- 1 Canon’s reply to the X-H1 and GH5S
- 2 I advised it received extra fascinating…
- 3 Canon LOG limitations
- 4 The opposite issues I loved first off the bat
- 5 The Unusual Case of Mr Canon-san
- 6 Ergonomics – awkward Powershot / DSLR hybrid
- 7 M-fcking bar
- 8 Micro 4 Thirds lenses on a Canon EOS R?
- 9 Conclusion – right here’s the deal
- 10 Versus Nikon Z6 and Z7
- 11 Cannibalising the C200 and 5D Mark IV?
Touch upon the discussion board
Final week I purchased an EOS R. I’m stunned it didn’t shred itself on arrival like a Banksy.
That is the camera Canon didn’t need me to assessment. If I have been in Hawaii I’d have roasted the turkey over a volcano and after seeing the rolling shutter, I’d even have thrown it in! There are main flaws with this camera for video. The rolling shutter points have flown beneath the radar as a result of a lot of the camera press did their first EOS R evaluations from a swimming pool. I came upon concerning the rolling shutter points in 4K the arduous method… after paying £2350 for one. When you purchase this camera be sure it’s from someplace with an excellent return coverage.
That stated, not all of the of the video aspect of this camera is a catastrophe.
The MOMENT you cease considering of it as a barely lame full body camera, issues begin to get MUCH BETTER.
Sure you possibly can take a look at it as an underpowered entry to the complete body mirrorless market and Canon critically have to replace the velocity of their silicon. Nevertheless you may also take a look at is as Canon’s greatest 4K APS-C camera thus far, with beautiful color science.
Canon’s reply to the X-H1 and GH5S
I gained’t speak a lot concerning the stills aspect of this camera. It’s an excellent providing for photographers. The technique there’s to promote a full body camera for simply $300 to $600 greater than a flagship crop sensor camera. Nevertheless we’re right here to analyse video, particularly 4K. The standard of the 1080p isn’t higher than mediocre by 2012 requirements of 1080p so I’m not curious about utilizing that aspect of it until Magic Lantern deliver MLV uncooked to it. For me, this can be a 4K APS-C camera that crops-in a bit extra.
Whenever you connect a incredible APS-C lens just like the Sigma 18-35mm F1.eight and put the camera in 1.6x crop mode, it behaves very similar to a Fuji X-H1. A camera I completely adore. Just like the X-H1, there’s a small further crop over APS-C whenever you hit report in 4K. In contrast to in full body mode it’s barely noticeable. As well as, it does one thing the X-H1 doesn’t. You possibly can shoot full body 30MP stills in the identical camera.
It additionally advantages from Twin Pixel AF in 4K with Canon glass.
I advised it received extra fascinating…
Ignoring the truth that the EOS R has a lot worse rolling shutter in 4K than the X-H1 and GH5S, we’re now set to truly produce some very good pictures. Sigma 18-35mm F1.eight in hand, 1.6x APS-C mode chosen within the menus, 4K ALL-I, Canon LOG, Canon color. Let’s go…
If we attempt to this on a Fujifilm X-H1, we’ll want an EF lens adapter and we’d lose the great video AF you get with native lenses. Ditto with the GH5S. These adapters are nice however the Canon one has a ‘home advantage’. Then there’s the picture itself, which is virtually noise-free at ISO 1600 and 3200 in Canon LOG and has probably the most cinematic color and tonality this aspect of a Kodak-powered Leica M9.
After which the wheels come off considerably.
Canon have eliminated the stills/film toggle and changed it with a multi-perform contact bar. Now, we have now to press an awkwardly positioned “Mode” button, then an Information button, then the set button, simply to vary to film mode or again to stills. When you’re questioning the place the mode dial is as nicely, that’s gone too (just for the area to be occupied by a weird on/off wheel).
