Canon R5 vs Canon R5C Underwater Review - The best underwater video camera?
Canon underwater shooters are spoiled for choice at the moment between two great full-frame mirrorless cameras with the Canon EOS R5 and Canon EOS R5 C. While these cameras appear similar in both name and appearance, there is a lot going on under the hood that makes shooting each of them a totally different experience underwater. While the Canon EOS R5 is great for photo, it left many advanced video shooters disappointed due to overheating. Does the Canon EOS R5 C improve on the significant overheating concerns that hampered the Canon EOS R5’s high-end specs? Do these cameras continue the Canon tradition of excellent white balance color results when shooting video with ambient light? With so many recording options to choose from, where does an underwater image maker begin? To get these answers and more, we asked award-winning wildlife filmmaker Cristian Dimitrius and underwater media producer Joel Penner to break it down for us. Cristian and Joel recently spent time on each of these rigs at the Digital Shootout and beyond to put them through their paces. Read on for a comparison of each of these camera systems and everything one needs to know about shooting them underwater. The Canon EOS R5 with Nauticam NA-R5 Housing and the Canon EOS R5 C with Nauticam NA-R5C HousingCristian Dimitrius diving the Canon EOS R5 C camera with the Nauticam NA-R5C underwater housing and Nauticam EMWL Full Frame Kit.Joel Penner diving the Canon 1DX II camera with the Nauticam NA-1DXII underwater housing and Nauticam WACP Lens Port.Canon EOS R5 Underwater Sample Footage by Joel Penner | BonaireCanon EOS R5 C Underwater Sample Footage by Joel Penner | BonaireHEATHow to Manage Overheating One of the most widely discussed aspects of the Canon R5 is the notorious overheating issues when recording internal 8K 30p or 4K 120p video, in some cases making the headline video specs an impractical option for underwater video shooters. The Canon R5 C not only boosts the max recording spec up to 8K 60p, but it also adds a new internal cooling fan to help mitigate the heat buildup. What sort of internal heat management considerations does one need to factor in when shooting each camera in an underwater housing? Joel: When shooting the Canon R5 in an underwater housing, I’ll set my jump settings to 4K 60 fps (frames per second). For the first dive of the day, I’ll have 30 minutes of recording capability with these settings. If I see a subject that would be good for slow motion, I’ll set the camera to 4K 120fps. This changes the recording time to just 15 minutes. Flipping back to 4K 60fps after I’m done with slow motion gives me a new countdown. Since it’s too difficult of a button combination to switch between photo mode and video mode for my standby mode, I find that pressing the Preview/Review button takes the camera out of recording standby and saves on power and available countdown for overheating. If I’m recording some higher frame rate or even dabbled in 8K, my available countdown for the second dive might only be 15 minutes. Knowing that a decision to use a higher frame rate or resolution will impact my ability or inability to record on a future dive, or toward the end of a dive, I will also evaluate and ask myself the question of whether it is worth it or should I stay in 4K 60fps? For the Canon R5 C, I shot each dive extensively in 4K 120fps and never saw the fan power light go to red. I think this light is simply a notification of the fan speed and not an actual warning. I maybe saw it go from green to yellow once, but I believe that just means the fan sped up a bit. It can simply keep going and recording to the card! The external USB battery pack, keeps the camera’s battery topped off at 100%! Cristian: At the Shootout with the Canon R5 C I was always shooting at the maximum spec, either 8K 60 or 4K 120, and I never had any sign of overheating. And I shot a lot, like I usually shoot my RED and other cameras and it never had any problems, so I think they solved the overheating issue. I’ve used the Canon R5 for land shooting, mostly for stills, so I never had any overheating problems with the Canon R5. I never shot the Canon R5 in 8K, only 4K 24p but at this spec I never experienced any overheating. The Canon EOS R5 has a thinner profile than the Canon EOS R5 C which has an extended back to fit the fan.The Nauticam NA-R5 housing is a bit smaller than the Nauticam NA-R5C. They both share an N120 port opening, but the Nauticam NA-R5C gains the luxurious oversized cinema-style focus and zoom knobs and an external battery option.8K & 4K VIDEOWorking with 8K Video The ability to internally record 8K resolution video on a handheld