Great video. Ditched my Komodo/blackmagic's for the mirrorless route as well. When you shoot a lot, convenience starts to outweigh the slight differences in image texture/quality/color fidelity/whatever. It's even more convincing for me when you realize the audience cant spot the difference at all anyway and its just for your own satisfaction, but time is money and your own satisfaction has to take a backseat to efficiency at some point if you do this for a living
Grown up approach. We indeed are spoiled and wanting to shoot whatever out inner 'global shutter' demons want us to shoot. It is hard to look at the mirror (i.e- your creation) and not fully identifying with what you see (cause you also know how to fix it). But, the world isn't perfect. The biggest dilemma is with film. Knowing this medium fully represents all your beliefs and DNA, yet, developing.. scanning..cleaning dust specks, color correcting the scanner's color skews and more... it's hard. Quadruples your work. I wonder how strictly (35mm) film shooters price their efforts, and what is their workflow. (I bet somebody does the post work for some of them..these guys/gals shoot even 50 rolls of 35mm per session!)
@@TedNemeth One thing is left to wonder about. What if the signature look & feel of your work has to do with the medium you're using, such as shooting 35mm film. And now you switch to the uber-sharp, plastic perfect looking digital. What then? Aren't you breaking the continuity/ consistency of your work? You want that conveniece- digital is the way. It breaks the rugged rough look of your photos. Won't that stray away your audience/customers who loved you because of your rugged look to begin with....?
@@eladbari I understand what you mean, but I would say that if the texture of someones images is that critical, they may not be as skilled as they think. For example, if Roger Deakins, Hoyte van Hoytema, Emmanuel Lubezki etc shot a film on an Arriflex 765 and then shot another on an R5C, would it really impact the quality of the work that much for you? Do you think they would lose fans or work? I think when you are good at what you do, that shines through any specific technological medium and the rest is icing on the cake. The fact that they use film cameras sometimes or the best glass in the world is just by the convenience of having the budget and massive team to do so efficiently, so it's a no-brainer to add that extra bit of sauce on top for the absolutely perfect image they prefer, but it doesn't define their greatness overall. If we all had top focus pullers, Company 3 doing our color grade, cranes/dollies etc. then it becomes a non-discussion of what to choose -- just go with the best image quality down to the smallest nuance since everyone is handling various parts of the process. However, reversing things again, bring Deakins or Lubezki down to our level and have them one-man band a bunch of shoots for $2000 a pop and see what they choose. I would bet they go with the superior workflow and ease of use over artistic flare when their aim is to put food on the table and progress their career. Hanging your hat so heavily on a specific image quality/look/texture/whatever isn't a very secure hook as a professional, nor is it wise because now you've put yourself in a position where someone can just replace you by choosing a superior camera. That can't be your selling point, and you are ultimately sacrificing money (aka time) for an artistic detail that the vast majority will never even have the eyes to see to appreciate your efforts. Of course personal satisfaction is worth something, but when this is your job you have to really put things in perspective as human beings with finite time and resources. Now, if you're good at what you do AND carved out a very specific niche where you only do 35mm film or film photography for weddings etc as a way of separating yourself from similar offerings, it's going to impact you more since that's a large part of your defined product you're advertising...but that's a bit of a different topic in itself and goes beyond just discussing the differences in tools you select as a cinematographer (or photographer).
Love how you just give such an honest review because you ACTUALY use the gear for production and work. I've been on this channel since you were rocking an XT3 I think. Sooooo many people or reviewers get sooooo caught up in all these silly little nuances that they aren't a massive deal breaker. Like a client is going to love the photos or footage if the story is good and the end product is what they envisioned. Are they going to be able to tell the difference between 16 and 15 stops of DR probably not, or a little rolling shutter here or there def not.
Have you tried R3? I personally prefer r3 over r5/r5c for hybrid cam. To me r3 has more manageable file size, better battery life, unlimited rec time, better af.
When in video mode, do not underestimate how bad battery life is for anybody considering this camera. I sold mine after a few weeks because of battery. Of course, if shooting in a studio or rigging out, the battery is not a factor, but the camera loses its appeal for me once if rigging it out. Other than that, I loved the camera, arguably the best hybrid camera currently available on the market. I replaced the R5C (and an R3) with the Z9, and I miss the Canon ergonomics, but Z9 has it all for now (high MP stills, internal RAW video, and excellent battery life). So I'm hanging on to my RF glass and looking forward to the R1.
