A copyable R5 / R5 Mark II setup. C-Log3 and C-Log2, when to use 4K HQ vs 8K, Cinema RAW Light, and the cooling workflow that keeps these cameras rolling.
The Canon EOS R5 and its successor the R5 Mark II are 45MP full-frame hybrids that shoot 8K internally, and they reward a careful setup, especially around color science and heat. Both use Canon Log 3 (C-Log3) for a clean, easy-to-grade image; the R5 Mark II adds Canon Log 2 (C-Log2) for maximum dynamic range and internal Cinema RAW Light up to 8K. The original R5 became infamous for overheating in 8K and 4K HQ, so a smart workflow matters. The R5 Mark II largely fixed this and adds an optional cooling fan grip. This guide gives you the exact menu items, recommended values, and the reasoning, so you can choose the right format, color profile, and thermal strategy for narrative, wedding, documentary, and hybrid work on either body.
Canon Log 3 (C-Log3) is the profile to shoot on both cameras for most work. It delivers a wide dynamic range with a gentle, easy-to-grade curve and good noise control, and it is the only Canon Log option on the original R5. It captures rich shadow and highlight detail while staying forgiving in the grade, which is why it is the default for wedding, documentary, and run-and-gun shooters.
The R5 Mark II adds Canon Log 2 (C-Log2), which squeezes out the maximum dynamic range Canon's sensor can deliver. C-Log2 is flatter and noisier in the shadows than C-Log3, so it demands careful exposure and a proper grade, but it gives a colorist the most latitude for high-end work. Use C-Log2 for controlled, graded productions and C-Log3 for everything else.
Both pair with Canon's Cinema Gamut or BT.2020 color and Canon's official LUTs for monitoring and grading. Canon color is widely loved for skin tones, and either Log profile grades cleanly. For 10-bit recording, choose the C-Log gamma; do not shoot Log in 8-bit.
Both cameras have a 45MP sensor that reads out at full 8K width. The original R5 records 8K DCI/UHD up to 30p (including 8K RAW internally) and 4K up to 120p. The R5 Mark II goes further: 8K DCI up to 60p in 12-bit Cinema RAW Light internally, and 4K DCI/UHD up to 120p.
For most deliverables you do not need 8K. The smarter choice is 4K HQ (High Quality) mode, which oversamples the full 8K sensor readout down to 4K. This produces a noticeably sharper, more detailed 4K image than the standard line-skipped 4K mode, with less moire and aliasing. Shoot 4K HQ for your main material and reserve true 8K for projects that need the resolution for reframing, cropping, or future-proofing.
Note that the most demanding modes (8K and 4K HQ) generate the most heat on the original R5, so balance image quality against your thermal budget. Standard 4K (non-HQ, line-skipped) runs cooler and longer if you need marathon record times on the original body.
Both cameras record 10-bit 4:2:2 internally and offer two compression schemes. ALL-I (Intra) compresses each frame independently for the most robust, edit-friendly files, but at roughly three times the file size. IPB / Long-GOP compresses across frames for much smaller files that are heavier on the editing computer. For grade-intensive work, choose ALL-I; for long-form and storage-conscious work, IPB Light or IPB is fine.
Both also offer Cinema RAW Light, Canon's compressed RAW that retains most of RAW's flexibility while cutting file size by roughly 40% versus uncompressed. The R5 records 8K RAW; the R5 Mark II records Cinema RAW Light up to 8K 60p. RAW gives the ultimate grading latitude (full sensor data, debayer in post) but demands fast CFexpress Type B cards and a capable edit system.
For card selection, 8K RAW needs a fast CFexpress Type B card (VPG 400 class on the R5); 4K can run on the CFexpress slot or a fast SD card for proxies. Set the recording format to AVC 10-bit 4:2:2 ALL-I or RAW based on your grading needs, and keep an SD proxy workflow for long projects.
The original R5 has a real thermal limit in 8K and 4K HQ, and managing it is part of shooting the camera. Keep the camera cool between takes (out of direct sun, screen flipped for airflow), power it off when not rolling to let it reset its internal temperature timer, and use the standard non-HQ 4K modes for marathon record sessions. Firmware updates improved record times, and some shooters use external cooling accessories or even remove the camera's internal time limit logic via cooling mods.
The R5 Mark II largely solved this. Its redesigned heat management allows much longer 8K and 4K record times, and Canon offers an optional Cooling Fan grip (CF-R20EP) that roughly quadruples sustained 8K 30p record time and is worth it for long-take and studio work. The Mark II also adds a full-size HDMI port, waveform, false color, and focus breathing compensation for a more pro video workflow.
Whichever body you shoot, plan your day around heat: shoot your most demanding 8K/HQ shots when the camera is cool, batch them, and fall back to lighter 4K modes for long interviews. Carry spare batteries, since high-resolution modes drain power fast and battery heat compounds the thermal load.
Both cameras use Canon's excellent Dual Pixel CMOS AF II with face, eye, and subject tracking; the R5 Mark II adds the AI-based Dual Pixel Intelligent AF with subject registration for even stickier tracking. For interviews, set a slower Movie Servo AF speed and lower tracking sensitivity for cinematic focus pulls; raise them for action.
The in-body IS combines with lens IS for strong handheld stabilization. Use Movie Digital IS for extra smoothing on walking shots (it adds a small crop) and turn stabilization off on a tripod or gimbal. Combine with a wider lens to offset the crop.
