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HYBRID SPECIAL
TWIN CANONS DON’T SHARE A LIKENESS These two cameras might cost a similar amount, and are both officially part of Canon’s Cinema EOS line, but they are more like distant cousins than siblings. The EOS R5 C is based on the EOS R5 mirrorless camera design, with its 8K full-frame sensor and Raw internal recording. The C70 is a quite different beast, with Super 35 dual-gain sensor in a body that has built-in ND filters, XLR inputs and large batteries for all-day shooting. The C70 actually uses the Super 35 dual-gain output sensor from the vastly more expensive EOS C300 Mark III, which delivers the same 16+ stops of dynamic range and records 4K 4:2:2 10-bit to internal twin SD cards in the XF-AVC and MP4 formats. That’s thanks to the DGO sensor and Digic DV 7 processor, with colour profiles including C-Log2 and 3, plus HDR. And Wide DR maximises dynamic range when non-Log settings are used, for a faster workflow. The £4798/$5499 EOS C70 was also the first of the Cinema EOS line to use the EOS iTR AF X Intelligent Tracking and Recognition autofocus system. This uses a face and head detection algorithm developed with deep-learning technology, and works in conjunction with face detection AF. This is to improve the reliability of focusing and tracking. AF is one of the best fitted to any video camera and is customisable in terms of speed and response. The touchscreen offers touch-to-focus and face detection is fantastic, although this doesn’t work in the
WORKHORSE The Forza’s colour range was ideal for filming fitness workouts
very fastest frame rates for super slow-motion. It tracks moving subjects far better than the old contrast-detection systems that gave video cameras a bad reputation for autofocus. There is also a Focus Guide system for manual. It uses arrows on the touchscreen to indicate which way to turn the focus ring, then gives a visual signal when the subject is sharp. To stop the shakes, the C70 uses the optical IS in RF lenses and digital IS in the camera body, which gives a slight crop. The system isn’t as good as the moving IBIS-style sensor in some cameras. You can get away with handholding wider lenses, especially cradling the camera in your hands using the included hand strap, but for really smooth footage you still need a gimbal or tripod. The body has 13 assignable buttons, a multi-function handgrip, professional input and output terminals including HDMI, plus two mini XLR terminals for audio. There is no viewfinder and it has
FIVE ALIVE! The EOS R5 C uses lots of tech from the EOS R5, but adds a cooling fan and unique menus
CONTROL CENTRE The rear of the R5 C feels like a pro DSLR (below). The EOS C70 has a different look and feel (above right)
the traditional audio controls of a cinema camera hidden behind the flip-out, articulating touchscreen. There are big cooling vents to stop it from overheating, and it uses the RF lens mount. Its screen displays all of waveforms, vectorscope and false colour warnings. There are also zebras and focus peaking, which are customisable. You can change shutter speed to shutter angle and ISO to gain. The body has a full-size HDMI connection and lots of professional input/output options – including timecode and two mini XLR terminals for audio, as well as a 3.5mm audio-in jack. Pro-level
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