Andrew Reid

Posted before but it needs some kind of sticky!! If you want a native 50mm - $2299 + TAX or £2350 in UK WHAT? The 28-70mm F2 which is useless in video mode... $3K!! That is $5.3k gone on lenses, before you've even factored in the body. Are the EOS R fans out there seriously considering investing $7.6K straight off the bat just to get shooting? I am wondering why so few are talking about this... Surely, you want the native lenses. You don't want to be stuck with adapters. That's something Sony users do, not Canon users! You want the silent autofocus. Dual Pixel AF gets very noisy shooting video with EF lenses. Whether you love the EOS R or not, don't care about video and only plan to shoot stills...these prices are eye-watering. So what are people gonna do... stop at a 24-105? I don't think so. EF lenses are apparently a must-have prerequisite for owning an EOS R! So is the adapter... but the adapter you want - variable ND drop in - is not even available yet. Why does it take until February to get such a simple thing out of the factory? And what if you are a Sony, Panasonic, Fuji or Nikon user considering a switch to the EOS R and you have no EF lenses? You will have a 44mm flange on your mirrorless camera and a wobbly adapter, plus a lot of money missing (gone on old Canon DSLR lenses with noisy AF motors). The lack of affordable prime lenses is a massive mistake. Meanwhile, this all gives Sony an advantage... i.e. people actually own native E mount lenses and so they can actually shoot with native glass on their cameras, whilst nearly everybody is shooting EF lenses on the R system!!

Did you look at the date on that article? It's 2013. You say Magic Lantern "aren't cracking any more cameras" Well I have news for you. Since 2013 they have done quite a bit!!! The reason they do not deal with 1D series is that it's an expensive professional line, and they want their projects to be of use to normal people not just the cash rich.

The manufacturer have one job. Make a good camera! Good cameras have a tendency to sell! Their job isn't to brainwash the camera press. Or at least it shouldn't be. All a reviewer needs to do a review, is the camera on his desk and a wherewithal to shoot with it. When a manufacturer is spending millions to jazz up the content provider's output with photos of Hawaii and Iceland we have advertorial. When they leave it up to the reviewer to do his own shoots, we see what he's capable of in the plain light of day and see what the camera is capable of in the same warts 'n all real-world. The way it is going, is that tech journalism is becoming like a glossy lifestyle magazine.

Indeed that is a very good point BTM, before the internet dominance, PR jaunts used to be aimed at organisations with salaried employees and a few editors, now they are aimed at individual people, "influencers", bloggers and YouTubers. Big difference. The dynamic is very different when you are dealing one-to-one with these corporations, it's very hard to look a gift horse in the face again and again. It's also far easier for a camera company who doesn't like a particular site or blog, to absolutely crush them.

Please, no more advertising in unrelated threads.

Some great posts in this thread! I feel sorry for the superior products (Blackmagic, Panasonic) being outspent on marketing dollars by Canikon. All this bribery costs money. Haha. Shooting restricted to Hull city centre. Pay your own taxi. Let's see what DPR Jordan thinks of the EOS R video mode then!!

Publish and be damned? In the run up to IBC, I was put on mailing lists by PR agencies against my will, working for various camera-related brands. I received invite after invite to meet, to talk, to build bridges and make friends. Meanwhile DJI was spamming my forum via a fake user, advertising the Mavic 2. Read the full article

Equivalent aperture is there to illustrate what the depth of field is going to look like. The low light performance remains as bright as the real aperture. Separate issue: The low light performance will dip if the sensor is doing a 1:1 readout, because the noise is sampled 1:1 and therefore is as large and intrusive as you can get. With oversampling or downscaling the noise is reduced and you can involve further noise reduction processing in the pipeline there, which you can't do with a 1:1 crop. This has been true and plain for all to see as far back as the 1:1 ExTele crop mode on the GH1. It shouldn't really be controversial. The 5D Mark IV was already not so hot at high ISOs either for video or stills, so that is another area of disappointment to chalk up on the board for the EOS R.

MbD. Canon apologist of the year. I am starting to think this is part of the problem!

Why does it say card recording not supported then?

It will probably have great AF in video mode to boot. And much more affordable fast primes. Is that 100% confirmation of no Canon LOG internally?

$3000 for a 28-70mm F2 In 4K with the crop factor it is a $3000 49-122mm F3.5. Not so impressive, huh.