The trick is to set-up your film mode simply the best way you prefer it and register it to reminiscence as Film Mode C3. The film report button prompts that mode (C3) everytime you hit the report button in stills mode. In the event you set the 1.6x crop mode in stills mode you possibly can simply reside in APS-C all day with that pretty Sigma 18-35mm F1.eight and shoot each video and stills seamlessly like a GH5S. At any time if you wish to shoot full body, all you could do is put a full body lens on there and toggle “Full” as an alternative of “1.6x crop” within the fast menu.
I’ve registered Av film mode (aperture precedence) 4K ALL-I to the customized mode C3 which is a really quick method to shoot. Beats having to modify between film mode and stills mode all day lengthy in a sub-menu.
It’s solely a 12MP RAW file in 1.6x crop mode, however that’s like a Tremendous 35mm model of a Panasonic GH5S.
When I’m primarily capturing video with a number of stills and I gained’t want 30 megapixels, that works nice.
If I’m capturing primarily stills, I’d change to the free 5D Mark IV Mirrorless Version mode – again to full body 30MP and put your EF lenses on there. I’d say that’s not a nasty deal.
When you take a look at this optimistically, it’s a bit like having a C200 with 480Mbit ALL-I. codec and a 5D Mark IV in the identical camera.
I’m not letting Canon off the hook completely – as a result of the rolling shutter could be a actual drawback, and it’s plain silly eradicating the mode dial and stay-view change. The contact bar is ineffective. The mode button is badly positioned. And there are some very WEIRD Canon LOG limitations.
Canon LOG limitations
You’ll be able to’t shoot Canon LOG in Aperture Precedence or any semi-auto mode in any respect. I do not know why. You possibly can nonetheless set up EOSHD C-LOG and use that image profile in any mode you want.
I’ve solely up to now been capable of get the official Canon LOG choice to un-gray itself within the menus when I’m in full guide management film mode. The limitation doesn’t appear to be associated to auto ISO or another settings – it’s the capturing mode. You’ll be able to assign full guide film mode to the report button (Film Mode C3) with Canon LOG enabled. That’s at the least a fast method to shoot stills in Normal color mode and video in LOG, with none menu diving or button mashing. Canon LOG additionally has a View Help and you may output it in 10bit by way of HDMI, internally it’s 8bit solely.
The opposite issues I loved first off the bat
Let’s attempt considering of this camera as a big-chip XC10 with fastened zoom (18-35mm F1.eight). Implausible 4K picture high quality from a bigger sensor than a GH5S. That seems like an interesting camera, doesn’t it? Throw in the identical cinematic mojo in 4K because the basic 1D C, and in contrast to the Canon XC10 it’s clear at excessive ISOs and you may put a Canon EF-S 18-135mm IS on it too. That provides you a glance just like a run & gun documentary C200 setup in 4K however for a lot much less cash. The picture thrashes the hell out of the opposite Canon EF-S our bodies just like the 80D and places the road-skipped 1080p of the 6D Mark II to disgrace.
Then there’s this little abstract record which I drew up, to attempt to persuade me to not throw it from a prime flooring balcony.
- Canon color science – it’s VERY movie like. Nonetheless the perfect out of the field
- The codec is definitely surprisingly respectable – ALL-I is fairly beefy (very excessive bitrates) and cinematic on this camera.
- The 4K isn’t over-sharpened – pixel peep it and also you’ll assume it’s too gentle (seen in regular means, the picture is of course detailed)
- It’s the one full body mirrorless stills camera the place all Canon EF lenses work flawlessly with completely dependable AF.
- Compares properly to Fuji X-H1 for 4K video, however greater bitrate ALL-I, and Twin Pixel AF / native Canon mount
- Twin Pixel AF definitely works higher than the GH5’s autofocus for video.
- Very detailed EVF and display.
- You should use the two additional crop ranges of the digital IS modes like a digital tele-converter.
- The usual digital IS mode works properly
- I’m older with much less hair, however lastly there’s H.264 for 4K moderately than MJPEG.
- The articulated display faces forwards for vloggers AND it has Twin Pixel AF in 4K (in contrast to the EOS M50).
