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The Canon EOS R5 works in mysterious ways. Canon chose to implement 8K and 4K/120p on this camera knowing that heat build-up will make for some short recording times. This was a risk, because the perceived hit to reliability can generate a lot of bad publicity. What was Canon thinking and what else does the camera offer for when more reliable recording is needed? New blog post: https://www.eoshd.com/8k/a-closer-look-at-the-canon-eos-r5-lower-quality-4k-mode-to-avoid-thermal-cut-off/

https://www.eoshd.com/news/schneider-xenon-full-frame-cine-lenses-fire-sale-in-europe-e7950-for-set-of-5-lenses-e1590-euros-for-one/ Thanks for the find @Seb Farges

R6 will overheat in 4K60p after 30-40mn & in 4K30p after 40-50mn (depending on FF/S35 modes). Shouldn't be any overheating issues in 4K24p/25p. Let's just remember we're talking FF no crop oversampled 4K60p with DPAF in 10-bit 4:2:2 internal. In comparison, the only hybrid camera on the market that can get close to that is the almost twice more expensive S1H which can only do 4K60p with a S35 crop in 10-bit 4:2:0 longGOP and poor contrast AF... and that camera has active cooling on board!

I think the lack of PDAF pretty much killed off most of the market for the A7S II after the A7 III was released. When you also look at how much flack Panasonic cameras get for their autofocus performance, I'd be really shocked if the A7S III doesn't have PDAF. So far though I don't believe there are any rumours one way or another on this factor.

Image quality of S1 is astonishing in VLOG and 10bit. Unparalled until now in a Hybrid. AF for video fans look somewhere else. Imagelovers and filmmakers should check it out. Sensor of z6, s1/h, a73 has been mentioned a lot of times to be the same by Sony @Super8 don´t be sold unless you have done some filming with it. Anything else is second hand knowledge. Just like mine. We are always grateful for ones own footage. You can check out some test footage by me in the S1 thread. Back to R6, if it shoots hasslefree pixelbinned 24-50p 4K 10bit 422 with same usuability and roughness as S1, then we have an impressive contender. I´m interested to see how CLOG 1 holds up compared to VLOG. Cannot wait to see some tasty footage with the Canon. Great footage is a rather rare thing these days with these impressive hybrid cameras though. Like Leica owners taking pictures of flowers.

I joke. Mostly... It just seems that lately, some folks want and expect the moon on a stick, but also, camera companies have been letting us down to a degree. Most of the Fuji issues seem to be because it's IBIS is not as good as a gimbal. Panasonic gave a lot, except it seems autofocus. Sigma gave us fantastic image quality, modularity and size, but left out pretty much everything else. First gen Canon had some weird specs. First gen Nikon less so, but still some issues. Olympus decided to go to one of those special clinics in Switzerland. Sony have...well Sony have not been doing anything for some time and hope we don't notice their horrid little body. Now Canon announce the 'grail cameras' (cue heavenly light and organ music) but it turns out they hoped no one would notice they become hot, switch off and have a little lie down for a while. It all depends on your useage of course. I don't think the limitations of the R5 or R6 would affect me at all and so both will undoubtedly be great hybrids. Same goes for the rest above except the Sigma which would be far too frustrating for my needs as much as I want to love it, but I could probably swing the Z6 (it's successor sounds luke warm to some but sounds near perfect to me) and I know I could make the XT4 work. But I can see why some feel frustrated. I'm a bit frustrated myself with all of them because with them all there's a degree of, "why the fuck did you not just...??!!"

You know what Panasonic did when they released a camera that needed active cooling to prevent it from overheating? They added a fan and vents. Why? Because it made no sense to offer all the features of the S1H if it couldn't handle it. It was a choice to go this route.

Product segmentation, perhaps? I think there has been 4 important aspects of the R5 release: 1) internal RAW took a baby step to becoming mainstream. 2) 10-bit 4:2:2 Log recording is the new baseline. 3) 4K HFR (anything higher than 60p) is the new slow motion benchmark. 4) You no longer need gloves in the winter when operating your mirrorless camera.

