm contemplating picking up a second one and going with two S5s and one GH5 for my set up. That probably won't happen for a while, but in the span of a week I went from being pretty resistant to going with Panasonic for full frame to debating buying a second FF Panny camera. 🤦🏻‍♂️

Welcome to the S5 family, the S5 IMO is definitely a big step up from the GH5 in terms of lowlight and even image quality. The dual native ISO alone puts it in a different class from the GH5. With my GH5 I was having to shoot with 0.95 lenses to try to overcome its lowlight shortcomings.

I personally never use a battery grip when shooting video, I like to be able to quickly go from handheld to gimbal, and battery grips don't play well with gimbals (makes the camera top heavy and harder to balance). Also, your cage options are typically much more limited with a battery grip attached.  What I found with the S5 was the Panasonic batteries lasted so long I rarely worried about battery life.

For long form event work I used a V-Mount battery and the USB-C port, this setup gave me about 8hrs of filming time. In between shooting stationary I set up my rig to be able to quickly grab the camera off the V-Mount rig and go handheld with the internal battery. You can check out my different rigging setups here. I will admit I finally moved on to the C70 because the lack of CAF with the S5 and EF lenses finally got to me, but it is still a fantastic camera with an incredible feature list. I still miss the S5's IBIS, aspect ratio guide lines, and level guide. Even the VLOG was a real joy to grade.

On 4/10/2022 at 2:00 AM, MrSMW said:

Not necessarily, an integrated grip could use the same batteries as an option grip as the integrated would have say 2 of the same?

But as much as I’d like to see the choice of options, yes, it’s a bit unlikely in this times.

That could definitely be an option, I guess I am used to Canon's integrated grips which always use a larger single battery vs two of the same smaller batteries. All of Canon's add-on grips use two of the smaller batteries. Not sure what Sony or Nikon does.