Hey Cam, been watching you for a little while now and love your content. I really like the way you broke down this video and even though 99% of people would probably choose a Komodo….you kept it real and just said what works better for you and your clients. I’ve no doubt you could do a great job with most cameras on the market but I truly understand your thought process. It’s only when you get too much work that you stop thinking about having the best known camera and switch to what ever makes the process faster without affecting the quality.
great video. Agreed on basically every point. I sold my R5 and got an R5C at launch. It's amazing how different the cameras are, even with the same sensor. I run a R5C+C70 combo now, and couldn't be happier.
@@kazlepek6552 yeah pretty different cameras. You can run them together and match because the colors are similar, but the images are different. C70 is a softer image, with more dynamic range.. silky and filmic. R5C is much more clinical. Very sharp, not quite as much dynamic range. If you shoot RAW, you can squeeze out a tiny bit more, and slightly more organic highlight roll-off, but C70 still beats it in that regard. For me, having both means I get to choose between these two different looks depending on the project, but also you can always soften up the R5C through lens choice or filters, so it's not that hard to match the images in controlled environments (the only times I usually run 2 cam setups anyway).
Good comparison. The R5 & R5C are great cameras to match to the Komodo when needed but at the cost of the R5C, I'd be tempted to just buy another Komodo. Sticking with my R5 as a "C-Cam" for now. Then again, we really shouldn't be comparing a mirrorless camera to a cinema camera right?
I was so stoked when I got the Komodo because it was SO much faster and easier to operate than the Dragon-X. Fast forward a couple years and like you, the Komodo sits around as I run and gun with the A7Siii. I'll be the first to admit the Komodo's image walks all over the A7Siii's, or any other mirrorless hybrid for that matter, but it's such a f'in event using it....and I aint usually got time for that.
DUDE YES. Like the Komodo is clutch af and great for run and gun... but mirrorless just takes life easier for gigs like that. The quality on all of the cameras are great, but red def still takes the cake
I think the lack of blue in the hat and colour richness in the r5c comes down to complexity/lack of precision in the transforms. I took screenshots and matched them using curves and colour wheels. You can see in the sunlit patches on the ground the Komodo image is bluer - I think it's not fidelity to the real colours, it's a look. Blue in the highlights shifts the r5c closer to that. I feel like you have such a rare and valuable philosophy on TH-cam (camera doesn't matter etc) - maybe it could go further! :)
great video but.. something incredible is missing... You did not include the Details of your R5C.... Lens used did you use a Laowa nonmorph 27mm - s35 Sensor Lens on the Canon R5c... how did you use it.. i would love have the details. I just bought the Canon R5c.. IT IS A MONSTER.. of a Camera...
*Thanks for sharing, Cameron!* 👍👍 *My first reaction was that the R5C's footage felt more documentary-like, rather than cinematic.* Footage felt too sharp to me +motion cadence felt a bit off... This isn't under "specs" section. It's in the gray area of what a camera makes you feel, so it's hard to talk about it. I felt the footage from a C100 /C300 felt more cinematic than the R5C, so I always wonder in what way the Super35 sensors by Canon- are different than the full frame Canon sensors? Why do the Super35 feel more cinematic........?
I for sure agree that regular viewers don't see rolling shutter, though if you deal with subject matter with iconic form, clients might be less forgiving 😅
Hey Cam, huge fan and always keeping up with the vids, but tbh, if anything this video made me dream even more about owning a Komodo one day such a BEAST of a camera..
@@DavidMota eh. Not interested in the Sony hype. They’re all great cameras honestly. But I don’t care for Sony glass. And my canon glass and stills are perfection for the look I go for. Also it bugs me that the fx3 doesn’t even have shutter angle lol. Other than that, slog is great abs their cameras are clutch.
@@cammackey loool I’m like considering your R5C points then read this comment and I’m like yep …. Still feel like I want the Komoder…. You end up selling it??
I am a professional photographer. I also occasionally use my camera to make short films. I know the R5c does good video but is it on par for professional photography?
Nice one Cam. I'm just after picking up an R5C, I already have the R5 and it's great. I agree with you on the 'convenience' side of things. I shot on Blackmagic cams for years in RAW and working with these new smaller compact cameras like the R5c is great to have. I also shoot images so it's dead handy too.
make sure you have the computer also to process the canon files. Only M1 Pro CPUs (with media engine) have real-time hardware-level encoding/decoding capabilities. RTX3090 doesn't have it and playing back 4k60fps(hevc) all-i for example on it yields around 2-5fps playback performance which is horrible. I've already tried it since I also have a high-end PC build. If I'd be you I'd also buy a Mac Studio with the M1 Ultra that comes with twice the media engine power of the M1 Max. It can play back up to 18 streams of 8K ProRes 422 video, double the capabilities of the M1 Max.
@@costinvaly1 rtx 3090 doesn’t do anything to decode h265 422. In windows pc what decoding very smoothly h265 422 from r5 is intel 12gen. I have i9 12900k and everything from R5 is butter smooth.