full frame mirrorless camera is pretty incredible and is easily the most notable video spec among the latest generation of cameras from Canon, Sony, and Nikon. How difficult is it to playback, edit, and store 8K footage, and is it something that a casual/amateur/novice underwater video shooter can do? Joel: You have two choices when working with 8K files shot from the Canon R5 or Canon R5 C. You can either directly import it into your video editor of choice (I use Adobe Premiere Pro) and render it in your project to playback in real-time, or make Proxy files. Making proxies is definitely the recommended workflow if you’ll be shooting primarily in 8K. If you just dabble in the larger resolution, I find that it’s possible to skip proxies and work directly in your 4K project with a little bit of rendering. Additionally, 4K 60fps and 4K 120fps are perfectly editable in real time within Premiere Pro for me on both the Canon R5 and Canon R5 C. Cristian: If you’re shooting 8K 60 or even 24p the post production process will be much heavier. In order to edit, render, and playback you need a faster computer, faster processor, and more hard drives for sure. This can be an issue, but for me personally, I never edit anything straight out of the camera. I always generate Apple ProRes proxy clips because with those I can do anything. The first step is convert all the media and then throw it into Premiere and do all the editing. So it’s a different process. Of course, if you’re just a casual shooter and want to do everything fast, you have options in the camera to produce lighter files. You don’t have to shoot Canon RAW. You can decrease the file size by shooting in a non-RAW format to make your life easier after the shoot. If you are at the start of your game and you want to save material or stock footage, you have a great opportunity to shoot in 8K 60 and have that future-proof footage to sell for many, many years, maybe your whole life, and that’s what I think is important about this camera. You have a mirrorless camera that can shoot images that can make you money. Being out there and being able to be in the field, especially if you’re a dive master seeing nice stuff, you can start making a huge library of footage that could be sold and that’s a great thing. The more data, the larger the files, so you do need to think about post-processing. It does make it harder when shooting at the maximum spec and/or in RAW, but you do have opportunities to change that and shoot with files that are not too big straight out of the camera. You can shoot 8K in MP4 instead of RAW and make your life easier in post. The problem for me is that I am always shooting the biggest files possible with no color, always RAW, and trying to get the most data in every file, so the files are heavy, but I will be handing this off to a post-house for editing and color. Then I as the Director will be choosing which color is best, so it’s not like working with a file or clip in the field and then editing or sharing to social media right away. This takes a lot more work to get good color out of it, but the data is there. As a professional, I am always looking to get the most data out of every file. Both the Canon EOS R5 and Canon EOS R5 C can capture 8K video for future-proof footage. A proxy-file workflow is the secret to handling and editing the beefy original 8K video files easily.Massive Crop vs Super Slow-Mo Let’s assume the video footage will ultimately be brought into a 4K 30p timeline for editing and playback. Footage originally shot in 8K gives the editor the ability to massively crop or re-compose the image in post, while 4K 120 can be slowed down up to 25% for capturing fast action shots. Which resolution/framerate combo do you choose when shooting in different situations underwater? Joel: I absolutely love the ability to shoot in 120fps. This is a much more useable choice for me vs. 8K. This was my “go-to” for the Canon R5. That said, this ultimately depends on your final deliverable requirements. The ability to shoot 8K 60fps with the Canon R5 C camera opens up the best of both worlds. Having a decent amount of slow motion capability (1/2 speed on a 30-frame timeline) with the benefit of reframing the footage with a whopping twice the resolution of a final 4k timeline size. Cristian: I usually do 8K 60 or 24 when I'm doing landscape and I want a lot of information like a beautiful coral reef shot. That would be the main spec for some beautiful scenery underwater, maybe even for big animals, whales. And then I go from that to 4K maximum frame rate for slow motion and that would be my two kinds of set setups that I always switch off for depending on the action. I never go below 4k because there's no