Ron Wilk

My R5c arrived a short while ago, and I am currently charging the solitary battery. My first impression is that it is incredibly light in hand, and almost feels as if the body is constructed of some sort of composite material which, of course, it may not be. Lots of buttons, but it feels just right in hand, has a good grip and my fingers fall right onto the buttons that will be most used. I had been concerned that the battery grip might be required due to the body's diminutive size and, while I do have one, it doesn't feel as if it needs it, other than for the extra shooting time 2 batteries should provide. There had been some concerns about the rear protrusion causing added bulk, but once in hand it is hardly noticeable to me, but for those accustomed to the R5 it could be an issue. I will write more once I've had the opportunity to actually use it. P.S. I wish Canon would begin shipping the OEM batteries ... one battery isn't gonna cut it.

I had previously written that the problem regarding the EVF-V70 and the "sharpness setting" had been resolved with a camera reset. But I have just realized that the real issue was the PEAKING TO VIDEO TERMINAL 'ON'. That is the incompatibility. With the peaking to video terminal OFF the sharpness setting on the V70 works, turn it on and it grays out. The reason that the camera reset appeared to have resolved the issue is because Peaking to Video Terminal is turned off by default, and the EVF-V70 connects to the video terminal. I'm not sure I understand why you can't have peaking and sharpness at the same time, but that appears to be the incompatible setting.

The Advanced Users Video Manual for the R5c is available on some websites, here is a link to same: https://gdlp01.c-wss.com/gds/5/0300043545/01/eosr5c-aug-video-en.pdf

Hi Ian, I thought that you might appreciate the Ken Rockwell review of the Zoom H6, here is the link: https://kenrockwell.com/audio/zoom/h6.htm Regards, Ron

Hi Ian, I am not familiar with those 2 Zoom recorders, but they do look interesting. I have a Roland R-88 that is not the most portable recorder/mixer, but it has the quietest preamps of all my recorders, and that includes the overly expensive Sound Devices offerings. The nice thing about the Zoom H6 is that it can be camera mounted and tethered to the camera via line input. The other units might tend to be somewhat cumbersome and is the reason that the other units, the R-88 included, sit on a shelf in a closet.

Hi Ian, The F8Npro looks very nice, but it does not appear to be as portable as the H6n. I have several Sound Devices preamps that I have not used in years because of size and weight issues, as well as various other recorders from Roland, Tascam and so on—I could open my own used equipment store. By F3 or F6 are you referring to the Sony video cams?

Hi Ian, In re external recorders, you might take a look at the Zoom recorders. I have an H6n that to my ears is quiet. It offers fantom power, XLR inputs and audio filters. It is not very large and is not awfully heavy either. A carry case is available that can be belt mounted, or with an inexpensive cold shoe to 1/4 " adapter it can be mounted to the cold shoe mount on the C300's handle. I have yet to use it with the C300, but I have used it with my Panasonic S1h and it worked very well. Regards, Ron

Hi Ian, I had actually done that before replying to your initial posts and had found no noise/hiss. I agree, it does sound like noisy preamp/s, but I don't see how Canon can consider that normal. Now, it is possible that I am experiencing some degree of high frequency hearing loss, but when I look at the audio waveform in Resolve Studio it's a flatline, so its not my hearing. I only use one mic, and its connected to the #1 XLR connector with the gain set at "5". Do you hear the hiss if you set the audio input to the camera's internal microphone? I guess that it is possible that Canon's QC is not up to snuff, and that some units are released with less than perfect preamps. If they cannot offer a fix I suppose that you are left with 3 options: 1: buy a small external preamp and turn the camera's setting down to where it is quiet. 2: EQ out the hiss in post using your editing software or something like Reaper. 3: Buy a more sensitive microphone that offers a higher internal gain output, thereby allowing you to turn down the camera's gain. I wish that I had more to offer. Best regards, Ron

The R5c is about 4 weeks away from release, so we'll see what it really brings to the table for the videographer. I tend to eschew reviews, despite the many disclaimers about not being paid for by the manufacturer. I haven't shot film in over a decade, as it hasn't been cost-effective and it adds an additional variable—processing—to the equation. While I will admit that film provides a certain 'look' that cannot be easily assimilated by digital, the post processing of digital on a platform such as Resolve Studio, and in the past, Avid, is so much more rewarding, at least for myself.

With most cine cameras, Canon in particular, the waveform can be turned on and off with the push of a readily accessible button. As for a handled meter, I agree that they are beneficial, but they are impractical for a solo operator, and work best in a studio environment or with big productions, or when working from a tripod. But these days, when working alone, I am on a monopod and do not have a free hand for a meter. But most waveform monitors can be calibrated for one's needs, and once you are accustomed to its readout it can be as accurate as a meter and, believe me, I have a collection of light meters—more than a dozen—Gossens, Sekonics, and so on. But we each have our own style and requirements. As for modern cameras and log or RAW capture, I too agree that many exposure mishaps can be repaired in post, but I prefer to get it as close to correct in-camera as possible, and while I do shoot log, I rarely shoot RAW. While I do enjoy working in my editing suite for personal projects, commercial work that requires a timely turnaround is better suited to getting it right the first time. I'm reminded of the old carpenter's motto of measure thrice cut once.