Have you looked into the Sony cameras? They have locking autofocus so if something is unable to be tracked on the Sony it remembers its last point of accurate focus and locks it in. So for the hand that was moving fast side to side if it was the Sony and accidentally loses focus it would have stayed at that distance where the hand is instead of shooting to the background. I thought that feature was really cool to have for a Sony but hopefully Canon and have something similar.
Yes canon does have something similar, but I havent messed with it myself. I know its for face detection tho. And I dont care for sony glass or their color science for photography. Their video cameras are great tho
Hey Cam, any chance you're going to have Canon LUTs for sale anytime soon? The Fuji ones you posted a while back looked great, I'd love some for Clog 3 especially.
Solid comparison.. recently got the Sony a74 and still couldn't get used to shooting in S-log 3 over the RAW that i've been shooting with my black magic 6k pro and Komodo... Even though it had amazing auto focus and lens selection....I returned it. Maybe the R5C could be the best inbetween ?
Hey just a comment , just sold my Komodo and was close to picking up A7iv (had previously rented A7s iii) but last minute opted for R5C. Loving the image coming out it even just downsampled 4K is fantastic and i slightly still prefer the Canon colours. Hope this is useful
Awesome video! I heard that you’re not supposed to decode the R5 and R5c raw footage to clog2, because it falls apart, the sensor is not designed for that much shadow pull. Does it work fine in your opinion? Maybe it looks better if you decode it to clog 3 and then just lift the shadows. What’s your experience?
Well you tell me, the raw shots in this video were all set to clog 2.. The thing with Clog 2 is it opens up the noise floor and gives you more dynamic range on this sensor. With that required noise reduction. A lot of people are scared of noise reduction, but it’s a basic step for every pro colorist.
good video. I bought and sold the R5c. Its all about convenience and ease of use. I'm going to wait until they fix some of the issues with the r5c or come up with another camera. I hate the bulk of the fan, battery life plus i dont want to rig out any camera.
Yes same exposure on each camera. BUT if I was to under expose the komodo but just 1/3 of a step more, those highlights would of been there AND I still would be able to pull more info from the shadows just because of the nature of RED raw.
Hey Cam, always good to see you with the comprehensive feedback on awesome gear - thanks for it anyway! I'm wondering, what do you think of the cost of data-handling with the R5C? The Cfast cards do cost a lot I heard and then there is also a big amount of Data to the Canon Raw in comparison to the RED Komodo, right? Again more Data to handle afterwards with HD's and so on... ?
The cosmic justice of it all, is they finally made fantastic cameras with picture quality you’ll never even come close to appreciating, because we all watch everything on a tiny screen that makes iPhone 4 footage look spectacular. 👁👁
Exactly this. I've been taking the BMPCC6K and Sony A7S3 to gigs, and for what the clients want in the end, I might as well have just bought the latest iphone instead.
AWESOME! thanks for the vid. Did you happen to see whether the R5C allows to use the full hight of the sensor? for anamorphic. Or it still does video with just a 16x9 cop on the sensor? (by crop i mean full width but not height)
I don’t recall it cropping in vertically at all. Tho I mostly used it in S35 mode so it’s all cropped haha. I don’t have any full frame anamorphic lenses
Ordered an R5C the other day because I basically came to the same conclusion. Gonna be a long haul wait I think. I spoke to someone at B&H and they said if you order today it's 3-4 months out.
bro I’m still looking for the next level of colors in the Red because from my 5k both cameras look the same I’m actually thinking of ditching my red for the R5c lol
Interesting findings. I was under the impression the r5 and r5c had the same sensor. Wonder if its the processing thats making such a drastic difference in raw.
Finally a good video comparing the dynamic range of the R5 and R5C, with the Komodo used as a further example. The rolling shutter on the R5C though... kidding - who tf cares, it's looks fine. Nice video Cam!
Hey Cam! Love the video! So glad you got your hands on an R5C! I saw that Gerald undone found the R5C to have significantly better dynamic range over the R5 as well. Can you do a test that compares the regular R5 in Raw with Clog 3 mode turned on in-camera while shooting raw, to the raw on the R5C? CVP made a great video where they discovered that, even though it shouldn't be this way, the R5 has a better dynamic range when shooting raw with Clog 3 turned on. Canon is evidently doing something at a sensor level that is advantageous for shooting raw with the Clog 3 turned on. I have actually noticed it being significantly better when I do this on my shoots! To reiterate, that's shooting with Clog 3 turned on in camera and still interpreting into clog 2 in post. That being said, the R5C is certainly a better camera for what you do as long as the 16-second wait time between photo and video modes isn't a deal-breaker for you! Would love to see you compare that since no one else online has seemed to pick up on that advantage except for CVP!
