Canon R6 Mark III _ Got me falling in love with Canon again.

All right, so on this beautifully gloomy day, I am vlogging here on this brand new Canon R6 Mark III. Over the last month, Canon has let me borrow this camera to test run as my daily, so I've been able to travel with it, shooting some fun stuff with it, and also catching up with some of my friends who are Canon shooters, like Jason Elliott. You may remember him from where we went dirt biking while he told us about how he broke a bunch of world records while shooting the Amazon Prime Show Beast games. And also my friend David, who just went out and bought himself a brand new Canon C50, which is a very similar camera to the R6 Mark III, at least on paper, but I was actually surprised to see differences, so we'll get into that. And I've got to say, there is some nostalgia here because five years ago, I was using a Canon as my daily, but that's when I switched over to Team Sony. You know, with Canon, we were getting a lot of like this IBIS wobble on the wide angle, also some overheating things. Oh, look, how it gets. Canon was kind of hitting us with the cripple hammer, you know, no C-Log2, but most of that does seem like it's resolved. By the way, this video is not sponsored by Canon in any way, but I am self-sponsoring this episode with my tripod pry back. So we have united the Canon boys and I haven't been able to convince either of you guys to switch over to Sony. Why is this? It's easier to use and the lenses, it's all about the lens. It just comes down to the lens. Look at this. We have a 28 to 70, 2.8 lens. Look how small it is. So you don't get quite the 24, but like it's like the size of like a kit lens. Yeah. I thought it was a kit lens when I first saw it. Yeah. And it actually has some L-series elements built into here. Yeah. If you didn't know that. I didn't know that. And it's weather sealed. Oh, it's weather sealed too. Yeah, which is also crazy. And it's like what? A thousand bucks or something like that? Yeah, give or take. No, this is a killer deal. 100 to 400. Dude, 100 to 400. Yeah. I haven't played with this one. For the price point, it's really good. Here, let me put this on your tripod. Where's my handle? Oh, I forgot the handle. Where the heck's my handle? I forgot this handle to Portugal. I freaking forgot my handle. So all of Portugal, I was just operating it like this. And then I was like, actually, this isn't bad. So I have not put the handle back on. Really? Wow, how stable is this Trivex tripod, huh? Okay, so F8 is the lowest I can go with this guy. So at 400, when you're zoomed in all the way. So it's not like a super capable lens, but I mean like, look at the size of it. Yeah, this is cool. 100 to 400. That's killer. What's the price point on that? $749. Okay, now you're talking. Canon's sub $1,000 lenses are like interesting to me. You get to really kind of just experiment around. Which is smart, because then you kind of find where you want to be, and then you get into the expensive world if you want. We got the Sony's two to 600. No, love it. Is that for the birdwatching? Maybe. But we have to be very intentional whenever we take it somewhere. What you're gonna scoff at on that is the 5.6 to an 8, right? It's slow, but we're getting sensors that, like 6,400 ISO base. Well, I also find myself shooting at like a 5.6 more often to get that extra depth in the image. I don't want everything razor thin. I like the idea of having a bunch of little lenses. Check them all into a bag. Doesn't weigh that much, and you have like five different funky lenses. Really happy to see that Canon is going full-size HDMI, and above it is a USB-C port, which we'll be utilizing for continuous power. If we hop into the menu here, love to see this, C-Log2 and C-Log3. Before, they used to give us one or the other, depending on the camera. So we'll hop into C-Log2 for most dynamic range. Now, Canon claims that there's no official dual base, but as we go up in our ISO, we can see that it definitely cleans up right at 6,400. And then of course there's open gate, but there are restrictions. So I got to turn off my digital stabilization. So we're utilizing all of this to shoot our TRIBEX holiday ad. So commercial ideas, what do we got? Oh, it should be Christmas themed and Santa's delivering presents to our house. Yeah, but you know, it's going to be like super tired. So we should like snort some magical Christmas dust. I'm dreaming of a white Christmas. I don't know if that's an appropriate idea. Yeah, but you know, the TRIBEX sets up so fast, you can catch them on camera. Hi, what you doing there, little buddy? I've been waiting for the last 30 years to get this shot. You're filming this right now? I even created this TRIBEX tripod. It sets up in just seconds, just so I can get a shot of you. Okay, so maybe from there, I can talk about how the new Carbon 2 has an updated hydraulic system. So it has a faster response. Oh, and it could also be cool showing action cameras mounted on the accessory mounts. And also it goes into super low mode. Sure, but then Santa steals your camera. Oh, then he beats the crap out of you. Guess who's on the naughty list now? I'm Jingle Bells. Right before he finishes you off, he says an epic one-liner. I got a sack full of surprises, and it's not all toys. Holy crap. Dude. That sounded worse. That hurt. Like shattered into a bunch of tiny little