After lab testing the Canon R5 with inside Canon RAW right here and exterior ProRes RAW right here, we at the moment are working the brand new Canon EOS R5 C by way of our lab check procedures. the way it fares as compared? Then learn on …
The Canon R5 confirmed a little bit of a blended bag when working it by way of our lab, because it confirmed fairly promising ends in Canon RAW, nevertheless with a really noisy picture.
But it surely fell quick in inside 8k H.265 recording, exhibiting a relatively low dynamic vary (10.1 stops at a signal-to-noise ratio (SNR) of two with CLog 3) – primarily as a result of the noise ground of the digicam was reduce off with no additional stops obtainable.
Now we have been fairly curious to see if that conduct can be totally different with the Canon EOS R5 C – “C” for the cinema model? Spoiler alert: sure and no.
The rolling shutter is precisely the identical as for the R5 – we measure 15.5ms for 8K DCI full body mode (much less is healthier):
It is a relatively good outcome, similar to the Sony A1 for instance (lab check right here). Nevertheless, the Sony a7S III for instance exhibits solely 8.7ms as compared (lab check right here). In APS-C 5.9K CRAW mode, the Canon R5 C displays 11.5ms rolling shutter.
Earlier than we begin, the Canon EOS R5 C has a twin native ISO sensor with ISO800 and ISO3200 as the 2 base ISO’s, each for Canon RAW and CLog3. Fairly fascinating, because the Canon R5 had ISO400 as the bottom ISO for Canon RAW. Should you haven’t learn it but, see how we check dynamic vary right here.
Canon 12 Bit Cinema RAW Mild LT 8K ISO800 – I developed the CRAW in DaVinci Resolve to CLog2 as this could give one of the best dynamic vary (the “Colour Increase 20” setting was used for the latitude check additional down, for dynamic vary “Colour Increase” was at 0):
Once more, CRAW may be very, very noisy, as may be seen from the waveform beneath:
I’m not even certain if I ought to rely the twelfth cease to be sincere. There’s a further thirteenth cease seen within the noise ground, and a really faint 14th. This appears to be like very very similar to the externally recorded ProRes RAW of the Canon R5 – the inner Canon RAW of the R5 at ISO400 was a lot much less noisy. IMATEST confirms this:
10.2 stops at SNR = 2 and 11.5 stops at SNR = 1 are measured. Even a bit lower than the R5 in RAW, because the noise ranges are even larger (see the bottom graph above on the left facet – virtually 3% are reached compared to round 1.5% noise for the R5). As may be seen within the center graph above the blue 11.5 line, there are about 3 if not 4 extra stops buried within the noise ground.
In concept, these may be “excavated” by noise discount in post-processing. Nevertheless, in actuality there’s virtually no code worth distinction between these stops within the noise ground, so a variety of shade banding and different nasty artifacts may be anticipated when doing so.
See beneath within the part “Latitude” how these decrease stops appear like when buried out. Spoiler: not good.
Canon 12 Bit Cinema RAW Mild LT 8K at ISO3200 – take a look on the waveform and IMATEST outcome beneath, on the larger native ISO setting about 0.6 stops are misplaced vs. ISO800:
IMATEST calculates 9.6 stops for SNR = 2, and 11.1 stops at SNR = 1.
Up to now so good – in abstract, if you happen to plan on utilizing Canon RAW you must also plan to make use of heavy noise discount in put up. Which may be fairly taxing in your system.
8K H265 CLog3 – now it will get fascinating. As talked about earlier, the Canon R5 in CLog3 mode inside 8K H265 recording kind of reduce off the noise ground, leading to 10 stops at SNR = 2 and 10.8 stops at SNR = 1 – relatively mediocre outcomes.
Will the R5 C behave totally different? Luckily, sure, it does. The behaviour exhibited beneath might be on account of large inside noise discount, however in flip you get dynamic vary outcomes that are catching up with the competitors. Up to now nevertheless, solely CLog3, no CLog2 gamma curve is on the market on the R5 C. Take a look on the waveform plot beneath:
With these values (11.7 stops at SNR = 2 and 12.7 stops at SNR = 1) the R5 C manages to virtually meet up with current client full body cameras just like the Panasonic S1H, S1 or S5 or the Sony A1 however stays on the decrease finish. And, you get about 2 usable stops greater than with the Canon R5 in inside 8K H265 CLog3 recording.
