Canon R5 & R6 Review: GOOD Cameras. TERRIBLE Marketing.

Video Statistics and Information

Video
Captions Word Cloud
Reddit Comments

How is the weather sealing on the R6? I read that it's similar to the 6DM2, but what does that mean? What can I expect from it? Can I for example use it in heavy rain? Snow? Or can I read about somewhere (didn't find anything specific on google).

👍︎︎ 4 👤︎︎ u/Jerkanftw 📅︎︎ Aug 04 2020 🗫︎ replies

A very thorough video and I appreciate the comments made around the 09:20 mark where Canon marketing has been terrible.

Canon imaging profits are down, what is their response?

  1. Raise prices/increase margins

  2. Increase competitive features

For the last several years I feel Canon has skated the edge of acceptable marketing techniques in promoting their cameras to consumers while simultaneously raising the pricing to an extreme level versus what usable features buyers actually get.

Examples:

  1. Canon 200D / SL2 as a 4K camera while nesting the actual heavy crop "Make 4K movie magic. In addition to Full HD (60p or 30p selectable) and HD (30p), you can create stunning 4K movies u/25p" and 4K time lapses with the EOS 200D Mark II."

  2. Canon 6DMkII with wide autofocus coverage when in reality it is very limited through the OVF "Focus on what matters. The advanced 45 point all cross-type auto focus system with wide coverage helps you pin point the exact part of the frame you wish to focus on". Interestingly, the highest price I could find for the 6DMkII was $1999 on Oct 04, 2018 and within one and a half years it had dropped to $1199 by April, 2020.

For the R5, Canon has reached a new milestone on their release price AUD$6588 in Australia. This is significantly higher than any prior Canon mirrorless camera. The features are flagship grade by Canon standards.

Where did they go wrong? Why the controversy? By hyping the 8K features as the headline of their marketing it has become a recurring theme of style over substance with each new product release.

Canon marketing, ambassadors, leaks, pre production reviews were all about how wonderful and first in the 8K feature is most did not mention or glossed over the overheating limitations. The fact that you could be using this camera for a day shoot for both stills and video in warm weather and the former would have an affect on the duration of the latter. The long, long cool down periods between each shoot. The impact of overheating on stills or video quality.

"Oh, it's not a professional 4K/8K video camera and if you are shooting such you should be paying for a cinema camera that costs a lot more". This does not matter. Canon deserves the critical reviews they are currently receiving for heavily marketing the camera the way they are. Production reviews are now informing whether there are limitations or not, is this a usable 8K/4K camera or just a very good (and higher priced) stills camera. I find the backlash against reviewers investigating the performance to be laughable and anti-consumer at the same time.

"Canon has been forthright in their 8K limitations". The specifications were nested in the documentation, not advertising material. Controlled room environment does not equal actual real world usage.

I have no issue with Canon increasing pricing. All camera manufacturers will have to do so to survive in a shrinking market. Where I take issue is bad marketing that hype catchy, headline features to justify price increases to consumers.

