herein2020

I never use intra, LongGOP is only 400Mbps which is what I would use. XF-HEVC S YCC420 10bit Standard LGOP 29.97p/25.00p/24.00p/23.98p: Approx. 400 Mbps

The new raw lite options for 4K are definitely interesting, I've already seen a little bit of sample footage where it is barely distinguishable from one of the H.265 options, if I end up with this camera I will probably stick to XF-HEVC for most of my work. As far as codecs go, my favorite so far is the option to use XF-HEVC for 8K, probably not for very long before the camera overheats, but still for a few clips here and there it could be pretty useful.

For me it was always the lenses, using adapted Canon lenses kept AF from working at all with the S5. not sure if it is the same with the S1H. AF is very important to me, I literally never know what I am shooting or what situation I will be in when I get to a new type of project so I need every tool that I can get to ensure I meet the client's expectations. Canon's AF is supposed to be one of the best out there and I've still ran into situations where it struggles. I also just never felt the same shooting photography with the Panasonic. Canon has never had an equal for me when it comes to photography and I have tested Nikon, Sony, and Panasonic at the display cases in the store. For photography I actually use the full 45MP, my clients frequently need both portrait and landscape versions of images; landscape for their websites and portrait for social media, with 45MP I can losslessly crop to both resolutions while leaving headroom when filming to meet both requirements. I feel that way too, if you shoot a wide variety of paying projects especially both photography and video it is easier to understand how the very strong features for both that the R5 II and Canon ecosystem offers are very appealing. The new R series cameras literally offer something for every scenario you could possibly face in a single body. Is it the absolute best at photography....no. Is it the absolute best at video....no. But when you only want to carry one body and you need to satisfy your paying client regardless of the project it is good enough 95% of the time. The Canon ecosystem also offers a very natural progression into cinema/longform content via the C70 where you can easily match CLOG3 and now with the R5II CLOG2 between a hybrid body and the C70. Canon is definitely pricey, they are certainly not without their controversy (cripple hammer, overheating, etc.) but I do feel like overall they cater to the do it all acceptably well category better than any other vendor except maybe the Nikon Z series which I don't know much about but which look fantastic on paper.

One thing I really like about the R5 II is that they finally brought XF-HEVC and other compressed options to their 8K resolution. I never understood why RAW was the only 8K option before. If I am reading the specs properly from the list below, I think it will be able to shoot 8K 30FPS in 10bit LGOP at a bitrate of 400Mbps. I don't see any scenario where I would shoot 8K RAW except for a few seconds to test out my video editing workstation but 10bit LGOP at 400Mbps might be pretty useful for many things. One thing I also haven't seen listed is how many of the modes will let you record to both card slots due to data speeds, I'm thinking nothing above 4K60FPS can be recorded to the SD card slot. So, for many modes, you will lose dual card redundancy.....IMO that is one place where the cripple hammer is still alive and well. I actually had an issue once with my R5 where the data was not readable on the CFE card but was fine on the SD card so not a good situation IMO. I also don't understand why 4K and 8K are the only options, there is no 6K option, shouldn't that be possible with an 8K sensor? 8K RAW Standard (29.97p/25.00p/24.00p/23.98p): Approx. 2600 Mbps 8K RAW Light (59.94p/50.00p): Approx. 2600 Mbps 8K RAW Light (29.97p): Approx. 1670 Mbps 8K RAW Light (25p): Approx. 1400 Mbps 8K RAW Light (24.00p/23.98p): Approx. 1340 Mbps 4K SRAW Standard (59.94p): Approx. 1860 Mbps 4K SRAW Standard (50p): Approx. 1550 Mbps 4K SRAW Standard (29.97p): Approx. 930 Mbps 4K SRAW Standard (25.00p/24.00p/23.98p): Approx. 780 Mbps 4K SRAW Light (59.94p): Approx. 840 Mbps 4K SRAW Light (50p): Approx. 700 Mbps 4K SRAW Light (29.97p): Approx. 420 Mbps 4K SRAW Light (25.00p/24.00p/23.98p): Approx. 350 Mbps MP4 8K DCI/UHD Normal: XF-HEVC S YCC422 10bit High Quality Intra 24p / 23.98p: Approx. 1920 Mbps Standard Intra 25p: Approx. 1500 Mbps Light Intra 25p: Approx. 1000 Mbps Standard LGOP 25p: Approx. 540 Mbps XF-HEVC S YCC420 10bit Standard LGOP 29.97p/25.00p/24.00p/23.98p: Approx. 400 Mbps Unfortunately, I am all in on Canon at this point and if the R5 II....IF and that's a big IF, if it can run for 2hrs in normal ambient temps that we have where I live while shooting 4K30FPS without the cooling battery grip then I might upgrade to two of these bodies to replace my R5 and R7. I have always wanted to standardize on using a single body type for hybrid photo/videos as well as dedicated video and Canon's cripple hammer always held me back.

