Hey there! I’m Carlos, and welcome to my channel, where we cut through the noise and get straight to the facts about cameras, gear, and filmmaking tech. Whether you’re here to level up or want to join the conversation, you’re in the right place.
The A7s video looks awful, but I've seen absolutely great looking stuff from the camera... so what happened? A better co parrison would be the same scene with both cameras. Why use different situations for each camera?
Hello, I am also using Red Komodo and RF 35mm lens. I'm asking because I don't know how to tracking autofocus. Which part of the menu can I control? thank you😊
Hi Carlos, great video. So if I use a set up like yours and I want to edit the video in FCP, can I seperate the audiotracks in FCP? Because now I film with an iPhone using only one Rode wireless go receiver with two transmitters and I only get a mono audio file in FCP which I cannot split.
I have my R5 mark 2 and there is no shutter angle in video mode that I have seen in the menus :( Other than that the canon R5 Mark 2 is a good upgrade from the R5
Excellent points on the positive and the negatives on the camera Carlos I appreciate your honest, insight, as opposed to the “they flew me out and paid my hotel. I’m gonna be honest with you I promise“ initial reviews. I got back into photography about a year and a half ago after a 20 year break. I had always used the Canon ecosystem and still had a few EF lenses so I jumped back in on the canon side with an R6MII (on sale) with the intention of upgrading to the R5MII when it came out. I am almost exclusively a still photographer, 75% Landscape, 25% wildlife and some Astro-landscape although I have played with more video lately. Being new to the digital world, but an experience photographer I agree 100% with your “give us a tool for the appropriate workflow” thought process. I considered the Sony A7V and have mentally went back-and-forth, questioning my decision over the last year but after reviewing the true Spec information at launch, I think I will be quite happy with the R5MII, especially on the wildlife side. That said, if I had jumped in initially with an R5, I don’t think I would be upgrading. Two disappointments - I was really hoping for a 60 megapixel stacked sensor, even if the speed drop down to 20 frames per second and I was also hoping for two CF slots. Keep up the great work.
At 4:35 sec was the outside area clipped? It didn't look like it. You also didn't grade that footage down to match the at 7:38 sec. Why not? Also, adjusting ISO on the Komodo moves dynamic range stops to the right or left meaning to the highlights or to the shadows. It doesn't work like other cameras. That's in the Komodo user guide. It also looks like the footage at 7:38 has a different f/Stop . The first clip looks sunny because of the window exposure and the other looks like a different day and dark. I don't think either ones is graded properly. What did the stop signs give you?
What is everybody moaning about? It's not going to cook you some dinner, is a technological marvel. Auto focus alone is massive it pretty much does everything you could ask for just look at the manual. You'll all be eating your words once you've had it in your hands for a couple of weeks. Ordered mine!
I would really like to know the answer to that questions, there was much certainty but likely 800/4000 on R5ii/clog2. I honestly think that my whole basis of buying this camera would be based on the noise, base ISO's and Dynamic range. Why can't they put a Circuit on all the ISO :). We have yet to see a proper CineD or Gerald undone sensor test, therefore I can't in good conscience pre-order this camera as it needs to be at least better then the R5C, and to that point, better then the fX3 to be considered. I honestly don't care about RAW video at this point. I just care about CLOG2. But if the c70 is any indication .....this camera should and has to be able to outdo the C70 too. Which means that this Camera could indeed get a "Stops SNR=2" score of 13.5 which would mean that its in the ARRI Alexa Mini LF territory, which means, I would need to buy it :), and on another note, Sony Made the ZV-E1 and ZV-e10ii too good and too cheap although with some serious overheating caveats. update, I just watched a RU-vid video, its definitely only 800/4000, no third base, the footage got quite noisy around 12800, and definitely not useable at 25600. Likely much less noisy in CLOG3
It's really interesting, but do you have to record on an atomos ninja to get raw, or can you get it directly from your camera without using an external recorder?
You had better get used to the computing power of cameras being used to improve images as "seen" through the lens. My question is, would distortion be visible if you used the system as designed. Canon and every other camera manufacturer is or soon will be doing the same thing. Why do you think Canon doesn't allow third parties?
