 Hello and welcome back, we've been looking at the new camera today, the Canon Aero 5C. And what I should consider as a game changer is just one of those next things that's just an extra tool to your toolkit, but it all comes down to perspective, but that will come after the intro. I'll be going through my notes because there's a lot to cover on this camera. This is the Canon Aero 5C, a very small form factor camera that no larger than the previous Aero 5 lineup, and also in the same vein as the Canon Aero series. It uses the Canon RF mount and you can see it's very slim and very small in its design and how it actually looks. It actually packs the full frame for the 5MP sensor that actually covers an 8K area. Which backed by internal cooling makes the whole overheating issue of the Aero 5 becomes a thin of the past. The scene in the camera is for the cinema series which means that it is built to actually match properly with the cinema lineup such as the C70s, the C300 Mk3s, the C500 Mk2s and that's like an amazing feature because out of what it actually brings it, it has the ability to record 8K in RAW standard or RAW light which is the new compression mode that Canon has introduced that's also available in the C70s now. And you can see how that ties in quickly with the C70 and also ties in quickly with the C300 Mk3 because it all has the capability of both shooting RAW light. They also have the ability to have both C-Log2 and C-Log3 but in this camera we do not have C-Log2 which has the maximum dynamic range tops but available in it is also a C-Log3. And if we look at the camera going forward we can see that it's equipped with a small timecode port and mini HDMI ports and also USB-C for power, a microphone head jack and also a mic in for actually capturing sounds, port that's related to the synchronization of your flash. The camera is what I would call the near perfect hybrid because let's face it, there is no perfect camera, there's only what a tool that solves your problem and how you can actually maximize that tool to all its potentials and this camera packs a whole lot of functions for those who are in the photo world and those who are actually in the stills world and this brings an interesting choice that makes it considered as a true hybrid. Whether it's the best hybrid, well time will tell but for now it's a very versatile tool that we can actually dive in. Going forward you actually have the ability apart from the Kodak options that's available which is the H.265 and the MP4 and the H.264 that's an MP4 which is a lot more easier to edit in older computers, Kodak such as the XOVC that gives you the 4-2 10-bit signal that allows you to be able to capture, log and actually grade in post that would integrate perfectly into your workflow that will give you longer recording times should you need longer recording times for what you want to do. Like the C300 Mk3 it accepts a CF Express card and also a V90 card and that's unique because it actually gives you the ability to be able to record raw in one card and a different Kodak in another card and also different resolutions so you can come up with your own unique workflow that's related to that. For me I'll probably just leave my CF Express as my main card maybe 1TB in there and probably use a V90 for proxy so I can actually send out proxies to an editor immediately and that may be my own style of actually using this camera if I'm supposed to use it. The camera itself is a full-frame camera but you could crop it into Super 35 which would be a windowed version I see that useful for me when I'm shooting let's say I have an 85 on this and I really need to go further I can see that becoming like a useful tool in the pinch where you have to actually really go in or when you're doing those shots whereby you don't have a dial up to actually bring you closer but you have to like window in closer that could be like a negotiable compromise that you could actually use as a tool to get out of a tight spot. The 8K oversampling nature of the sensor what this means is that every resolution you the camera is constantly shooting 8K every resolution but when you say you press HD what it does it takes that over sampled 8K file and down sample it into a HD file you get cleaner blacks you have low noise because you're compressing 8K or you're scaling down an 8K resolution from a full-frame into that windowed new resolution which is being compressed and being repackaged so you get cleaner footage you have finer details in your colors you have less more you have low noise less activated which just makes it a whole lot better because it's actually scaling down from a large sensor rather than cropping in which we know cameras like red actually they usually like just cropping cropping cropping cropping and never down samples I do not know if that has changed but I saw my last time with those cameras usually just cropping so you get like a 6K a different resolution when you move to 5K your focal length changes and that really really messes things up when you're actually trying to get the right field of view usually throws you off the chat but this keeps you it's quite interesting what it keeps in the same vein because you know what you're looking at your lens choice is still your lens choice except you're going to a windowed mode which you would now know okay here's the crop factor and you can actually calculate and know what's the new focal