Without hesitation I will always agree that it is a fantastic camera, I have worked with footage shot by it and seen amazing works online where I wondered what camera they used and with a little research in the BTS it always seems to be the S1H. TBH I still wish it could have worked for my needs; it sure would have saved me a lot of money. It is just such a shame that it is a part of such a niche ecosystem. Even the R5II doesn't have some of the features that the S1H offered at launch.

I need to add that my R7 in line skipped 4k30FPS has never overheated even in warm temps while shooting 2hrs continuously. It will overheat in 4K30FPS oversampled mode. Also, Panasonic uses lower resolution 24MP sensors and even with those sensors they did a fantastic job with cooling but it is unknown if they could replicate that success with 45MP sensors.

Neither one are weather sealed, neither are hybrid cameras, and neither use a FF sensor. I do think the S1H is the best example of active cooling + weather sealing done right. But even with the S1H it can't shoot 8K and has a lower resolution sensor. Canon has already shown us the monstrosity it would create if it were to add in body active cooling which is the R5C, so for reasons unknown to us they can't seem to replicate the S1H's design or choose not to. The S1H is also mainly focused on video shooters whereas Canon is trying to do literally everything possible in a single body so they probably wanted to keep the size and cost down to appeal to stills photographers as well. Plenty of stills photographers are adamant that they do not want to pay for "video" features. I think that is the part a lot of people on this forum are missing since this is a video focused forum. If you are shooting a hybrid event you will probably need two different bodies if you go with most of the cameras that the R5 II is being compared to on this thread; you will most likely need to bring two bodies to the event, a photography body and a video body. For me I would need to bring 3 bodies (C70 for the longform portion of the main event), a photography body, and a video body. With the R5 II in the same scenario, I could shoot commercially viable video b roll before the event starts, commercially viable photos, then throw the same body on a tripod to act as a b camera for the C70, or use the same body for live event photos while the C70 is filming the longform content. Before the R5 I used to have the C200, Panasonic S5, and 5DIV for events. In my opinion, the only competitor's camera that can offer the same versatility would be the Nikon Z8. All other cameras that I am aware of are either lower resolution, video only, mostly stills focused, even more expensive than the R5 II (i.e. Sony A9), or have some other limitation. That's why to me, the overheating question is the biggest one that needs to be answered. If you need the active cooling grip just to shoot 4K30FPS for 2+ hours that's a big step backwards because the cooling grip does not have the vertical shutter button and photography controls on it. BTW the R1 feels like a big letdown, they should have just called it the R3 II, and kept people guessing for a few more years while they developed an actual flagship.

I agree, on the cameras that have a battery grip I have never taken them off, but for this scenario where I don't want a battery grip for my gimbal camera but I do want it for my photography camera and I also want both to be the same body, then the versatility is great. I think 4K60FPS is line skipped, and we still have no idea about overheating so there's that. Also, I would bet money my pet peeve is still there....the video tools like the electronic level and WFM disappear while recording...you know...when you need them the most. Actually, I think it will be pretty effective. The Cinema line all have a similar fan setup and I have never had my C70 or C200 overheat. The way it works in the R5 II is that it has passive cooling vents on the bottom with the exhaust out to the side. If you add a cooling grip it will pull air through the grip, push it through the bottom intake and vent out the side....this is how they managed to keep weather sealing for the actual body but also offer an active cooling option. For 8K it will still not be enough, but for 4K it should do the trick for most situations. The real question here is will you need it for say a 2hr interview or dance recital or live event when shooting 4K30FPS. My R7 can run unlimited in that scenario at 4K30FPS line skipped. At 4K30FPS oversampled it will overheat in about an hour.