That final level is sort of key. Simply by promoting a Canon 5D Mk IV WITH a flippy display and WITHOUT a flippy mirror, Canon knew they might promote a ship load of those to vloggers. That’s as a result of the rather more superior cameras solely have a tilt screens which annoys YouTubers. The Nikon Z6/Z7, Sony A7 collection, Fuji X-T3, Samsung NX1, upcoming Panasonic S1R and Blackmagic Pocket 4K – all tilt. It’s truly fairly uncommon you can see the golden trio of ahead dealing with flip display AND 4K video AND dependable video AF in a single field. The Panasonic GH5 doesn’t have dependable sufficient AF.
By the best way, small level, however Canon APS-C is just not a 1.5x, however a 1.6x crop. The change from 1.6x crop to 1.7x crop is far much less painful than from full body. My maths say 1.8x crop however it doesn’t really feel prefer it so perhaps Canon are doing a barely bigger 1:1 crop sensor readout than 3840 x 2160 in 4K – perhaps 4096 x 2302 (16:9)? Within the 5D Mark IV the identical sensor does DCI facet ratio 4096 x 2160 which is 1.74x crop.
The Unusual Case of Mr Canon-san
Cameras will not be inherently dangerous or evil or each. The Unusual Case of Dr Jekyll and Mr Hyde is related to cameras in relation to individuals’s response to them and an enormous a part of that response is dependent upon your wants. Everyone seems to be justified to love this camera and everyone is justified equally as a lot to hate it.
My wants change from second to second, shoot to shoot. In a single second I’m Dr Jekyll, admiring the virtues of Canon’s color and 4K via an 18-35mm F1.eight zoom in a camera not a lot greater than an XC10. Within the subsequent second, I’m Mr Hyde, throwing it right into a volcano.
The EOS R nonetheless deserves to be thrown within the volcano by Mr Hyde.
Mr Hyde wants not, the dismal rolling shutter efficiency in 4K. It’s up there with the worst available on the market.
Mr Hyde wants not, the very smooth 1080p and even worse 720p 120fps (with no AF). That is NOT a aggressive camera for sluggish-mo.
Mr Hyde will get veeeery very indignant when he thinks what number of utterly avoidable ergonomic points there are with the physique…
- That lacking stills/film lever
- That M-fking contact bar
- That three presses of three separate buttons simply to vary to video mode (Mode -> Information -> Set, to verify).
- That in film mode you possibly can’t shoot a nonetheless with primary shutter launch
- That in stills mode all of the film options vanish from the menus *
- That there’s no Canon LOG in Aperture Precedence or Programme Auto mode
- That the HDMI and mic connections stops the display from absolutely articulating
- No H.265 codec so 480Mbit ALL-I H.264 file sizes are again up at 4K MJPEG proportions
When it comes to the general form and format, Canon have carried out their regular strong job. In relation to the finer factors, it’s like widespread sense fled.
The very fact you actually need APS-C lenses to utilize the 4K however full body lenses to completely exploit the stills aspect, results in a number of lens modifications on a shoot demanding each video and stills. In crop mode you’ll be able to nonetheless shoot stills at 12MP however that’s not why you purchase a 30MP full body camera, is it?
* This implies you must undergo the painful Mode -> Information -> Set routine each time you enter the menus to vary a film-associated choice like Canon LOG, and there’s a restrict on what you’ll be able to assign to perform buttons and the fast menu.
Ergonomics – awkward Powershot / DSLR hybrid
On the EOS M APS-C mirrorless cameras, the Powershot group was concerned in improvement and design. It looks like on the EOS R there was some merging of the Powershot and DSLR design groups as properly, and I overlook the way it advantages the EOS R.
The blokes who introduced you the Powershot G1X and EOS M6, these fugly level & shoot cameras, have clearly had a hand on this camera. Construct high quality sensible, it’s a bit like a Canon/Panasonic G9 hybrid, albeit not $2500 mirrorless commonplace – extra like $1000 ($500 in some features).