Thank you for your content! Really inspiring to look at your work. Have you tried the "Colorist Factory - FilmForever Power Grades" for Davinci Resolve? I think some of those nodes would fit your style of vintage film look perfectly :)
I'm in the same boat, I absolutly love my komodo, and got it to do larger commercial stuff but more of my work lately hasnt called for it. I shoot sony for photo, but really tempted by the r5c! its all too difficult! ha ha
I owned the S6 for a little bit. After putting it against the C70 I reapplied the Cam wasnt that great, specially the image quality cause it was clipping 2-3 stops of details in the shadows. I think the Sonys A7S3 prbly getting better image quality than the S6 now. But the square form factor for a camera def makes it easier to rig
@@cammackey Yea most of our work allows us to control everything. Flexible rigging wins, on set work it's golden for sure. I know the Komodo can one up it but not at the S6 price.
Man I just watched a video on the gh6 about horizontal streaking in higher contrast scenes. He compares it to the Vraptor which doesn’t have any streaking and I was curious if my Komodo would. Well you showed in your window tests at 3:54 that it doesn’t appear to, but the canon definitely seems to suffer from it. I guess it’s a common issue tho and even my S1H has it.
@@cammackey this dude does a good job of explaining it. The Gh6 has his horribly bad, but good to see the Komodo doesn't have it. th-cam.com/video/nyFLRSMR3M8/w-d-xo.html
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Great video. Ditched my Komodo/blackmagic's for the mirrorless route as well. When you shoot a lot, convenience starts to outweigh the slight differences in image texture/quality/color fidelity/whatever. It's even more convincing for me when you realize the audience cant spot the difference at all anyway and its just for your own satisfaction, but time is money and your own satisfaction has to take a backseat to efficiency at some point if you do this for a living
Grown up approach. We indeed are spoiled and wanting to shoot whatever out inner 'global shutter' demons want us to shoot. It is hard to look at the mirror (i.e- your creation) and not fully identifying with what you see (cause you also know how to fix it). But, the world isn't perfect.
The biggest dilemma is with film. Knowing this medium fully represents all your beliefs and DNA, yet, developing.. scanning..cleaning dust specks, color correcting the scanner's color skews and more... it's hard. Quadruples your work. I wonder how strictly (35mm) film shooters price their efforts, and what is their workflow. (I bet somebody does the post work for some of them..these guys/gals shoot even 50 rolls of 35mm per session!)
Exactly, to many get consumed with the product vs feeling like a cinematographer
All of that is really well said.
@@TedNemeth One thing is left to wonder about. What if the signature look & feel of your work has to do with the medium you're using, such as shooting 35mm film. And now you switch to the uber-sharp, plastic perfect looking digital. What then? Aren't you breaking the continuity/ consistency of your work? You want that conveniece- digital is the way. It breaks the rugged rough look of your photos. Won't that stray away your audience/customers who loved you because of your rugged look to begin with....?
@@eladbari I understand what you mean, but I would say that if the texture of someones images is that critical, they may not be as skilled as they think. For example, if Roger Deakins, Hoyte van Hoytema, Emmanuel Lubezki etc shot a film on an Arriflex 765 and then shot another on an R5C, would it really impact the quality of the work that much for you? Do you think they would lose fans or work? I think when you are good at what you do, that shines through any specific technological medium and the rest is icing on the cake. The fact that they use film cameras sometimes or the best glass in the world is just by the convenience of having the budget and massive team to do so efficiently, so it's a no-brainer to add that extra bit of sauce on top for the absolutely perfect image they prefer, but it doesn't define their greatness overall.
If we all had top focus pullers, Company 3 doing our color grade, cranes/dollies etc. then it becomes a non-discussion of what to choose -- just go with the best image quality down to the smallest nuance since everyone is handling various parts of the process. However, reversing things again, bring Deakins or Lubezki down to our level and have them one-man band a bunch of shoots for $2000 a pop and see what they choose. I would bet they go with the superior workflow and ease of use over artistic flare when their aim is to put food on the table and progress their career.
Hanging your hat so heavily on a specific image quality/look/texture/whatever isn't a very secure hook as a professional, nor is it wise because now you've put yourself in a position where someone can just replace you by choosing a superior camera. That can't be your selling point, and you are ultimately sacrificing money (aka time) for an artistic detail that the vast majority will never even have the eyes to see to appreciate your efforts. Of course personal satisfaction is worth something, but when this is your job you have to really put things in perspective as human beings with finite time and resources.