Top Gear and The Grand Tour - two of the biggest TV shows on the planet, use a GH4 / GH5 inside vehicles.

https://nikonrumors.com/2020/07/06/breaking-new-nikon-z6s-and-nikon-z7s-mirrorless-cameras-expected-later-this-year.aspx/ When even part of the Canikon duolopy has a cheap FF camera (the Nikon Z6s) with 4K 60fps, then Sony had better have it with the new a7Smk3! They can try to ignore the Panasonic with their S1 & 4K 60fps, but you can't ignore Nikon. You'd hope this also means the Sony a7mk4 will feel the need to have 4K 60fps in it as well. Likewise the GH5 will no longer be part of a small select group with 4K 60fps, the GH6 should for instance has 4K 120fps. (even if they were to stick with the same sensor for the GH6, the GH5 sensor is capable of it as we've seen with the Z Cam E2-M4 and 4K 160fps!)

@Antoin e Hey, I meant, I was taken by the beauty of your footage with the F3, motion, tones and the whole canvas. Nicely done. Thank you very much for posting! This thing in 444 indeed seems to be a beast unleashed. Cannot wait to test it myself some time soon hopefully. I found some footage of its internal 8bit 420 SLOG. The seller left some on his car. I was rather impressed. Best implementation of 8bit Log I have seen. A contender to the internal CLOG of the C100 i/ii. One thing to consider is its best WB mode. Think it was 3200K. Google will tell and Alister Chapman. 🙂 Now, if you would still find that beautiful footage of yours for us to grade, please don´t hesitate to drop us some! @TheRenaissanceMan cheers

Higher frame rates, lower rolling shutter I guess the improvement in technology means that it will be clearly better DR than the A7SII despite the stacked sensor penalty.

My bad then. By the way, the crew that filmed for me said it was an accident and not their fault.

Exactly. They wanted to make a workhorse m43, they put a huge heat sink there, they wanted a workhorse full frame camera, they added active cooling. The only reason Black Magic 4/6K cameras are that big, is the cooling solutions. It is not a coincidence that normal video cameras are quite big, at least bigger than the common mirrorless. It is well known that maximum performance's enemy is heat, look at the cooling solutions in PCs. Quite obviously this is not a video workhorse camera, it is a great photocamera with a good showcase of what is coming in the C series.

4K 120fps full pixel readout? Yes please. Sounds like a much better option than EOS R5.

You don't half talk some bollocks

What a joke if true. 12mpx sensor and no quad bayer? I guess we will find out soon. if that’s the case they will loose tons of customers starting with me. A lot of people want a do it all camera for photo and video. 12mpx is not enough, so people will take the R5 or R6.

Same overheating and rolling shutter problems to the 4 years old $1200 Sony A6300.

My understanding is that the big kicker is not so much the overheating but the time you need to wait to get the same initial recording limit. Maybe you can cool it down with a cold beer strapped to the side; when it overheats, you can drink it and put another cold one next to to get it to cool down faster. No harm in that.

@ade towell There are two ways of looking at this, glass half-empty or half-full. Andrew made a good post about this: https://www.eoshd.com/8k/a-closer-look-at-the-canon-eos-r5-lower-quality-4k-mode-to-avoid-thermal-cut-off/ R5/R6 can be used without overheating issues. If you want maximum performance (which no other hybrid camera can currently give you) well you are prone to thermal cut off limits and high RS. I think it's a fair trade-off situation and Canon are being open about it as opposed to Sony. Concerning the R6 4K crop, it is of x1.07. It apparently takes a 4K DCI image and truncates it to UHD. No biggie. As for the S1H being a better hybrid video camera, that is subjective. The poor AF and weight (1Kg vs 680g) makes it a no go for me personally and if you want FF no crop 4K60p in 10-bit.. only R5/R6 will give you that. But of course YMMV.

I think this overheating is getting over exagerated. I read a guy was shooting all day long didnt get overheated once.

I think what you wrote is very well put. I think that its imperative that any and all issues with these new cameras be it Canon, Sony or pick your camera should be brought to the table and discussed and verified. Because of your posts, you've brought it to the attention of a lot of potential users and reviewers. When the production cameras hit the market, you can damn well bet they will be testing overheating issues. People can piss and moan all they want that you are being unfair but you are not. I certainly would like to know before I plunk down a lot of money if the camera I am investing in is capable of working in all stated modes without compromise. If there are compromises, I can make an informed decision myself based on my personal needs. All I want is an unfettered review without bias. Thanks for bringing this issue to the forefront.

While you are down this rabbit hole, you might want to take a look at the RED Motion Mount that they did for the EPIC. http://docs.red.com/955-0013/REDMOTIONMOUNTOperationGuide/Content/1_MM_Intro/1_Intro.htm As well as doing vari ND, it had a few tricks including simulating soft shutter and square shutter. There are links within that page to other explanatory documents about the process. What may be of use to you are the videos of it in action such as this one as its a unique reference really to how the look of the same camera can be changed with these simulations.

