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    The Canon EOS R5 C is now Netflix approved after latest firmware update

    By Updated:65 Comments1 Min Read Cinema EOS News

    This past week, Canon released new firmware for the Canon EOS R5 C that improved image quality in C-log 3 when shooting AVC or MP4.

    It turns out this update has allowed the Canon EOS R5 C to be approved for Netflix productions when shooting in XF-AVC (4K).

    Why Netflix has an approved camera list

    To help creatives produce their best work and create compelling visual experiences for our audience, Netflix requires 90% of a program’s final total runtime to be captured on approved cameras using the following  capture requirements. For nonfiction content, this threshold may be more flexible.

    We collaborate extensively with the creative community, camera manufacturers, and globally recognized experts to approve cameras that support reliable and flexible production workflows. Approved cameras have been evaluated by Netflix technologists to ensure they meet image capture benchmarks for dynamic range, color accuracy, detail rendition, signal to noise ratio, resolution, and key workflow requirements. These evaluations help our partners know they’re using the best and most appropriate capture technology when telling their stories.

    https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-Image-Capture-Requirements-and-Best-Practices

    Camera Production Guide | Canon EOS R5 C

    Camera-Production-Guide-EOS-R5-CDownload
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    65 comments

    4. So funny that CR reported Canon has given up on Netflix approval on this camera and has decided not to do anything about it.
      I have doubts whether the firmware upgrade has anything to do with Netflix approval. Netflix test procedures take time and the new firmware is not even 48 hours old!
      But whatever it is, that R5 C is now Netflix approved makes me happy.
    6. I thought the AF was bad on t

      I thought the AF was bad on this?
      Autofocus is rarely used on features. The R5c autofocus is great compared to the majority of cinema cameras.
    7. So funny that CR reported Canon has given up on Netflix approval on this camera and has decided not to do anything about it.
      I have doubts whether the firmware upgrade has anything to do with Netflix approval. Netflix test procedures take time and the new firmware is not even 48 hours old!
      But whatever it is, that R5 C is now Netflix approved makes me happy.
      Absolutely. It's a good chance that Netflix folks had the updated firmware long before it was released to the public.
    8. I thought the AF was bad on this?
      it's not on the same level as Sony or Canon's usual AF but it's dependable enough

      Regardless cinema cameras usually don't have AF, likely not a criteria for Netflix
    9. I thought the AF was bad on this?
      As 2cents said AF is rarely if ever used in such situations and most things for netflix I doubt it ever is used as it'd cause havok because that is all determined in advance when blocking. Letting subjects wander around off their marks would not only break the story telling side and lead to disjointed visuals but would cause technical havok for set, lighting and sound too. Generally all the focus is exclusively done by the 1AC (or 2AC sometimes) and distances pre measured and marked on the follow focus rig corresponding to the actors marks on the floor so AF isn't needed anyway. Besides, it's rare they will even be using AF capable lenses, and when they are the cameras are usually still on a rig with follow focus gears for several reasons and lens in manual. It needs to be manual not just for accuracy considerations but the speed of the pulls matters, as well as sometimes you don't want the thing AF would be grabbing to be what you are tracking and so on often.
    10. Good news!
      Oh wait, where are those who \"It doesn\'t shoot in Clog2, it\'s a trash camera\"?
      It would be a very nice addition if they were to add Clog2. Seeing as how the competition offers better dynamic range in their log curves......
      Even though the sensor cannot fully utilize the full log2 curve, it would still offer something better than log3. No reason why the user cannot decide for themselves if they want to use Log2 or Log3.

      I really, really dislike that I have to use Clog3 on my R5 and it comes out in H265 when I can grab my Sony and record Slog3 in H264...
    11. It would be a very nice addition if they were to add Clog2. Seeing as how the competition offers better dynamic range in their log curves......
      Even though the sensor cannot fully utilize the full log2 curve, it would still offer something better than log3
      No, it would not.
      You can verify yourself using RAW and switching between CLOG2 and CLOG3.
    12. It would be a very nice addition if they were to add Clog2. Seeing as how the competition offers better dynamic range in their log curves......
      Even though the sensor cannot fully utilize the full log2 curve, it would still offer something better than log3. No reason why the user cannot decide for themselves if they want to use Log2 or Log3.

