Canon EOS R5 C Lab Check – Rolling Shutter, Dynamic Vary and Latitude


After lab testing the Canon R5 with inside Canon RAW right here and exterior ProRes RAW right here, we are actually working the brand new Canon EOS R5 C by means of our lab check procedures. the way it fares compared? Then learn on …

The Canon R5 confirmed a little bit of a combined bag when working it by means of our lab, because it confirmed fairly promising leads to Canon RAW, nonetheless with a really noisy picture.

But it surely fell brief 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 digital camera was minimize off with no additional stops accessible.

The Canon EOS R5 C in our CineD lab. Picture credit score: CineD

Now we have been fairly curious to see if that habits could be totally different with the Canon EOS R5 C – “C” for the cinema model? Spoiler alert: sure and no.

Rolling Shutter

The rolling shutter is strictly the identical as for the R5 – we measure 15.5ms for 8K DCI full body mode (much less is best):

EOS R5 C
Rolling shutter of the Canon R5 C. Picture credit score: CineD

This can be a relatively good consequence, similar to the Sony A1 for instance (lab check right here). Nevertheless, the Sony a7S III for instance reveals solely 8.7ms compared (lab check right here). In APS-C 5.9K CRAW mode, the Canon R5 C reveals 11.5ms rolling shutter.

Dynamic Vary

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 Gentle LT 8K ISO800 – I developed the CRAW in DaVinci Resolve to CLog2 as this could give the perfect dynamic vary (the “Shade Increase 20” setting was used for the latitude check additional down, for dynamic vary “Shade Increase” was at 0):

DaVinci Resolve Canon RAW improvement settings. Picture credit score: CineD

Once more, CRAW may be very, very noisy, as might be seen from the waveform under:

EOS R5 C
Xyla 21 Waveform plot of the Canon R5 C in Canon RAW ISO800 8K. Picture credit score: CineD

I’m not even positive if I ought to depend the twelfth cease to be trustworthy. There may be an extra thirteenth cease seen within the noise ground, and a really faint 14th. This appears very very similar to the externally recorded ProRes RAW of the Canon R5 – the interior Canon RAW of the R5 at ISO400 was a lot much less noisy. IMATEST confirms this:

EOS R5 C
IMATEST DR consequence for the R5 C. Picture credit score: CineD

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 greater (see the bottom graph above on the left aspect – virtually 3% are reached compared to round 1.5% noise for the R5). As might be seen within the center graph above the blue 11.5 line, there are about 3 if not 4 further stops buried within the noise ground.

In concept, these might 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 might be anticipated when doing so.

See under within the part “Latitude” how these decrease stops seem like when buried out. Spoiler: not good.

Canon 12 Bit Cinema RAW Gentle LT 8K at ISO3200 – take a look on the waveform and IMATEST consequence under, on the greater native ISO setting about 0.6 stops are misplaced vs. ISO800:

EOS R5 C
Xyla 21 Waveform plot of the Canon R5 C in Canon RAW ISO3200 8K. Picture credit score: CineD
EOS R5 C
IMATEST DR consequence for the R5 C at ISO3200. Picture credit score: CineD

IMATEST calculates 9.6 stops for SNR = 2, and 11.1 stops at SNR = 1.

Thus far so good – in abstract, in the event you plan on utilizing Canon RAW you also needs to plan to make use of heavy noise discount in publish. Which might 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 roughly minimize 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? Fortuitously, sure, it does. The behaviour exhibited under might be as a consequence of large inside noise discount, however in flip you get dynamic vary outcomes that are catching up with the competitors. Thus far nonetheless, solely CLog3, no CLog2 gamma curve is offered on the R5 C. Take a look on the waveform plot under:

Xyla 21 Waveform plot of the R5 C in 8K H265 CLog3 at ISO800. Picture Credit score: CineD
IMATEST DR consequence for the R5 C 8K H265 CLog3 at ISO800. Picture credit score: CineD

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 latest 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

Latitude is the potential of a digital camera to retain particulars and colours when over- or underexposed and pushed again to base publicity. A while in the past, now we have 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 Gentle LT 8K at ISO800 with the event settings in DaVinci Resolve confirmed earlier above.

CineD studio scene base publicity. Picture credit score: CineD

From right here, we open up the iris of our lens to T1.5, giving us 4 stops overexposure above our base publicity scene:

4 stops over, pushed again. Picture credit score: CineD

The pink channel on Johnnie’s brow is near clipping, however all is ok. From right here, we successively underexpose by closing the iris and reducing the shutter angle in 1 cease increments till we attain 3 stops of underexposure:

3 stops underneath, pushed again. Picture credit score: CineD

Heavy noise is elevating its ugly head, additionally, bigger patches of pink and inexperienced chroma noise are displaying up. See the realm to the fitting of the white sheet of paper, for instance.

Utilizing noise discount in Resolve, we get a usable picture:

EOS R5 C
3 stops underneath, pushed again utilizing noise discount. Picture credit score: CineD
DaVinci Resolve Noise discount settings for CRAW 3 stops underneath, pushed again. Picture credit score: CineD

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:

EOS R5 C
4 stops underneath, pushed again. Picture credit score: CineD

Sadly, colours fade to inexperienced and heavy horizontal and vertical strains do seem. Let’s use noise discount:

EOS R5 C
4 stops underneath, pushed again utilizing noise discount. Picture credit score: CineD
DaVinci Resolve Noise discount settings for CRAW 4 stops underneath, pushed again. Picture credit score: CineD

Noise discount helps a bit, however can not put it aside. Therefore, recreation over! In Canon Cinema RAW Gentle 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 interior 8K H265 CLog3 recording to see if we are able to attain additional into the shadows with the interior noise discount of the Canon R5 C:

EOS R5 C
3 stops underneath, pushed again. Picture credit score: CineD

That appears fairly OK nonetheless. At 4 stops underexposure, sadly the identical image as above:

EOS R5 C
4 stops underneath, pushed again. Picture credit score: CineD

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:

EOS R5 C
4 stops underneath, pushed again utilizing noise discount. Picture credit score: CineD
DaVinci Resolve Noise discount settings for H265 CLog3 4 stops underneath, pushed again. Picture credit score: CineD

At 4 stops underneath for 8K H265 CLog3 (10bit), utilizing noise discount colours faint and change into greenish (take a look on the darkish aspect of Johnnie’s face). Additionally, the static pictures proven right here don’t reveal what might 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 consequence as for Canon RAW: 7 stops of publicity latitude. I’ve to say, nonetheless, that the Canon RAW recordsdata look higher – correctly for a 12bit vs 10bit codec.

Abstract

The Canon EOS R5 C reveals a combined bag in our lab check. Rolling shutter values are fairly good (however not distinctive), the internally recorded Canon 12 bit Cinema RAW Gentle LT is tremendous noisy – so it’s important to plan making use of noise discount in publish.

The internally recorded 10bit 8K H265 CLog3 (no CLog 2 accessible but) reveals an actual enchancment over the Canon EOS R5, however dynamic vary continues to be fairly common wanting on the competitors from Panasonic and Sony in that worth bracket.

Latitude outcomes present 7 stops, confirming the typical dynamic vary outcomes. For a client full body digital camera, 8 stops is the benchmark for now.

Hyperlink: Canon

Have you ever used the Canon EOS R5 C already? What are your experiences up to now? Please inform us within the feedback under…



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