👍︎︎ 12 👤︎︎ u/BlueGlowOne 📅︎︎ Aug 05 2020 🗫︎ replies

Nice review

👍︎︎ 1 👤︎︎ u/Thatjamestho 📅︎︎ Aug 06 2020 🗫︎ replies
Captions
What do you get when you take an excellent photo camera, add important improvements to the video functionality over the previous release, and then market it terribly focusing on novelty features that don't perform reliably? You get the Canon EOS R5 and, to a lesser extent, the R6. Let's get undone. [offbeat music] ♪ Gerald Undone ♪ ♪ He's crazy ♪ What's happening, everybody? I'm Gerald Undone, and you're now manually breathing. Alright, this video's gonna be a little different than my others. I want to focus on the user here and make sure the right people are buying these cameras, because for the correct customers, these cameras give a wonderful result and handling experience. But for the wrong customer, they're incredibly frustrating, borderline useless devices. And I blame a lot of this on the initial marketing and the specs that were highlighted early. But before we get into that, a couple of disclosures. First off, these are full production cameras. And they were lent to me by Canon just for the duration of this review. I also borrowed some accoutrements from Camera Canada to help with my review. That's a retailer that I highly recommend if you're Canadian and looking for some Canon gear. This video is not endorsed by Canon, and they do not get to see it before I publish. However, this video does have a sponsor, Storyblocks. But rather than just cut to a normal sponsor read, let's record it on these cameras so we can see how they sound. [light scratching sound] Have you ever found yourself in a situation where you could really use some footage but shooting it yourself was either budgetarily or logistically unfeasible? Well, Storyblocks has you covered with an impressive collection of stock footage covering a wide range of subjects with unlimited downloads and 4K video. They're also amply supplied with backgrounds, overlays, and after effects templates and the interface is easy to use and navigate and the clips are royalty-free for both personal and commercial use, so you can use them as much as you want, wherever you want. So, if you think you could take advantage of a fantastic library of quality stock footage and effects, check out Storyblocks using the link in the description below. OK, so let's start with what these cameras are not and then move into what they do extremely well. These are not video production workhorses. At least not in any of the exciting new modes. Armando Ferreira made a great video about this, but basically, do not buy this camera thinking you're getting an 8K video camera. Not only is the storage and post production not optimized for that on this camera, but it'll quickly overheat and then become increasingly difficult to use. I've spent nearly 40 hours thoroughly testing the record times in each mode on both the R5 and the R6 to see how long they last before overheating. Feel free to pause the video here to examine this table but this only tells part of the story. First off, one thing I'm quite pleased with is how accurate Canon was when they released their own overheating table. It's pretty similar to the results I got when in a similar environment to their testing. But it's also the same as when I did my tests in a 16°C room and when I did them in a 32°C outdoor environment. So, I like how consistent the camera is in this regard and that it doesn't seem to be impacted by ambient temperature much, but that also leads to its biggest flaw. You can't improve your cool-down times. I've tried taking the lens off, memory cards out, battery out, leaving all the ports open and blowing an air conditioner on it at full blast and it still took two hours to recover completely. So, there's nothing you're going to be able to do on set to get your precious record minutes back other than to wait. And that can mean upwards of 20 minutes, just to get a few minutes of record time back in the oversampled or high frame rate modes. And I did this test on a tripod, on a metal slab, with a battery grip on the camera, using a dummy battery, and also even without having a lens installed and nothing made a noticeable difference. And this problem persists beyond just internal recording. If you record externally to an Atomos, you'll extend your time by about 50%, but it will still shut down to overheating even if you turn on every single power saving feature on the camera. And, the same is even true if you're just taking pictures with the camera. If you like to mix some photo and video, make sure you do the video first, because after you've shot photos for about an hour, you'll likely be unable to shoot any of the oversampled or high frame rate video because the camera builds up heat just from being on. Now, there was one surprising but positive result to my testing. On the R5, the 4K60 full readout mode didn't overheat when recorded externally. So this is good news for people who do long-form 60p content like live streaming or event work. The R6, however, cannot make the same claim as all of its 4K60 modes are heat-limited. The R6 can be used externally at 4K24, though, without overheating issues. This will give you a nice 5.1K oversampled image as well, making it the best choice for unencumbered 24p video recording. Also, I should specify that these results are the same if you switch to PAL timings, so 25, 30p and 24p are all the same, and then 50p and 60p are the same as well. Now, the R5's non-HQ modes do not overheat internally or externally, except for the 4K60, which is heat-limited internally, but be mindful of the 4K60 crop mode on the R5. Activating the crop on the R5 takes you out of the full-frame line skipped mode and puts you into a 5.1K oversample mode with a crop, so you get similar