All this appears to level to the EOS R being a mid-vary camera at greatest, in some methods a low-finish level & shoot one, which isn’t what you anticipate for $2500. That’s in the identical worth vary as a Nikon Z6, Sony A7 III, Fuji X-H1 or Panasonic GH5S – and truly $800 ABOVE the worth of a Fujifilm X-T3.
The camera ships with the contact-bar displaying an error message. Simply to even allow 4K on the report button in stills mode, you must know learn how to dive into the menus and register the customized mode settings and so forth. You then study of the bizarre quirks as properly alongside the best way like I detailed above, earlier than realising that is NOT your typical nicely-sorted Canon out of the field like their DSLRs. I assume their new recruits are studying on the job. Personally, I might have accomplished a greater job of the ergonomics with my arms folded.
The M-fn bar. That M-fcking bar. Flip it OFF. So the thought behind the Fcking bar, is that in contrast to two buttons aspect by aspect or a d-pad, you possibly can swipe throughout it as nicely. So in case you discover tapping a button left or proper too difficult otherwise you’ve been doing an excessive amount of Tinder and may not faucet, now you can swipe away in your camera too. Swipe proper. Swipe left. Ingenious.
Say you’ve got ISO assigned to the M-fcking bar which I don’t advocate, you’ll be able to faucet left or faucet proper to make small step changes, or do an enormous-previous swipe throughout it to spin that ISO worth just like the wheel of fortune. Sadly the place it finally ends up is anybody’s guess! It’s utterly random! Canon might as nicely have made a mini-recreation out of it the place you truly win a money prize if it goes to the ISO you truly aimed for.
If you’re not manically swiping left, the contact bar could be very straightforward to by chance contact. Canon know this, which is why it has a security lock which makes it much more annoying if you truly need to use it.
Micro 4 Thirds lenses on a Canon EOS R?
There’ll by no means be an adapter for guide focus Micro 4 Thirds lenses just like the Voigtlander 10.5mm F0.95 as a result of the EOS R flange is longer (20mm vs 19.24mm), sufficient to kill infinity focus. I’m positive Canon purposefully did that to cease individuals adapting Micro 4 Thirds lenses. That’s a disgrace as lenses like these from SLR Magic and Voigtlander are an ideal match for the 1.8x crop 4K.
The Panasonic GH5S can also be a 1.8x crop in 4K and I by no means complain it due to the HUGE ecosystem of adapters, Velocity Boosters and nicely-priced lenses to help that exact sensor measurement. A Voigtlander or SLR Magic lens at F0.95 actually does offer you that full body F2.zero look. So it’s NOT the crop issue ALONE that’s the deal-breaker however the small variety of EF lenses to actually make use of it.
I absolutely anticipate a thriving eco-system of adapters and Velocity Boosters for EOS R mount, by which era issues will enhance….I can’t wait to see the first Velocity Booster for it, maybe from Kipon or Metabones.
Conclusion – right here’s the deal
I have to see a bit extra generosity and goodwill in the direction of their clients from Canon. They’re making too many errors. They don’t speak to us sufficient they usually don’t attain out. They know their previous buyer, they don’t know their present ones.
I feel when the EOS R was sketched out (5D Mark IV sensor), the previous clients have been 90% stills oriented. Now it’s in all probability even 50-50 video and stills they usually don’t appear to have the suitable sensor for that.
There are indicators Canon not has the golden gross sales contact. Rewind to the 7D and T2i. These APS-C Canons shot a LOT of movie work. A few of it ended up on the large display. George Lucas. Canon advertising man’s dream. Then Canon’s advertising males all moist their pants after seeing the influence on the small chip professional camcorder gross sales. Then, when the Cinema EOS C300 got here out, the specs on paper have been so poor even by 2011 requirements all of us moist ourselves laughing… However the picture was no joke. Everybody and his cat beloved the movie-like pop and butterly clean low-mild efficiency. It satisfied execs to go together with the system and maintain their funding in EF lenses. Straightforward determination. From this level on, Sony and Panasonic had a mountain to climb.