      I really, really dislike that I have to use Clog3 on my R5 and it comes out in H265 when I can grab my Sony and record Slog3 in H264...
      There are Cameras Approved for Netlfix that have less DR and no RAW.
    13. I thought the AF was bad on this?
      It’s not bad. It preforms a different purpose to R5 AF. It has face and eye detection which works well when subject is moderately close and sufficiently illuminated. It has reliable area AF that organically racks focus and doesn’t snap. Face only is great too and only engages AF when a persons face is detected. Great from vlogging to interviews and documentary work. Not great for wildlife or fast snappy stuff.
    14. So funny that CR reported Canon has given up on Netflix approval on this camera and has decided not to do anything about it.
      I have doubts whether the firmware upgrade has anything to do with Netflix approval. Netflix test procedures take time and the new firmware is not even 48 hours old!
      But whatever it is, that R5 C is now Netflix approved makes me happy.
      Originally, we've wondered if the issue was the noise floor in 8K, which was too high to be accepted. This was never an issue in 4K XF-AVC, which means that the camera could potentially be used in this format... If they've solved the banding light issue that could happen in overexposed highlights due to the codec (a minor issue, I think the majority of users never have experienced it or never cared at all). This firmware seems to have fixed it, making the camera viable for usage in Netflix Originals IF - and only IF - you shoot in 4K XF-AVC. No Cinema RAW Light.

      This seems, to me, that it is a workaround with the issue that Canon worked together with Netflix to achieve. Something that meant they didn't need to build a new camera from the ground, neither Netflix needed to keep rejecting an existing camera for use. It's sort of a win-win situation for them. And I do think that Netflix and Canon have been working on this together in the same manner that Netflix worked with Sony for the certification of the FX3 - something that took around 6 to 7 months.
    15. It seems that another firmware update will be coming in June, with additional features. This seems to confirm what I\'ve said: they\'ve been working with Netflix to fix the certification issue, and now will be adding more features to the camera.

      Biggest thing looks like a faster turnaround time between stills and video mode and a energy saving feature.
    18. It would be a very nice addition if they were to add Clog2. Seeing as how the competition offers better dynamic range in their log curves......
      Even though the sensor cannot fully utilize the full log2 curve, it would still offer something better than log3. No reason why the user cannot decide for themselves if they want to use Log2 or Log3.

      I really, really dislike that I have to use Clog3 on my R5 and it comes out in H265 when I can grab my Sony and record Slog3 in H264...

      Because Canon does not want users to shoot bad footage with the Canon cameras. Simple as that. Sony having SLOG3 in all cameras is a marketing gimmick. It's not a technically desirable feature.

      CLOG2 requires the sensor to be capable of 15 stops of dynamic range. 16+ for extended CLOG2 on the DGO sensors.

      The R5 only has 13 stops of dynamic range. Canon squeezed another stop of dynamic range out of that sensor with CineOS in the R5 C. And that is why it only get CLOG3 and never will get CLOG2.

      If you were to record with CLOG2 on the R5 C, all you'll get is more noise in the shadows. Nothing more. Tests using RAW footage interpreted as CLOG2 have exactly shown that. You just add garbage, if the sensor can't handle it.

      /M
    19. Because Canon does not want users to shoot bad footage with the Canon cameras. Simple as that. Sony having SLOG3 in all cameras is a marketing gimmick. It's not a technically desirable feature.

      CLOG2 requires the sensor to be capable of 15 stops of dynamic range. 16+ for extended CLOG2 on the DGO sensors.

      The R5 only has 13 stops of dynamic range. Canon squeezed another stop of dynamic range out of that sensor with CineOS in the R5 C. And that is why it only get CLOG3 and never will get CLOG2.

      If you were to record with CLOG2 on the R5 C, all you'll get is more noise in the shadows. Nothing more. Tests using RAW footage interpreted as CLOG2 have exactly shown that. You just add garbage, if the sensor can't handle it.

      /M
      I have a Sony A1 and A7iv and a Canon R5. The best I can shoot in the R5 is Clog3. If I shoot slog2, I get similar dynamic range to the R5’s footage, if I shoot slog3 (the clog2 equivalent and designed for sensors with 15+ stops) I get a better dynamic range on my cheap a7iv. Some gimmick…

      Both the a7iv and R5 measured a similar 14.7/14.6 EV sensor.
      According to cined, the R5 with clog3 shows 10 stops, the a7iv and a1 with slog2 are at 13.
      Now maybe it’s not the log curve, or maybe it’s because canon forces us to record in h265 and information is lost in the high compression, but all I am saying is, Sony gave me an option to use a log curve developed for high grade sensors, and it made “some” difference.
      Even if clog2 cannot be fully utilized, maybe we can get 1 more stop if dynamic range? Maybe for pro’s it will make streamlining footage from a cinema camera and the R5/R5c a little easier since they’re shot in the same log?
      My point is, why not give us the options to use what we want to use. I would love h264 compression so I can actually edit the footage and not have to convert it in post.
      Maybe the option of 4k120 ipb, etc

      To quote a great legend:
      I don’t want to know what it’s designed to do, I want to know what it can do.

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