- So, this is the Canon EOS R
and this has been my primary YouTube camera
for about nine months now
and there is a whole lot of love and hate relationships
with this camera
but me personally, I've loved this thing
and actually now I have two.
I'm recording on one right now.
I got both these cameras with the intention
of shooting my YouTube videos with them
but occasionally I have used it
in more professional settings
for some of the jobs I've gotten.
Maybe throwing it on a gimbal
and trying to match it up with a camera
like that RED Camera over there
and I was actually surprised to see
that sometimes you could actually make this camera
kinda match the RED Camera
so when you would intercut between the two
you wouldn't be noticing a huge difference.
And the big question,
are these mirrorless and DSLR cameras
getting so good to the point
where you guys might not even be able to tell the difference
between this and a cinema camera?
So, let's start off by lookin' at this shot
of these two having a fake conversation.
Oh look, they've decided to shake hands
even though they've been hangin' out together
for the last few hours.
That's natural.
One of these cameras is a cinema camera.
One of these is the Canon EOS R.
So, I'm gonna switch back and forth.
So, camera A.
And camera B.
Camera A
and camera B.
Let's take a look at one more shot.
Camera A
and camera B.
Camera A
and camera B.
And by now, you probably realize
that Jonathan is a phenomenal dancer
and also camera B is a cinema camera.
I think it's kind of obvious for two reasons.
One, the colors.
The red just has this cinematic quality to it
and also the lack of dynamic range in the EOS R.
The highlights just kinda fall off the cliff
and become white
whereas the red is a little bit more gradual
and natural looking.
Now, during those shots,
I had this camera in 4K, 24 frames per second
in ALL-I codec
and that ALL-I codec in this camera is pretty significant.
It goes up to 480 megabits per second.
Whole lotta cameras out there shooting 4K
that goes up to maybe 100 megabits second
but 480, that's a big leap.
As for the color profile,
I just left it in the setting
that I shoot all my YouTube videos on,
which is a slightly modified neutral.
So, I pop it in to neutral and I customize it a little bit.
I add on bar of sharpness back in
and then I drop the contrast all the way down
but then I add one back in
and same with the saturation,
so second from the very bottom.
This is gonna give me a little bit more dynamic range
and color space to work with.
And the sharpness at just one bar
is just enough to where I feel like I like it
but it's not overly done.
And I like shooting on this mode
because it looks pretty decent right out of the camera
and I just have to do slight slight adjustments
to it in post.
So, I'll add a little bit of sharpening
and contrast and saturation back in
but have a little bit more control
by pulling it back down on the camera.
So, now let's take a look at some shots in my studio
and at first glance it's almost difficult to tell
which one is which.
They both look pretty good.
It's not till you take a closer look
until you realize the camera on the right
actually has quite a bit more dynamic range
because the LCD on the back of the camera
looks exposed on the right
but on the left it's blown out.
So yep, the camera on the right has more dynamic range
so it's the cinema camera
and it's actually no surprise
'cause it's the Arri Alexa, the king of dynamic range.
And in these shots
the Arri does have some Angenieux cinema lenses on here,
so that is gonna affect the picture characteristics
but if we're just lookin' at dynamic range here,
the Arri Alexa destroys
Aad it becomes more obviously the harsher the lighting gets.
But here's the thing.
When I shoot in the neutral mode on this camera,
I do it for the convenience of the file,
the simple color grade and all that
but if I'm tryin' to get maximum performance
outta this camera,
I'm definitely shooting Canon Log, or C Log.
That's gonna give me the most dynamic range
in a nice flat color profile
so that I can go in and grade it.
Now, internally, it could only record 8 bit,
so less colors than I high end professional camera
but the good news is that C Log is designed to work well
with just an 8 bit codec.
Of course, you could maximize it even more
by sending it externally to a 10 bit external recorder
but internally, we got 8 bit.
So, let's switch from the neutral color profiles
and we're gonna pop them both into log
and so much more of that dynamic range
preserved in that Canon EOS R.
Lookin' at the wave form,
the Arri does still look like it still has that advantage.
You can see on the highlights as well as in the shadows
it's more defined.
Again, it's lookin' decent
but you could definitely see up top
it compresses quite a bit more
and the bottom looks more like a flat line.
Enough technical (beep).
What do they look like when they're graded.
I would apply Arri standard Rec.709 LUT.
And I'm honestly not a huge fan of the LUTs
that Canon provides for their C Log.
So, let's start off
with just manually adding in some contrast
and playin' with the curves a little bit.
And you know what?
The image is looking decent but far from perfect.
The blue and orange is actually holdin' up pretty well
but when it comes to this purple,
which is a little bit more
of a difficult color to work with.
(groans) You just see it just falling apart.
Not 100% sure how much of this you'll be able to see
after this video goes through YouTube's compression
but basically, the Arri Alexa looks perfectly smooth
while the EOS R looks like it's banding and clumpy
and doesn't look pretty.
And so, I'll put it this way.
I really like Canon's Log
and I think it's awesome
that they put into such a simple and basic camera.
It's definitely powerful
but when you put it under a lot of stress
there's just no comparison
when you put it next to a proper cinema camera,
which honestly, shouldn't be a surprise to anybody
because we're comparing a $2000 camera
to something that's worth about 70K.
I've always been amazed at how good the Arri looks
even with terrible lighting.
I mean, clearly, we're blown out here
but still it looks good and natural.
On other cameras if you have a hot spot on your face
it looks terrible.
