Ty Harper

LP-E19 gives you two hours per battery which is the same as the battery grip option. The cost of an LP-E19 is $169US. Two LPE6NH cost $150US. Sure you need to buy the grip but once you do, I don't know that there's really that much of a difference tbh. But hey maybe I'm missing something?

@Django consider buying the grip (which also gives you better overall cam balance imo) and make sure you have 6-8 LPE6NH batteries, a dual LPE6NH portable charger with USB chargeability + some kind of powerbank that will allow you to charge batteries in the field. The grip gives you 2 hours and with all the aforementioned stuff you should be good for a 6-8 hour shoot - particularly one with no access to a power outlet.

As someone that is about 6 months into owning an R5C, my only regret is not buying an R5 first. Only bcuz I'm doing alot of run n gun and handheld b-roll stuff and would've preferred the longer battery life and IBIS right now - although I plan on getting an R5 later this year. But my advice would be to wait if you can because the price of the R5C and R5 will probably drop even lower once the R5 II is released and who knows, maybe that's the cam for you (maybe even me). Do remember though that if you go with the R5C there's a whole other bag of $$ you're gna need to spend on powering options. Personally I've settled on the grip (there's a cheaper third party option available now but comes with some cons I think) + FxLion Nano for proper shoots and an Anker Powerbank as a backup power source.

Currently have a 1DC + extras up for sale if you're ever in the Toronto area, lol!

This one still holds up too 😂 And off topic but his latest poke at Canon and the other cam companies is prob the best one he's done yet, lol...

It's been said many times over the years on this forum that we are spoilt for camera options, but I feel like Apple's M1 line (particularly the Mac Mini) have opened up access to 4K and some RAW workflows that make alot of OG cams (like the 5D MKIII w/ ML) even more enticing if not necessarily practical. Anyways, just curious what cams people are eyeing but haven't squeezed the trigger on for whatever reason. These are mine so far... (i) The Fujifilm XT3/4 - so small yet so powerful! - last seen for about $800USD. (ii) The Canon C300 MKII w/ the Atomos Shogun Inferno - also too big for my tastes at this point but always liked the image altho at $3500K w/o the external recorder this puppy is still holding it's value pretty well (iii) The OG Canon C500 w/ the Odyssey 7Q+ recorder - it's a f*ckin monstrosity with no DPAF but still love the RAW image! - last seen for about $1200USD (not including the Odyssey 7Q+).(iii) (iv) The OG Canon R5 - yes too soon to be considered old but with the MKII on the way and prices starting to tumble below $3200K it is on my list of used cams to keep an eye on in 2023!

Totally agree. As a hobbyist I have considered having two backups offsite at family members' places but haven't gone through with it. Seems like some combo of NAS and at least two offsite backups in different locations is way more practical and cost effective than the cloud options. It just requires consistent due diligence on our part. Even if you forgot to update your offsite backups for say a year and something happened to one of them or your main storage - you're guaranteed to never take the kind of hit you would if you lost it all. Another practical offsite option might be a safety deposit box although I'm not sure how much those cost. But when's the last time you heard about a bank being flooded or burning down to the ground?

I've had great success circumventing the risks and B.S. of some sites by ensuring I do Facetime with the buyer/seller. For example I bought my R5C used and online from a seller I had to trust would ship it to me. So we Facetime'd so he could show me that he actually had the item (he also tested it out in front of the cam). Then we Facetme'd as he was boxing it outside of the UPS outlet to send it to me. So I was able to watch him put it in the box, walk into UPS and pass it off to the clerk. Once the invoice and tracking info had been generated, he showed it to me (might've even sent it via email) and then I sent him the $$ via Paypal (which offers another layer of protection) and I am now a happy R5C owner. I was also looking into escrow services and frankly their fees weren't that bad imo. Anyways, hope this helps and good luck with your sale!

I'm in the same boat when it comes to Fuji otherwise I would've already bought an XT3/4/5. That said the used prices of an XT3/4 are getting to the level of cheap where I might eventually give it a try bcuz I really love the size and OG look of those cams...

For me I'm looking at any deals on 512GB SD or CFexpress Type B cards... those things are way too expensive at regular price, imo - and too important to buy second hand.

Not even with these firmware updates? Seems like Canon is getting there slowly but surely... and I sincerely hope they spread some of that FW update love to the R5C (all I need is an option to make it more power efficient - even if it means sacrificing a feature or two) and the R6.

Of course $$ plays into this and yes you can rig up any cam - but no amount of $$ saved or spent on a C100 or similar sized cam will allow it to be stripped down to the size of an R5. Point just being that there is something to be said about starting small vs starting mid - but at the end of the day it boils down to what works for the shooter. Personally I can't go back to that form factor - and this is coming from someone who until summer was set on getting a C300 MKII and calling it a day.