image fidelity to the R6 unless your record times are lowered in 4K60 with a crop. The R5 can also do 4K24 in that 5.1K cropped, oversampled mode without overheating issues, but considering that the camera costs a lot more than the R6, and to get that result, you need to switch to an APS-C crop, it seems like the worse option compared to shooting full-frame externally on the R6. Also, let's talk a bit about that non-HQ line skipped option on the R5. From what I can gather, it's not truly line skipped, but it also isn't a nice pixel binned readout either. It's some new combination of the two with a very subtle AA filter. When I first read that, I thought, why would you put an AA filter on a 45 megapixel camera? Seems like a good way to make your photos worse right out the gate. Luckily, it didn't ruin the photo mode and the camera produces incredibly sharp images, but you can definitely see why they included the AA filter when you look at the line skipped video. It's better than some of the line skipping we've seen in the past and it's a little better than the EOS R as well, but it's not perfect. It's noticeably softer than the 4KHQ or even the 5.1K oversampled mode. It also suffers from issues we'd normally see with line skipping, like increased noise and reduced clarity in areas with tight patterns resulting in moiré, stair-stepping and unwanted artifacts. And I found, when I compared it to the a7S III, that the line skipped Canon was noticeably softer than even your basic 1:1 4K readout on the Sony and substantially softer than the 5.1K modes on the R6, which unfortunately means that the only camera from Canon that has unlimited 4K60 externally, the R5, is also the camera with the worst 4K60 image. Now, as Armando illustrated, if you have a scene that's free of problem areas, you can pull off some very nice shots even when shooting in this line skipped mode, but it's certainly not as versatile and not something you'd want to pay big money for in a video camera. Then, there's also the issue of dynamic range. It's not great, but again, surprisingly consistent, and pretty much every mode on both of these cameras, the best you can get is around 11 stops, and that's only when using C-Log. This score places it below most cameras you could consider competition- the Blackmagic Pocket, Fuji XT3 and XT4, Sony a7 III, etc. In fact, it's pretty much the same dynamic range as the EOS R, which wasn't very good and it's vastly below the dynamic range of something I'd brand as a video camera, like the C300 and C500, or even the new Sony a7S III, which all get you closer to 13 clean stops, and we're not talking about visible stops or advertised stops, but actually measured, usably clean stops. Now, the reason why these results are so consistent on these Canons is because of Canon Log 1. That log curve is limited in dynamic range right out the gate. I've heard rumours of Canon possibly adding CLog3 to these cameras, so I decided to test out some theoretical advantages we could see with that. First, I shot 8K raw on the R5, which can be changed to CLog3 in post. Doing that gained about 2/3rd of a stop which brought it more in line with those other mirrorless cameras I mentioned earlier. Then, I took some raw photos, which have more dynamic range than CLog and attempted to create a few curves that I thought would give us some conservative projections for possible video dynamic range based on CLog2 and CLog3 curves. I got around the high-11s to eventually 12 stops flat with one of my tests. So, while we currently have mediocre dynamic range, it's possible we could achieve a noticeably better result if Canon put some better profiles on these cameras. Another area where the 8K and 4K HQ modes suffer is in rolling shutter. Now, to be honest, it's not terrible even in 8K. Again, it's definitely worse than what you'd want from a workhorse video camera, but it's noticeably better than the older Sony a7 III, which has problematic rolling shutter. But, you do see an improvement when cropping or switching to the line skipped modes. You get results closer to, but not quite as good as, the Sony a7S III which is decent and above the threshold of concern in my opinion. And since we're comparing cameras, it's important to realize that overheating, in and of itself, isn't the issue. Other cameras overheat. I've seen videos showing the a7S III overheat in certain conditions as well. I couldn't get my Sony sample to overheat doing the same tests I did on the Canon, despite trying for hours and hours to get the Sony to overheat, but again, that's not the key issue here. The big issue is recovery times. I don't want people to see my table of record times and say, "I'm fine, I only need to record ten minutes at a time anyway." You need to keep in mind that on other cameras, you can turn it off for a couple of minutes, and then you're back in business. On the Canons, even if you turn it off for 20 minutes, you likely won't get your ten minutes back and you'll look like a complete fool if you have a client, a team or talent waiting for your camera to cool off for 30-40 minute periods. And also, consider setting up shots, the only way to get these cameras to cool down is to have them off. That means no framing up the next shot, no checking focus, no monitor to check for blocking, nothing. You can't do anything between recordings, just sit and wait. Or, switch to one of the non-oversampled, non-high frame rate modes that aren't limited by heat, but keep in mind that switching to those modes will not help you recover from overheating. You're still going to need to turn the camera off to use 4KHQ again. So, you can immediately switch to the line skipped mode and start rolling again, but you never will be able to switch back to 4KHQ unless you turn the camera off for, like, half