CineD just published their findings for the R5 C, and the results may surprise you! Rolling shutter measured 15.5ms at 8K DCI full frame, latitude was 7 stops and the dynamic range for Cinema RAW Light LT 8K ISO 800 developed in DaVinci Resolve to CLog2 clocked in at 10.2 stops at SNR = 2 – decidedly mediocre results. The noise floor of the R5 C is simply colossal and even worse than the R5! Readers may recall that around eight years ago, the same publication had this to say about Samsung’s NX1:
“10.1 stops of dynamic range is not a good rating. Actually it is the worst rating of all lab tests we have published so far.”
If 10 stops was woefully insufficient for SDR back in 2014, it’s most certainly inadequate for HDR acquisition in the year 2022. Additionally, there is nothing particularly attractive about Canon’s plastic-y looking noise, whereas RED’s R3D has a very organic, filmic looking texture. Attempting to salvage detail from the noise floor of the R5 C revealed appalling levels of chroma noise. The R5 C retails for USD $4,800.00. Below, we compare their results to the RED Komodo.
There’s no excuses. I have tried grading 8K CRAW from an R5 and my god was it full of pink chroma noise. One of the only things R5C has going is its sensor downsampling the entire 8K to even 1080p.
Dynamic range is more important to me than resolution and is one of the defining characteristics of motion picture film, which has greater than 13 stops of dynamic range according to most of the sources I’ve seen. The popularity of the Alexa Mini and the excitement over Arri’s new s35 Alexa with its headline 17 stops of DR proves, to me at least, that most experienced filmmakers understand this.