There’s something very satisfying about seeing this whole kit laid out on the table: the Canon R100 sitting upfront, lenses circling it like a tiny camera tribe, the EF–RF adapter resting there with a kind of quiet importance, and the TTArtisan 50mm f/1.2 hinting at late-night, low-light magic. Once you add the Canon R8 into this setup, the whole thing suddenly feels complete. You’re no longer just “trying things”; you’ve got a real wide-angle to long-focus combo that can handle pretty much any situation a content creator is likely to face, without needing lottery-winner money.
Total Cost of the Kit
This is a budget-minded setup, but not a “cheap and painful” one. It’s about squeezing the most range and flexibility out of every dollar. Here’s the approximate breakdown in simple numbers, the way people actually think about it when they’re hovering over the buy button:
Canon R100 body – $429
Canon R8 body – $1,199
Canon RF-S 10–18mm f/4.5–6.3 – $299
Canon RF 16mm f/2.8 – $249
Canon RF 24–105mm f/4–7.1 – $299
Canon EF 75–300mm f/4–5.6 III – $199
Canon EF–RF Mount Adapter – $99
TTArtisan 50mm f/1.2 APS-C – $89
Total estimated cost: about $2,860.
For under three grand, you’re getting two camera bodies and a lens lineup that covers everything from ultra-wide 16mm all the way up to a 480mm full frame equivalent on the long end. That’s a pretty wild range for what is still very much a “budget” kit in today’s camera world.
Why This Combo Works So Well
The clever part of this setup isn’t just owning a bunch of lenses, it’s how they change character when you move them between the Canon R100 (APS-C) and the Canon R8 (full frame). One camera gives you reach and compact size, the other gives you that full-frame look and better low-light performance. When you start swapping lenses between the two, your creative options explode without adding any new gear to your bag.
Scenario 1: Travel Day with Ultra-Wide and Long Telephoto
For a classic travel day, you can run the Canon R8 with the RF 16mm f/2.8. That combo is perfect for handheld vlogging, tight hotel rooms, city streets and dramatic landscapes. You get the full-frame wide look, flattering perspective, nice separation, and it’s still small enough not to scream “professional production” everywhere you go. At the same time, you set up the Canon R100 with the EF 75–300mm on the EF–RF adapter. On APS-C, that gives you roughly a 120–480mm equivalent, which is ideal for distant boats, compressed city views, mountains, wildlife or just picking out small details in the distance. With this combo you can go from “show the entire scene” to “zoom all the way into that tiny element” without changing a single lens in the field; you just grab the other body.
Scenario 2: Street Photography and Everyday Walking
When you’re exploring a city, you can put the RF 24–105mm on the R8 and basically forget about gear anxiety. That lens becomes your flexible walk-around option: wide enough for streets and interiors, long enough for portraits and details, and light enough that you don’t resent carrying it. Meanwhile, you mount the TTArtisan 50mm f/1.2 on the R100. On APS-C it behaves like roughly a 75mm equivalent portrait lens, which is fantastic for head-and-shoulders shots, café scenes, evening street moments and anything where you want that creamy background blur. If the light drops, the f/1.2 aperture plus the smaller sensor’s reach lets you keep shooting long after slower zooms have given up.
Scenario 3: Interior Filming and Documentary Coverage
For interviews, room tours or behind-the-scenes content, you can flip things around a bit. Put the RF-S 10–18mm on the R100; this gives you a super-useful ultra-wide option for small rooms, offices, hotel spaces or conference halls. Then place the RF 24–105mm on the R100, where it becomes roughly a 38–168mm equivalent. That gives you medium telephoto range for interview framing, cut-away shots, tighter details and B-roll. Suddenly you’ve got an A-cam and a B-cam that feel like a tiny two-person crew: one covering the whole environment, the other grabbing all the interesting close-ups.
Scenario 4: Night Scenes and Low-Light Storytelling
Once the sun goes down, the R100 with the TTArtisan 50mm f/1.2 becomes your secret weapon. Full-frame sensor plus f/1.2 glass gives you atmospheric, cinematic-looking footage and stills even in dimly lit streets, bars, or beach promenades at night. You can then keep the R8 paired with the EF 75–300mm for long-range night shots: city lights, distant buildings, moonlit water, or compressed urban scenes. You’ll probably bump the ISO a bit higher, but modern sensors handle that far better than people think.
Scenario 5: Full Content Production Day
On a serious shooting day, you can treat this kit like a compact studio. The R8 becomes your A-camera, rotating between the RF 16mm for talking-head segments or selfie vlogs, the RF 24–105mm for general coverage, and the TTArtisan 50mm for beauty shots, portraits and low-light sequences. At the same time, the R100 runs as the B-camera with the RF-S 10–18mm for wide environmental angles and the EF 75–300mm for telephoto B-roll. You’re effectively covering every angle and every focal length without ever needing to invest in heavy, expensive pro zooms.
The Bottom Line for Budget Creators
This kit is a good reminder that you don’t need the most expensive bodies or exotic glass to create professional-looking content. What you really need is range, flexibility and smart pairing. The Canon R8 gives you full-frame quality and beautiful depth of field, the R100 adds reach and light weight, and the lenses plus adapter stitch everything together into one coherent system. From 10mm ultra-wide all the way to a 480mm equivalent telephoto, plus an f/1.2 low-light prime, you’re ready to shoot travel videos, talking-head content, street photography, product shots, cityscapes, and night scenes without feeling like you’re missing anything essential. Add the R8 into the mix alongside your R100, and you really do end up with a budget content-creator kit that’s ready for almost any situation you’ll point it at.