use anymore for a professional in anything below 4K. It seems like within the next 4 to 5 years it will be pretty common for people to have 8K TVs in their homes, so we will have a need for more content in the near future. If you already have a bunch of images you can build stories that you can deliver and maybe even sell. But for now, 4K is enough for most, so that’s why I also shoot a lot in that resolution. Canon EOS R5 C resolution menu, showing 8K option enabled while connected via USB-C external battery.UNDERWATER COLORUnderwater Video Color For years Canon has consistently produced some of the best-looking underwater ambient light video colors when captured with a manual white balance, even at depths approaching 90 feet / 30 meters. Did the Canon R5 and Canon R5 C maintain the great underwater ambient light video color we associate with Canon, and how deep were you able to get accurate looking color? Joel: I find that the Canon R5 has no problem with white balancing and continues to deliver with the accurate Canon custom white balance capabilities. In my limited use of the Canon R5 C (just 3 dives), it appears that the one button press white balance can execute a good white balance (without having to switch to photo mode) and continues to deliver on the Canon underwater color we’ve grown to rely on and expect. Cristian: Well, in my experience, I didn't have much time to work the colors because I was shooting RAW and I didn’t actually get to process all the material to get the actual best color. I just did the manual white balance and shot RAW so I can probably get the look I want from this. I know the information is there based on the histogram - also I’ve tested it on land and was very impressed with the color. Because I shoot a RED camera all the time I’m used to seeing RAW footage out of there. The V-Raptor is almost black and white when you're looking at, it's very flat. So with any camera, every time I'm shooting, I'm looking at the flat image, so with Canon I know the colors are there. I can "see" the colors there. I know the blue is fine, the red is fine, everything is here. It's just flat. Images on the left are C-log files straight out of the camera. The images on the right are color graded with DaVinci Resolve.White Balance Procedure While Canon may be praised for their underwater ambient light video color results, it often came at the cost of one of the most convoluted white balance capture procedures found on any camera. Even the Canon R5 carried this same drawback, requiring a user to first capture a photo in photo mode before switching back to video mode to be able to use it. Fortunately, the Canon R5 C finally brings back a true “one-touch” white balance procedure. How did the new white balance procedure compare to the previous method? Joel: I love this new “one-touch procedure”! One thing people don’t know is that you can even perform this one-touch white balance while you’re recording! One of the challenges to the Canon R5 is that it only has one white balance bank. This would cause me to defer making a new custom white balance unless I had to change depths considerably. The resistance was two-fold: 1) Because of how clunky the procedure is.2) The risk that the new custom white balance might not be as good as the previous one. Now, while using the Canon R5 C I’m more likely to always set a new white balance as soon as I've changed depths since the one-touch white balance button is right there and is so easy to use. Cristian: Well, I think it is much easier. And honestly, when I used it for the first time I was used to doing it the old way like on the 1DX camera series, because for me it was never a problem. I got used to it because I've been shooting Canon for many years. I started with the Canon 5D, Canon 5D II, Canon 5D III, Canon 5D IV, Canon 1DX and they're always like that. So I got very used to setting the white balance quickly the old way, and this is much easier for sure, but for me it was never a problem. It just made my life easier. The Canon EOS R5 C one-touch White Balance procedure is so easy compared to the previous method. This is a major game changer for the user interface and easy operation of this camera for underwater video.Color Profile Selection: Standard vs Log Both the Canon R5 and Canon R5 C can shoot in CLOG3, a flat color profile that allows for wider dynamic range capture at the cost of having to color grade an otherwise ultra-flat image during the edit. Cristian shot his video entirely in CLOG3 and graded it, while Joel opted for the standard color profile using only minimal correction during the edit. Did the additional dynamic range detail captured in CLOG3 make the extra workflow worth it, or was the standard color