length you're actually going into since you're trying to like get into the punch like we talked about of of using the windowed mode such as a super 35 and a super 16 modes if you're shooting in 4K you can get up to 120 frames per second on 8K you can get up to 60 FPS in raw when shooting in 4K 120 frames per second the camera does not crop into the sensor so you get the entire field of view and this is usually great when you're shooting products and you're shooting those high speeds and you actually have over when you're shooting in 8K also you can you have all that visual imagery to be able to negotiate those setting details you want to accentuate or you want to actually reframe or for whatever visual effect or stabilization purposes you could reframe the area and be able to like use that as a as a working elastic to elevate the quality of your work when using the Canon RF's mount you could actually use auto focus in your slow motion and you have things like the eye detection the head detection and the face detection and not just a traditional face detection or a track that's available there's a lot few more that's available on this auto focus which makes it interesting I'm kind of a couple of characteristics from the RFI band bringing them here and that's like a good turn for a pinch which allows a one man band to be able to function independently and rely on the auto focus of the camera system as a second assistant to be able to get through his daily work and that's super amazing for what it brings the hot shoe on the camera you can attach a task cam audio recorder here that gives you the ability to connect four XLRs four channels of XLRs into the camera that could probably come down to taste I personally will not go for that because anything that takes my package out of balance and make it a lot more bigger and out of form it's something I actually shy away from but it gives you four channels of XLRs so if you're doing things like interview documentary things that actually like standard cotton nail that don't allow you move and rig and do all those long form format gives you all those access to be able to capture a variety of audio so you can get from your boom from your lapel also from scratch or whatever mix down if you have two characters whatever it is you can all bring them into the four tracks that's available by that device that's actually connected via this special hot shoe also on the side you have like your mic in to put the normal shotgun mic that connects via a three quarter jack to the camera and you'll be able to get like your audios into the camera also but that's like for scratch audio so when it comes to power consumption because the camera is always recording in 8k irrespective of whatever resolution you're recording it guzzles up a lot of power because there's a whole lot of things that affects the battery runtime so in respect of what the white sheet from Canon says just by making different options of codec compression resolutions auto focus tracking and several other things could determine how much power the camera sucks from the battery the traditional battery does not have enough to be able to deliver the 9 volt 3 amps consistently over more power when the camera decides to record at 8k 60 frames per second as a result most of the camera auto focus function will not be enabled and this will not be a problem if you're used to manual lens because the workflow never relies on the auto focus on the system but the camera also has a USB-C that actually takes power delivery that you can actually use in surpassing that limitation but that brings an interesting problem of how do you want to rig it to the camera that makes it cinema friendly because the camera is new we yet to see some solutions in the market that's tailored to a proper cinema solution because this is the RF-IC and not just like a normal camera to see for cinema so we yet to see cinema power solutions a couple are coming up there's like a D-Tap adapter that allows you to use V-mount solution so you could use like a 99 watts or you could use a there's a Chinese company that makes a battery I think is Zion or Zenguan something like that start with Z and those could also work straight because power delivery has a unique technology allows both electronics speaks to themself and actually draw the required amount of power that's required between both devices and that could be like a V-mount solution that you could actually customly butte who's this camera for because a couple of questions you should ask yourself it's do you need 8k do you need 8k 60 frames per second do you know when 8k is valid in your workflow at what point do you know that okay now this is the time that I feel this is the righteous to actually make the move into 8k and actually buying in all into all the solutions or tools that this device presents because there's also the cost what's the cost of data like the cost of your story shooting 8k means that you'd have to have expensive cats like you can deal with at the 128 gig level for your v90s you'd have to play at the 1 terabyte for your CF express be to be able to get longer record times if you're actually going to be working in feature frames of machine dogs or those long format from my own perspective and this is you're quite unique to me the way I would use this camera is that I would use it as a tool down the food chain I have the bigger cameras which are the C300 Mac 3s