Canon R6 Mark III | Got me falling in love with Canon again

0:00 All right, so on this beautifully gloomy day,

0:01 I am vlogging here on this brand new Canon R six Mark III.

0:05 Over the last month,

0:06 Canon has let me borrow this camera to test run as my daily.

0:09 So, I've been able to travel with it, shooting some fun stuff with it,

0:12 and also catching up with some of my friends

0:14 who are Canon shooters, like Jason Elliot.

0:17 You may remember him from when we went dirt biking while he told us about

0:20 how he broke a bunch of world records

0:21 while shooting the Amazon Prime show Beast Games.

0:24 and also my friend David who just went

0:25 out and bought himself a [music] brand new

0:27 Canon C50 which is a very similar camera to the R six Mark III at least

0:32 on paper but I was actually surprised to see

0:34 differences so we'll get into that and I

0:36 got to say there is some nostalgia here because 5 years ago I was using

0:39 a Canon as my daily but that's when I switched over to team Sony you know

0:44 with Canon we were getting a lot of like this IBIS wobble on the wide angle also

0:47 some overheating things oh look look how it gets Canon was kind of hitting us

0:50 with the hammer you know no clog too [music]

0:53 But most of that does seem like it's resolved.

0:55 By the way, this video is not sponsored by Canon [music] in any way,

0:58 but I am self-sponsoring this episode with my tripod, Tryback.

1:01 So, we have united the Canon boys.

1:04 And I haven't been able to convince either of you guys to switch over to Sony.

1:07 Why is this?

1:08 It's easier to use and the lenses.

1:10 It's all about the lens.

1:12 It just comes down to the lens.

1:13 Look at this.

1:13 We have a 28 to 70 2.8 lens.

1:16 Look how small it is.

1:17 So, you don't get quite the 24, but like it's like the size of like a kit lens.

1:21 Yeah.

1:21 I thought it was a kit lens when I first saw it.

1:24 Yeah.

1:23 And it actually has some uh L series elements built into here.

1:27 Yeah.

1:28 If you didn't know that.

1:28 I didn't know.

1:29 And it's weather sealed.

1:30 Oh, it's weather sealed, too.

1:31 Which is also crazy.

1:32 And it's like what?

1:32 1,000 bucks or something.

1:34 Yeah, give or take.

1:35 No, this is a killer deal.

1:36 100 to 400, dude.

1:38 100 to 400.

1:40 Yeah.

1:40 I haven't played with this one.

1:41 For the price point, it's really good.

1:43 Here, let me put this on your tripod.

1:45 Where's my my handle?

1:46 Oh, I forgot the handle.

1:47 [laughter] Where the heck's my handle?

1:49 I forgot this handle to Portugal.

1:51 I freaking forgot my handle.

1:52 So all of Portugal.

1:54 I was just operating it like this

1:56 and then I was like, actually this isn't bad.

1:58 So I have not put the handle back on yet.

2:00 Wow.

2:00 How stable is this?

2:01 Trix tripod.

2:02 Huh.

2:03 Okay.

2:03 So f8 is the lowest I can go with this.

2:06 400 when you're zoomed in all the way.

2:07 So it's not like a super capable lens, but I mean like look at the size of it.

2:12 Yeah, this is cool.

2:12 100 to 400.

2:14 That's killer.

2:15 What's the price point on that?

2:17 $749.

2:18 Okay, now you're talking.

2:19 Canon's sub $1,000 lenses are like interesting to me.

2:22 You get to really kind of just experiment [music] around.

2:24 Yeah.

2:25 Which is smart because then you kind of find where you want

2:27 to be and then you get into the expensive world if you want.

2:30 We got the Sony 2 to 600 mil.

2:32 Love it.

2:33 Is that for the bird watching?

2:35 Maybe

2:36 a But we have to be very intentional whenever we take it somewhere.

2:39 What you're you're going to scoff at on that is [music] 56 to an 8, right?

2:43 Yeah.

2:43 It's slow, but we're getting sensors that like 6,400 ISO [music] base.

2:48 Well, I also find myself shooting at like a 56

2:51 more often to get that extra depth in the image.

2:53 I don't want everything razor thin.