straight out of the camera good enough? Joel: I think the answer to this question really has to do with your project deliverable. Are you mixing your Canon R5 C footage with other cameras? Are you passing it off to another editor? Do you have the correct LUTs (Lookup Table) for CLOG3? Do you have the LUT loaded into your video monitor? I think CLOG3 is powerful and with the right LUT applied, it’s very easy to get good color quickly in your editing software. You also will benefit from additional dynamic working range. Since this was a Nauticam loaner system, I opted for the easiest way to compare the workflow of how I have been filming with the Canon R5. I think the color looks good, and the H265 encodings are still fairly forgiving to correct color/grade in your software editor. My preference, for now, is to shoot it right in the camera with one of the HEVC settings. Cristian: I think the standard color of the camera is good enough. Maybe if I'm at the Digital Shootout, or if I use this camera again on a diving trip, I probably would do like the way Joel did just to make life in post easier. It's just because I've been hearing so much from post guys and post houses “please send me flat images, please send me flat stuff.” So that's why I kind of got into that because from my professional side i’m thinking about all of the process that comes along if I'm using that image in a show for Netflix or Disney Plus or Nat Geo because there is a long process of post-production and color and all the colorist love flat and RAW images, but I would definitely for my editing, for my things, maybe prefer to solve that while shooting because it's always better to get the right color while you're shooting. That makes the whole life easier even for like general editors and most casual video shooters don't have time or a post house or budget for that. So I think it's a matter of why do you want to do that for professional or general use? I think the color that comes out of the camera is good enough and then you just can enhance that in post. You don't need to shoot flat to bring that color back, it's just the industry requires that. And like I say, you have the possibility to do both, though I would say if I'm on a dive trip, I would definitely take an Canon R5 C instead of a RED because it's lighter and all I would need to get the right color and have that in-camera just like Joel did. If I'm on the shoot for some big production companies, then I would shoot raw. So it's dependent on what the situation is. This video was shot with the Canon EOS R5 C in the CLOG3 ultra-flat picture profile and was color graded using DaVinci Resolve.Codecs, Compression, & File Sizes In addition to the resolution and framerate options, there are many video codec, compression, and file type choices too. What does a user need to know about the recording limitations of shooting at the best video specs possible and editing them after the fact? Joel: I find that the higher resolution formats require more computing power and/or the creation of proxy files. Knowing this in advance and simply planning for the creation of proxies will help optimize your workflow. One of the great things about shooting in 4K 120fps on these cameras is that the file format comes out of the camera in 29.97 (playing back in slow motion) so it plays back smoother than 4K 60fps in your video editor. In my initial use of the Canon R5 C, I did find the resolution and frame rate to be convoluted and confusing. Certain settings only show up if you have the correct file format selected, so if you’re looking for a specific resolution and frame rate, you might need to consult with the manual or find your desired settings via trial and error. Cristian: I’m always shooting to the best spec as a general rule, so I’m choosing the option that will always create the largest file size. For me, converting to proxies is always the first step because it makes my life of editing so much easier. Every file from any camera - I convert to ProRes as the first step in my workflow. I can be shooting multiple cameras from RED, to Canon, to Sony, to GoPro, it all gets converted as the first step to make editing easier and faster. TIme is precious when editing so cutting down on render times is very valuable. I just want to do a fast edit and then get back to shooting. So for both professionals and for hobbyist editors, always shoot to the best options then just create proxies, problem solved. Shooting in 4K 120fps allows for super slow-motion footage. The file format that the video is captured in plays back in slow motion automatically, making it easy for editors to see what they are working with. STABILIZATIONNo In-Camera Stabilization on R5C The Canon R5 has