I’m not sure what to use for this camera. Just got it and played around with different conversions. The conversion to 709 had INSANE reds and purples. BT2020 seemed to look better. Any recommendations?

Hi Canon R5 users! I've been playing with my R5C trying to get a decent-looking video. For some reason, no matter what I do the video looks washed out. I've tried hundreds of LUTs and watched countless YouTube videos. They all just seem to select a LUT in Premier Pro or Divinci Resolve, and their footage magically looks fantastic. I'm doing the exact same thing but it looks terrible and no amount of LUT applying or post-processing seems capable of saving it.

Is it possible that I'm overexposing the footage? I've been using false color to try to get proper exposure, but maybe this acts differently with C-Log3? Does anyone have any tips or advice?

Here's a screen grab, with a LUT applied that at least makes it looks slightly cinematic instead of purely terrible, though it's still pretty terrible! Probably near 100% at 8k: https://i.imgur.com/C2BU4eC.jpg

Any advice would be greatly appreciated!

Can anyone point me in the direction of a nice Lut for my r5 shooting cLog3.

Or suggestions for color correction tutorials.

Thanks!

I've been learning about ETTR, expose to the right 1, 2, or even 3 stops as a way to avoid noise and clean up your footage, but then the image is super bright and washed out in camera and I won't see what it actually looks like until I bring it into DaVinci resolve to color it. Is there a way to make a custom lut and import it into these cameras so I can ETTR but see more of a finished Cinematic image rather than a super bright midtone heavy log image that is uninspiring. View Assist doesn't help much. I wish you could edit view assist...

I found a ZIP file with Canon's LUTs on their Japanese site, but while it includes cinema clog 2 and 3, it doesn't seem to have 3D LUTs for cinema clog (1). Any idea if they offer these? That's the standard clog mode on the R5 and it seems crazy that they wouldn't provide a LUT for it. I don't want to pay for LUTs if there's a Canon official LUT available. Thanks.

Edit: I found a LUT file from 2017 that has the cinema clog (1) LUTs.

can anyone guide me for Canon R5C exposing Clog3 i am super new to videography and recently shifted from 5Diii to R5C. Also i am a beginner at video editing wanted to know the colour grading process for Clog3. Do i have to get colour checker for properly exposing skin properly the accurate colour

I'm struggling to find a LUT package for my R5. Does anyone have one they can link me? Slightly regretting not buying a Sony A7S right now!

I'm looking to upgrading my camera soon, and with all of the new additions to the Canon family I'm having a hard time deciding. For context; I am a film major and intend on doing video work for as long as possible, but I also do photography on the side. I would like to stick with Canon if I can because I absolutely LOVE their interface and color profile.

I'm stuck between the C70 and the R5C. Although in all the reviews I've seen of the R5C, they all say the battery life isn't great, and that's a huge deal for me. I've heard the R5 is better, but overheats on long video shoots. The C70 is a video only camera, so I would be sacrificing the ability to shoot photos at will, but it's extremely reliable and has one of my all-time favorite sensors.

I'm upgrading from the SL2/200D, so any camera is going to be an upgrade of some kind lol. Opinions would be appreciated! :)

This a very long post and there is a lot of detail. For reference, I would say I am novice at color grading, but understand a lot of color science and camera hardware that I am working to apply to this. I am not intending to bash any company here and I am not trying to make this gear talk or brand loyalty. But there is no way for one to solve this unless they understand the full gamut of the issue.

I ran into an issue trying to match the colors between a Canon R5C and a Canon R5 with an Atomos Ninja V. For all intents and purposes, please assume that for any test or example that all variables in terms of lenses, camera settings, lighting, etc have been accounted for and solved for, including variations copy to copy with a lens as these tests were done with the same identical lens.

In conducting the initial test, I realized the problem was deeper than I thought and I had to change my approach. My testing was simple. Use an X-Rite ColorChecker Passport Video as a reference and film it with the same camera settings on the R5 internally, R5C internally, R5 with Atomos Ninja V in H.265, ProRes 422 LT, ProRes 422, and ProRes 422 HQ.

Internal Recording:

• Canon R5:

  • Settings: 4K 29.97FPS ALL-I H.264 filmed in Clog3 Cinema Gamut Neutral. WB 5600K, ISO 800, F/ 2.2, SS 1/30 to expose middle gray evenly between the cameras. Lighting was the same for all shots being lit by a 97 CRI light.