an hour. Okay, hopefully I've driven that point home well enough. I just don't want anybody spending money for the wrong reasons. I think, in the marketing for these cameras, too much emphasis was put on how many Ks they have or how many megapixels, and this is something we on social media need to do better to manage our excitement for as well. As we've seen with the R5, 8K doesn't necessarily mean anything good. There's phones that do 8K, and they look like garbage, and ARRI teaches us that resolution isn't everything. It's disappointing how many responses I saw on the Sony a7S III focused on 12 megapixels, or as The Verge obtusely put it, "A camera that doesn't do 8K." Those numbers mean very little when it comes to image quality and performance and we need to remember that when companies push products so that we can reward the features that do matter. Otherwise, they're going to keep trying to drive sales by making unstable cameras with too much resolution. Now, let's shift gears to some lesser talked about aspects that Canon has done right on these cameras. If you think of these cameras from the perspective of a customer who already has Canon Glass and is looking for an upgrade over the EOS R, these cameras have you covered. Unlike the EOS R, these now shoot full-frame 4K with slightly better detail in line skipped modes and without that absurd 1.8 times crop. They now have Zebras and better ergonomics by bringing back the joystick in place of that annoying Touch Bar. The rear dial is now a proper wheel, like classic Canon, instead of a D-pad and the buttons are easy to reach with smaller thumb movements. And the autofocus is a lot better. The EOS R only had the option to turn the video autofocus on or off and the detection algorithm often misidentified objects and it wasn't too sticky. Well, the R5 and R6 have way better face and eye detection that is very reliable and you can now also control the speed and responsiveness to a similar degree as you can on the C300 Mark III and C500 Mark II, which is incredibly useful if you rely on autofocus. Collectively, these are huge upgrades to the EOS R and these are what Canon should have been focusing on. They're not perfect, of course. There's a bunch of things that I think still needs work, for example, the 4K120 Mode on the R5 is half-baked. It's only available as in-camera slow motion, and you can't change the sub-frame rate. It'll only produce a 30p 25% speed file with no sound, but it does have autofocus, which is nice. The white balance tool is still abysmal. The only way to set a custom white balance for these in video is to switch the camera to photo mode, take a picture of your target, then switch back to video to scan the image and apply the custom white balance. And since white balance is so crucial to getting a good image, this desperately needs an update. You can still only see your remaining battery life percentage by going to a specific page in the menu. I'd much rather see this right beside the battery icon. Speaking of battery life, I've actually gotten completely different experiences out of these two cameras. On the R6, I've been getting about an hour and 45 minutes of 4K24 on full charge with the new batteries, but disappointing performance from the USB-C port. You can use it to charge the batteries, but using it to keep the battery charged while running is not very effective. It does extend your runtime but I was still losing about 20% battery life every 30 minutes. On the R5, not only was the battery life better out of the gate, giving me just over two hours on a full charge, which was surprising considering it has higher resolution displays, the top LCD and more intense recording modes, but the USB-C performance was stellar. I only lost 1% battery after an hour with USB-C power delivery connected to the R5. Now, I'm not sure if my R6 is defective, but I made sure every setting in the menu was identical and again, these are both full production cameras. Also, neither camera can run on just USB power alone. I wasn't expecting them to, but you guys often ask me about that in the comments. They still need the batteries installed, but I'm happy to report that using USB-C does not seem to negatively impact your overheating times in any noticeable way. Another minor disappointment was the new IBIS system. Now, I will admit that it works really well for photos and I'd much rather have it in its current form than have nothing like in the EOS R, but there are some quirks to work out. Most people already know that it has a warpy-wobbly problem in the corners, but you should also be careful to turn it off when using a tripod, or possibly even a gimbal. Something I noticed is that when you change record modes, power cycle the camera or even open the card door, the IBIS will shift the image in a way that can actually kill your framing or possibly even rotate your image to unlevel your horizon. And, control over this function is limited when using an RF lens with stabilization because the camera removes the menu option and instead diverts control to the lens selector switch which is not sufficient in choosing the best stabilization method for the job at hand. I think they might be adding this option in firmware, so hopefully that addresses that. Again, I'd rather have IBIS than no IBIS and this is still an important upgrade over the EOS R, but I just think there's some growing pains to work out before I can be too excited about this feature. But, I still really enjoy manually focusing with these Canon cameras. You have the option to make your RF lenses linear in response and Canon's focus guide is terrific. Now, I don't want to talk too much about colour, because one, I'm someone who thinks that "Canon colour science" is one of the most misunderstood and overhyped terms in