They make a FF version...its called the C400🤣. But yes, I hope they do what they did with the C300; this time next year announce a C90 with the C400's sensor and C70's form factor and let all of the C400 buyers sit around with buyers regret. You are so right about trying to match the C70, my R7 is my C70 B cam and especially with the speedbooster on the C70 it can be challenging, plus I am trying to compare the histogram on the R7 to the WFM on the C70.....fun times.

Well yes, that is the hope...usable stops, paper specs mean nothing. With all of my Canons except the C70 I tend to overexpose a bit to the point to where it can be challenging finding a happy medium so that I can push it back down in post to get max DR with minimal noise, trusting the WFM more and having to play less exposure gymnastics would be great.

I actually thought it was going to be $600 knowing Canon. I am looking forward to the real world overheating and battery life tests for 4K30FPS and to a lesser extent 4K60FPS without the cooling grip. I mainly use 4K30FPS for longform content. Also, battery life at 4K30FPS; the R7 is great and lasts almost 1.5hrs at 4K30FPS.

I saw some samples in the CVP review, they looked pretty good to me...then again I am pretty easy to please. What I really want to see though is if it actually has even 15 stops of DR.....that to me is the biggest improvement over the R5 if so. The fact that they included CLOG2 as an option tells me DR has improved to at least 14 actual stops.

According to this chart, 4K60FPS is still line skipped. 4K SRAW Light looks pretty interesting to me, will definitely like to see how it holds up and how it compares to something like XFAVC.

I have a hard time believing 4K30 is line skipped or only 8bit, here is the BH spec sheet, admittedly it is hard to tell what's what on it but I just don't see any scenario where you only get 4K30 8bit, even the R7 is 10bit and offers non line skipped 4K30. In the spec sheet below it looks like all of the codecs are available for all of the resolutions. Do you have a link to a better spec sheet? Raw 14-Bit DCI 8K (8192 x 4320) at 23.98/24.00/25/29.97/50/59.94 fps DCI 4K (4096 x 2160) at 23.98/24.00/25/29.97/50/59.94 fps H.264/MP4/XF-AVC S/XF-HEVC S 4:2:2/4:2:0 8/10-Bit DCI 8K (8192 x 4320) at 23.98/24.00/25/29.97 fps UHD 8K (7680 x 4320) at 23.98/25/29.97 fps DCI 4K (4096 x 2160) at 23.98/24.00/25/29.97/50/59.94/100/120 fps UHD 4K (3840 x 2160) at 23.98/25/29.97/50/59.94/100/120 fps DCI 2K (2048 x 1080) at 23.98/24.00/25/29.97/50/59.94/100/120/200/240 fps 1920 x 1080 at 23.98/25/29.97/50/59.94/100/120/200/240 fps

Here is probably the best review out so far, it looks like the 4K raw option has a 760Mbs data rate. https://www.youtube.com/watch?v=79r1NwRVf7Y

It is just annoying especially for a new product launch that something that important uses the wrong terminology. I am fine with just dual native ISO, but at least use the right terminology on launch day. Admittedly, this was not on the Canon website but it looks like a copy/paste spec sheet that all of the vendors have posted.

Does anyone else understand what this means: I have read that 3x on different spec sheets but still don't understand what it means or if it means what it says then I don't believe it.....does the R5II really have a NATIVE ISO range from 100-51200? I have heard of dual native ISO and now triple native ISO for the C400, there is no way the R5II has hundreds of native ISOs. I think they mean standard ISO and extended ISO.

Why do you dislike battery grips? I like the versatility, my video camera never has one since it needs to be on a gimbal sometimes and my photography camera always has one for maximum battery life. If this camera truly lives up to the hype then I will standardize on two R5 II's, one set up for photos, and one set up for hybrid photo/video shooting, standardize on the new battery, and sell my R5 and R7. With two R5 II's and the C70 I will be able to simplify my kit a little more.