built-in image stabilization, but the Canon R5 C sacrifices this to gain the fan for internal cooling. In an underwater environment with an ideal neutral buoyancy established image, stabilization tends not to be as crucial as it is when handheld topside. Did you notice any difference in stabilization between the two cameras? Joel: I definitely notice the difference. Underwater with the Canon R5 the stabilization would sometimes have a mind of its own and mess up a shot. I left it on because most of the time it did help smooth out the micro wobbles. With the Canon R5 C, along with proper buoyancy for both the camera and the diver, I honestly don’t miss the lack of built-in stabilization. Most of the time, I felt like I could keep the camera smooth and steady, moving with my fins and not flubbing it with my arm movements. Cristian: To be honest I didn't. I've been teaching and talking about stabilization for many years before we had cameras with built-in image stabilization. So I'm always trying to get the housing with lights and everything as stable as possible. So I would not see the effect right away, especially when shooting macro on tripods. But of course if you are in rough conditions with current and like holding yourself to a rock and holding the camera with the other hand, maybe the stabilization can be really helpful. I didn’t have enough time to shoot both cameras side by side underwater, but I imagine that would be the only way to see any noticeable difference between the stability of the two. I was able to get the Canon R5 stable enough through neutral buoyancy to not notice the lack of in-camera stabilization. Keep in mind, I was also shooting off speed a lot, so the slowed-down footage in post contributes stability to the video clip. You can also apply stabilizing effects in post, but sometimes that can create some freaky movements. Cristian Dimitrius diving the Canon R5 C camera with the Nauticam NA-R5C underwater housing and Nauticam EMWL Full Frame Kit. Even with the camera rig fully loaded with lights, monitor, tripod, and probe lens, the proper buoyancy compensation makes it perfectly neutral and stable in the water.Add A Tripod For StabilityXit 404 Tripod PlateLEARN MORENauticam Tripod Ball SetLEARN MOREInon Tripod Leg MLEARN MOREInon Tripod Leg LLEARN MOREVIEW ALL TRIPOD OPTIONSPOWERExtended Battery Life Recording massive 8K or 4K 120p footage clips can consume a lot of battery power. The Canon R5 relies on a typical SLR-style battery, while the Canon R5 C can use the Anker PowerCore III 19,200mAh 45W external battery pack or the ZMI 20,000mAh 65W external battery pack for additional power. How did you manage the power situation on these cameras and how many dives could you get out of each setup? Joel: I can get two dives out of one battery on the Canon R5.* I find the battery life to be perfectly acceptable. You’ll run into overheating before you run out of battery. For the Canon R5 C, it was so refreshing and comforting to look up in the upper right portion of the monitor and see 100% PD, during both dives. You just won’t run out of battery! The external USB Battery Pack will keep the internal camera battery topped off at 100%. Brilliant. Cristian: With the Canon R5 C I was able to shoot for like 6 hours with just one external battery pack. I never had to change it during that time. That’s pretty good, it’s better than the RED V-lock batteries. So I was pretty happy with the battery system. The external battery is also required for 8K 60, so I don’t even think about shooting this camera without it. For the Canon R5 for video, I got much less battery run time. But it is a smaller housing, so for doing like casual dive travel that doesn’t require long hours in the water for shooting it’s fine, but it will require changes more often. *EDITORS NOTE: Berkley White, Backscatter Founder & Owner: In my experience it is a challenge to make the Canon R5 battery stretch for two dives. It requires very close management of your recording time and power consumption. If recording lots of video, will be very difficult to achieve. The approved Anker PowerCore III 19,200mAh 45W or ZMI 20,000mAh 65W external battery packs fit in the housing, enable 8K recording, and let you shoot for hours.LENSESRF & EF Lens Options Underwater Both the Canon R5 and Canon R5 C utilize the newer full frame mirrorless-specific RF lens mount, though some of our all-time favorite Canon lenses still use the SLR-style EF mount. What lenses did you shoot underwater, and what type of adapters did you need to consider in order to use both types of lens mount? Joel: On the Canon R5 and Canon R5 C, I’ve been primarily shooting with the Canon EF 28-70mm Lens behind a Nauticam WACP-1. Don’t