I think perhaps we’re missing the point. Just like their previous “hybrids” it’s a stills camera first and foremost. The difference now is that instead of video being an afterthought thrown on in case photographers *must* shoot a few clips, it is now “video for photographers.” What I mean by that is the 8K video mode is basically a 30fps burst mode to pull stills from. It’s the first stills camera in what is probably going to be the near future of photography - no distinction between stills and video. 8K RAW is the first video mode that can really claim the image quality of a frame is equal to high-end photography (especially in combination with Canon’s AF making every frame perfect). I’m surprised they’re not offering an open gate mode to be honest.

Those are good points and helps us documentary/event people see that perspective. OTOH I'm not sure we have complete info on the camera. Is the thermal issue *only* when rolling or partially when it's powered up? Does it never happen when using an external recorder, or just not as quickly? I did a lot of narrative work last year and (like you) never rolled more than about 90 seconds. I see that point. But my old Sony A7R2 would partially heat up just from being powered on, which gave the heat buildup a "head start" when rolling commenced, making a shutdown happen faster. Is the R5 like that? Also unknown is the cumulative heat buildup based on shooting duty cycle. Even if you never shoot a 30 min. interview, if you do numerous 2-min b-roll shots in hot weather, will the R5 hit the thermal limit? More than the initial thermal time limit, the cooldown times seem troubling, esp. if hot ambient conditions amplify this.

I guess that it is impossible to build a camera without one or two flaws (not saying that is the case of the new Canons, they have more than this). And even only with one or two flaws, will be people calling the camera "completely unusable". If Panasonic release a GH6 with 4k120 no crop 4:4:4 12 bit ProRes RAW, clean ISO 12800, Ibis with 15 stops, S35 sensor and $2000 price, someone will shout "but it is not full frame, it's crap" or "I need 4k240 ALL-I, it's crap". Best (at least in my point of view) is to wait for the real world reviews, with real people using it for real jobs, which know what they are doing. Now it is only paper specs talk and sponsored reviews.

In my opinion needs a lot more than what is rumoured. What about internal 10bit? Internal N-LOG? Is the 4K/60p APS-C only or full frame? Dual card slots - Dual XQD or one SD and one XQD? Are they going to improve the body design? Make it less consumer? More to the point... Why would somebody buy a Z6 instead of S1 or EOS R6!

that's something that always happen with digital cameras sometimes, nothing that a good ND+IR filter can solve.

I always found it an interesting example of the reality gap between what everyone says they need, in this case global shutter, and how many people actually then buy it. You don't exactly see a lot of them about.

Welcome to the forums Jim! How is your editing going? I feel your pain. I used to also be like this, but what turned it around for me was two things. The first was Resolves new Cut page. I'm not sure if you've edited in Resolve, but the process to review footage was a bit painful previously. You had to double-click on a clip in the Media pool to load it in the viewer, then JKL and IO to make a select, and I set P to insert the clip into the timeline. Then you had to navigate with the mouse to load the next clip. I could never find how to set keyboard shortcuts to get to the next clip. I suspect it might have required a numeric keypad, which my MBP doesn't have. Then Resolve created the Cut page. Theres a view in the Cut page that puts all the clips in a folder end-to-end like a Tape Viewer. Then you can just JKL and IO and P all the way through the whole footage. No using the mouse, or even having to take your fingers off those keys, and can do it completely without looking. It sounds ridiculous but those extra key presses were adding enough friction to really make an impact. Looking at my current project, if it took 5 seconds in total to take my hand from the JKL location to the mouse, navigate the cursor to the next clip, double-click, then put my hand back at JKL, and I had to do that 3024 times, then that's 4.2 hours just navigating to the next clip! Thinking about it like that it doesn't seem such a small thing! My suggestion would be to try and optimise your setup to have as little friction as possible, as even little things will be adding up unconsciously. The second thing that I had forgotten when I stalled in editing was how lovely it was to look at the footage. Not only did I get to re-live my holidays, and only the best bits of them at that (we don't film the awful bits, when you're cold / hot / tired / grumpy and things are smelly etc doesn't come through). Also, I've found that though the sheer quantity of footage I take, the lovely shots are inevitable and finding them is very rewarding. I do find frustrating things sometimes, like when I was in the boat in the wetlands and I missed the shot of the eagle swooping down and pulling the fish out of the water because I was filming something else in some other direction, or when I get out of sync and record the bits in-between the shots and don't record the bits when I'm aiming the camera at something cool, that's frustrating! The other thing to keep in mind is that for our lives, and family or friends, the footage actually gets more valuable as it ages, not less valuable as it does for commercial or theatrical footage. In that sense, keep shooting because sometime later on you might pick it up and go through it. Or someone else might. I don't know about you, but if my grandparents or great-grandparents had vlogged, or recorded videos of holidays, or whatever, I'd be very interested in looking at that footage. In a sense, our own private footage is about history, not the latest trends. Also, the longer it has been since you shot the footage, the more objective you will be in editing it. Street photographers often deliberately delayed developing their film because the longer they delayed the better they were at judging how good each shot was, rather than remembering the sentiment and context around it. Hope that helps!