We all remember the fiasco with the R5, but I have to admit the R5II sounds pretty amazing, I may replace my R7 with it but need to proceed with extreme caution to ensure all of the specs on the spec sheet are true. Below are the features that really stand out for me: No Line Skipping - From the documentation I have viewed so far, it looks like all modes are full sensor read out including 4K60FPS No Record Limit - FINALLY, for only $4299 you can remove the record limit from the R5 CLOG3 and CLOG2 - I find CLOG3 adequate for most of my needs, but it will be nice to be able to pair the R5 with the C70 and have them both shoot in CLOG2 XFAVC - This is a really nice codec addition to the R5, much easier to edit than your typical H.265 Full size HDMI Port - Even I have to ask....where is the cripple hammer? It has to be hiding somewhere in these details. WFM, False Color, Zebras - Canon may finally be taking some cues from Panasonic and is throwing in everything but the kitchen sink for once. New 4K60 RAW - Will be interested to hear more about what the data rate and specs are for this new raw format, I wish they had just used Cinema Raw LT like what I have in the C70 ANOTHER new battery? Keeping up with these batteries is almost as expensive as the camera itself, battery life in some of these modes is definitely a big question mark for me.

I was marginally interested in this camera as a possible replacement for my C70 A cam and R7 B cam setup, thinking maybe I could use just the C400 for both the wide and close shots when delivering in 4K, or even start using this as my A cam and the C70 as my B cam for long form content but a few things buried in the specs make it a hard no for me: No XFAVC 6K - 6K raw is massive file sizes and overkill for me, if I were to use this as my sole cam for longform shoots I would need a 6K XFAVC option. I am almost certain they will eventually add it via a FW update, but come on, it should be there on day 1. No 6K redundancy - Similar to problem 1, 6K is only raw which means it can only be written to CFE for which there is only a single slot. As anyone who knows me knows, dual slot recording is very important to me and if I am shooting in 6K it means I need all 6K, not a lower res 4K copy sitting on the SD card. No VF - I know it's a cinema camera not an ENG camera but still, that's one thing I am lacking with the C70 is a EVF. With the C70 multiple times I have wanted to use a shoulder rig so that I can film short walk and talk scenes but it is impossible to see the screen when it is on your shoulder so I have had to use the R7. An ENG style EVF would have made this camera a bit more interesting to me. Yes I know there are ways to rig one up, but as a OMB I avoid frankenrigs at all cost No integrated screen - One thing I like about the C70 is you literally just flip out the screen and go, having to set up the handle and connect the screen is a step back to the C200 days. I know this isn't really targeted towards shooters like me, but having an integrated screen is great for faster setup. I do think the triple native ISO will be super useful, especially ISO3200 for CLOG3, with the C70 I try very hard not to go above its native ISO. Also, is it just me or does it feel like the camera sensor in this camera is just a warmed over R3 sensor? I think a 6K DGO sensor with dual native ISOs at ISO800 and ISO3200 (if such a thing is possible with a DGO sensor) would have been better than a triple native ISO non DGO sensor. If this sensor shows up in a C90 next year with an integrated screen, 6K XFAVC codecs, 4K Raw LT, dual SD cards, no 6K raw, and triple native ISO, at a $6K price point I might be interested. While I am dreaming, it would also be the same size and form factor as the C70 (but better build quality) so that all existing peripherals fit as well.

