5k€ here in Germany.
But its missing the great IBIS :'(?!
It has only electronic 5-axes IBIS...
Ro be fair, ibis isn’t always kind to video footage… but more importantly at least with stabilized lenses, is the actual amount of stabilization will likely be quite close cause it can still use the electronic to improve the lens stabilization a bit. Plus 8k is just begging to be cropped anyway lol.
As far as I can think of, the only “Cinema” camera with ibis would be the C70. Are there ANY others?
I’ve never felt like it was an issue with my Komodo, and I’m sure it will be able to use the lens stabilization better than that at least.
Tho it is a bummer for photos, that said, the drop from 14bit to 10bit raw for images seems like a bigger photography issue than the ibis at R5 resolution no?
To me it certainly seems to be video focused, and just able to take pretty decent photos too. But it is NOT meant to be a primary “pro” photo camera.
At some point people need to accept that there likely will never be a camera that is fully featured as a still camera and a video camera. It just doesn’t make sense. People just forget in the early days of the 5Ds, people FELT like they were getting a fully featured “cinema” camera because there simply was nothing affordable or small that did video with interchangeable lenses. The only ”comparable” camera would have been the XL2, but it cost more, recorded to DV tape, and used a 720x536 3ccd sensor.
But it’s all rose colored glasses, in the same way some older people fondly recall using super8/super16 cameras. But it’s not like they were magically arriflex or panavision cameras. They might have basically caught up with the last few cameras, but let’s not forget, that at least in the SLR age, most canon cameras had 1-2 stops less dnr in photo mode, which means video was sure to be even worse.
To me the R5 and R5c seem like a pretty good balance. Neither is ever gonna be an A-Cam for a real professional in its role, to me it seems like the R5 is a good still camera and a decent video camera. The R5c is a good video camera and a decent still camera. Neither is a standout in its primary class so of course they are both only average at their alternate function, but either one of them would curb stomp like any digital video camera if you go back like maybe 10 years?
C70 is slightly better at video and thus slightly worse at photos, but given all their prices, they all seem just about right to me.
I for one would love to see canon try and make a box camera like Z-cam or my Komodo, and just leave out stills altogether, make something that is meant to be a real cinema level b-cam/crash cam, but canon doesn’t honestly seem super interested in really competing at cinema. The 8k think could always prove otherwise. But it seems like they are happy with their cameras being the documentary cams of choice and are happy to leave the pure cine focused stuff to Arri/Sony/Red (and maybe Black Magic? I know the little 6k pro is popular as a bcam, but I’ve never looked to see how much real content is being shot with them, but I like em just the same. I have no idea how well that 12k sensor works, but I really like that they tried something quite different. If you think about it, it makes sense too, once you scale past what displays support, you can start trying to capture light more like an eye. We pick up different color using different size rods and cones after all, and different colors have different volumes of their receptors (R to G to B is not 1:1:1 at ALL). At like 12k or 16k or 20k or whatever crazy extremes they take it to, they could start to scale the sizes and adjust the ratios of the pixels and then at the end scale it all down to 8k/6k/4k to get a sharp clean image. You could even add pixels that are straight luminance/white sensors and even some degree of pixels at the edge of visible going into IR and UV pixels. Yeah, a human eye can’t understand that data, and without processing you couldn’t display it, but if that crazy shrimp can see with what 7 different types of receptors? I’m sure a computer could use the data to RENDER something extremely clean and accurate.
There is also the potential in curved sensors so the light out of the lens doesn’t need any extra correction. And, you could probably do some interesting stuff kinda like how light field sensors work using 3 dimensional sensors. It’s not like the offset needs to be huge, but I‘d wager a computer could do some really cool stuff if there were like sets of slightly taller and sets of slightly shorter pixels and it knew the arrangement. With current tech, I feel like most cameras are already pushing a lot of the limits of what MOST people would notice. Will the R5c match an Alexa? Of course not, but both would work just fine to shoot your wedding (unless you are actually a picky cinematographed) and I‘d wager someone who knew what they were doing and spent the time to properly grade the footage with an R5c could actually produce a better result than an amateur wedding photographer could using an Alexa Mini LF.
If you make enough effort, You can totally shoot a photo on an iPhone and push it to the point where you could convince people it was shot on a hassleblad.
We ALL (me included) end up fixating on hard specs too much at one point or another. But ultimately, it’s what you do with em. If you can’t get the look you want… change the lighting, change the lens, add or remove filters, change angles.
The great thing is, there are great photo and video creation devices all around us all the time. And everyone has more access than in the past. I for one would much rather wonder “what can I do with this?” than “I can’t possibly use this trash without IBIS”. People shot photos and movies for a very long time before stabilization was even a concept in their heads. They did what humans are best at… they adapted, and thats how we ended up with all our different stabilizing tools like dollys and cranes and steadicam and tripods. It’s why they stated putting more effort into lighting and actually trying to match the colors. Let’s be real, we all got it easy, even the worst cameras we work with today are more advanced than the friggen moon lander. It’s far more important to just pick one and create. If you choose wrong, sell it or save more and choose again. Or, try and find a way to use it to take advantage of its flaws and produce something more unique.