The lack of C-log 2 as the reason makes no sense to me. The S1H has the same amount of Dynamic Range in V-Log as the R5C in C-log 3 and the S1H is a Netflix approved Camera. So dynamic Range is not the problem imo. Either way, made a video a long time ago that the list is irrelevant in terms choosing a camera because it only matters if Netflix is producing the content for the original work. Not having any of the cameras on the list will not stop your project from actually getting on Netflix.
But must mention that the Netflix approved cameras thing are only for Netflix team, only for Netflix originals. You can sale your movie to Netflix made with any camera as long as is a good movie.
This. The number of shows I see on Netflix that have really bad chromatic abberation haha. It's not something to worry about. They won't tell someone no based on what camera was used if the content is good and filmed with reasonably high quality.
Image wise, which one gives the more cinematic look, organic like... c70 or r5c? As for straight out of camera video, does r5c have bt.709 wdr profile in 10 bit, same as c70 have? Thank you
Yeah, I think the clog2 is the reason. Sony give slog3 in all Sony cameras, even in the 8bit cameras, canon not, and that is trash. Canon must stop doing this crap.
I don’t think canon released the R5 C for Netflix production. So of course is was rejected because some features are not included plus that’s a hybrid not a true cinema camera.
@@KHCAMS I agree that the big C may have been a mistake because it can seem misleading, but I’m gonna have to disagree with the FX3 being a hybrid. I know there are a few people out there using 12 MP cameras for still for online content and thumbnails, but besides those two, I don’t know anyone in 2023 that is satisfied with 12 MP. If you disagree with me, I can understand, but even B&H lists the A7Siii and FX3 as cinema cameras and not mirrorless/hybrids.
@@KHCAMS Both those cameras share the same 4K sensor unlike the 8K sensor in the R5C - they both seem to have less noise when editing in post compared to the R5C.
My guess is the Clog limitations are holding back the Canon; Clog 1 isn't enough in terms of DR and Clog3 has a reputation for damaging the overall image quality. Over the last year I've been ditching my Canon gear and moving over to primarily Sony. One big reason is the AF performance....Canon in photo is great. Canon in video is borderline terrible. Even the new Lumix S5 II is better with my testing. I'm done with their gear as far as video goes.
I agree that the R5 C AF need improvement in video mode, as well the battery performance as well. It is Cinema camera the least Canon could have done is put Clog 2 but as we know there is no one there. EOS R5 C could be a great camera.
@@KHCAMS I would say that the AF systems need to be improved across all of Canon's cameras. I just sold the R3 and won't use the R5 any longer for video; it's just not good enough.
KH, the video quality of this video was great in my opinion, only distracted when the autofocus was pulsing on your close-up shot. I personally have tried Sony (A7IV) and consider it repulsive compared to the original R even.
@@MichaelRichards983 I confirm, sony's colorimetry seems very ugly to me, when I work with colleagues in multicam and I see their tones, they are definitely bad.
The lack of C-log 2 as the reason makes no sense to me. The S1H has the same amount of Dynamic Range in V-Log as the R5C in C-log 3 and the S1H is a Netflix approved Camera. So dynamic Range is not the problem imo.
Either way, made a video a long time ago that the list is irrelevant in terms choosing a camera because it only matters if Netflix is producing the content for the original work.
Not having any of the cameras on the list will not stop your project from actually getting on Netflix.
It's been APPROVED, get your facts straight!
It is now approved!! Cheers
I don't purchase my equipment because of Netflix or any other platforms
But must mention that the Netflix approved cameras thing are only for Netflix team, only for Netflix originals.
You can sale your movie to Netflix made with any camera as long as is a good movie.
Oh really I did not know that, so that is not bad then.
@@KHCAMS no, is not a big thing. Many people don’t know that.
@@Angelo_Paduraru Well that great so you even produce a show with your phone then?
This. The number of shows I see on Netflix that have really bad chromatic abberation haha. It's not something to worry about. They won't tell someone no based on what camera was used if the content is good and filmed with reasonably high quality.
Image wise, which one gives the more cinematic look, organic like... c70 or r5c? As for straight out of camera video, does r5c have bt.709 wdr profile in 10 bit, same as c70 have? Thank you
Not anymore, with the latest firmware update the r5c is now Netflix approved.
Netflix Certification is not at all important to me, I don't do Netflix productions. It's not something I lose sleep over.
Sure and it same here at least it will push Canon to improve the camera though.
Yeah, I think the clog2 is the reason. Sony give slog3 in all Sony cameras, even in the 8bit cameras, canon not, and that is trash. Canon must stop doing this crap.
I hope it will nudge Canon to add Clog 2 then.
R5c will still not benefit from clog-2 even if it gets a clog-2. Canon R5's sensor is what it is. It is impossible to give what you do not have.
Welp, Canon Cripple Hammer do the job.
I don’t think canon released the R5 C for Netflix production.
So of course is was rejected because some features are not included plus that’s a hybrid not a true cinema camera.
It is a shame then to put the big C in front of the R5 C, also is the Sony FX 3 not a hybrid?
@@KHCAMS you have point there.
@@KHCAMS I agree that the big C may have been a mistake because it can seem misleading, but I’m gonna have to disagree with the FX3 being a hybrid. I know there are a few people out there using 12 MP cameras for still for online content and thumbnails, but besides those two, I don’t know anyone in 2023 that is satisfied with 12 MP. If you disagree with me, I can understand, but even B&H lists the A7Siii and FX3 as cinema cameras and not mirrorless/hybrids.
BROOO NETFLIX JUST APPROVED THE R5C SOOO EXCITING!!
Noise compared to C300MKIII is way more obvious too?
Okay I have never compare those two together, what about C70 and C300MKII?
@@KHCAMS Both those cameras share the same 4K sensor unlike the 8K sensor in the R5C - they both seem to have less noise when editing in post compared to the R5C.
@@jamesmanson-u4i Maybe because those two have the DGO sensor that help with noise what do you think?
old news, no need to bring it up to bring down canon and praise sony hahaha the certification isnt that important
Timecode.
R5 C has a Timecode input though.
@@KHCAMS Was not aware of that, maybe full HDMI?
@@nyambe True that R5 C doesn't have full HDMI only micro HDMI but Timecode.
@@KHCAMS It's hard to understand why not
My guess is the Clog limitations are holding back the Canon; Clog 1 isn't enough in terms of DR and Clog3 has a reputation for damaging the overall image quality.
Over the last year I've been ditching my Canon gear and moving over to primarily Sony. One big reason is the AF performance....Canon in photo is great. Canon in video is borderline terrible. Even the new Lumix S5 II is better with my testing. I'm done with their gear as far as video goes.
I agree that the R5 C AF need improvement in video mode, as well the battery performance as well. It is Cinema camera the least Canon could have done is put Clog 2 but as we know there is no one there. EOS R5 C could be a great camera.
@@KHCAMS I would say that the AF systems need to be improved across all of Canon's cameras. I just sold the R3 and won't use the R5 any longer for video; it's just not good enough.
KH, the video quality of this video was great in my opinion, only distracted when the autofocus was pulsing on your close-up shot. I personally have tried Sony (A7IV) and consider it repulsive compared to the original R even.
@@jerryloradrifter Repulsive? The colors? If you can color grade then the out of camera colors don't matter.
@@MichaelRichards983 I confirm, sony's colorimetry seems very ugly to me, when I work with colleagues in multicam and I see their tones, they are definitely bad.