I agree, that a fixed EVF is not ideal, but unless you are shooting in a studio or a controlled lighting environment with an external monitor, having an EVF of any type is much more useful than an LCD whose image gets washed out by bright sunlight. But with the exception of the Fuji GFX100/50—which I own and use, alongside of a GFX100s—there are very few if any non-cine cameras that offer a tilt-able and rotating EVF. I've been involved in photography for over 60 years, and video for 30 of those years, using proper cine cameras for the bulk of that time. So, I am quite familiar with Zebras—which I do use—but they do not provide the nuanced information offered by waveform or vector scopes. BTW, I took another look at the R5C online manual, and it appears that they only published the PHOTO portion, the VIDEO section will be separate, and is not yet available.

For a Canon cine videographer, the fan isn't the only potential benefit of the R5c. The video menu is basically the same as that found on the C300 Mk III, and where appropriate, with similar options. The addition of a waveform monitor and vectorscopes is also a crucial addition. Some may argue that the histogram is all that they require, but I and others would argue that the waveform monitor is much more informative and accurate. Are these minor additions? Some might say so, but I would disagree. The absence of IBIS is, however, regrettable, but I have been using optically stabilized lenses on my C300 MK III with EIS enabled, and have found the combination to be as effective as is the IBIS alone on my other cameras. As for C70 competition. I would suggest that the C70 suffers from a major design flaw—it does not have an EVF. Using an LCD in bright sunlight is an exercise in futility, and even if you manage to visualize your subject matter, good luck with critical focusing. The most egregious omission is the lack of an accessory EVF, and from the efforts that some have gone through to attach, for example, a Zacuto EVF, the end result tends to negate the value of a small video camera. The R5c addresses that oversight.

Yes, it is odd that the online manual does not make much of the video function, but I'd found it on only one site—Canon Europe—and it may not be the final product. As for the similarities and or differences between the R5 and the R5c, my understanding is that it offers more of the features that I've been accustomed to with my C300 MK III, and I don't customarily shoot 24fps. However, we each see through a different lens—no pun intended—and the R5c is, based upon its specs, clearly, a more video-centric camera than the R5.

While awaiting a response to my query I performed a camera reset, and that appears to have resolved the 'sharpness' setting issue, which is now available in both Media and Camera modes.

I've just scrolled through the entire R5c manual, and it appears to be a reprint of the R5 manual, with no reference to its video functions. Hopefully, this isn't the final manual.

The R5C's user manual is currently available for viewing on the Canon Europe site.

Hello, For those of you who have experience with the EVF-V70. I have recently installed a new EVF-V70 on my C300 Mk III, and have noticed that the "SHARPEN" option is greyed out in the camera's setting menu—in camera mode—for the EVF. If I switch to "MEDIA" mode the sharpen option becomes operable. Is this normal behavior, or is there a camera setting that is interfering with this function? Thank you in advance, Ron

Hi Ian, I would love to help you out in re the cam's serial number, but I don't feel comfortable advertising that information over the Internet, sorry. I can tell you that it had been purchased in September of 2021 from B&H, if that is of any assistance.

Hi Ian, I'd accidentally misrepresented the second microphone, it was an NT2000 studio mic, not NTG2, but the microphone that I regularly use is the NTG3 shotgun.

Good morning Ian, My MK III is running Firmware version 1.021. I find it odd that Canon claims to have found the same noise on their camera. And the fact that the Tech has claimed that "no one has complained about the noise" is equally troublesome, since if it bothers you I would assume that others would be concerned as well. I tried a different mic, a Rode NTG 2, and it was equally quiet on channel 1, however, I did not try channel 2 and I do not have an expansion unit. If you are stuck with that noise you might try EQing it out with a high-pass filter if your editing software provides for that. I use Resolve 17 Studio, whose audio module provides for EQ adjustments. Best regards, Ron

Hi Ian, I would be interested to hear about your experience with Canon service in re the preamp hiss. I just rechecked my C300 MK III with my Rode NTG-3, in a quiet room with a pair of Beyer Dynamics DT770 headphones, and realized that the low frequency hum that I had heard before was coming from a ceiling fan. With the fan turned off it is dead quiet, even if I'd increased the input gain almost all of the way. Regards, Ron

Hi Ian, It's probably not a good idea to have the camera's audio module set to mic/48v without an attached load, i.e., microphone. But if you do, the preamp/s are still engaged, and thus, hiss. That said, do you hear the hiss only over your headphones, or does it come through during playback in your editing software? If it's only with headphones, I would check the headphone impedance, since the camera's input requires 32 ohms for the listener to appreciate adequate volume. And if none of the a-foregoing applies, you might try detaching the expansion unit and see if the hiss persists through the camera's own XLR inputs. if all else fails, it might be a good idea to give Canon professional video a call and speak with a techie (1 (855) 246-3367‬) Regards, Ron

In the past, I have used preamps from Sound Devices and others, and in a studio setup they can be useful, but even the smallest preamps can be a problem for a run and gunner or a solo videographer. The preamps in the C300 MK III are fairly quiet, and with balanced microphones, properly balancing the input sensitivity with gain reduces or eliminates hiss. In my experience, even the best portable preamps will introduce noise if not properly adjusted.

Hi Ian, I have been thinking about your "hiss" issue, and wonder if you had made any adjustments in the audio menu where there is the option to alter the microphone's input sensitivity? Boosting the preamp gain could cause hiss. However, I once again connected my Rode NTG3 to the C300 Mk III with the audio input sensitivity set to default and the XLR1 gain set to '5', and all I heard in my headphones was a faint hum that I do not hear during playback. Of course, my high frequency hearing could be on the way out (LOL).