At ISO3200 in 8K H265 CLog3 recording, 11.3 stops at SNR = 2 and 12.4 stops at SNR = 1 are obtained.
Simply to provide the present benchmark for full body cameras, the ARRI ALEXA Mini LF scored 13.5 stops at SNR = 2 and 14.7 stops at SNR = 1.
Latitude is the potential of a digicam to retain particulars and colours when over- or underexposed and pushed again to base publicity. A while in the past, we’ve chosen an arbitrary worth of round 60% luma worth (within the waveform) for our topics’ brow in our commonplace studio scene. This CineD base publicity ought to assist our readers to get a reference level for all of the cameras examined, no matter how they distribute the code values and which LOG mode is used.
Once more, we examined the EOS R5 C in Canon 12 Bit Cinema RAW Mild LT 8K at ISO800 with the event settings in DaVinci Resolve confirmed earlier above.
From right here, we open up the iris of our lens to T1.5, giving us 4 stops overexposure above our base publicity scene:
The crimson channel on Johnnie’s brow is near clipping, however all is ok. From right here, we successively underexpose by closing the iris and decreasing the shutter angle in 1 cease increments till we attain 3 stops of underexposure:
Heavy noise is elevating its ugly head, additionally, bigger patches of pink and inexperienced chroma noise are displaying up. See the realm to the correct of the white sheet of paper, for instance.
Utilizing noise discount in Resolve, we get a usable picture:
With the Canon R5, the restrict was reached already at 3 stops underneath. So, let’s take a look if we are able to push the R5 C additional to 4 stops underneath:
Sadly, colours fade to inexperienced and heavy horizontal and vertical strains do seem. Let’s use noise discount:
Noise discount helps a bit, however can not reserve it. Therefore, sport over! In Canon Cinema RAW Mild LT, we get 7 stops of publicity latitude. Which is about 1 cease lower than the Panasonic S1H, S1 and S5 in addition to the Sony A1 for instance.
Our present benchmark within the lab is the ARRI ALEXA Mini LF with 10 stops latitude (5 over, 5 underneath).
I additionally had a have a look at the inner 8K H265 CLog3 recording to see if we are able to attain additional into the shadows with the inner noise discount of the Canon R5 C:
That appears fairly OK nonetheless. At 4 stops underexposure, sadly the identical image as above:
Once more, at 4 stops of underexposure, pushed again we get nasty horizontal and vertical stripes in addition to bigger blotches of inexperienced and pink chroma noise. Noise discount helps solely partially:
At 4 stops underneath for 8K H265 CLog3 (10bit), utilizing noise discount colours faint and develop into greenish (take a look on the darkish facet of Johnnie’s face). Additionally, the static photos proven right here don’t reveal what may be seen within the transferring picture: noise is atrocious, and noise discount solely helps to a sure extent earlier than rendering the picture right into a ineffective, plasticy mess if overused.
Therefore, we get the identical outcome as for Canon RAW: 7 stops of publicity latitude. I’ve to say, nevertheless, that the Canon RAW information look higher – appropriately for a 12bit vs 10bit codec.
The Canon EOS R5 C exhibits a blended bag in our lab check. Rolling shutter values are fairly good (however not distinctive), the internally recorded Canon 12 bit Cinema RAW Mild LT is tremendous noisy – so you must plan making use of noise discount in put up.
The internally recorded 10bit 8K H265 CLog3 (no CLog 2 obtainable but) exhibits an actual enchancment over the Canon EOS R5, however dynamic vary remains to be fairly common wanting on the competitors from Panasonic and Sony in that worth bracket.
Latitude outcomes present 7 stops, confirming the common dynamic vary outcomes. For a client full body digicam, 8 stops is the benchmark for now.
Have you ever used the Canon EOS R5 C already? What are your experiences to this point? Please inform us within the feedback beneath…