Nicely hear this Canon…
I can’t purchase a single EOS R lens.
The crop in 4K merely killed Canon’s full body lens line-up for me. If they’re within the enterprise of not promoting lenses they’ve succeeded admirably. Let’s be clear. I’ll purchase what I want. I don’t want full body glass for 1.8x crop 4K. I don’t have a bizarre Canon vendetta, I simply need to spend my cash correctly. I really like my Canon 1D C and C500. These nonetheless have THE greatest cinematic 4K mojo 6 years later, however Canon make it UNNECESSARILY troublesome to like what must be one of the best cameras on the planet. They do issues like cancel the 1D C idea after saddling it with MJPEG and 0 firmware updates even for peaking – then convey out a 1D X Mark II with 4K/60p however no Canon LOG. They’re able to making quicker sensors, so why let the EOS R down so badly with terrible rolling shutter distortion from a sluggish three yr previous chip?
Under no circumstances is that this a full evaluate however I can already see why that is such a divisive camera already after a couple of days of utilizing one. Even with Canon early-adopters. It’s good to have the selection of crop-mode on a full body camera – fairly than be pressured into it. You simply won’t have the lenses to match. You may need simply spent $3000 on a 28-70 F2.zero, by which case – an optic is wasted in 4K on this.
Canon might have saved some cash through the use of the previous sensor however what they’ve gained, certainly they’ve misplaced within the lens gross sales to video shooters. That’s until individuals rush out and purchase plenty of EF-S lenses just like the 10-18mm. I’m not going to. I favor the look of a quick aperture prime, a minimum of F2 and to step again from the topic – however not each time is that viable.
So the paradox with the EOS R is that it’s each a very good deal and a nasty one in the identical second.
As a part of the great deal you get C200 high quality picture (with a beefier codec the truth is) within the physique of a mirrorless 5D Mark IV, which now prices $2300 as an alternative of the $11,000 value of shopping for a C200 and 5D Mark IV individually. In fact it doesn’t have the audio-aspect of a C200, or the optical-viewfinder and responsiveness of a 5D Mark IV, however when it comes to the top outcomes it’s proper up there with each cameras and the slot-in ND filter is unbelievable. You don’t have to vary the complete adapter whenever you need to shoot clear, simply pull the filter out.
You possibly can additionally take a look at it as a Canon “GH5S” as properly. That has no IBIS both. That has a 1.86x crop 4K picture. That has a really excessive-bitrate ALL I codec as nicely. That has a totally articulated flippy display too. The place the Canon beats the GH5S is in autofocus. The place the GH5S beats the Canon is in rolling shutter – and never by a small margin. In fact it does 10bit internally and far more in the best way of upper body charges as properly. The EOS R is a joke for sluggish-mo.
The place the EOS R is a nasty deal…It has a significantly sluggish chipset, and a really sluggish sensor. It isn’t able to full body 4K just like the equally priced Sony A7 III or Nikon Z6. Since 2014, Sony has been doing full body 4K with the A7R II and since 2015 with the A7S II. The EOS R is a 2018 camera and the 30 megapixel rely isn’t an excuse. Samsung at 28 megapixels – full-width 4K since 2014. Sony at 42 megapixels – once more full width (albeit with pixel binning).
The Fuji X-H1 is cheaper and packs IBIS, twin card slots and 1080/120p. The lenses are cheaper too, and higher suited to cropped-in 4K. The X-T3 is a full $800 cheaper and does 4K/60p 10bit!! Even the previous 2014 classic Samsung NX1 is superior on a know-how degree to the EOS R, with that 6K sensor output and incredible forward of it’s time H.265 codec.
So the place is Canon’s goodwill?
It truly is a Dr Jekyll and Mr Hyde camera.