forget to bring your Canon EOS Control Ring Mount Adapter! This item is required to connect any of your Canon EF DSLR Lenses. I prefer the Control Ring version as you can assign it to adjust ISO with the knob built into the Nauticam Housing. Cristian: I used the Canon RF 100mm which was really good, and the Canon 16-35mm III with the Canon EOS Control Ring Mount Adapter, and I was really happy with both of those, especially when shooting on land, with the built-in ND filter that can drop in, even if it’s not something that we can use underwater. Overall I’m happy with the new RF lenses, and as a RED shooter, a lot of those cameras are going to RF mount too, so I’m finding myself migrating more and more to RF lenses. I’m also happy to keep an adapter around to use my other EF mount lenses, too. On the Canon R5 C I used the Nauticam EMWL Full Frame Kit and that was a lot of fun. I was really happy with that overall system and how Nauticam has taken their approach to a relay/probe lens made for underwater. I also shot the Nauticam WACP-1 and that was great, too. Super wide and super sharp, and it allows me to open up the iris without sacrificing corner sharpness, so I use this for getting more bokeh and more of a cinematic look easily. All of these optics translate really well between Canon and RED so for me it makes a lot sense and provides a lot of versatility at maximum optical quality. Nauticam WACP 1 LensLEARN MORENauticam EMWL Full Frame KitLEARN MOREThe WACP-1 and EMWL lenses from Nauticam provided a ton of versatility and interesting ways to capture compelling underwater footage.CONCLUSIONWhich Camera is “Best”? Many readers come to the conclusion of our camera reviews seeking the answer to the old “which camera is best?” question, which is of course not the right way to frame the comparison. Every camera is a tool for a different job, and each of these cameras have different benefits for the underwater shooter. After spending so much time with both the Canon R5 and Canon R5 C underwater, which tool would you pick for your job as an underwater photographer and videographer? Joel: If you’re primarily a photographer that dabbles a little in video, the Canon R5 is a great choice. Just keep in mind that you will need to monitor the countdown to avoid being unable to use the camera. A total overheating where the camera drops to 0:00:00 will prevent you from taking photos as well. Power the camera off and wait 5-10 minutes for the countdown to increment back up to 2 minutes of shooting. Without a doubt, I would say the Canon R5 C is the best choice for a dedicated video shooter. For a working videographer on assignment, you simply can’t afford to miss capturing the moment because your work camera has overheated. I mean… what do you tell the client!? With the Canon R5 C, those worries go away and you’re back to choosing the best recording settings for the job, (8K 60fps, 4K 120fps, etc.) without second guessing your decision due to overheating concerns. The ability to record for as long as you’d like in any of these creative modes is truly amazing, and I for one can’t wait to use the Canon R5 C again. Cristian: No matter what I was doing I would take both of these cameras if I could. Canon R5 C for video, and Canon R5 for photo, or as a backup video rig if something happens to the Canon R5 C. Bottom line is I never travel with just one camera, because they are all different tools for different jobs and as a professional filmmaker I have to wear a pretty big toolbelt for a large variety of jobs. Also the importance of backups is critical, because if your main rig goes down you still need to get the job done. As a combo for a job, these two cameras are perfect. EDITORS NOTE: Berkley White, Backscatter Founder & Owner: I’ve primarily been shooting Canon 1DX III and Canon EOS R3 for video but would choose the Canon R5 C as a primary video camera. The Canon EOS R3 offers a much better electronic viewfinder and I’ll probably stick with it when shooting both photo and video. I love that the Canon R5 C has a dedicated white balance button, but I’m bummed it only offers two custom white balance settings in memory whereas most other cameras offer 5 memory options. The Canon R5 only has one custom white balance setting and is much more convoluted to capture white balance than previous Canon cameras. The great buoyancy (larger size and knobs too) of the Nauticam NA-R5C housing makes it a no-brainer for me as the best compact professional video system of 2022. The extended battery pack is not just essential for this camera but is hopefully a regular feature in future Nauticam housings. Sony is hot on Canon’s tails with underwater custom white balance, but lens selection is still limited. As Cristian states in this article, I also want to shoot 8K raw to be future-proof, but I struggle for time to download, select, and share even 4K footage. 