If if makes you feel any better, Sony lenses are just as bad. I adapted (and tested) all of my Sony lenses on the Nikon Zf and they showed similar results. Lots of distortion and vignetting. Best to use first party lenses with any camera.
this far into my career, I hadn't experienced that because I've mainly shot on RED and Canon...but now that RED isn't updating the RED cameras to correct for the new lenses...it was kind of a wakeup call.
the oversampled 4k60p was not in r5 as well, only in r5c. so you can wait for r5cii. that would have all what you want and more features. this is an upgraded r5 only. not an upgraded r5c.
How do you know it’s not Red doing the massaging? We all know Nikon recently acquired Red. Maybe you should investigate the other hybrid, the 24-105 2.8 Z, then compare it to a non hybrid RF glass, while you’re at it, including an equivalent EF glass. You need to be very careful, Canon could potentially go after unsubstantiated claims, freedom of speech can blow up bank accounts and you know that.
I don't think canon market their EOS R lenses for non-Canon bodies. It's RED that says you can mount RF lenses. No one says you'll get corrections for your RED :/. But thanks for the video, good point.
It's a size and weight thing, in relation to cost. For instance, the main reason Leica lenses are so expensive isn't because they are optically superior to say other 50mm lenses by other manufacturers. Rather it's because they are on par or slightly better optically but are physically much smaller. It's expensive to do because for miniaturization the corrective elements need to be much more precise and with deeper parabolic grinds. It's the opposite approach than say Zeiss cine lenses (like the Arri branded ones) which are giant, so they don't have to be as aggressive with their grinds and can therefore ultimately be optically superior. Canon is trying to have their cake and eat it too. Make compact, light lenses with sub-par distortion optically (dictated by manufacturing cost), and instead leverage their developed software for a one-time cost to fix them all.
@@carlosq00 they build top notch lens to match their bodies performances i dont see anything wrong with that, if other bodies want to use canon lens then adapt to it, roll out more capable firmware update for their bodies and refine their adaptors
Great video. I noticed disparity between Canon lenses on Canon vs Red cameras and we talked about it over a year ago. Red ended up doing some compensating in a firmware update to deal with RF lenses . Canon lenses going forward will probably continue requiring some compensation by camera manufacturers (at this point only Canon and Red for RF lenses) to perform optimally.
@@carlosq00 That is the wise advice. In my case, I have done the tests, I m not mentioning the brand I will be transitioning to, since for some silly reason take it personally.
Its lens design, if a lens need to have a large aperture opening, edge sharpness, good bokeh at several distances and at larger to mid size aperture openings, no to little CA, superb AF and very good color rendition also coherent with other lenses and on top of that it needs to be small and lightweight, I think that’s impossible that’s why there are compromises in lens design. Cinema glass compromises on size and weight and no AF. These type of lenses compromise on distortion and vinjetting. There are so many different lenses to choose between, just get the ones you want. It works better to assume your power of choice instead of looking at what wrong someone else has done to you. Two different aspects of life. Which do you want to promote?
Really interesting take! Maybe there will be a firmware update in the future for the RED to accommodate the new lenses? If I remember correctly it took a while for the improved AF on KOMODO to be implemented via firmware after the release of the RF lenses. Btw what are the cabinets you have your cameras in? On the left in the back ground?
You probably didn't get to the point in the video where I simply stated that my expectation was that I would gain functionality of quality of life improvements without giving up any of what I already had in the R5C.
Canon is designing some of their current lenses in such a way that they require distortion correction either in camera or in post. I think this is most likely a cost-saving measure. The RF 14-35 f4 is a good example. You can tell this is a design decision because the lens is essentially a 12 mm lens at the wide end until you apply the distortion correction at which point it becomes 14 mm.
I think this is leading us into a closed system by the companies that are choosing this as a strategy. This also opens up the opportunity for other companies like Laowa, Nisi, and others to give us better corrected glass that works on more than one camera system.