Now, if you're good at what you do AND carved out a very specific niche where you only do 35mm film or film photography for weddings etc as a way of separating yourself from similar offerings, it's going to impact you more since that's a large part of your defined product you're advertising...but that's a bit of a different topic in itself and goes beyond just discussing the differences in tools you select as a cinematographer (or photographer).
Love how you just give such an honest review because you ACTUALY use the gear for production and work. I've been on this channel since you were rocking an XT3 I think. Sooooo many people or reviewers get sooooo caught up in all these silly little nuances that they aren't a massive deal breaker. Like a client is going to love the photos or footage if the story is good and the end product is what they envisioned. Are they going to be able to tell the difference between 16 and 15 stops of DR probably not, or a little rolling shutter here or there def not.
Have you tried R3? I personally prefer r3 over r5/r5c for hybrid cam.
To me r3 has more manageable file size, better battery life, unlimited rec time, better af.
When in video mode, do not underestimate how bad battery life is for anybody considering this camera. I sold mine after a few weeks because of battery. Of course, if shooting in a studio or rigging out, the battery is not a factor, but the camera loses its appeal for me once if rigging it out. Other than that, I loved the camera, arguably the best hybrid camera currently available on the market. I replaced the R5C (and an R3) with the Z9, and I miss the Canon ergonomics, but Z9 has it all for now (high MP stills, internal RAW video, and excellent battery life). So I'm hanging on to my RF glass and looking forward to the R1.
Great video and opinion on the R5C! I am loving mine so far. I agree it's more than I expected as an upgrade from the R5.
Hey Cam, been watching you for a little while now and love your content. I really like the way you broke down this video and even though 99% of people would probably choose a Komodo….you kept it real and just said what works better for you and your clients. I’ve no doubt you could do a great job with most cameras on the market but I truly understand your thought process. It’s only when you get too much work that you stop thinking about having the best known camera and switch to what ever makes the process faster without affecting the quality.
great video.
Agreed on basically every point. I sold my R5 and got an R5C at launch. It's amazing how different the cameras are, even with the same sensor.
I run a R5C+C70 combo now, and couldn't be happier.
What’s your thoughts on the R5C versus C70? Any difference in the final image?
@@kazlepek6552 yeah pretty different cameras. You can run them together and match because the colors are similar, but the images are different.
C70 is a softer image, with more dynamic range.. silky and filmic.
R5C is much more clinical. Very sharp, not quite as much dynamic range. If you shoot RAW, you can squeeze out a tiny bit more, and slightly more organic highlight roll-off, but C70 still beats it in that regard.
For me, having both means I get to choose between these two different looks depending on the project, but also you can always soften up the R5C through lens choice or filters, so it's not that hard to match the images in controlled environments (the only times I usually run 2 cam setups anyway).
Good comparison. The R5 & R5C are great cameras to match to the Komodo when needed but at the cost of the R5C, I'd be tempted to just buy another Komodo. Sticking with my R5 as a "C-Cam" for now. Then again, we really shouldn't be comparing a mirrorless camera to a cinema camera right?
Where I'm at too.
I was so stoked when I got the Komodo because it was SO much faster and easier to operate than the Dragon-X. Fast forward a couple years and like you, the Komodo sits around as I run and gun with the A7Siii. I'll be the first to admit the Komodo's image walks all over the A7Siii's, or any other mirrorless hybrid for that matter, but it's such a f'in event using it....and I aint usually got time for that.
DUDE YES. Like the Komodo is clutch af and great for run and gun... but mirrorless just takes life easier for gigs like that. The quality on all of the cameras are great, but red def still takes the cake
test the rolling shutter on the spinning wheels, guitar strings, aircraft and copter blades, shaky/windy drone shots
I think the lack of blue in the hat and colour richness in the r5c comes down to complexity/lack of precision in the transforms. I took screenshots and matched them using curves and colour wheels. You can see in the sunlit patches on the ground the Komodo image is bluer - I think it's not fidelity to the real colours, it's a look. Blue in the highlights shifts the r5c closer to that. I feel like you have such a rare and valuable philosophy on TH-cam (camera doesn't matter etc) - maybe it could go further! :)
great video but.. something incredible is missing...
You did not include the Details of your R5C.... Lens used
did you use a Laowa nonmorph 27mm - s35 Sensor Lens on the Canon R5c...
how did you use it.. i would love have the details.
I just bought the Canon R5c.. IT IS A MONSTER.. of a Camera...
I have both and the R5-C is kicking my ass. I love it!
Which one did you use for your video ? The Komodo I would assume
at 3:55 the light streaks on wall visible caused by window frame (they were mentioned in GH6 reviews as some CMOS sensors feature)
Yes someone mentioned that, tho I've never seen that before from my R5 and ive owned it for almost two years now.