2:56 I like the idea of having like a bunch of like little lenses,

2:58 check them all into a bag, doesn't weigh that much,

3:00 and you have like five different [music] like funky lenses.

3:02 I'm really happy to see that Canon is going full

3:04 size HDMI and above it is a USBC [music] port,

3:07 which we'll be utilizing for continuous power.

3:10 If we hop into the menu here, love to see this clo 2 and clo 3.

3:14 Before they used to give us one or the other depending on the camera.

3:17 So, we'll hop into clo 2 for most dynamic range.

3:19 Now, Canon claims that there's no official dual base,

3:21 but as we go up in our ISO,

3:23 we can see that it definitely cleans up right at 6400.

3:26 And then, of course, there's open gate, but there are restrictions.

3:29 So, I got to turn off my digital stabilization.

3:32 So, we're utilizing all of this to shoot our Trix holiday ad.

3:35 So, commercial ideas.

3:36 What do we got?

3:37 Ooh, it should be Christmas themed.

3:38 And Santa's delivering presents to our house.

3:40 Yeah, but you know he's going to be like super tired,

3:41 so we should like snort some magical Christmas dust.

3:44 I'm dreaming of a white Christmas.

3:48 Uh, I don't know if that's an appropriate idea.

3:51 Yeah, but you know the tribe sets up so fast you can catch him on camera.

3:56 What you doing there, little buddy?

3:57 I've been waiting for the last 30 years to get this shot.

4:00 You're filming this right now?

4:01 Yeah, I even created this Tribeex tripod.

4:03 It sets up in just seconds just so I can get a shot of you.

4:06 Okay, so maybe from there I can talk about

4:08 how the new Carbon 2 has an updated hydraulic system,

4:10 so it has a faster response.

4:11 Oh, and it could also be cool showing action cameras mounted

4:13 on the accessory mounts and also it goes into super low mode.

4:16 Sure, but then Santa steals your camera.

4:18 Oh, and then he beats the crap out of you.

4:21 Guess who's on the naughty list now?

4:26 My jingle bells.

4:27 Right before he finishes you off, he says an epic oneliner.

4:30 I got a sack full of [music] surprises.

4:32 And it's not all toys.

4:36 Holy crap, dude.

4:38 That sounded worse.

4:39 That hurt.

4:41 Like shattered into a bunch of tiny little pieces.

4:43 Can you Now, overall, really impressed with the image quality out of this camera

4:46 when you consider that we were basically filming in the dark.

4:49 We were really trying to test the limits of the sensor.

4:51 The only light we used was this 1 ft aperture tube,

4:54 which was set to less than 10%,

4:55 and the rest was just the ambient lights off the Christmas lights.

4:58 Now, when shooting in Open Gate,

4:59 it does require you to record the full resolution, which is almost 7K.

5:03 And it does let you know that the camera will heat up faster in this mode.

5:06 And an overheating icon did appear while we were shooting,

5:09 but it never became an issue.

5:11 I mean, I'll just say my C50 wouldn't have that.

5:14 So, [laughter]

5:15 now having to turn off some image stabilization

5:17 for open gate definitely [music] did feel a bit limiting.

5:19 I wouldn't really do any handheld work unless I had like a handheld rig.

5:22 As far as lenses, we kept it simple with that 28 to 70 f/2.8

5:26 8 the whole time and used the autofocus which worked great the whole time.

5:29 Really happy to see that even in darkness

5:31 the autofocus performance on this camera is really excellent.

5:35 But had such a blast shooting this.

5:36 Shout out to my friends for coming over and helping out.

5:38 Like Jayla who's a production designer.

5:40 She came over and transformed my living room in like 2 hours.

5:43 How do you store all this stuff?

5:45 Storage unit.

5:46 [laughter]

5:46 But this whole thing we shot in opengate to see if it actually helps to reframe.

5:51 So of course in the middle we have our 16x9.

5:53 But then on the left, I used the open gate to make a 16x9.

5:56 So you can see I have more headroom.

5:57 And on the right, if I only shot 16x9,

5:59 this is what I would have been able to extract out of it.

6:01 So obviously I could go wider on the open gate.

6:04 Is it more or less room than you were expecting?

6:06 On this one, it's not a ton.