this game, but also, colour is so subjective that it's borderline pointless to review. All we can ever truly evaluate is accuracy, not what you might find personally pleasing. That being said, some of the full contrast profiles on these Canon cameras are not very colour accurate, so if you want the best colour you can get out of these cameras, choose Log and then set the matrix to Neutral. If you do this, there's a lot provided by Canon that you can download from the EOS R support page that will give you extremely accurate colour with nice gradations and your final result will look better now that these cameras can do 10-bit internal when shooting log; another way that they're a major upgrade over the EOS R. So basically, don't shoot Canon standard or something similar if you don't have to. It's 8-bit with inaccurate colour. Shoot Canon log with a neutral matrix for 10-bit with good colour. And now, with two sets of zebras, it's quite easy to expose your Canon log on these cameras versus the EOS R as well. You can place one set of Zebras at 95%, which is a good clipping point indicator for overexposure with Canon log and set the other to 35% +/-5 to help expose for middle grey. The last aspect of image quality I want to touch on is noise. Both of these cameras very usable and improved over the EOS R, but it'll depend on which mode you're in. The oversampled images have better noise performance than the non-oversampled modes, so the modes that don't overheat have worse noise, but I still think you can get up to ISO 6400 without much concern. However, even though the distance is probably smaller than people would have hoped, the R6 is a bit cleaner than the R5 when comparing their corresponding oversampled modes, but the R5 is a tad sharper, unless you put the R5 in cropped mode, in which case it matches the R6 except for the fact that it's cropped. So, I'd say the sweet spot on these cameras is that 5.1K oversampled mode which balances a detailed image with a good signal-to-noise ratio and allowing for unlimited external recording in certain frame rates. Now, I want to focus a bit more on the internal and external file acquisition. Something that might seem like an advantage over the EOS R is that these cameras now have dual card slots and for photography, it certainly is an advantage. You can write to both cards simultaneously for backup, but you can't do this in video. You can't do it on the R5 even when recording in a mode that both cards are fast enough for and you can't do it on the R6 even though both card slots are the same. You also can't record both internally and externally at the same time on the R6, but you can on the R5, but there are some things to be mindful of when doing this. There's two HDMI output options. You can either put everything on the external display including menus and onscreen info or you can keep your LCD going and just put out a clean feed to the external recorder. Doing the clean feed route disables the overheat control function because it assumes you want to capture the highest quality image possible, but this makes the camera heat up faster. And, if you press Menu on the camera, the menu still shows up on the external clean feed. This makes no sense. This means you could potentially ruin your take if you accidentally press menu on the camera, because it will replace your subject with a big, fat menu screen in the external recording. And, when recording internally, these cameras still have that 30 minute time limit even though I though the taxation or law that required that has been abolished and that shouldn't be on new cameras, maybe I'm mistaken on that, though? But either way, 30 minute record limits are lame. So, effectively, these cameras are still single card slot cameras for video and they still have the 30 minute limit when recording internally. And the advantage I mentioned earlier about Log giving you 10-bit internally, unfortunately forces you to use H.265 even if shooting ALL-I, which means you're going to require transcoding, because editing these files is not smooth at all, which is disappointing because one of the main advantages of All-Intra codecs is smoother editing performance. I also hate that the very act of opening the card door seems to turn off the camera, so relay recording is not an option, and as I mentioned earlier, depending on your settings, opening the card door can change your focus, move your IBIS around and even shut off your external recording. But something that I get asked about a lot when it comes to codecs, All-Intra, internal vs. external, etc. is is there a quality difference? The answer is no. Up to 4K60, it doesn't really matter whether you record internally or externally or whether you choose IPB or ALL-I, you're going to get pretty much exactly the same dynamic range, colour, noise and sharpness. The only time it changes is if you change from oversampled to not or to cropped, as we mentioned earlier. There's also two little bug reports that I want to make. The first one is that my clock doesn't seem to work correctly on the R5. The recording time in metadata always seems to be one hour ahead of my camera clock. I've tried changing time zones, turning daylight savings time on and off, it doesn't seem to matter. The second one is that sometimes my ISO changes when swapping batteries. This is weird and intermittent but perhaps Canon can try and reproduce it and fix it in future firmware. Something quirky I really like about these cameras, though, is that you can set your f-stop adjustment to smaller increments down to 1/8th stops and then you can assign that to be your lens control ring on the RF lenses which really makes it feel like you have a precision iris adjustment like on a cine lens. The only drawback is that these control rings are clicked, but