*Thanks for sharing, Cameron!* 👍👍
*My first reaction was that the R5C's footage felt more documentary-like, rather than cinematic.* Footage felt too sharp to me +motion cadence felt a bit off...
This isn't under "specs" section. It's in the gray area of what a camera makes you feel, so it's hard to talk about it. I felt the footage from a C100 /C300 felt more cinematic than the R5C, so I always wonder in what way the Super35 sensors by Canon- are different than the full frame Canon sensors? Why do the Super35 feel more cinematic........?
This is true even with C70. Without proper lighting setups, they feel video look.
On the R5 did you set the iso for vid at 400 to get the best tonality. The R5c should be set to 800iso
I for sure agree that regular viewers don't see rolling shutter, though if you deal with subject matter with iconic form, clients might be less forgiving 😅
Are you really going to sell the Komodo:) Great video. Would you suggest the R5C over the FX3 just for the video?
Hey Cam, huge fan and always keeping up with the vids, but tbh, if anything this video made me dream even more about owning a Komodo one day such a BEAST of a camera..
Yeah it’s honestly like the best camera in its price point. Anyone who doubts it is a noob haha
@@cammackey would love to see you take an FX3 out on a shoot for a video and hear your take on the FX3 vs Komodo 👀
@@DavidMota eh. Not interested in the Sony hype. They’re all great cameras honestly. But I don’t care for Sony glass. And my canon glass and stills are perfection for the look I go for. Also it bugs me that the fx3 doesn’t even have shutter angle lol. Other than that, slog is great abs their cameras are clutch.
@@cammackey loool I’m like considering your R5C points then read this comment and I’m like yep …. Still feel like I want the Komoder…. You end up selling it??
Great video, man. Do you still have your C70? If you do, would it be worth doing a C70 vs R5C comparison? Thanks!
nope ii only owned that for like a month
Hey man!! Love your stuff!! How’s the R5c battery life?? A lot of people say it sucks compared to r5 is that true in your experience
I am a professional photographer. I also occasionally use my camera to make short films. I know the R5c does good video but is it on par for professional photography?
Cam. Is there a C70 vs komodo comparison? thoughts?
This is the content we need!
Nice one Cam. I'm just after picking up an R5C, I already have the R5 and it's great. I agree with you on the 'convenience' side of things. I shot on Blackmagic cams for years in RAW and working with these new smaller compact cameras like the R5c is great to have. I also shoot images so it's dead handy too.
make sure you have the computer also to process the canon files. Only M1 Pro CPUs (with media engine) have real-time hardware-level encoding/decoding capabilities. RTX3090 doesn't have it and playing back 4k60fps(hevc) all-i for example on it yields around 2-5fps playback performance which is horrible. I've already tried it since I also have a high-end PC build. If I'd be you I'd also buy a Mac Studio with the M1 Ultra that comes with twice the media engine power of the M1 Max. It can play back up to 18 streams of 8K ProRes 422 video, double the capabilities of the M1 Max.
@@costinvaly1 rtx 3090 doesn’t do anything to decode h265 422. In windows pc what decoding very smoothly h265 422 from r5 is intel 12gen. I have i9 12900k and everything from R5 is butter smooth.
@@Angelo_Paduraru did they add a “media engine” equivalent when it comes to hardware level decoding?
i love all your videos so much. such a vibe, beautiful colorgrade and straight to the information
I would LOVE to see a video like this with the GFX 100 ii
“Fucking Cheetahs”
Pissed myself laughing 🤣🤣🤣🤣🤣
Lol people are so dramatic
@@cammackey 🤣🤣
Spot on my friend! 😆
Have you looked into the Sony cameras? They have locking autofocus so if something is unable to be tracked on the Sony it remembers its last point of accurate focus and locks it in. So for the hand that was moving fast side to side if it was the Sony and accidentally loses focus it would have stayed at that distance where the hand is instead of shooting to the background. I thought that feature was really cool to have for a Sony but hopefully Canon and have something similar.
Yes canon does have something similar, but I havent messed with it myself. I know its for face detection tho. And I dont care for sony glass or their color science for photography. Their video cameras are great tho
Hey brotha what Arri lit did you use for the Komodo in this test
The dog photo bombed you guys😂
Hey Cam, any chance you're going to have Canon LUTs for sale anytime soon? The Fuji ones you posted a while back looked great, I'd love some for Clog 3 especially.
Thumbs up another great video. Do you have a trick for the R5c batteries? That's my big concern.
Rigging. And lots of batteries haha. Just like every other cinema camera sadly.
Solid comparison.. recently got the Sony a74 and still couldn't get used to shooting in S-log 3 over the RAW that i've been shooting with my black magic 6k pro and Komodo... Even though it had amazing auto focus and lens selection....I returned it. Maybe the R5C could be the best inbetween ?