C-Log3 looks flat, so monitor with Canon's View Assist LUT and the zebra and (on the R5 Mark II) waveform and false color tools. Expose C-Log3 to protect highlights and keep skin comfortably above middle; with C-Log2 on the Mark II, expose a touch brighter to control shadow noise, then grade down. Lock white balance manually for consistent color.
| Setting | Recommended | Why |
|---|---|---|
| Canon Log setting | C-Log3 (both bodies); C-Log2 for max DR on R5 Mark II | C-Log3 is clean and easy to grade; C-Log2 gives the most latitude but needs careful exposure. |
| Movie recording format | AVC 10-bit 4:2:2 (or Cinema RAW Light) | Always 10-bit 4:2:2 for Log; RAW for ultimate grading latitude. |
| Compression | ALL-I (Intra) for grading; IPB / IPB Light for long form | ALL-I is most robust but ~3x file size; IPB saves storage. |
| Resolution | 4K HQ (oversampled) for most work; 8K for reframing / future-proofing | 4K HQ uses the full 8K readout for a sharper 4K image with less moire. |
| Frame rate | 24p / 25p / 30p delivery; 4K 120p for slow motion | R5 and R5 II both shoot 4K up to 120p; conform 120p to 24/30 for slow motion. |
| 8K modes (R5 Mark II) | 8K DCI up to 60p, 12-bit Cinema RAW Light internal | R5 Mark II only; the original R5 records 8K up to 30p. |
| Shutter (angle/speed) | Shutter Angle 180 (1/48 at 24p, 1/50 at 25p) | 180-degree rule for natural motion blur. |
| White Balance | Manual Kelvin (5600K daylight, 3200K tungsten) | Lock WB to keep color consistent between clips. |
| View Assist LUT | On (Canon Log View Assist) | Shows a corrected image while recording flat C-Log. |
| Zebra / Waveform / False Color | Zebra on; Waveform & False Color on R5 Mark II | Expose precisely; protect skin and highlights in Log. |
| Movie Servo AF speed / tracking sensitivity | Slow for interviews, faster for action | Controls how cinematic versus reactive Dual Pixel AF focus pulls feel. |
| Image Stabilization (IS) / Movie Digital IS | On handheld (Digital IS adds crop) / Off on tripod & gimbal | Combine IBIS + lens IS handheld; off avoids double-correction. |
| Auto power off / cooling (R5) | Power off between takes; use non-HQ 4K for long takes | Resets the thermal timer on the original R5 to extend record time. |
| Cooling Fan grip (R5 Mark II) | CF-R20EP for sustained 8K | Roughly quadruples 8K 30p record time for long-take and studio work. |
Hand the footage to our editors — color grading services, done to a professional standard.
Hand the footage to our editors — youtube video editing, done to a professional standard.
Hand the footage to our editors — music video editing, done to a professional standard.
The original R5 only offers C-Log3, which is clean and easy to grade and the right choice for almost all work. The R5 Mark II adds C-Log2, which delivers the maximum dynamic range but is flatter and noisier in the shadows, so it needs careful exposure and a proper grade. Use C-Log2 for controlled, high-end graded productions and C-Log3 for weddings, documentary, and run-and-gun.
For most deliverables, 4K HQ is the smarter choice. It oversamples the full 8K sensor readout down to 4K, producing a sharper, more detailed image with less moire than standard 4K, without the file sizes, card demands, and heat of true 8K. Reserve 8K for projects that need the resolution for heavy reframing, cropping, or future-proofing.
The original R5 has real thermal limits in 8K and 4K HQ; manage it by powering off between takes to reset the temperature timer, using standard (non-HQ) 4K for marathon sessions, and keeping the camera cool. The R5 Mark II largely fixed overheating with redesigned cooling and an optional CF-R20EP fan grip that roughly quadruples sustained 8K 30p record time.
Cinema RAW Light is Canon's compressed internal RAW format that keeps most of RAW's grading flexibility (full sensor data, debayered in post) while cutting file size by roughly 40% versus uncompressed RAW. The original R5 records 8K RAW; the R5 Mark II records Cinema RAW Light up to 8K 60p. It needs fast CFexpress Type B cards and a capable edit system.
Record 10-bit 4:2:2 and choose ALL-I (Intra) for grade-heavy work or IPB / IPB Light for long-form to save storage. For 8K and RAW, use a fast CFexpress Type B card (VPG 400 class on the R5). For 4K you can use the CFexpress slot or a fast SD card, and a proxy workflow helps on long projects.
One screen, every setting that makes footage look filmic. Dial these in once and your raw footage starts the edit halfway to a finished look.
Log gives you dynamic range only if you expose it right. Here is how to nail exposure with false color, zebras, and the right base ISO every time.
Dual native ISO gives you two clean sensitivity points instead of one. Know your camera's pair and you shoot low-light with far less noise.
Frame rate and shutter speed control how motion feels. Master the 180-degree rule, then learn exactly when breaking it serves the shot.
The Color page is why professionals choose Resolve. Here is how to actually use the nodes, wheels, and scopes to grade real footage.
YouTube re-encodes everything you upload, so the goal is feeding it a clean, high-bitrate master it can compress without falling apart.
Once the footage is in the can, Studio432 turns it into something worth posting — concert films, music videos, gaming, vlogs and short-form, edited remote and worldwide. Send the footage, get a quote by email.
Get it edited →