Great discussion! Yeah, if we are going to compare amounts of jitter then we'd need something repeatable. These tests were really to try and see if I could measure any in the GH5, which I did. The setup I was thinking about was camera fixed on a tripod pointing at a setup where something could swing freely, and if I dropped the swinging object from a consistent height then it would be repeatable. If we want to measure jitter then we need to make it as obvious as possible, which is why I did short exposures. When we want to test how visible the jitter is then we will want to add things like a 180 shutter. One is about objective measurement, the other about perception. Yes, that's what I was referring to. I agree that you'd have to do something very special in order to avoid a square wave, and that basically every camera we own isn't doing that. The Ed David video, shot with high-end cameras supports this too, with motion blurs starting and stopping abruptly: One thing that was discussed in the thread was filming in high-framerates at 360 degree shutter and then putting multiple frames together. That enables adjusting shutter angle and frame rates in post, but also means that you could fade the first/last frames to create a more gradual profile. That could be possible with the Motion Blur functions in post as well, although who knows if it's implemented. Sure. I guess that'll make everything cinematic right? (joking..) Considering that it doesn't matter how fast we watch these things, it might be easier to find an option where we can just specify what frame rate to play the file back at - do you know of software that will let us specify this? That would also help people to diagnose what plays best on their system. That "syntheyes" program would save me a lot of effort! But validates my results, so that's cool. I can look at turning IBIS off if we start tripod work. To a certain extent the next question I care about is how visible this stuff is. If the results are that no-one can tell below a certain amount and IBIS sits below that amount then it doesn't matter. In these tests we have to control our variables, but we also need to keep our eyes on the prize 🙂 One thing I noticed from Ed Davids video (below) was that the hand-held motion is basically shaky. Try and look at the shots pointing at LA Renaissance Auto School frame-by-frame: In my pans it was easy to see that there was an inconsistent speed - ie, the pan would slow down for a few frames then speed up for a few frames. You can only tell that this is inconsistent because for the few frames that are slower, you have frames on both sides to compare those to. You couldn't tell those were slow if the camera was stopped on either side, that would simply appear to be moving vs not moving. This is important because the above video has hand-held motion where the camera will go up for a few frames then stop, then go sideways for a frame, then stop, then.... I think that it's not possible to determine timing errors in such motion because each motion from the hand-held doesn't last long enough to get an average to compare with. I think this might be a fundamental limit of detecting jitter - if the motion has any variation in it from camera movement then any camera jitter will be obscured by the camera shake. Camera shake IS jitter. In that sense, hand-held motion means that your cameras jitter performance is irrelevant. I didn't realise we'd end up there, but it makes sense. Camera moves on a tripod or other system with smooth movement (such as a pan on a well damped fluid-head) will still be sensitive to jitter, and a fixed camera position will be most sensitive to it. That's something to contemplate! Furthermore, all the discussion about noise and other factors obscuring jitter would also apply to camera-shake. Adding noise may reduce perceived camera-shake! Another thing to contemplate! Wow, cool discussion.

Really? You really want to keep acting out with ugly sarcasm just because you were found to have made a mistaken post? No one insulted you. Learn about cooling before you make claims is all that was said. Someone else also provided some information on the fp's cooling method who has more information than I do..

Yes, I know. The broader point was that wherever that heat was coming from, Sigma had a strategy front and centre in the design to deal with it. Their initial presentation of the fp made as much if not more of an issue about it as they did about any other individual feature of the camera. It doesn't make Sigma any more right or wrong than Canon, just that they placed much more emphasis on it as an integral aspect of the design. Which left them no time to do any AF 😉

Sigma designed a heatsink and attached a camera to it. Seems they had some sort of intuition that full frame cameras in small bodies might run a bit on the warm side. Considering the gulf in price between the R5 and the nearest camera with a comparable spec, I'm sure some enterprising company could make some money rehousing them into more cinema camera style bodies with a proper cooling system. If this thing was £2K dearer and didn't overheat then I'm sure no one who wanted 8K RAW would baulk at that price. People have been cinevising stills lenses for years so maybe its time to do the same with bodies.