pieces. Can I eat it? Now overall, really impressed with the image quality out of this camera. When you consider that we were basically filming in the dark, we were really trying to test the limits of the sensor. The only light we used was this one foot aperture tube, which was set to less than 10%. And the rest was just the ambient lights off the Christmas lights. Now when shooting in open gate, it does require you to record the full resolution, which is almost 7K. And it does let you know that the camera will heat up faster in this mode. And an overheating icon did appear while we were shooting, but it never became an issue. Uh-oh. I mean, I'll just say my C50 wouldn't have that, so. Now having to turn off some image stabilization for open gate definitely did feel a bit limiting. I wouldn't really do any handheld work unless I had like a handheld rig. As far as lenses, we kept it simple with that 28 to 70 F2.8 the whole time and used the autofocus, which worked great the whole time. Really happy to see that even in darkness, the autofocus performance on this camera is really excellent. But had such a blast shooting this. Shout out to my friends for coming over and helping out. Like Jayla, who's a production designer. She came over and transformed my living room in my two hours. How do you store all this stuff? Storage unit. But this whole thing we shot in open gate to see if it actually helps to reframe. So of course in the middle, we have our 16 by 9. But then on the left, I used the open gate to make a 16 by 9. So you can see I have more headroom. And on the right, if I only shot 16 by 9, this is what I would have been able to extract out of it. So obviously I could go wider on the open gate. Is it more or less room than you were expecting? On this one, it's not a ton. It was easier to reframe, but it wasn't like a massive difference. Prior to that, if you wanted a vertical slice, you just took it out of a 16 by 9 cut. So the open gate kind of gives you a smidge of that back. But is it really worth it? There's also kind of like the modern day title safe, right? We're going to have like different overlays, like shaded out spots that are often trimmed out from your footage. It doesn't even further awkwardize your reframing. Yeah. I do feel like it's getting to the point where a lot of times we're shooting something and like the vertical extraction out of it is just as important. Vertical game is coming for us. It's unescapable. This is the first time I've ever shot something where I was like, okay, I'm going to try to use one angle, have it look good in both horizontal and vertical. And it is definitely two completely different mindsets. And it can drive everything in the scene to your character placement, your actual set build and placement where all your lighting and stuff is. You are going to make some serious compromises on one of the two ratios. If you're okay with that, sure. An open gate certainly helps you do that. But I prefer not to do it. You would usually shoot your vertical stuff completely separate from horizontal. Preferably, yeah. I'm personally a fan of having the taller aspect ratio, but I really wish that I can have just like a 4K version of it that's stabilized. Something that's a little bit more like creator friendly. Cause if I'm recording with three cameras right now and you record for an hour and a half, like that's a lot of footage to have in 7K when I don't need that. DJI Action 6 has 4K by 4K. It's just a true square. And I love that. Oh, that's sick. That's where it really feels like you have tons of flexibility, I feel like. What's nice about this R6 is that you could set up a 16 by 9 and 9 by 16 guides. That's nice that they include that though. The guides are in camera. Is it an adjustable 9 by 16 or is it just straight center cut? The guides are straight down the middle, but it's still really helpful because when you're looking at 16 by 9, sometimes it's hard to imagine how skinny. It's a lot skinnier than you think. It's always a lot skinnier than you think. Cause I'll be shooting without it and I'll be like, oh yeah, I could trim it out. And then I'm trying to reframe afterwards. I'm like, wait, I shot way too close. So it helps a lot. Also look at this little guy right here. This is a little V1. It's a point and shoot. Cause it's got a 1.4 inch sensor, but it's actually very wide. So a little wide angle here. I think it's kind of nice for like a little mini vlog. Whoa. Look at that. That's actually really incredible. But our point and shoot's dead because of iPhones or in your case, Android phones. Yes, yes, yes. With some of the YouTubers I've been working with recently, they shoot a lot on phones, but it's interesting all of the situations that you get into that the iPhone falls apart. The way the lensing works inside of a camera phone isn't the best for all scenarios. So these definitely still have a place. We've seen good stuff out of one inch, but it's not really pro level. Yeah. It has its limitations for sure. And then you have APS-C, which is basically super 35. You can get really legit stuff there. Where does 1.4 inch stand? Is this one of those trick questions? Dun, dun, dun. That's the thing is nobody knows because no one's heard of a 1.4 inch sensor. Like how big is that? It's supposed to be in the middle of that. Dun. Okay. That's way closer to APS-C than I thought it was going to be. Me too. Like