Yeah might be the perfect middle ground for you!
Hey just a comment , just sold my Komodo and was close to picking up A7iv (had previously rented A7s iii) but last minute opted for R5C. Loving the image coming out it even just downsampled 4K is fantastic and i slightly still prefer the Canon colours. Hope this is useful
Bro, you are a solid presenter. Love your transparency and your realism. Reason I subbed. So we both win 😎👍🏼
Awesome video! I heard that you’re not supposed to decode the R5 and R5c raw footage to clog2, because it falls apart, the sensor is not designed for that much shadow pull. Does it work fine in your opinion? Maybe it looks better if you decode it to clog 3 and then just lift the shadows. What’s your experience?
Well you tell me, the raw shots in this video were all set to clog 2.. The thing with Clog 2 is it opens up the noise floor and gives you more dynamic range on this sensor. With that required noise reduction. A lot of people are scared of noise reduction, but it’s a basic step for every pro colorist.
5:33 LMAO!! You’re hilarious! And spot on!! Shooting Cheetas! 🤣🤣🤣🤣
good video. I bought and sold the R5c. Its all about convenience and ease of use. I'm going to wait until they fix some of the issues with the r5c or come up with another camera. I hate the bulk of the fan, battery life plus i dont want to rig out any camera.
Yeah I bet theres gonna come out with something similar for the R3 but in a square body
4:49 = highlights in Komodo are clipped so shadows are cleaner. It was 100% same exposure level on all cameras? Or daytime has changed?
Yes same exposure on each camera. BUT if I was to under expose the komodo but just 1/3 of a step more, those highlights would of been there AND I still would be able to pull more info from the shadows just because of the nature of RED raw.
Welcome back!!
Hey Cam, always good to see you with the comprehensive feedback on awesome gear - thanks for it anyway! I'm wondering, what do you think of the cost of data-handling with the R5C? The Cfast cards do cost a lot I heard and then there is also a big amount of Data to the Canon Raw in comparison to the RED Komodo, right? Again more Data to handle afterwards with HD's and so on... ?
So red raw is pretty space hungry. The 8K raw on the canon is as well.. the S35 raw on it isn't as bad tho. And the XF_AVS isn't bad either
You can now get a 512gb cf express card from Angelbird for $180 which works great with the 5C.
Nce nice nice review! great job man, thanks! Is that a flat battery under the camera??? looks smart!
Yup yup its the Anton Bauer Titon
@@cammackey thanks a lot 🤗🙏
Hey man curious to see Christians video on the AF face tracking instead of eye, where is it?
Im still tied to my Bmpcc6k rig because of all the proprietary tilta stuff. Id love to sell for thr R5c.
Saying it like it is. Clients don't see rolling shutter or dynamic range numbers. The camera is just a tool that needs to get the job done.
The cosmic justice of it all, is they finally made fantastic cameras with picture quality you’ll never even come close to appreciating, because we all watch everything on a tiny screen that makes iPhone 4 footage look spectacular. 👁👁
Exactly this. I've been taking the BMPCC6K and Sony A7S3 to gigs, and for what the clients want in the end, I might as well have just bought the latest iphone instead.
@@mattboggs6304 yeah, crazy 🤓
AWESOME! thanks for the vid. Did you happen to see whether the R5C allows to use the full hight of the sensor? for anamorphic. Or it still does video with just a 16x9 cop on the sensor? (by crop i mean full width but not height)
I don’t recall it cropping in vertically at all. Tho I mostly used it in S35 mode so it’s all cropped haha. I don’t have any full frame anamorphic lenses
@@cammackey thanks! No worries. I only ask because I got the new Sirui full frame 75mm 1.6x anamorphic in today
Ordered an R5C the other day because I basically came to the same conclusion. Gonna be a long haul wait I think. I spoke to someone at B&H and they said if you order today it's 3-4 months out.
Love your content! Btw how did you record sound for this vid? Sounds amazing 😻
Great video! Just got my Canon R5 C with a Smallrig Black Magic cage and assesories. I'm very excited.
bro I’m still looking for the next level of colors in the Red because from my 5k both cameras look the same I’m actually thinking of ditching my red for the R5c lol
Interesting findings. I was under the impression the r5 and r5c had the same sensor. Wonder if its the processing thats making such a drastic difference in raw.
Yes same sensor. Seems like the R5C taps into it more and takes it up a notch
Deep down inside, this is the cowboy outdoorsy videographer we all aspire to be.
😂😂😂🙏🏽🙏🏽🙏🏽
There is definitely a major difference in image quality. That red color science is just hard to match up to.
what's your experience with the battery life of the r5c?
