GEAR
CANON EOS R5 C
this could be a deal-breaker, but it hammers home that the R5 C is built primarily as a cinema camera, not an ENG docucam. To compensate, digital IS is built-in – and many RF mount lenses also have it. The digital IS is available in standard or high mode, with each cropping in a bit more on the image. This works well, if you don’t mind the crop. On the upgrade Although the sensor is said to be the same as the R5, it gets a new processor that improves capability. It’s now a Dual Gain system with base ISO settings of 800 and 3200 when using C-Log 3. None of this was available on the R5, marking a leap forward in dynamic range, and you can really see the image noise clean-up at 3200. The R5 C isn’t night-and-day better than the old camera, but it’s improved. While the old version maxed out internal 8K Raw at 30p, the R5 C handles 8K/60p, but only when powered by an external source. On the R5, you had to choose between standard 4K and the high-quality oversampled version dubbed HQ, but now the R5 C exclusively has HQ in 4K for everything up to 60p. Go over that to 4K/120p and it’s still superb, but while the older camera didn’t record audio at this speed, the new one records an audio file separately as a WAV. This is ideal for speed ramping in post, and “It’s now a Dual Gain system with base ISO settings of 800 and 3200 when using C-Log 3”
NEW FEATURES Waveform display is a great monitoring tool (above). The SmallRig cage partly obscures the new Photo/Video selector switch (right)
Super 35 or C4K/4K 4:2:2 10-bit via HDMI to 60p. Plus anamorphic de- squeeze options in 1.3, 1.8 and 2.0x. That’s a bewildering array of options that either delivers massive scope or makes your head spin. Essentially, Raw files of all flavours give the ultimate quality, as they retain sensor data to manipulate in post. Change white balance, ISO, noise reduction, sharpening and almost everything else. But this is an extra step in the process, and file sizes are bigger, impacting on memory card space and hard drives. The 4:2:2 10-bit XF-AVC is a very good codec that’s faster and easier to use, but you don’t get as much flexibility in post. The All-I version is better quality and less compressed than Long GOP. Shoot in C-Log 3 for loads of dynamic range, and chances are you will be very happy with the results. Unless you really need 8K for massive cropping in post or SFX and green screen projects, then
is really useful. Canon is finally catching up to its rivals for fast frame rates – so often the Achilles’ heel. However, now most high- end rivals record 4K/120p with full audio anyway. And they have either 240fps or 300fps in HD for super slow-motion effects. Canon still maxes out at 120fps in any codec. In terms of codecs, frame rates and bit rates, the camera has a huge choice, as well as offering 12-bit 8K Raw DCI full-frame at 30p or 60p with external power. For example, the more efficient Cinema Raw Light, which records in HQ at 5.9K Super 35 or 2.9K Super 16 cropped, and Raw standard (ST) or light (LT) in full-frame or cropped. Plus Canon’s own XF-AVC codec allows up to 4K at 4:2:2 10-bit in All-Intra or the more compressed Long GOP. There’s also MP4/H.265 in 10-bit 4:2:2 up to 8K/60p and MP4/H.264 up to 4K in 8-bit 4:2:0. If you export the signal to an Atomos, it handles 8K/30p full-frame, 5.9K crop in
SPOILT FOR CHOICE Raw, Raw Light, XF-AVC and MP4 in both 8- and 10-bit are just the top codec options
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