Untrue; active cooling and weather sealing are not mutually exclusive.

I totally agree with you, but hybrid cameras have been involved from photo cameras. Panasonic is the only one doing it "right" (even on the GH5, it is quite big and heavy for a m43 camera, but it is a video workhorse). I am still waiting for the XC type Canon video camera, let's put the "insides" of the R5 on one, add a fan, and call it a C100mkIII !!

I'm not here to put down anyone or defend my opinion. I'll post my work in due time. I went to art college and work the same way as others on the EOS in various fields of photography, videography and creative. We can all agree the R5 should not or cannot be used for long recording.

Oh, there's really no reason for childish fan generalization sort of like/dislike - most of us don't complain at all, nor anything here deserves any such emotion (at least from me). It is quit possible at the same time to enjoy in coming of advanced technology and to note some common sense problem in real world usage... what exactly motivated this thread, as far as I understand. After all arguments, critics and applause for effort or step further in technology, the question, I believe, for most of us interested in matter will be simple: to spend sum of 4-5000 euro here or somewhere else? Judging from my humble criteria of projected opportunities (and zero interest in photography) - at the moment I'd spend this sum just for one really video/indiemovie workhorse, which R5 apparently is not if overheating danger/distraction exists even at base 4k raw shooting level. Someone else (probably with more free money at disposal) will greatly enjoy in different aspects of R5 offer, and it's apparently also well founded choice.

This is a quote for b&h representative in their q&a Nonspecific but some details. Maybe they were shooting nonHQ 4k, which I guess you can use mixed with the higher frame rates.

Nothing wrong with bmpcc. The IQ and color shits all over these Japanese cameras. If you are doing narrative there is nothing better for the price. That's why they sold a ton of them and there is such a great filmmaking community behind them where the camera is celebrated even though it has its foibles because people find creative ways of overcoming the short comings. People are just grateful that they have a cinema camera for next to nothing and can do their art. Here we complain about overheating 8k raw which we all knew would happen.

@kye Editing, the menace of every no budget cinematographer 🙂

https://youtu.be/PvU4WNb6-J4 This video should give the answer around 15:05. They turn HQ off and 24p is still available.

Not so much a joke... After I left canon for Sony a few years back, and getting tired of waiting for the 10bit 422 at least from an external recorder, i switched back to an EOS R, so I experienced Sony and Canon autofocus. Now I own an S1H and it feels like going back to the good old 5d MkII days where you had no choise of getting the focus manually. I was a bit scared to going back to ONLY manual focus, and frankly it's not that bad. it comes back naturally if you've been used to do it manually in the dslr days, and now I don't complain about it so much. Sometimes on a few occasions on a shoot with clients I may miss the focus a bit, and I need to do another take, but it is way less problematic than I thought. What strikes me with the S1h is the quality of the footage, the ergonomics, the unlimited recording with no overheating (I even never heard the fan start !), all the options etc. The drawbacks are lack of affordable native lens selection (but except for my 24-70 S Pro sometimes, I only shoot video with a 5 lenses Samyang cinema kit), and the continuous AF where it would have been of practical use sometimes). Not to say I'm not waiting for the Sony a7SIII announcement to make a definitive choice (because you have a very good choice of lenses AND a very good autofocus), but for now the Canon EOS R5 leaves me a bit cold. Happy with what my S1H produces.

I always shoot interviews with 2 cameras. The exact issue remains. If you stop with one camera then you're reduced to one angle, which is no good. If you stop and start recording it makes it even more difficult, because when you're synching Multicam clips you have broken files to match up. Yes there are workarounds for hobbyists, but when you're turning over interviews day in, day out, these "little" workflow things are the difference between professionalism, happy clients, comfortable interviewees and stressful edits. I'd rather shoot a 1080p interview on a proper video camera than have to ditch a 4K camera after 30 min. What if the interviewee finally gets comfortable at around 25min (not uncommon in my experience), drops their guard and starts revealing some really compelling emotional story? Do you say "oh can you wait 10 min while my camera recovers"? Or do you accept that you'll just use the second angle - guaranteed to be the one that doesn't let the viewer see the emotion in their eyes, or the tension in their gestures? It's not about it not being right for me, it's about it being unsuitable for 4K capture of interviews.