At 480Mbit you are back up at MJPEG file sizes. You put your money where your mouth is and try doing a long professional shoot with those file sizes and see how you get on... It's all very well being an armchair shooter and Canon fanboy, but that's not reality. And it is probably still 8bit. Not even 4:2:2 this time. I am sure you will find a way to defend that as well. The Z7 has it for breakfast. Better internal codec. LOG. HDMI is 10bit. And so on. M50 has a wild 4K crop. Canon's CMOS technology is too old to run fast enough

Indeed. Imagine the uproar if Canon's first full frame mirrorless camera had a limitation where it could only shoot APS-C stills. But video users are expected to put up with it "because.... S35". Bullshit. I won't be buying it if it is cropped. Doesn't matter if 1.5x crop, 1.6x crop, 1.75x crop, people can argue amongst themselves about that all day. I will simply take my money off to Panasonic, Sony and Nikon, and call it a day. No point having such a nice lens as a 28-70mm F2.0 if I can't make proper use of it in 4K.

The specs sheet references the fact you can't use EF-S crop mode in 1080/60p. Only at 30p and under. So it is not just a stills mode. It might be unavailable in 4K, or they might have squeezed a slightly wider pixel readout onto the sensor to give 1.6x 4K, but no full frame. This still sucks, because it is a full frame camera. If I wanted APS-C, I'd buy APS-C (and save money). The 28-70mm F2 will be pretty pointless at 1.6x or 1.75x crop. It would need a Speed Booster and older DSLR glass on it, or the Sigma 18-35mm but even that is not all that wide at 1.75x crop. You are such a Canon fanboy, aren't you?

You clearly have never used the X-H1 as it does have dual card slots. https://***URL removed***/reviews/fujifilm-x-h1/2 ALL-I is 35 minutes per 128GB card on the EOS R. It is a very inefficient way to shoot video and most people want IPB at a high bitrate (200Mbit like the Fuji provides). X-H1 battery life is just fine, and even better with the grip. It's ZERO problem. Yes and still a massive 4K crop. X-T2 has less rolling shutter in 4K than the 5D IV. I have tried both and still own an X-T2. It is not the image processing that matters, but the CMOS rolling shutter speed.

Unless the sensor dramatically speeds-up, it won't matter much. The rolling shutter was already borderline unusable in 4K on the 5D Mark IV with a 1.74x crop. Imagine what it would be like at full image height, at the same slow scan-rate. Best we can hope for is pixel binning 4K.

Thanks. Please continue in the Pro Color thread. https://www.eoshd.com/comments/topic/27285-now-available-eoshd-pro-color-v4-hdr-for-sony-a7-iii-and-a7r-iii/

The sensor total count is 31.7 megapixels on both the 5D IV and EOS R. Does not bode well.

Now some of the dust has settled in the 2018 full frame mirrorless game, we can start to get a clearer picture about what's on offer. Read the full article

No.

The music video footage is pristine. But was it shot in APS-C or full frame mode? If full frame from 46MP, then I am amazed. It's flawless. Not a hint of aliasing and even better than the D850. Same question for the guy who posted the N-LOG clip for download in ProRes format. Was that full frame or APS-C? What settings Jeff?

I partly agree, but you buy an expensive full frame camera to shoot full frame don't you... Pay the same money, and do it on the Z6. Pay Canon and you get 1.75x crop. It's not acceptable. And I don't care about 10bit nearly as much as I care about the wide angle of my $2000 lens. I agree. But the EOS R is a $4000+ investment for most people, certainly not a 200D or a beginner to intermediate camera. Probably $2000+ for the body and the same again for new lenses. I have directly compared dedicated video cameras like the C300 and C500 (I own one) to my mirrorless cameras. Even the Samsung NX1's 4K is better than the C300, more cinematic, less moire and aliasing, just as good colour. https://www.eoshd.com/2015/02/samsung-nx1-vs-canon-c300/ Or you could get a Sony. I preferred the A7S II over the FS5. A7 III is even better. Or a Nikon. Or a Panasonic. Or a Fuji. Or an Olympus. Or a Blackmagic. If someone is in the market for a pro video camera then they wouldn't be evaluating the EOS R at all or any of the other full frame mirrorless cameras, so it's an unrelated argument anyway. Most people do not actually choose a C300 for the best image. They just don't realise you can add NDs, larger battery and a pro audio interface to a mirrorless camera And want to look "PRO". I don't think the ALL-I 400Mbit 4K on the GH5 is "quite poor". And the audience will notice the full frame look of a Sony A7 III before the notice codec subtleties. The main issue is people can't fcking grade it! I am curious what stuff you've watched from the camera and how well it was shot and graded.

The mirrorless is growing. If you're saying the overall interchangeable lens market is declining because DSLRs are approaching obsolescence, then that's accurate. The way you said it is not. And I don't accept your Panasonic jibe either.

Matt is right, the EF-S crop is a feature so it gets a mention in the specs, even if only in passing. EF-S crop might only apply to the full frame 1080p mode, so it could still be 1.75x only in 4K and EF-S/Full-Frame selector would be greyed out in the menus. Seems pretty obvious that it's a 5D IV in a mirrorless body. It's not suddenly going to be doing miracles on the tech side. Once again Canon played it too safe.