I only used it either external power, used the Anton Titon. Gives you like 6+ hours
interesting points, the photo capabilities makes it the best option for anyone with both Video and Photo work
exactly.
@@cammackey You forgot to give '' Lego's '' a shoutout lol
Exactly what I needed to hear.
Finally a good video comparing the dynamic range of the R5 and R5C, with the Komodo used as a further example.
The rolling shutter on the R5C though... kidding - who tf cares, it's looks fine.
Nice video Cam!
Hey Cam! Love the video! So glad you got your hands on an R5C! I saw that Gerald undone found the R5C to have significantly better dynamic range over the R5 as well. Can you do a test that compares the regular R5 in Raw with Clog 3 mode turned on in-camera while shooting raw, to the raw on the R5C? CVP made a great video where they discovered that, even though it shouldn't be this way, the R5 has a better dynamic range when shooting raw with Clog 3 turned on. Canon is evidently doing something at a sensor level that is advantageous for shooting raw with the Clog 3 turned on. I have actually noticed it being significantly better when I do this on my shoots! To reiterate, that's shooting with Clog 3 turned on in camera and still interpreting into clog 2 in post. That being said, the R5C is certainly a better camera for what you do as long as the 16-second wait time between photo and video modes isn't a deal-breaker for you! Would love to see you compare that since no one else online has seemed to pick up on that advantage except for CVP!
Brill stuff as always!
Where's the link to Christian's video?
Waiting on him to get it done haha!!
Thank you for your content! Really inspiring to look at your work. Have you tried the "Colorist Factory - FilmForever Power Grades" for Davinci Resolve? I think some of those nodes would fit your style of vintage film look perfectly :)
I have not! I use my own power grades currently!
I'm in the same boat, I absolutly love my komodo, and got it to do larger commercial stuff but more of my work lately hasnt called for it. I shoot sony for photo, but really tempted by the r5c! its all too difficult! ha ha
Oh man if you got Sony I would just get the FX3 or FX6
Great video, I'm rocking the ZCAM E2-S6. Love real cinema cameras.
I owned the S6 for a little bit. After putting it against the C70 I reapplied the Cam wasnt that great, specially the image quality cause it was clipping 2-3 stops of details in the shadows. I think the Sonys A7S3 prbly getting better image quality than the S6 now. But the square form factor for a camera def makes it easier to rig
@@cammackey Yea most of our work allows us to control everything. Flexible rigging wins, on set work it's golden for sure. I know the Komodo can one up it but not at the S6 price.
@@darrenorange2982 oh yeah under controlled lighting it’s mint. We’re so spoiled with all these modern cameras now haha
Man I just watched a video on the gh6 about horizontal streaking in higher contrast scenes. He compares it to the Vraptor which doesn’t have any streaking and I was curious if my Komodo would. Well you showed in your window tests at 3:54 that it doesn’t appear to, but the canon definitely seems to suffer from it. I guess it’s a common issue tho and even my S1H has it.
Yeah I was sure what that horizontal streaking was actually. I thought maybe my lenses were just dirty tho cause I havent seen that before
@@cammackey this dude does a good job of explaining it. The Gh6 has his horribly bad, but good to see the Komodo doesn't have it. th-cam.com/video/nyFLRSMR3M8/w-d-xo.html
Also, nice Martin!
Loving my R5c … but I can’t ditch the Komodo … they need each other haha 😂 okay maybe not…. I guess I want to need them both hahaha
Hahah yeah I was a little apprehensive about selling my Komodo. But hey if I end up missing it, I’ll just buy it again!
@@cammackey true.
Here we go again
Found you cause of the FB Komodo group 👍🏻
nahh shooting cheetahs is crazy lmaooo
Lolol
I like your reviews and photography. You remind me of Johnny Depp.
👌🏻 @10:00
fuck ey...love your colours
Im making movies u mind yours 🤣🤣
Sup Cam?!! One day left.
one day left for what?
@@cammackey Till the lens arrives, which it did, this morning.
HAHAH we're not making moves evough though you think you are, you're not hahahah
Aww thanks ❤️
Costa Rica !
Fucking Cheetahs 😂
My c5r is arriving on moday. YES. say hi to the dog from me.
Dope
I use canon r6 for my TH-cam videos. It is fantastic camera. I love it))))
😂 shooting cheetahs lol
👍🏾🙏🏾
Fuji Canon Red ZCam
BUY ARRI and Game Over :P
Arri would be a horrible camera for me... Need a team to run that
No need for a cinema camera if you’re not shooting cinema.
I mean depends how you define cinema camera and cinema haha
LOL, and C70 is still better :)
For you, maybe so :)
bro! no ones cares about the trees! saddle up on the damn footloose bike! that thing F%@!s lol