6:08 It was easier to reframe, but it wasn't like a massive difference.

6:11 Prior to that, if you wanted a vertical slice,

6:13 you just [music] took it out of a 16x9 cut.

6:15 So the open gate kind of gives you a smidge of that back,

6:19 but is it really worth it?

6:21 There's also kind of like the modern [music] day title safe, right?

6:23 You're going to have like different overlays,

6:25 like shaded out spots that are often trimmed out from your footage.

6:28 [music] It does even further awkwardize your reframing.

6:34 Yeah, I do feel like it's getting to the point where a lot of times

6:35 we're shooting something and like the vertical

6:38 extraction out of it is just as important.

6:40 The vertical game is is coming for us.

6:42 It's unescapable.

6:42 [music] Yeah.

6:43 This is the first time I've ever shot something where I was like,

6:45 "Okay, I'm going to try to use one angle,

6:47 have it look good in both horizontal and vertical."

6:50 And it is definitely two completely different mindsets.

6:52 And it could drive everything in the scene to your character placement,

6:54 your actual set build and placement where all your lighting and stuff is.

6:58 You are going to make some serious compromises on one of the two ratios.

7:03 If you're okay with that, sure,

7:04 and open gate certainly helps you do that, but I prefer not to do it.

7:09 You would usually shoot your vertical stuff completely separate from horizontal,

7:12 preferably.

7:12 Yeah.

7:12 I'm personally a fan of having the taller aspect ratio,

7:15 but I really wish that I can have

7:17 just like a 4K version of it that's stabilized,

7:20 something that's a little bit more like creator friendly cuz if I'm recording

7:23 with three cameras right now and you record for an hour and a half,

7:26 like that's a lot of footage to to have in 7K when I don't need that.

7:31 DJI Action 6 has 4K by 4K.

7:34 It's just [music] a true square and I love that.

7:36 Oh, that's sick.

7:37 That's where it really feels like you have tons of flexibility.

7:40 I feel like what's nice about this R six is

7:41 that you could set up our 16x9 and 9x6 guides.

7:45 That's nice that they include that though that the guides are in camera.

7:47 Is it an adjustable 9x6 or is it just straight center cut?

7:50 The guides are straight down the middle.

7:52 But it's still really helpful because when [music] you're looking at 16x9,

7:54 sometimes it's hard to imagine how skinny.

7:57 It's a lot skinnier than you think.

7:58 It's always a lot skinnier than you think cuz

8:00 I'll be shooting without it and I'll be like,

8:01 "Oh yeah, I could trim it out." And then I'm trying to reframe afterwards.

8:04 I'm like, "Wait, this is I shot way too close." So it helps a lot.

8:09 Also, look at this little guy right here.

8:10 This is a little V1.

8:11 It's a point and shoot.

8:13 Huh?

8:13 Nice.

8:14 Cuz it's got a 1.4 in sensor, but it's it's a it's actually very wide.

8:17 It's a little wide angle here.

8:19 I think it's kind of nice for like a little mini vlog camera.

8:22 Look at that.

8:22 Wow.

8:23 Incredible.

8:24 But our point and shoot's dead because

8:26 of iPhones or in [music] your case Android phones.

8:29 Yes.

8:29 [laughter] Yes.

8:30 Yes.

8:30 With some of the YouTubers I've been working with recently,

8:33 they shoot a lot on phones.

8:34 But it's interesting all of the situations

8:37 that you get into that the iPhone falls apart.

8:39 The way the lensing works inside of a a camera

8:42 phone isn't the best for all scenarios.

8:44 So these definitely still have a place.

8:46 We've seen good stuff out of 1 in, but it's not really prolevel.

8:49 Yeah, has it limitations for sure.

8:51 And then you have APS-C, which is basically super 35.

8:53 You can get really legit stuff there.

8:55 Where does 1.4 in?

8:57 Is this one of those trick questions?

8:59 That's the thing.

9:00 Nobody knows because it's No one's heard of a 1.4 in like how big is that?

9:04 It's supposed to be in the middle of that.

9:06 Okay, that's way closer to APS-C than I thought it was going to be.

9:09 Me, too.

9:09 Like, I actually have to get the dimensions and everything.