I can say in all my expertise with virtually each camera available on the market, there has by no means been a larger distinction between the Execs and Cons record under.
- 4K as near Tremendous 35mm as makes no distinction – slight additional crop between 1.6x crop stills and 4K however nothing bothersome
- Higher 4K codec than the C200 – ALL-I mode very spectacular high quality (giant file sizes although)
- Allow Canon LOG and also you wouldn’t know you have been working with 8bit materials – it’s very cinematic
- Twin Pixel AF in 4K
- Nice EVF
- Simply so occurs to be a full body sensor in there in the event you’d wish to swap out of your Sigma 18-35mm F1.eight to an EF 50mm F1.2L sir
- Digital IS truly works slightly properly, sir!
- Helpful prime LCD
- Absolutely articulated display nice for vloggers
- Small and lightweight
- EF lenses work at their most reliably on any mirrorless camera
- GREAT color and ‘mojo’ to the look in 4K
- F**ING Rolling Sutter – it’s SO dangerous in 4K – will spoil photographs
- The 720/120fps is bullshit
- M-fking contact bar
- No in-physique stabilisation like on virtually ALL the competitors
- Costly native lenses that may’t be used on anything however a mid-vary camera YET
- No Canon LOG in any auto mode, not even in Av. WHYYYYY (smashes a window)
- Single card slot not dependable for lots of professional work (takes to Web discussion board)
- Silly ergonomic selections like lacking joystick, lacking stay-view change, no mode dial, three presses to toggle mode
- Competitors is technically FAR prematurely on CPU and CMOS speeds (screams with rage, jumps from excessive ledge)
Hmm. Nevertheless it’s not so simple as simply the camera physique.
The Nikon, Fuji, Panasonic and Sony cameras require is a BIG ask from you. A BIG funding of their NATIVE lenses. They’re not low cost. They’re not cross-platform.
In case you don’t personal many Canon lenses all you want to purchase is a Sigma 18-35mm F1.eight to do most issues – the price goes previous $3000 however it could possibly simply creep previous $8000 on the Sony and Nikon aspect. I simply can’t assist feeling that Canon misplaced a number of lens gross sales with that crop, when all you want to purchase is a single Sigma zoom and perhaps one in every of their ART primes.
Versus Nikon Z6 and Z7
I can also’t assist feeling that the Nikon Z6 could be a greater purchase in quite a lot of methods for video. When it comes to know-how the Z6 and Z7 are clearly superior to the EOS R. When the Z6 is launched subsequent month it is going to be the identical worth because the EOS R and virtually similar in spec to the Z7 which is a near-$4000 skilled camera. Sony pressured their hand. With Nikon you get to truly select whether or not you need the mid-vary physique or the excessive-finish physique and with Canon you don’t. Because of Sony’s aggressive technique, there’s not numerous distinction between them both – identical to the A7 III and A7R III.
Many extra of the finer particulars of how the camera operates are higher thought out on the Z7 and switching between stills/video on the fly is totally fluid.
The Z7 does NOT crop in full body 4K even from 46MP – that’s an 8K sensor – and much much less rolling shutter. Go and determine on that one ? It has supersampled 1.5x crop Tremendous 35mm 4K as well as and the autofocus is great – even with Nikon F mount lenses. The Nikon Z7 is additionally a flat out higher camera than the Sony A7R III – higher picture, higher color, higher menus, higher ergonomics, higher EVF, higher media and extra responsive. The A7R III was already VERY succesful to start with.
So upon getting spent upward of $3000 kitting out a decrease-specced EOS R, you might ask why you didn’t spent it on a Nikon as an alternative or anticipate the Panasonic S1?
Consider it or not there are legitimate causes…
- You personal Canon glass and Twin Pixel AF “just works”
- You don’t belief lens adapters for professional work
- You aren’t ready to spend hundreds on Panasonic SL mount or Z mount lenses
- You’re keen on what you get from Canon’s color science and Canon LOG, even in 8bit
- You want the selection of a THICK ALL-I codec at 480Mbit or an 120Mbit IPB choice
- You could have a 5D Mark IV to promote and contemplate the EOS R a worthy alternative with similar picture high quality at a lower cost
- You’re a Canon fan boy!
