Canon EOS 5D Mark IV
Like its predecessor, the Canon EOS 5D Mark IV enters the market with several advantages in the form of high resolution for still pictures, 4K video recording, top-rate autofocusing, a decent continuous shooting speed and touch-screen monitor controls. Add an up-to-date image processor and interesting innovations like the Dual Pixel RAW functions.
Add to that comfortable handling, fast autofocus, and strong performance in our image quality testing and you’ll see why we’ve awarded 5D Mark IV an Editor’s Choice in the Pro DSLR category.
Since publishing a detailed First Look at the new EOS 5D Mark IV last week, we have been able to carry out our standard suite of technical and user tests. This report has been prepared to complement the initial review, adding comments about our experiences using the new camera plus the results of our standard tests. Links have been provided to enable readers to jump between the two reports.
Angled view of the EOS 5D Mark IV with the new EF 24-105mm f/4L IS II lens. (Source: Canon.)
As outlined in our initial report, the 30.4-megapixel EOS 5D Mark IV, provides some significant improvements on its predecessor for both still photographers and video shooters. Since the 5D IV was announced, we have been able to find out what readers could expect to pay if they decide to invest in the new camera.
Because no lens was supplied with the camera, we have reviewed it with our own EF 24-105mm f/4L IS USM lens, which is the same lens we used for our review of the 5D Mark II and the 5D Mark III cameras.
As a 5D Mark II owner, we found the new body’s handling comfortably familiar. The two camera bodies are identical in weight ““ and 50 grams lighter than the 5D III (surely a good thing when weight can be critical in many situations).
We were delighted with the small changes to the user interface that have been made over two generations of the camera and welcomed the fact that the 5D IV uses the same LP-E6N battery as recent Canon DSLRs. The camera is also backwards-compatible with the slightly lower-capacity LP-E6 batteries used in the 5D III and 5D II (also a definite plus).
Another welcome feature is the LCD monitor, with its new touch-screen controls that can be interchanged seamlessly with manual adjustments. This often eliminates the need for time-consuming menu diving, particularly when the Quick Menu function is used.
It’s a pity the 5D IV’s monitor wasn’t articulated as that would have made it easier to overcome some of the limitations of having to frame shots using the monitor screen for movie recording. Adjustable monitors enable you to position the screen for optimal viewing and are a real advantage when shooting video, including when it’s on a tripod without a separate HDMI monitor that can be placed where you want it. With a fixed screen, there’s only one way to hold the camera and your back and shoulders can suffer during long shoots when using the camera hand-held.
The new ‘Intelligent’ viewfinder in the 5D IV is more efficient to use and being able to see the sensor’s full field of view with overlaid icons showing camera settings and warnings made it easier to change settings without constantly having to resort to the monitor. It’s comfortable to use, thanks to a decent 21 mm eyepoint and provides 0.76x magnification with a 50mm lens at infinity. We’d have liked a slightly wider dioptre adjustment range, although the -3.0 to +1 adjustment should be adequate for most potential users.
We noticed some impressive improvements to autofocusing performance, particularly in Live View mode when recording movie clips, where our tests set out to gauge the camera’s ability to track moving subjects. We also assessed the system’s ability to focus upon small, fast-moving subjects at close distances to the lens with the lens at a wide aperture setting.
We couldn’t fault the AF system’s tracking ability when we recorded movies of skateboarders; even when someone passed between the camera and the subject, the camera was quick to lock on again and follow the subject faithfully. For close-ups, AF performance wasn’t quite as good, although it was still impressive.
There were a few times when the camera jumped focus between foreground and background when recordings were being made close to the near limit of the lens. This was most likely to occur when there were bright objects in the background to ‘distract’ the sensors and when focus was not established initially by half-pressing the shutter button at the start of a recording.
Memory card speed is a critical issue when you want to record movies with 4K resolution. For SD cards, the 5D IV’s instruction manual states clearly that you need a UHS-I Speed Class 3 (U3) card which supports up to 90MB/s read and 80MB/s write speeds. Sadly, the 5D IV is not able to ‘read’ the latest UHS-II SDXC cards, an unfortunate omission in our opinion.
Slower cards either won’t record the movie or, if it is recorded, you’ll only get a second or two of footage. For CF cards, UDMA 7 transfer speeds of at least 100 MB/second are required.
By default, when you’re recording onto two memory cards, slot 1 indicates the CF card while slot 2 is for the SD card. In the default Standard mode, images are recorded to Card 1 by default, although you can change this to Card 2 by diving into the menu and selecting the Record func+card/folder set item from the settings menu.
If the Auto switch card mode is selected, the second card takes the overflow when the first card is full. Selecting Rec. separately causes each card to record the same still image but in different formats; for example you can record JPEGs to one card and CR2.RAW files to the other. You can set image sizes and quality options individually for each card.