I actually had to get the dimensions and everything. And this oddly took me a really long time because I was slow with Photoshop to make out. But yeah, this is the exact dimensions of this 1.4 inch sensor. And then it has an F2.8 lens, C-Log3 in that little thing. Built-in ND filter. Well, only one. I think it's like three stops, but still. It's cool. It's better than nothing. Yeah. I love built-in ND filters. That's my favorite word. And then like Micro Four Thirds. I've been really impressed with what Panasonic has done with Micro Four Thirds. Blackmagic makes Micro Four Thirds stuff too, right? Oh yeah. But check it out. Micro Four Thirds sensor right there. Oh, it's actually big enough. So now I'm interested, because this is like carrying around a tiny little mirrorless camera. Yeah. R6 and C50. Basically the same sensor, but $1,000 more for the cinema version. So I think a lot of people assume that's the same exact picture. You would assume same picture, same setting, same capability. This is kind of a very unscientific test here because we have different lenses, but we are shooting the same settings. 4K 120 in both of them. Shot in C-Log2. They're both pretty good, but definitely I see a lot more weakness in the R6. Yeah, I'm noticing it's a little grainier on the R6. The shirt, I see a lot of noises in the dark. Even on his pants, which are a lot lighter color. Yeah. The C50 I feel like gives me a lot of like skin tone richness. Look at his arm. That's a vastly different image. Yeah. Way better color coming through on that. Both handling the contrast pretty well. Hey, let's do an ISO 12,800 battle. Why does the R6 and the C50 look so different? I mean, same exact settings. Is it just the screen brightness? I don't think so though. Like look how much detail I still have like in the background and the sand. Should we swap lenses real quick and see if it changes anything? Okay. Yeah, let's do it. Let's try on C-Log3, see if that makes a difference. I think it's the view assist. That's off. Something's off. Right, that looked too far off. Yeah. But when we pull up the footage, much closer. And fantastic, by the way, for those lighting conditions. You have a really usable image here on the R6, but if I was filming like in a real world scenario and I saw that on my monitor. Right, you'd be like, nope, not using that. Exactly, I would put it away. But then you look at the footage afterwards and everything looks excellent. I wouldn't even have gotten that far. Just wouldn't have filmed it. But there still is a difference. I'm looking at Kerry's jacket here. So we get the grain and stuff back in that we saw from the high-speed stuff. Yeah, so I guess that noise is not just in 120 frames per second, it's just the shadows. Yeah, how does a little guy do? Yeah, if you're vlogging on the beach at sunset, what are we gonna get? I'm impressed with this little V1. This is not bad. Oh, that's pretty cool. This is pretty dark. So this is F2.8, 12,800. Really? It's definitely the least good out of the three, but makes me excited for the future of really small cameras. Yeah, that's an impressive camera. You have a big history with Canon Pro cameras, so is this from your news days? No, so this was a commercial shoot for a firefighting product. So there's actually a camera inside this jacket. They gave us an older one and we were able to cut it up. We're actually able to go into the fire with the camera and film these really amazing angles of the interior of the house on fire and the firefighters right there. You need to sell this as a product, like the fireproofing. I will say the lens didn't survive, but the camera did great in that level of heat, which is incredible. So you were a heavy C300 Mark II user and then this is the R5C? It is. In Antarctica? We had a Sub-Zero freezer and we would take a bunch of our equipment and literally sacrifice it and freeze it. And if it still worked afterwards, then it got the green light to go to Antarctica. Because once you're there, something breaks or fails on you. There is no Best Buy down the corner. R5C, we froze it solid and then defrosted it and it still worked. It was incredible. One of these days it was negative 40 degrees. I had absolutely zero issues with it. That's one of the nice things about Canon cinema cameras is they were so bulletproof. You'll be filming in the most miserable conditions ever and the camera's just like, let's keep going. Overheating test. What do you have that in? So that's in an incubator set to 140 degrees because that's kind of like the top operating temperature that you're supposed to be in. Of course, you might take it at the hotter places. So what are you recording on that resolution-wise? 4K30 on the little guy and it overheated at about 38 minutes. Oh goodness. I was hoping that this thing would last a little longer because it has the fan button. The R63, you can see the little temperature gauge going up and it does seem like if I just kept it going, it probably would have eventually overheated. But honestly, if it could hit over two hours at 140 degrees, it's better than a lot of mirrorless cameras. That's the benefit of the C50, right? You can just let it cook in the sun and it'll just keep going. Hey, Frank, put that camera into C-Log. Let's see if an R6 Mark II user can figure it out quickly. Oh, okay, okay. Hold on, I'll find it. I'll find it. Oh, snap. It's way