9:11 And this oddly took me a really long

9:12 time because I'm slow with Photoshop to make out,

9:15 but yeah, this is the exact dimensions of this 1.4 in sensor.

9:18 And then it has an f/2.8 lens, clog 3 in that little thing.

9:21 Built-in ND filter.

9:23 Well, only one.

9:23 I think it's like three stops, but still better than nothing.

9:27 Yeah, I love built-in ND filters.

9:28 That's my favorite words.

9:29 And then like micro four thirds.

9:31 I've been really impressed with what Panasonic has done with micro four/ thirds.

9:34 Blackmagic makes micro four third stuff too, right?

9:35 Oh, yeah.

9:36 But check it out.

9:36 Micro four/ third sensor right there.

9:38 Oh, it's actually bigger than that.

9:39 So, now I'm interested cuz this is

9:41 like carrying around a tiny little mirrorless camera.

9:43 Yeah.

9:43 Really?

9:44 R six and [music] C50.

9:45 Basically the same sensor, but $1,000 more for the cinema version.

9:49 So, I think a lot of people assume that's the same exact picture.

9:51 You would assume same picture, same settings, same capability.

9:54 This is kind of a very unscientific

9:56 [music] test here cuz we have different lenses,

9:58 but we are shooting the same settings.

9:59 4K 120 on both of them.

10:01 Shot in clog 2.

10:02 They're both pretty good,

10:03 but definitely I see a lot more weakness in [music] the R six.

10:06 Yeah, I'm noticing it's a little grainier on the R six.

10:09 The shirt I see a lot of noises in the dark.

10:11 So, even on his pants, which are a lot lighter color.

10:14 Yeah, the C50 I feel like gives me a lot of like skin tone richness.

10:18 Look at his arm.

10:19 That's a vastly different image.

10:21 Yeah,

10:21 way better color coming through on that.

10:22 Both handling the contrast pretty well.

10:25 Hey, let's do a ISO 12,800 battle.

10:27 Why does the R six and the C50 look so different?

10:30 I mean, same exact settings.

10:32 Is it just the screen brightness?

10:34 I don't think so, though.

10:35 Like, look how much detail I still have like in the background and the sand.

10:39 Should we swap lenses real quick and see if it changes anything?

10:41 Okay.

10:41 Yeah, let's do it.

10:42 Let's try on clog 3.

10:43 See if that makes a difference.

10:44 I think it's the view assist.

10:46 Something's off.

10:47 Right.

10:47 That looked too far off.

10:48 Yeah.

10:49 [music] But when we pull up the footage, much closer

10:52 and fantastic, by the way, for those lighting conditions,

10:54 you have a really usable image here on the R six.

10:57 But if I was filming like in a real world scenario and I saw that on my monitor,

11:01 right?

11:01 You'd be like, "Nope, not using that."

11:03 Exactly.

11:03 I would put it away.

11:04 But then you look at the footage afterwards and everything looks excellent,

11:07 I wouldn't have even gotten that far cuz just wouldn't have filmed it.

11:10 But there still is a difference.

11:11 I'm looking at Carrie's jacket here.

11:12 So we we get the grain and stuff back in that we saw from the high-speed stuff.

11:17 Yeah.

11:17 So I guess that noise is not just in 120 frames per second.

11:20 It's just the the shadows.

11:21 Now, how does a little guy do?

11:23 Yeah.

11:23 If you're vlogging on the beach at sunset, what are we going to get?

11:26 I'm impressed with this little V1.

11:28 This is not bad.

11:28 Oh, that's pretty cool.

11:29 This is pretty dark.

11:30 So, this is f2.8 12,800.

11:34 Really?

11:33 It's definitely the least good out of the three,

11:36 but makes me excited for the future of like really small cameras.

11:40 Yeah, that's a impressive camera.

11:41 You have a big history with Canon Pro cameras.

11:44 So, is this from your news days?

11:46 No.

11:46 So, this was a commercial shoot for a firefighting product.

11:50 So, there's actually a camera inside this jacket.

11:53 They they gave us an older one and we were able to cut it up.

11:56 We're actually able to go into the fire with the camera and film, you know,

12:00 these really amazing angles of the interior

12:02 of the house on fire and the firefighters right there.