which amazing for cinema solution and traditional builds whereby you go on tripods or you're going bigger gimbals and I have like a C70s whereby you can put on any of all any of the gimbal solutions and also the air trinity that can actually go on carry eggs and any of the steady cams which are lighter solutions that you can use for longer time now this is not more interesting because solutions like the TILTA car rigs could actually have this as a dedicated cam for their car solution because it's quite light it's quite efficient you could use the Canon RF glasses if you're using PL glasses you could use diesel Vesprit primes they also have small form factors I look forward to also testing those primes with this camera in 8k and see how they resolve because that's like also an interesting glass you could also look for other very compact options which you could use as your BC cameras that you can use as a crash cam you could rig probably three of this in a car and have like a decent conversation and not be worried about the weight and how the lens and how the small compact and that's how would you look to use it so on a traditional day the 8 cams would be like this so when we're moving okay to the big cams I could put this on the on a steady cam or on some digital photo Thanos rig another place that I could actually integrate this in my workflow is because I shoot a couple products this camera becomes very essential because they're setting details when you have your problems that the 8k would actually become a universal tool for you to actually reframe the shot based on it shoots at the problem shoots at from t14 to t22 which is almost everything is in focus already you get and at the macro level you can actually now reframe and get more shots and actually repurpose the camera in unique ways actually useful to read another way where we could use 8k is for visual effects and stabilization whereby we get to reframe the sensor using external markers on our monitors or probably tapes and monitors that have markers and we use those left out areas for what stabilization or stabilization of camera footage for cases that are unique to what we're doing also an interesting way to actually repurpose and use the 8k that comes out of this camera and given the fact that it has C-Lock 3 that allows me to capture 12 stops because I know C-Lock 3 captures more close to testing stops of dynamic range right I can get 12 very clean usable stops and for the fact that I can load lot and I can record raw which means I'm not baking the lookup table into the footage where I can keep all cameras unified from this camera to the C70 to the C300 Mac 3 or to C500 Mac 2 depending on what you have it just makes it a whole lot more interesting as a visual solution that you can actually use so you should act yourself do you need 8k if you do not need 8k then there's no need actually because there's also the cost of storage the computing power that actually comes with processing this footage most of the M1s gets to still play it back but render time has to not improve because they are no yet dedicated encoders I don't know of than the M1s are dedicated to like speed of the workflow but they can actually keep up so if you're a hybrid shooter that should both steals and do travel work and do docker work and do food and do product videos and do a bit of commercial then this could be the right thing to look into if you do also music videos the action a low budget you could also take a deep into this end and this our corporate work this could also be great for you but as a documentary cameras I would most likely go for the C70 for the fact that this camera do not have an internal ND but can also provide the EF to RF adapter that has the ability to slot in an internal ND that you can actually dial in but that's actually a unique solution though you would have to add an added cost to the 4500 that you need to get the camera for and when it comes to also timecode also and biggest challenges to the camera at the ports that available they're actually unique ports they're not like generic so like the HDMI is a micro HDMI I won't know how fiddle that could get if you're actually doing external monitoring by doing wireless solutions so you have to get like a standard HDMI to micro HDMI to be able to explore that kind of solution if that gets damaged in your shoe there's no backup to actually turn to now that that's like one of the challenges with the camera that you have to deal with and have to figure out a walk around or a safe way or rigging or cage to actually protect the ports and see because we're still yet to get tech packed solutions that designed to actually purposefully camera the timecode also has a unique cable because of all these unique factors you'd have to find the adaptation to like your tentacles in track a you're some other timecode device that you actually use with the camera to actually pump in timecode into the camera a camera is all is only as good as its weakest points and you ask the creator it lies in your keep to actually focus on how you can play to its strengths unless those weaknesses so you can set up the camera for success so that actually affects your project so if you found this video useful please leave it give it a thumbs up so it helps YouTube actually share with others and let them know that this video is useful to you and until next time improvise adapt and overcome I'll see you