But the Canon doesn't lose in every aspect.
I mean, obviously, it's a lot less expensive,
a lot smaller, compact, lighter weight
and the dual pixel auto focus in here is awesome.
It's very convenient to have
and if you were to throw this onto a gimbal
and just solo operate a gimbal shot
while letting this do the auto focus is super convenient.
The high end cinema cameras don't offer
any of these auto focus features
and also, this camera destroys in low light performance.
And there is that one RED in particular,
the RED Gemini, which is suppose to be a beast in low light
but on a standard RED like that one or the Arri Alexa,
I generally try to keep it under 2000
and around 3200 is when it starts to really bug me
but with EOS R you could keep drivin' that ISO up there.
And also, when it comes to the sharpness
let's do some pixel peeping.
When we slap the same lens on both the cameras,
it's surprising how close that EOS R
is to the much much more expensive cameras.
There's no doubt that for a mirrorless camera,
this EOS R is incredibly powerful
but I think there's three things
that still separate the image quality
between this and a cinema camera.
One is dynamic range.
The cinema cameras just record a crazy amount of information
in both the highlights and the shadows
and just retains all of that.
Even if you mess up and over expose by a few stops,
on the EOS R you're pretty screwed
but on a camera like the RED,
more than likely you can recover a majority of that info.
Next is just the pure raw power outta these cameras.
I mean, these cinema cameras can shoot
in these highly uncompressed RAW files and even frame rates.
At 120 frames per second
you have to drop this camera down to 720 P
but the RED can shoot 120 frames per second in 4K RAW.
And finally, there's color.
These cinema cameras just have a certain look to them
that just makes it looks cinematic.
It's kind of hard to explain
but when you look at it you go, ah, that looks like a movie.
And my question was,
is it possible to color grade this camera
to look a lot more like a cinema camera?
And this is the part where I try to sell you
my brand new LUTs.
Now, I wish I could say these LUTs are perfect.
Just hey, gets the LUTs
and your EOS R will look like a $70,000 Arri Alexa.
But the truth is, every single time the lighting changes,
the white balance changes, the setting changes,
the way you have to grade this camera to look more cinematic
always changes,
so there's not one just plug and paly LUT.
And after months of tweekin' it,
I think I finally got it to the point
where it generally pushes this camera
in the right direction.
It's not perfect in every setting
but my goal was to get the colors
that are comin' outta this EOS R
and kinda shaping it and funneling it
into colors I would more often see in the cinema cameras.
Now, these LUTs are specifically designed
based on this EOS R
and I would recommend either shooting in C Log,
I have a set of LUTs for that,
or I'd also recommend shooting
in that standard neutral color profile
that we dialed in earlier.
So, there's a few LUTs in there specifically for that mode.
Oh no, Peanut.
- [Kari] Oh no. - Oh no, Peanut.
I have made a more in depth video
about how I like to color grade my videos,
so I'll link that right there
but if you're using Premier you can drop this in
under the creative LUTs panel
and then you can adjust the intensity
because on some shots it looks good with a lot of it laid on
and sometimes you need to peel it back.
So, get that to the spot where you think it's pretty decent
and then you could go in and fine tune your shadows,
highlights, exposure, saturation, all that stuff.
So, to rap it up.
These cinema cameras still provide the better image quality.
They're more powerful.
They're more capable.
But these mirrorless cameras are definitely catching up
and that gap is getting narrower
'cause before it was like, cinema cameras, great,
DSLR, mirrorless cameras, bad.
But now it's getting to the point
where these are no longer bad.
These are good verses great.
So, if you have yourself a solid DLSR,
you'd be surprised at how close this is
to a super high end camera.
It's not like as soon as you pick one up
all your footage is gonna become amazing already.
You should be able to get good stuff here
and it'll look better there.
Anyways, let's rap this up
by reading a few comments from my last video,
which was,
I don't remember what it was about.
Oh, about the wire camera. (laughs)
Top comment was from Ted.
Only Potato Jet would be making a YouTube video
at the wedding. (laughs)
I'm sorry.
I can't,
I can't put this camera down.
Everyone that knows me closely
knows that this comes with me everywhere.
Sam be like, it's your wedding but it's my dance floor.
That's Sam everywhere he goes.
Maybe we should hit up a bunch of spots in town
and make a little dance montage for Sam.
Carilto says, Gene is that friend
you don't wanna be with during parties,
you'll probably end up with cinematic drunk vids.
You are absolutely correct.
I have so much blackmail material
of cinematic drunk friends footage.
Jake Sidney says, did you know that on the Fail Army TV show
you earned yourself a medal of honor, that was hilarious.
Whoa, okay, hold up.
This must be my paragliding crash video
because awhile ago they hit me up
asking if they could use my footage
and I said yeah, go for it.
I didn't know anything actually came out of it.
I don't even know how to find it
but if anyone knows where that video is,
send me a link please.
I wanna check it out.
Why is it that everytime I end up on TV
it's either just somewhere
deep in the background of some random show
or it's a fail video.
Like when I was in middle school
I was having this roman candle battle
with my brother and his friend and he was recording it
and it looked like I shot him in the eye.
It actually hit right here.
It bounced of the side of his head.
A stupid idea.
Don't do that.
But that video actually got kinda popular on the internet
and it actually ended up in some TV show.
Dylan was my neighborhood, at the time,
and he calls me.
He's like, yeah, I just saw you on TV
shooting a roman candles at your friend.
(upbeat music)