2024 is upon us and I have decided to look back before looking forward. How did everyone else's year turn out? Work 2023 has been the busiest year I have ever had, I have shot an even wider variety of events than before as well as small projects such as photoshoots, social media content for clients, etc. This year even logging into this site was a luxury I rarely had. Next year looks like it will be the same as I continue to build a repeat client base across a wider spectrum of project types. Gear Each year my goal is to buy nothing and of course it did not work out that way for me. My biggest purchase this year was to build a new editing workstation. I was having real problems editing the H.265 10bit 422 footage that the R7 and R5 produce and time is money as they say; with so many jobs my workstation became the limiting factor. I ended up building a custom workstation with a Core i9 CPU, 24 cores, 128GB of memory, NVME drives, and RTX 4080 GPU. Most importantly I made sure that the CPU I selected supported QuickSync which can hardware accelerate H.265 10bit 422 footage. This setup with Davinci Resolve finally fixed my Fusion and footage lags once and for all. I also now have access to AV1 with the new CPU which produces almost lossless footage quality. I thought it was going to be a great new codec to use; until I found out Vimeo does not support it even though they say they do (my first AV1 upload to Vimeo stuttered horribly and was unwatchable), and on YouTube the user has to specifically enable it in their profile to enable AV1 playback. I will still probably always upload to my personal YT channel using AV1 but for clients I will need to stick with H.265 or H.264. As many of you already know, my setup is now 100% Canon; R7 (Photo/Video), R5 (Photos), C70(Video) and I use them in that order from a frequency standpoint. The R7 has exceeded my expectations in every way (battery life, Image Quality, reliability, photos, video, rigging options). The R5 is a bit of a disappointment, 95% photos, sometimes a B cam for the R7, or a C cam for the R7 and C70. I probably would be better off with two R7's and the C70 but it is too late now. C70 The C70 is great when locked down on a tripod and especially for long form with XLR audio as an A cam. I am far from a pixel peeper, but for me when looking at the footage after a shoot, its always a bit of a disappointment. I can't quite put my finger on it, but it always seems flatter and duller than the R7 or R5 even though they are all set to CLOG3. I personally think it is a combination of the Canon speedbooster and the Canon EF 24-105 F4 lens that lives on it as well as the fact that I have little or no control over the lighting for most of the events that I shoot. The 24-105mm is underwhelming in all areas, but I just can't seem to find a better lens for the C70; something like the Tamron 35-150mm F2-2.8 I think would be a better lens for the C70 but that's not an option in EF mount. I think the 24-105mm combined with the speedbooster does something to the contrast and saturation that is hard to recover in post. Also, the slightest bit of direct light and the image washes out very quickly due to the speedbooster; and when I say direct light I don't mean direct sunlight, I'm talking even shooting concerts and music videos the image washes out terribly from DJ or music video lights. Needless to say, my setup is not doing the C70 any favors, but as a OMB my setup times are already long as it is. I am thinking about switching to a native RF lens for the C70 but that would be an expensive endeavor. The Canon RF 24-105mm F2.8 is $3K....insanity, it would probably greatly improve the C70's IQ but do nothing for its reach. R5 The 30min recording limit pretty much kills it for anything long form which eliminates it as ever being an A cam even if overheating weren't a concern (which it still is to me). I do shoot b roll clips in a pinch with it or go with the C70 and R7 locked down and shoot the R5 handheld but its rare that I need all 3. The EVF has so much latency that I still miss my 5D4 for photography action shots. Other than the EVF lag, it is great for photography. R7 I've said enough praises about it, but I do find myself thinking a lot about FF equivalency these days when picking up the R7 (more on that in a moment). To my eyes; the IQ out of the R7 and R5 are identical until the R5's second native ISO kicks in, but if the ISO needs to be that high I am in trouble anyway. These days I use an F7 panel light and pretty much never have to go above ISO800 with the R7 combined with the Sigma 18-35 F1.8 EF-S lens. Stability I shoot almost exclusively handheld now. Many projects I don't even bring the gimbal and the few times that I do, I hate everything about it and either don't use it or only use it for one or two shots (long form speedramps mostly). The R7's IS is great, and I no longer try to emulate fancy YT camera movements, I let the action do the moving and just slightly follow it with the camera work. For very short walks (backwards or forwards) I am stable enough combined with IS and sometimes DR warp stabilization that I can pull it off, but needing to walk really isn't as common as you would think for the projects that I shoot. vND Meike Adapter My favorite accessory of all time for the R7 and pretty much any camera I have ever owned has become the vND Meike adapter. No more fiddling with lens ND filters, it is nothing short of amazing. It does add a slight green cast to the footage but it is an even cast, no dreaded X pattern or variable cast. In post I just add 20 to the magenta slider in Davinci Resolve and its fixed. Sometimes the green is complimentary, and IMO gives it a higher end look so depending on the situation I will leave it. My only complaint with the filter is it does not go to zero stops of ND so if you are running back and forth from inside to outside for an event you have to accommodate the 2 stops when you are indoors by raising the ISO. It is also very easy to bump the little wheel and there are no numbers or steps on it to set it precisely to where it was before. FF Equivalency Over the course of this past year I have spent more time than I would like thinking about FF equivalency but not in the way most people do. I personally think the FF "look" is a myth, I have no clue when looking at a shot if it was a FF sensor or not. When I personally think about FF equivalency it is from a lighting perspective. Before arriving at a new venue for a project I always worry that there won't be enough light available and all of my F2.8 FF lenses are no longer F2.8 on the R7 and the Sigma 18-35 F1.8 usually isn't long enough for back of the room type of long form content (dance recitals, corporate events, holiday shows, etc.) so I usually use the RF 70-200mm F2.8 on the R7 for B cam work. The R7 also does not have a second native ISO so it gets noisy pretty quickly after 1600ISO. Those situations and the fact that 60FPS is line skipped (in both the R7 and the R5) sometimes makes me wonder if the R6 II would be as good of a fit for me as the R7. So far the R7 has delivered on every project and my concerns about lighting were overblown, but I feel like its the one thing that adds stress to my day when arriving at a new venue for a new project where I have no control over the lighting. 2024 Demo Reel I also created a new Demo Reel for 2024. This was shot across many years, projects, and camera eco systems. No matter how busy you are, you still need to keep those new customers coming in so I decided to start off the year with a demo reel. Below are all of the cameras that I think I used for the footage in this video. I also uploaded this video using AV1 to YT. Cameras - Canon R7, R5, C70, S5, GH5, C200, R6, GoPro 8 Drones: DJI P4, Mavic Pro, Autel EVO II