I mean the R5C is a cinema camera and has all those things if you include the ND adapter and Tascam shoe mount. But I agree, 'small' is subjective. Personally I appreciate the R5C for giving you the option to build it up to about the size/weight of a 1DX line cam or strip it down to essentially an R5.

Agree, it would be interesting to see although I've looked at the OG C300 (which was the camera I cut my teeth on), the C100 MKII, and C300 MKII and I can't see myself ever going back to that form factor, but also, I'm mostly a hobbyist now, lol!

I'll add that anecdotally, I have seen more used R5s going up for sale this past weekend in my neck of the woods, than I have ever recalled seeing before.

If what @herein2020 is saying about bigger/longer telephoto EF lenses is true - it would be the first legit reason I'd consider switching to RF lenses (at least when it comes to the 70-200mm) altho that would be way down the road bcuz I simply do not have that kind of coin to spend, lol!

Oh wow, actually have not used my 70-200mm on the R5C yet - but now I am pretty concerned. So just to clarify, are you experiencing those issues even when using the tripod collar?

Agreed. Been eyeing some MKIIIs myself but just can't see myself going back to a 1DX body (still have a 1DC mind you) after buying an R5C: which gives you the option of building it up to 1DX size or down to a smaller R5 form factor.

With the price of a used R5 dropping below the $3K US mark lately (in Canada that is) and its overheating issues being addressed - I'm curious what would make the R6 II a better B-CAM option for people with C70s or R5Cs? Aside from having no 30 minute time limit of course.

Been waiting patiently for this one. I've always loved the form factor and specs of the XT3 and XT4. For me it's the perfect stealth camera for b-roll in the field. Particularly in places and countries where larger DSLRs make you an easy target for thieves. All that said, the poor AF in video mode has always been a deal breaker for me - so hoping they've finally stepped it up with the XT5. Otherwise for me it's a toss up between an R6 MKII or a used R5. Either way we are truly spoilt for solid options going into 2023!

Not an audio expert by any stretch but it does feel like there are so many really great but also really affordable options out there. I still use a Zoom F4 and an older Marantz PMD661, but aside from keeping my eyes out for a great price on a used Mixpre-6 II - I think I'm good with what I have until one or all of them break. So @IronFilm I do wonder what that means for the audio recorder market - bcuz it does feel like it might've hit a brick wall?

Anyone using the R5C with a gimbal? Would love to know what other owners are using and what the experience has been like. Currently looking at either the RS2 or RS3 but I'm coming from the Glidecam era so gimbals are new to me. I'll also be looking to use mine with the battery grip and compatible Smallrig cage which I have no interest in dismantling - so curious how that might limit or complicate things for me.

Thanks for this! And yeah that's essentially what I'm getting at, and while my current workflow works fine for my hobbyist needs, I was just curious how others might approach my scenario - and to your point - whether there might be more color discreprency across cameras using the custom WB method vs dialing in the exact same color temp for each cam. Thinking about it now, my instincts are leaning to dialing in the same color temp across cams as the approach that probably gets your cams closest in color temp.

@tupp thanks for the perspective. I've been in talking head interview scenarios where the lighting is a mix of LEDs and natural light in a space with big windows south and east facing. And so I've been setting up lights and cameras first, and then been using the Sekonic C-800 to: (i) get an initial read of the color temp of the natural light hitting the grey card and color checker located in the central area that the talent will be sitting (it's a lot of natural light so not at all too low) and using that as my base color temp reading. (ii) get my bicolor Litepanel Astras as close to that natural light base reading as possible using the C-800's multi-light color match function and manually tweaking each LED. (iii) I then get the overall LED lighting levels roughly set with respect to recommended IRE levels for each cam via my monitor. (iv) calibrate WB of each camera individually Now here's my question. At this point should I calibrate each camera using their individual custom WB functions or by inputting the initial base temp I got via the Sekonic C-800? I ask because I've gone the route of calibrating WB using each cameras custom WB and noticed that in the case of the R5C (which actually displays the color temp reading) that the color temp reading is way off from the Sekonic C-800 base reading. And while I know the WB calibrations from each camera will be off from each other to some degree - I wonder whether using the base color temp of the C-800 will result in the cams being off by the least degrees. Hope this makes sense. At the end of the day it's not like I've had to struggle much to match colors for my needs - but it would be good to know which approaches might give the best results.

Hey all, Based on your individual experiences, how would you get accurate WB/Color Match across cameras if you had an R5C shooting in Clog 3 (which has the same quick custom WB button as the C300s etc), a 1DC shooting in original CLog, a 5D MK III using Magic Lantern, a Sekonic C-800 color meter (which I got for really cheap at an auction a while back), an X-rite color checker and a grey card? To be clear, I know how to WB with all these tools and color matching has been totally fine using Resolve - just curious how others might approach it with the aforementioned tools? Thanks in advance!