- You don’t care a few 1.7x or 1.8x crop
That final level is extra extensively utilized to individuals than pixel peepers anticipate. A number of customers simply don’t thoughts. It’s solely a small crop in comparison with Tremendous 35mm which is a Hollywood gold normal of filming and a free 5D Mark IV thrown in for good measure with a lot of the downsides of that costlier camera eradicated. No extra MJPEG. Lastly an articulated display. Lastly, a smaller and lighter physique with no flappy mirror.
Lastly, listed here are the questions it is best to ask your self earlier than shopping for an EOS R:
Does this shoot profit from a full body 4K look? Or am I pleased getting the shot with my Sigma 18-35mm F1.eight and spectacular color / codec efficiency?
Do I want top quality sluggish-mo? (In that case look elsewhere!)
Am I ready to spend money on Sony’s full body lenses or can I’ve simply as a lot enjoyable wanting by means of a incredible EVF at a gorgeous customized Canon image fashion? Allowing for what you see via that EVF is a number of the most filmic 4K/24p available on the market at C200 rivalling high quality.
Do I have to keep away from rolling shutter distortion for this sequence? Or is bullet-proof autofocus monitoring going so as to add extra to the motion?
You see the dilemma! All of the criticism of crap 120p high quality, garbage rolling shutter efficiency and non-full body 4K are completely legitimate however they’re NOT the entire story. Maybe my largest criticism of this camera is that it’s a money-seize on early adopter execs, with a restricted shelf life, as a result of as quickly as they convey out a better-spec EOS R2 with higher video, we’ll have to purchase that as an alternative.
Cannibalising the C200 and 5D Mark IV?
So if it shoots as good 4K because the C200 with larger bitrates and shoots nearly as good stills because the 5D Mark IV, who needs to spend a mixed $11,000 on these when you’ll be able to spend $2300 on an EOS R?
It’s an excellent query and it in all probability stored Canon awake at night time considering of all these silly options like three button presses to get into film mode.
It doesn’t cannibalise the C200 or 5D Mark IV when you make a dwelling capturing video on crucial paid work.
It has WAY an excessive amount of rolling shutter to switch knowledgeable video camera for all these mission crucial conditions. Canon know this.
It’s a superb second camera for execs who perceive the restrictions.
As for the 5D Mark IV, it comes right down to how briskly a shooter must work. The EOS R is extra laggy with out an OVF and AF can typically be much less dependable, however it doesn’t have a reside-view clean-out taking a nonetheless, or mirror flip, in order that’s one thing. It doesn’t have two card slots. It’s extra a shopper camera, with professional-degree picture high quality. The EOS R shouldn’t be the quickest or most responsive full body camera. The 1D X Mark II is. The EOS R just isn’t he greatest constructed or probably the most dependable and strong. The 1D X Mark II is.
If Canon will get critical with a better-finish mannequin, solely then will we see a bigger change of individuals from 5D Mark IV, 1D X Mark II and Cinema EOS cameras to a ‘do-everything’ mirrorless beast… and even then, WILL CANON LET IT HAPPEN??
A sluggish trickle out of barely advanced and barely extra present fashions are extra probably. What they did with this camera, greater than anything, was set up a brand new mount, a brand new system and new lenses that have been solely potential to do with a brief flange.
Now third events can get to work on Velocity Boosters and lens adapters. Canon can get to work on a excessive-finish physique which addresses the video limitations. I feel a subsequent excessive-finish mannequin is a BIG alternative to get issues actually proper, though it can in all probability be $4000. You might say Canon selected aggressive pricing with this first mannequin over the excessive-finish professional video specs discovered within the competitors (X-T3, Z6, A7 III)… however you’ve certainly observed rivals do BOTH.