8K raw is great when you can hand it off to a colorist, but 4K with Canon color can just be dropped on the timeline. At the 2022 Digital Shootout, we had many guests struggling to shoot various cameras in raw and color correct in post. Once we talked them into keeping it simple with 4K and custom white balance their productivity and creativity hit new levels. Higher resolutions and bit rates will be the new minimum but it comes at a huge cost of time and post-production skill. I’d recommend new shooters to stick to 4K60/120 camera settings….but as Cristian says, if you want to sell something in the future, 8K will be the new minimum. The Canon R5 C with the Nauticam NA-R5C and extended battery pack is a no-brainer for me as a compact professional video system. Canon EOS R5ProsSmaller body and housing is great for travelAble to capture up to 8K 30pIn-body image stabilizationAbout $600 less expensive than R5 CConsOverheating requires management when shooting video at maximum specsMore frequent battery changes requiredOnly one custom white balance bankConvoluted process required to capture custom white balanceCanon EOS R5 CProsInternal fan mitigates overheating issuesAble to capture up to 8K 60pExternal battery pack supplies power for longer than traditional batteriesOne-touch custom white balance captureConsLarger camera and housing requires travel considerationsNo in-body image stabilizationOnly two custom white balance banksJoel Penner and Cristian Dimitrius taking a selfie break while field testing the latest Canon cameras for Backscatter during the Digital Shootout.About Cristian Dimitrius & Joel PennerCristian Dimitrius: Cristian Dimitrius is a Brazilian Emmy Award Winning cinematographer, photographer and television presenter specializing in wildlife and natural history films around the world. On land or underwater, from ants to whales, Cristian's innovative cinematography and unorthodox camera techniques are helping revolutionize the way people see and perceive wildlife. His goal is to bring an innovative approach using the latest techniques, equipment, and revolutionary creative resources to plunge the audience into the animal world. In addition to several film credits, Cristian has shot for the world's top television networks including the BBC, National Geographic, Discovery Channel, History Channel, Animal Planet and Globo TV. For more information about Cristian, please see: cristiandimitrius.com.Joel Penner: Joel is the founder of Newmediasoup, LLC, a multimedia and event coverage company. He also provides multimedia projects for Backscatter Underwater Video and Photo and is a part of their digital media team. Joel was an early adopter of the use of DSLR cameras for shooting high definition underwater video and currently shoots 4K Ultra High Definition video as part of his business. He is also an active product tester for Backscatter assisting with underwater video camera testing and video editing for new products. Joel’s images have been published in various magazines, such as Scuba Diver TTL, Scuba Diver Ocean Planet, Scuba Diving and Sport Diver. Along with his wife Jennifer, they have authored many published articles on techniques to improve underwater imaging for GoPro cameras and DSLRs, and are regular presenters at scuba diving trade shows. For more information about Joel and Newmediasoup, please see: newmediasoup.com.Why buy direct from Backscatter?Free lifetime tech support with every purchase. We will beat any advertised price. Free shipping to USA and Canada and low-cost international shipping. CANON EOS R5Canon EOS R5 Camera $3,899.00ORDER NOWAquatica AR5 HousingORDER NOWIkelite Canon R5 HousingORDER NOWIsotta Canon R5 HousingORDER NOWNauticam NA-R5 HousingORDER NOWSea and Sea MDX-R5 HousingORDER NOWSeacam Canon R5 HousingORDER NOWCANON EOS R5CCanon EOS R5 C Camera $4,799.00ORDER NOWNauticam NA-R5C HousingORDER NOWUNDERWATER MONITORSNauticam Ninja V+ Underwater Monitor HousingLEARN MORENauticam SmallHD 503 Underwater Monitor HousingLEARN MOREDive & SeeDNC-7B H1 Underwater Monitor & HousingLEARN MOREAnglerfish HD57 Underwater Monitor & HousingLEARN MORERelated PostsBackscatter Hybrid Flash Underwater Strobe & Video Light Review With the introduction of the Backscatter Hybrid Flash HF-1, underwater photographers can now capture stunning stills and video with a single versatile tool. The Hybrid is the most powerful strobe and ... Read More Retra Flash Pro Max Underwater Strobe Review The Retra Flash Pro Max is Retra's latest top-end strobe. 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