Movies can’t be recorded simultaneously to both cards but will be automatically recorded to the card selected for Playback in the menu. This cannot be changed. The Rec. to multiple mode records each image simultaneously to the CF and SD cards with the same size and quality settings, acting as an in-camera backup.
One factor that has come to light since the 5D IV was announced concerns the way it records movie files. According to an article on the Canon USA website, the 5D IV uses the same Motion JPEG compression method as used by the EOS-1D X Mark II and EOS-1D C. This codec produces a separate JPEG image for each frame of video.
Since MJPEG uses the same kind of compression as JPEG does for stills, an extremely high bit-rate is required to maintain image quality. This means recording at approximately 500 Megabits per second, compared with up to 100 Mbps for competing cameras that use the more efficient H.264 4K codecs and record with the consumer-level 3840 x 2160 pixel resolution.
And whereas competing cameras capture the full width of the image frame in 4K movie mode, in the 5D IV, the 4096 x 2160-pixel 4K movie area is extracted from the centre of the frame, effectively cropping the full-frame view in order to eliminate the need for pixel binning. This helps to prevent the reduction in image quality and potential for moirø© and aliasing that occurs with pixel binning as well as constraining image noise in low light levels. Full HD and HD movies are not cropped.
Because of the pixel density on the 5D Mark IV’s 30.4-megapixel sensor, the 4K ‘crop factor’ is equivalent to using a lens with approximately 1.74x the indicated focal length. The view would be similar to what you would see when shooting with a camera with an APS-C sized sensor. This cropping makes shooting wide angles rather challenging, depending upon which lens you use. However, you gain a small telephoto advantage, which can be helpful for close-ups.
In another video-related issue, the 5D IV doesn’t include the Canon LOG function, which is provided in the video-orientated EOS-1D C, and allows recorded footage to be graded and colour corrected with professional software. You don’t even get a flat picture profile, which is the consumer-level equivalent and is provided in 4K enabled cameras from Fujifilm, Nikon, Panasonic and Sony. So users planning to integrate footage recorded with the 5D IV into a current professional video workflow will probably encounter a few problems.
Professional video shooters need to be aware that you can’t record 4K clips to an external drive via HDMI out. The only option available is Full HD (1920 x 1080), which doesn’t have high enough resolution for grabbing still frames for printing (one of the main reasons for including 4K video in this camera).
These issues aside, thanks in part to the AF performance improvements, we were quite impressed by the overall quality of the clips we recorded with the 5D IV, particularly in the 4K mode, cropping notwithstanding. Even though it can be difficult using the screen to frame subjects in bright outdoor lighting, the combined Still/Video switch and Live View/movie start-stop button made it easy to switch between stills and movie capture and keep the camera steady while recording.
We were keen to follow-up a report by the Amazon-owned DPReview website that claims the 5D IV suffers from ‘significant’ rolling shutter effect. This occurs where each frame is captured by scanning across the scene and can introduce predictable distortions of fast-moving objects. We found no signs of distortions in our recordings of the skateboarders moving across the field of view but did notice some slight vertical skewing when focusing close-ups, as shown in the enlarged sections from three frames, below.
Soundtracks from the built-in microphone were nice and clear in the default auto mode and the manual mode provides 64 levels of adjustment to control sound levels by turning the Quick Control dial. Audio recordings can be monitored as you shoot when you connect a set of headphones via the standard 3.5mm jack. A wind filter/attenuator is available.
Time coding is similar to the options found on the 5D Mark III, allowing users to select between rec run and free run, synch the time code to the camera’s internal clock or pre-set a starting time code. It can be applied to movies recorded on the memory card and also appended to movies that are output via HDMI to an external recorder. HDR movie recording is also supported.
Selecting the High Frame Rate movie mode in the Movie rec. quality section of the menu, lets you shoot movies with HD (1280 x 720 pixel) resolution and a frame rate for the PAL system of 100 fps (the NTSC frame rate is 119.9 fps). When clips recorded in this mode are played back the action will be slowed to 1/4 normal speed. Focus is locked on the first frame and no audio is recorded.
We found the High Frame Rate mode produced disappointing results ““ and not only because the resolution was low (the ALL-I Intra frame recording mode is used to preserve as much data as possible). The locked focus meant we could only use this setting for subjects that maintained a constant distance from the camera so we haven’t provided a sample frame grab. In addition, we found multiple skipped frames within the relatively short clips we shot. Recordings are limited to seven and a half minutes in this mode.
Dual Pixel RAW
The new Dual Pixel RAW function utilises the image sensor’s dual photodiode construction, which allows the sensor to pick up two separate signals from each photodiode pair and detect phase differences between the two signals. The camera’s Dual Pixel AF system combines these signals to achieve sharp focus.
During Dual Pixel RAW shooting, two images ““ one containing data from only one photodiode and the other with combined data from both photodiodes in each pair ““ are saved as a single raw file. This file, which is roughly double the size of a normal raw file, contains both the normal image and also any parallax information picked up through the phase difference detection.