different, isn't it? Yeah, it is different. Is this it? Oh, that's just views list? Where is it? You gotta figure it out. Mr. Canons are easier to use. Okay, what I like about Canon menus is that they're pretty obvious and clear on what things are. But one of the things that drives me nuts is if you go and try to change a setting, like time-lapse mode, for example, it's like, oh, you have to turn off these other settings first. Instead of just doing it for you. So then you have to back out of that menu, then go to a different menu, turn off stabilization or whatever, and then you have to back out of that and then come back to time-lapse mode. I think at the very least, what Canon should do is if it's like, oh, you have to turn off digital image stabilization to get into this mode, would you like to do that? And you just say, okay, maybe one day. And then Frank's still looking. I need help. So by default, it says picture style, right? So then you have to go over to custom picture and then you have to push the info button and that's where you can get into your different log. Not easy. Yeah, you were on that before, like you came into this menu. All I had to do was press this random button. Now, despite these minor gripes I have with the Canon, I still think it's light years better than Sony's. I mean, the fact that I can't scrub a head on a clip during playback on my Sony, it's one of those small things that really make me want to switch back. Which one of these Canon cameras are the most interesting to you? Honestly, the little guy. Interesting, the V1, the little guy? This feels the most unique. Yeah, punching above quite a bit. The other day, I took this out to a Laker game. My first time to a Laker game. And what I like about it is that it's a great vlog camera. You have the wide angle, good low light, zoom capability, meh. Are you a sports guy, by the way? Aside from pitching in the World Series and ruining it for Toronto. I know, right? I forgot about that. No, I mean, I like sports. I like going to live events, especially hockey is awesome. Oh, you're a hockey guy. I'm a hockey guy in that, like, I like to sit at the glass and see people get slammed into it in front of me. And that's pretty much the extent of it. Now, I gotta admit, I've been really enjoying using this Canon R6 III for the last month or so. So am I switching back to Canon? Not yet, but primarily because I hate switching camera platforms. And actually, since I started this channel nine years ago, I've only switched once, which was from Canon to Sony. There needs to be like a big reason for me to make that switch over, you know? But let's say five years ago, options like this Canon R6 III existed, I would have definitely stayed, you know? I wouldn't have felt like a big need or desire to switch over to Sony. And I definitely have been pretty happy in Sony world. But when I made the switch like five years ago, my needs were different than they are now. So I am looking for some features. Because when I did the switch, it was for the A7S III. And actually that was before Instagram even had reels yet. Isn't that crazy? It was a long time ago. The Canon C50 is definitely the camera that's the most interesting and appealing to me personally. Like I like the picture quality out of there. I like that it's a Canon cinema camera. So it has that reliability, no overheating or anything like that. But I will say, I wish it had IBIS. You know, that's one of the things I really like about the Sony FX3 and FX6 pairing is that I'll use the FX6 when I don't want IBIS. Now use the FX3 when I want IBIS or even better, Nikon who can actually have IBIS and unlock it. Good news, I haven't seen any IBIS wobble, but actually, you know what I would like even more than IBIS? I will instantly switch to any camera platform if it has built in ND filters. I would agree on that. Yeah, that's one thing. I forgot all my NDs today. Cause I'm so used to my C80, which has internal. So like, I don't need them. And then I get here and I was like, oh, everything's blown out. I gotta go to F22. Is it possible to put it on a built-in ND filter? He's mostly a photographer so he can't even say the word. Is it possible to put a built-in ND filters on a body that small? I keep thinking about the Ronin 4D. If you look at just the head itself, it's pretty compact there, but it has a bunch of ND filters in that little head. And of course the rest of the camera is much bigger, but at least the ND filters must fit in that little head, which is not that big. So I do want to ask the Canon engineers, like if you just took this camera and you just had to put built-in ND filters into it, like how much bigger would the camera be? See, there is a part of me that's tempted to use the drop-in ND filters in this EF to RF converter, but then I miss out on all the fun in the RF lenses. But that's a wrap on this video as well as the year 2025. Honestly, I'm excited to see what next year will bring us. I feel like the FX3 has given me everything I needed for the last five years, but the world of being a creator of content and films and videos, it's all shifting so fast right now, which I'll admit can be scary, but also very exciting. So I feel like camera companies like Sony, Canon, Panasonic, Nikon, they're going to have to step it up to win this race. But thanks for another great year, happy holidays, and I'll see you next year. Ah! Oh ----.