• Canon R5C:

  • Settings: 4k 29.97FPS ALL- XF-AVC YCC10Bit filmed in Clog3 Cinema Gamut Neutral. WB 5600K, ISO 800, F/ 2.2, SS 1/30.

https://imgur.com/Nk5dMFx

Results:

When correcting for the footage by hand using the X-Rite methodology of various power windows to set white balance and exposure values, and correcting for color shifts using the vectorscope and Hue vs Hue and Hue vs Sat, any difference between the two cameras was very small.

The R5 exhibits the slightest change in luminances in saturated colors to where they almost glow, and has a slight warmth in gray shadows. Nothing major

Note: all this editing is done in Resolve with a color managed workflow and is bypassed in cases where I am correcting by hand/LUT

RCM Settings: https://imgur.com/jsMvANS

Great! So the cameras can be made to match to where any differences are imperceptible. But what about a LUT or RCM? This is where I noticed several huge issues.

When applying Canons supplied Clog3 Cinema Gamut LUT, the correction on the R5 and R5C are vastly different. There is much more warmth in the R5 image and the color chips are way off. There is also a significant change in saturation as well. In the LOG state, while there is a slight difference in warmth between the R5 and R5C, the magnitude of the change after the LUT is applied is different. This is with RCM bypassed and the clips manually set to full range (more on this later).

https://imgur.com/FXjd0rP

Now in this article I found (link at the bottom), Rodrigo found that in Canon’s documentation of the R5 Clog 3 specs, that Canon list “ ‘Color Matrix’ is the same as “Color Space”, Is it? It also says that “Full Range” is 128 to 1016, which in fact is video/legal/partial range. “.

While this could be a clerical error, it correctly lists the ranges for when HDR PQ is enabled right beside it? Clog 3, per Canons documentation, is a full range spec. If Canon’s LUT is incorrect, or the camera is not recording full range, though the metadata does report it is, or if Canon is supplying the wrong specs, I could see where this could be an issue. More on this later.

RCM/LUT:

Next came Resolve Color Management. It is touted for its flexibility and accuracy, but when applying the correct input color space, the correction is completely out of line. In both RCM and with RCM bypassed a node based Color Management is used, the issue is the same. This seems to be confirmed by several post on the BM forums. White balance is much harder to set correctly and even when it is, it seems to still have issues in midtones and shadows.

https://imgur.com/QUsio4Z

The only process that worked even remotely well was using Canon’s LUT then manual corrections afterwards to get an image that roughly matched the hand correction. With RCM, I was unable to achieve a match.

https://imgur.com/Rupiraz

External Recording:

NOTE: Since Atomos does not record the range in the metadata (not sure if ProRes limitation or Atomos), the footage must be manually assigned to full range in Resolve. This is not talked about for some reason and I am not sure why. Not too much of a hassle for a project contained in Resolve, but in a workflow where the footage is edited in another NLE then transcoded, imported, and recut in Resolve, it can be VERY annoying to do. Luckily for R5/C footage in Clog 3, it should all be Full range.

• Manual Corrections

  • Using the same process as before, the footage is able to be manually corrected to a point where footage from the internal R5/C and the external Atomos all could be used with almost zero perceptible difference.

https://imgur.com/pNiVSrq

But this is where the fun begins

LUT/RCM

Where the real frustrations kicked in is with correcting externally recorded footage. All settings are the same as earlier, just an Atomos Ninja V PLUS was added to the mix.

I recorded in the four aforementioned codecs and perceived no difference between them on their own, but there is a significant shift in the footage when recording externally versus internally.

https://imgur.com/Uml7zTn

But, the same issues from before with LUT’s and RCM persist here, only the issue is then exacerbated by the shift the Atomos creates. The examples are with just RCM applied, no other corrections.

https://imgur.com/qYpS9tx

Wrap Up:

The problem is that after all these shifts occur, the footage loses the ability to be matched with the R5C or internal R5, as well as, loses almost all latitude for grading, at least at my skill level and timelines. Though not outlined in this test, the shift also occurs on another R5 I have and has the same issue, as well as, shifts when externally recorded on the R5C. But an external R5 and external R5C do not match.

My thought process is that the shift between the R5 and R5C is due something with either the Cinema OS on the R5C, as the sensors are the same, or with the oversample algorithm potentially creating more accurate colors? Testing HQ mode on the R5 would help. But I would imagine that this shift is quantifiable and uniform. The problem is that I never record internally on the R5 due to overheating in 4K 60 so it matters less.

I know there can be variance sensor to sensor, but this shift is larger than that and the shift is there when using another R5 I have access to that was made over a year after mine. It seems that on the R5, WB is calculated differently than on the R5C. Pretty consistently, the R5 was around 200K warmer than the R5C where there was a -3.5 tint difference between the two towards Green for the R5C. This seems reasonable I guess but I feel like they should match better in camera.