12:05 You need to sell this as a product like the fireproofing.

12:08 I will say the lens didn't survive,

12:10 but the camera did great in in that level of heat, which is incredible.

12:14 So, you were a heavy C300 Mark II user and then is this the R5C?

12:18 It is.

12:18 In Antarctica, we had a Sub-Zero freezer.

12:21 Uhhuh.

12:21 And we would take a bunch of our equipment

12:23 and literally sacrifice it and freeze it.

12:25 [laughter] And if it still worked afterwards,

12:28 then it got the green light to go to Antarctica cuz once you're there,

12:31 something breaks or fails on you.

12:33 There [music] is no Best Buy down the corner.

12:35 R5C, we froze it solid and then defrosted it and it still worked.

12:39 It was incredible.

12:40 One of these days it was -40°.

12:43 I had absolutely zero issues with it.

12:45 That's one of the nice things about

12:46 Canon cinema cameras is they were so bulletproof.

12:48 You'll be filming in the most miserable conditions

12:51 ever and the camera's just like, "Let's keep going." Yep.

12:54 Overheating test.

12:55 What do you have that in?

12:56 So, that's in a incubator set to 140 degrees because that's kind

12:59 of like the top operating temperature that you're supposed to be in.

13:03 Of course, you might take it at the hotter places.

13:05 [laughter]

13:05 So, what are you recording on that resolution wise?

13:08 4K 30 on the little guy and it overheated about 38 [music] minutes.

13:12 Oh, goodness.

13:12 I was hoping that this thing would last a little longer because it has the fan.

13:16 But the R six3, you could see the little temperature gauge going up.

13:19 And it does seem if I just kept it going,

13:21 it probably would have eventually overheated.

13:23 But honestly, if it could hit over 2 hours at 140°,

13:26 it's better than a lot of mirrorless cameras.

13:28 That's the benefit of the C50, right?

13:30 You could just let it cook in the sun and it'll just keep going.

13:33 Hey, Frank, put that camera into clog.

13:35 Let's see if an R six Mark I user can figure it out quickly.

13:38 Oh, okay.

13:38 Okay.

13:38 Hold on.

13:39 I'll find it.

13:39 I couldn't.

13:40 I'll find it.

13:40 Oh, snap.

13:42 It's [laughter] way different, isn't it?

13:43 Yeah, it is different.

13:44 Is this it?

13:44 Oh, that's just viewist.

13:46 Where is it?

13:47 You got to figure it out.

13:48 Mr.

13:48 Cannons are easier to use.

13:50 Okay.

13:50 What I like about Canon menus is that they're

13:52 pretty obvious and clear on what things are.

13:55 But one of the things that drives me nuts

13:57 is if you go and try to change a setting,

13:59 like time-lapse mode, for example.

14:01 It's like, oh, you have to turn off these other settings first.

14:04 Just doing it for you.

14:05 So then you have to like back out of that menu,

14:06 then go to a different menu, turn off stabilization or whatever,

14:10 and then you have to like back out

14:11 of that, and then come back to like time-lapse mode.

14:13 I think at the very least what Canon should do is if it's like,

14:16 "Oh, you have to turn off digital image stabilization to get into this mode."

14:20 Yeah.

14:20 Would you like to do that?

14:21 And you just say, "Okay." And then Frank still, I need help.

14:24 [laughter] So, by default, it says picture style, right?

14:27 So, then you have to go over to custom picture and then you have

14:30 to push the info button and that's where you can get into your different logs.

14:35 Not easy.

14:36 Yeah, you were on that before like you came into this menu.

14:38 All I had to do was press this random button.

14:41 Now, despite these minor gripes I have with the Canon,

14:44 I still think it's light years better than Sony's.

14:46 I mean, the fact that I can't scrub ahead on a clip during playback on my Sony,

14:51 it's one of those small things that really make me want to switch back.

14:54 Which one of these Canon cameras are the most interesting to me?

14:57 Honestly, the the little guy.

14:59 Interesting.

14:59 The V1, the little guy.

15:00 This feels the most unique.

15:02 Yeah, punching above quite a bit.

15:04 The other day, I took this out to a Laker game.