apparently Canon offers a service to declick that ring for you if you want, so you really could get a smooth, precise iris control on these RF lenses. Fun feature. Now, when it comes to audio, while it's annoying that Canon doesn't offer any kind of XLR module for these cameras, I do like that they've included a built-in attenuator that allows me to feed the line-level signal from my Zoom F6 right into the camera which is what you heard during the Storyblocks segment at the beginning of the video. I think in terms of mirrorless camera preamps, it offers a good, clean sound and I like that it offers uncompressed, linear PCM as a recording option. My only gripe would be that when monitoring with headphones, I don't like how it mutes and unmutes the headphones as you navigate the different sections of the menu. I'd prefer that they just kept the headphones monitoring the entire time. It would be more useful and less jarring when they turn back on. But, both cameras have a mic and a headphone jack and overall, I'm happy with the audio quality and functionality. Okay, regarding photography, these days I don't fancy myself much of a photographer, but it wasn't that long ago my partner and I ran a sports photography business that used Canon cameras. I can tell you this. Having either of these cameras then would have been an absolute dream. I literally have nothing to say about these cameras from a photographic capability standpoint. And, as someone who naturally finds problems with everything, take that to mean the highest praise. The R5 easily trades blows with the Sony a7R IV, which I called the best photo camera for the money. These Canons are fun to use, offer great handling, have terrific lenses, focus reliably. They're just fantastic. When the EOS R came out, you had a decision to make between it and the 5D Mark IV and in many ways, the DSLR was better. With these two cameras, there's no decision to make anymore. They're better than the EOS R and they're better than pretty much every other Canon camera, save for maybe the 1DX Mark III, but it looks like the R6 might even be using the same sensor as the 1DX Mark III, so you really are getting Canon's best here. Of course, if you're all about photography and can afford the bigger price tag, the R5 is the better camera. It drives just as fast as the R6 but with more detailed images, a nicer LCD screen and a higher resolution Viewfinder and a lot of the complaints that I made about video don't carry over when you toggle to photo mode. Now, you do have two card slots. Now, your IBIS is very good. I was getting four to five stops of improvements on an 85mm manual lens and although taking photo affects your video record time due to heat, I couldn't get the camera to overheat while in photo mode. So, I don't think that will be an issue even if you firing high bursts for long durations. Okay, so when you put all of this together, I think it paints a clear picture of how these cameras should have been positioned and who should buy them. If you have Canon Glass and you want a quality mirrorless body for photography, buy these cameras. If you have the money, buy the R5 specifically but don't be worried about the R6, it's great too. Are you a hybrid Canon shooter? And you're happy with the quality of the EOS R, you just wish it wasn't cropped in 4K and had more refined controls for video or 10-bit colour? Buy these cameras. They fix all of your concerns. Are you mainly video focused but prefer to stick with Canon and just want a nice 24p, 4K image without time or heat limitations? Get the R6 with an Atomos Ninja V. You can record oversampled 4K up to 30fps without limits. If, however, you need unlimited 4K up to 60fps and still want to stick with Canon, and you don't care if the image is line skipped, get the R5 with an Atomos Ninja V. You can record the regular 4K on that camera up to 4K60 without limits externally. Do you need 8K? Do not buy these cameras. Do you need high quality 4K without limit at high frame rates? Do not buy these cameras. Do you need a video camera that can excel without an external recorder? Do not buy these cameras. And is dynamic range more important to you than resolution or ergonomics? Do not buy these cameras. For the last three points, I would recommend either a Canon cinema camera like the C300 Mark III or C500 Mark II or the Sony a7S III. In the end, I don't really care which brand you go with or what camera you buy as long as you're happy with it. What I do care about is you buying the wrong camera because of bad marketing wasting your hard-earned money and feeling stuck in a system that isn't doing what you need, and so I hope this video helps prevent that from happening to you. But that's going to be it for me. I hope you found this video entertaining or at least helpful. And if you did, make sure you leave it the old thumbs up and consider subscribing if you haven't already. But if you did not find this video helpful or entertaining, try setting the playback speed to 75%. Alright... I'm done.
Info
Channel: Gerald Undone
Views: 229,694
Rating: undefined out of 5
Keywords: canon eos r5 review, canon eos r6 review, canon r5 vs r6, canon r5 vs sony a7s iii, canon r5 overheating, canon r5 video test, canon r5 video, canon r6 overheating, canon r6 review, canon r6 vs r5, canon r6 vs r, canon r6 video test, canon r6 hands on, canon r5 review, canon r5 overheating test, canon r6 test, canon r5 test, canon r5 vs sony, canon r6 vs sony, canon r5 guide, canon r6 guide, canon r5 vs eos r, canon r5 settings, canon r5 rolling shutter, canon r5
Id: qDXPiu3wpBs
Channel Id: undefined
Length: 23min 21sec (1401 seconds)
Published: Tue Aug 04 2020
Related Videos
Note
Please note that this website is currently a work in progress! Lots of interesting data and statistics to come.