OK, here's all four combinations. The blue line is the movement per frame. The orange line is a trend line (6th order polynomial) to compare the data to and see if the data goes above then below then above which would indicate jitter. Looking at it, there is some evidence that all of them have some jitter, possibly ringing from the IBIS. I got more enthusiastic with my pans in the latter tests so there's less data points, so they're not really comparable directly, but should give some idea. They appear to be similar to me, in terms of the up/down being about the same percentage-wise as the motion.

Here's the original 5K h265 file that I analysed above: https://we.tl/t-YgQIWv1Sps The frames I analysed above were the first pan from left-to-right. Let me know what you see if you watch it. Link expires in 7 days, so don't delay! Limited time offer!! *ahem*

I've put the GH5 to the test. Setup was GH5 in 5K h265 mode (to stress the camera and get the most resolution), Voigtlander 42.5mm 0.95 lens focused at f0.95 then stopped down a couple of stops to sharpen up. This produced shutter speeds in the 1/10,000s range and shorter. First test was to pan and track a stationary object, in this case the corner of a bolt in the fence which was a sharp edge with high contrast. I put a tiny box around it, I think it was about 3-4 pixels wide/tall, and tracked it on a 4K timeline at 300% zoom: and here's the results: Observations: Test produced good data, with images being sharp even in mid-pan and margin of error was small (only a couple of pixels) compared to large offsets (60-120 pixels) Test was hand-held and between myself and the IBIS we did a spectacular job (I think it was all me, but... 😉 ) As offset was both horizontal and vertical I reached deep into my high-school geometry to calculate the diagonal offset using both dimensions There is evidence of 'ringing' in the movement shown in the fluctuations between ~110 and 120 This ringing may well come from the IBIS mechanism, as ringing is a side-effect of high-frequency feedback loops (of which IBIS is a classic example) Discussion: This 10px P-P of jitter is there in the footage, so the question is if it would be visible under more normal circumstances. Let's start with motion blur. If I had shot this with a 180 degree shutter then the blur would be approx 60px long, making the jitter a 16% variation of the blur distance, which is small but isn't nothing. Also, if the shutter operated like a square wave with each pixel going from not being exposed to being fully exposed instantaneously then the edges of the blur would be sharp, although much lower in contrast. What about timing? 10px out of 115 pixels is 8.7%, which if this jitter came from the timing of the frames rather than the direction of the camera then it represents a change of about 3.6ms when compared to 24p which has a 41.66ms cadence, so at a given frame it might be ahead by 1.8ms and two frames later be behind by 1.8ms. Would this be visible? I don't know.

OK, analysis of this first video: (thanks to Valvula Films for sharing this footage). In a sense, this video isn't well suited to an objective jitter test as the focus is pulled during the pan so everything is blurred for most of the pan. Regardless, the testing methodology was to create an overlay box and offset the underlying video, frame by frame, to the overlay box, and record the offset. Like this: I compared the pan that went to the chart vs the pan away from the chart and chose the one with the greater number of frames. For each camera I chose a range of frames between when the test chart became too blurred, and when the movement became too small for single pixel measurements. Where there wasn't a perfect whole-pixel offset I chose the closest one. Where the offset to the left seemed identical to the one on the right I chose the one on the right. Here are the results: The first column is the offset of each frame, and the second is the movement between this frame and the last. The pan was accelerating / decelerating so the speed went up/down. My impressions of this are: The numbers don't show any jitter My impression of which frames were bang-on vs somewhere in-between didn't seem to indicate that there are any big nasties not shown in this data These are all high-end cameras so it is feasible that we didn't find any jitter because there isn't any to find I could have gone much more in-depth and tried to offset by fractions of a pixel (Resolve will do this) but on a 1080p image any jitter less than a single pixel is probably invisible What I learned: High-end cameras probably don't have much jitter (not really surprising, but let's start from a known position) In a test like this, blurring things isn't a good idea, either from a focus pull or from motion blur, and the more frames something moves the more precise a test would be A better test would be to shoot where exposure time is very short, there are fine details to track - both from a lens focus perspective as well as simply having details only a few pixels wide

Neither have you 🤯

Andrew, I love you buddy but...this has to be a satirical post. 🙂 You have criticized Canon for a lack of innovation more than anyone. They overachieve and bring an innovative and groundbreaking piece of tech at well under market price and you’re focusing on the only “con”. They deserve credit for this. It’s pretty jaw dropping on paper.