15:06 My first time to a Laker game.

15:08 And what I like about it is it's a great vlog camera.

15:10 You have the wide angle, good low light, zoom capability.

15:13 Man, are you a sports guy, by the way?

15:15 Aside from pitching in the World Series and ruining it for Toronto.

15:19 I know, right?

15:19 [laughter] I kind of forgot about that.

15:21 No, I mean, I like sports.

15:23 I like going to live events, especially hockey is awesome.

15:26 Oh, you're a hockey guy.

15:27 I'm a hockey guy in that like I like to sit at the glass

15:29 and see people get slammed into it in front of [laughter] me.

15:32 And that's pretty much the extent of it.

15:34 Now, I got to admit,

15:35 I've been really enjoying using this Canon R six3 for the last month or so.

15:39 So, am I switching back to Canon?

15:42 Not yet.

15:43 But primarily because I hate switching camera platforms.

15:46 And actually, since I started [music] this channel 9 years ago,

15:49 I've only switched once, which was from Canon to Sony.

15:52 There needs to be like a big reason for me to make that switch over, you know.

15:56 But let's say 5 years [music] ago options like this Canon R six existed.

16:00 I would have definitely stayed, you know,

16:02 I wouldn't have felt like a big need or desire to switch over to Sony.

16:07 And I definitely have been pretty happy in Sony world.

16:09 But when I made the switch like 5 years ago,

16:11 my needs were different than they are now.

16:14 So I am looking for some features cuz when I did the switch,

16:17 it was for the A7S3.

16:19 And actually that was before Instagram even had reels yet.

16:22 Isn't that crazy?

16:22 A long time ago.

16:23 It was a long time ago.

16:24 Like the Canon C50 is definitely the camera

16:26 that's the most interesting and appealing to me personally.

16:29 Like I like the picture quality out of there.

16:31 I like that it's a Canon cinema camera, so it has that [music] reliability.

16:34 no overheating or anything like that.

16:37 But I will say I wish it had IBIS.

16:40 You know, that's one of the things I really like about the Sony FX3

16:43 and FX6 pairing is that I'll use the FX6 when I don't want IBIS,

16:47 now use the FX3 when I want IBIS, or even better,

16:50 Nikon, who can actually have IBIS and then lock it.

16:52 Good news, I haven't seen any IBIS wobble.

16:55 But actually, you know what I would like even [music] more than IBIS.

16:58 I will instantly switch to any camera platform if it has built-in ND filters.

17:01 I would uh agree on that.

17:03 Yeah, that's one thing.

17:04 I forgot all my NDies today because I'm

17:06 [laughter] so used to my C80 which has internal.

17:08 So like, oh yeah, I don't need them.

17:09 And then I get here and I was like, "Oh, everything's blown out.

17:12 I got to go to F-22." Is it possible to put in built-in ND filters?

17:18 [laughter] He's like mostly a photographer first, so he can't even say the word.

17:22 Is it possible to put a built-in ND filters on a body that small?

17:25 I keep thinking about the Ronin 4D.

17:27 If you look at just the head itself, it's pretty compact there,

17:31 but it has a bunch of ND filters in that little head.

17:34 And of course, the rest of the camera is much bigger.

17:35 But at least the ND filters must fit in that little head, which is not that big.

17:39 So, I do want to ask the Canon engineers like,

17:41 if you just took this camera and you

17:43 just had to put built-in ND filters into it,

17:45 like how much bigger would the camera be?

17:47 See, there is a part of me that's tempted to use

17:49 the drop-in ND filters in this EF to RF converter,

17:51 but then I miss out on all the fun in the RF lenses.

17:54 But that's a wrap on this video as well as the year 2025.

17:58 Honestly, I'm excited to see what next year will bring us.

18:01 I feel like the FX3 has given me everything I needed for the last 5 years.

18:05 But the world of being a creator of content and films and videos,

18:08 it's all shifting so fast right now,

18:10 which I'll admit can be scary, but also very exciting.

18:14 So, I feel like camera companies like Sony, Canon, Panasonic, Nikon,

18:17 they're going to have to step it up to win this race.

18:19 But thanks for another great year.

18:21 Happy holidays and I'll see you next year.

18:28 [laughter]