I also assume that if there is a shift between the R5 and R5C, it should be uniform across all WB and exposures since it should either be on a sensor level or a mathematical difference in the calculations for either debayering or some codec/oversampling math. I also would assume that the shift the Atomos induces also would be uniform.

However, I have tried to quantize this shift by creating a LUT to match the shift from the R5 to R5C, a LUT to match the shift from the R5 to an external recorder, as well as a LUT from the external R5 to the R5C.

But these do not work in the real world footage. This is with permutations for each where I shifted the white balance and exposure as well. I also created variations using just Hue vs Hue and Hue vs Sat to match everything. My thought process is that with another clip, if the white balance was adjusted correctly and this LUT was then applied, it should correct for the shift. This was not the case for any LUT I made.

From my testing it seems the shift is either WB dependent, or WB and exposure.

In the real world, this issue eeks it’s head out in many ways. I normally shoot on a R5C, and two R5’s with Ninja’s. Well, start adding shifts sensor to sensor, lens to lens, potential for different light and exposure values and even with a uniform WB, the shifts become massive and uncorrectable. Add in areas where you do not have controlled lighting, lights with poor CRI, or mismatched shots with exposure and/or WB, well you’re up the creek and just dont know it.

So contact the manufacturer?

For those curious, I have spent several hours on the phone with Atomos and Canon over this issue. They just absolve themselves and blame each other.

Atomos says that there is not a shift that occurs with an external recording, but after sending them the video, they shifted to saying it was because of ProRes LT, then I shared clips in all codecs, to which they said it is because I am not shooting in ProRes RAW. To top it off, they also stated they have no modern mirrorless Canon cameras to test on. This is a summary over several weeks and the story remained the same. Very frustrating

Canon’s Pro video department states that they have no Ninjas to test with, despite making them a recommended accessory, but that there should be no shift from a R5 to R5C and no shift for an external recording. I have not address the LUT/video level issues. After several calls with them, emails, etc, I have yet to hear back.

I have not contacted BM but I do not believe that will be solved as this issue seems to go back some time.

TLDR: There is a massive shift when externally recording with a Ninja V and Resolves Color Management is broken for CLog3 potentially due to incorrect spec data supplied by Canon.

Thank you for reading all of this. It is so long but there is no way to describe it except in extreme detail.

I am trying to find a solution this. I am not sure if I am just doing something wrong, but no matter what RCM settings I try, camera settings, Ninja settings, etc, these shifts are occurring and once footage gets a little mismatched, all bets are off.

If you have a solution, please let me know.

LINK: https://rodrigopolo.com/2021/03/05/decoding-c-log-on-the-eos-r5-and-resolve-17/

Hi there, can anyone suggest a free HDR PQ to rec.709 LUT? I couldn't find a proper free one on the internet. Thanks.

I just got my R5C for some time now, and I want to warn people who think about an update from their R5.

- In 120fps you get NO tracking AF.

- In 120fps you do NOT get a 8k downsampled image, though canon stated so in the commercials. Its noteable worse than the 4k60 image (which is great, just like the R5 HQ mode)

- In 4k60 with the XF Codec the battery gets drained CRAZY FAST. Like CRAZY. Runtimes like 15 minutes are realistic, than it turns off. Its horrific in all modes, but especialy this mode (the most relevant mode in my opinion) the voltage(?) needed is CRAZY. When you switch to photo mode the battery will have like 40-70% left. You absolutely have to rig a V-Mount to this cam.

If 120fps or a good 4k60 image or the XF Codec are reasons for you to think about the camera, you should consider this. (Sadly, these are modes that I personaly use very very often).

Also keep in mind, you need to spend AT LEAST another 500 USD for a v-mount rig and battery (if you dont own one allready), just to get around the catastrophic battery performance. Which is annoying on a light setup on a gimbal.

Overall its a "get around battery- and AF problems"-story so far for me and no improvement on my R5 work so far.

Now I have to get a much bigger rig with a v-mount (which makes the setup heavier, less balanced, more setup time, more prominent) and for 120fps shots I have to get a focus puller since there is no tracking - much more work, bigger team, more stuff, higher price, longer setup time. So far no benefit over the R5 but the cooling - though the R5 didnt realy overheat on my in the last half year or so...

Also the image appears to be not realy matching with my R5, but I am not done exploring this.

Just my 2 cents :)

*Update: battery life was apparently improved with firmware update. Also the latest LP-e6P battery is another signifciant improvement.