With long form content they kind of expect it, I also added Tentacle Sync to my multi-cam workflow because Davinci Resolve isn't very good at aligning tracks based on audio waveform. In this regards I feel like Premier did a better job. TC is awesome though, one click and perfect alignment across dozens of clips instantly. It makes multi-cam so easy that I have been thinking about picking up another R7 for a locked down mid shot but then I would have to rig it, more batteries, another tripod, etc.....not worth it. That's the exact reason why I feel comfortable pairing it with the C70, no overheating concerns. I also use that same Sigma 18-35 1.8 religiously. Before the R7 came along I literally forgot I owned it and discovered that I already had it when I was re-arranging my camera gear. Now it lives on my R7 for any lowlight hybrid event work. For daylight hybrid work I typically use the Canon EF 24-105mm and the Meike vND RF adapter. That combination is perfect for daylight hybrid work. I have also changed my workflow so that my images are all shot at ISO800 even in the daylight when shooting hybrid. It was just too much hassle to fiddle with the ND filter and ISO for fast events since ISO800 is native for CLOG3. The R7's images are clean at ISO800 day or night so it lives at that ISO. Also the Meike vND does not have numbered markings so you have to watch the histogram each time to properly expose....way too much fiddling in the middle of an event. I've had to run the R7 for 3hrs straight with one 30s battery change and it had no problems. I will caveat that with the fact that it will start to overheat after about an hour in 4k Fine (7K oversampled) mode, so it needs to be line skipped but my clients can't tell the difference.

Yes, I typically have the C70 as my A camera locked down with XLR input from the mixer and the Canon EF 24-105mm on it with a speed booster and the R7 is my B camera with the RF 70-200mm F2.8 on it. I track the peak action with the R7 and discovered none of my current tripod heads are smooth enough when punched in at 300mm+ to smoothly track moving objects so I had to get a better fluid head. The Sachtler Ace XL Fluid Head did the trick after buying and sending back two other brands. I have shot everything from opera performances to music videos to dance recitals this year with that setup.

I really have no plans for 2024, this year has been a steady stream of a wide variety of jobs, possibly one of my busiest yet as repeat customers keep repeating and new customers keep showing up. As far as gear goes, I never thought I would like a crop sensor so much but every camera that I own other than the R7 is gathering dust right now. I would say 80% of the jobs this year were hybrid photo video jobs and nothing in my kit is better at that than the R7. Social media is really prioritizing video these days and my setup is perfect for social media content as well as editorial and some light commercial work. I still love the C70 but its useless for hybrid jobs and so is the R5. I did pick up two Tascam DR-10L Pros for 32 bit float audio recording and a new tripod with a Sachtler head because I shot a lot of dual camera projects and needed a better video head for tracking the talent but that's it. So for next year I plan on no new kit whatsoever and really just keep focusing on keeping my current customers happy while occasionally taking on new work where it makes sense.

Even the R3 is micro HDMI, hard to believe but its true.