Opening the Dual Pixel RAW Optimizer function in Digital Photo Professional.
Dual Pixel data has to be decoded with the Dual Pixel RAW Optimizer function in Digital Photo Professional software. But, once decoded, it enables three types of fine-tuning to be applied to raw images: focus microadjustment, bokeh shift and ghosting reduction.
The user interface in the Dual Pixel RAW Optimizer showing the three adjustments available.
Because they work at pixel level, the adjustments offered through the Dual Pixel RAW Optimizer are tiny. The focus microadjustment can’t replace the AF microadjustment control in the camera’s menu, which works with an installed database of Canon’s lenses.
The Dual Pixel RAW adjustments also depend on the camera’s exposure parameters. According to Canon, the best results will be obtained with lens focal length of at least 50mm and an aperture of f/5.6 or lower plus an ISO value lower than 1600.
We found it difficult to obtain images that would demonstrate each of these adjustments and our samples show just how small they are. Don’t expect to be able to correct anything beyond the smallest deviations from the desired state.
But, if your exposure is very close to the mark and a small amount of fine-tuning is required after an image has been captured, as long as you have set the camera to capture Dual Pixel Raw files, they could minimise the need to re-shoot. Examples are shown below.
Focus microadjustment. The top image is a crop from the original JPEG image. Below it is a crop from the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode. This image has been adjusted in Digital Photo Professional.
Bokeh shift. The top image is a crop from the original JPEG image. Below it is a crop from the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode. The red rectangle outlines the area selected for adjustment.
Ghosting reduction. The image on the left is the original JPEG image. On the right is the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode and subjected to ghosting reduction.
This pair of flare-affected images demonstrates that the Dual Pixel RAW Optimizer adjustments are unable to correct gross defects. Once again, the image on the left is the original JPEG image while the one on the right has been tweaked with the Dual Pixel RAW Optimizer’s ghosting reduction adjustment.
While images from both cameras are more than adequate for printing at A3+ size, with a resolution roughly 30% higher than the 5D III’s, shots taken with the 5D IV will fit more comfortably on larger A2 paper providing more scope for photographers who like to make large prints. However, even greater gains will come from the new camera’s superior image quality, particularly with moderately high ISO settings.
JPEG files straight from the camera with the default Standard Picture Style setting were very clean although somewhat subdued in colour rendition across most of the available sensitivity range. Saturation was slightly lower than we normally see in JPEGs, setting up shots very well for post-capture editing. Colour fidelity was generally very good and detail was finely rendered, although most images benefited from a little unsharp masking in post production.
Since CR2.RAW files are not yet supported in Adobe Camera Raw, our preferred raw file processor, we had to convert them into 16-bit TIFF format with Canon’s Digital Photo Professional software, Version 220.127.116.11 of which is supplied with the camera. This application is superior to most proprietary raw converters and we were able to extract the expected level of resolution from the test files.
Imatest showed the review camera to be capable of almost meeting expectations when JPEG files were analysed ““ and slightly exceeding them with raw files. Resolution held up well across the camera’s ISO range, with the expected gradual decline as ISO sensitivity was increased, as shown in the graph of our test results below.
In our after-dark test shots, the first evidence of image noise appeared between ISO 6400 and ISO 12800, with increased softening as noise-reduction processing was applied. Softening was noticeable at ISO 25,600 and increased gradually thereafter. Interestingly, the ISO 102,400 setting delivered images that would be usable at modest output sizes after unsharp masking, even though resolution had been significantly reduced.
Like the Mark III, the Mark IV was capable of recording a wide range of tones in subjects with extended brightness ranges, although it didn’t cope well with extreme differences between shadows and highlights. Nevertheless, blown-out highlights were rare in JPEGs, when the Highlight Tone Priority setting was selected.
Unlike the Mark III, the Mark IV provides two auto white balance settings: ambience priority and white priority. The former is the ‘normal’ auto mode, while the latter aims to keep white areas in the subject as close to white as possible.
We found the ambience priority setting came very close to producing neutral colour rendition under fluorescent lights, while the white priority setting delivered a high level of correction. Under incandescent lights, neither setting was able to correct the orange cast but the white priority setting reduced the orange cast to a noticeable degree.
Pre-sets are provided for daylight, shade, cloudy, tungsten, white fluorescent and flash or you can take custom measurements or use Kelvin temperature settings. Each setting can be fine-tuned in the camera. We found the tungsten and fluorescent pre-sets tended to over-correct, although not excessively.
For our timing tests we used a 16GB SanDisk Extreme Pro UDMA 7 CF card, along with a 32GB SanDisk Extreme Pro SDHC U1 card. The review camera powered-up ready for shooting almost instantaneously, taking less than 0.1 seconds. When the viewfinder was used, we measured an average capture lag of 0.1 seconds. This delay was eliminated by pre-focusing the lens.
The average delay times were similar in Live View mode, which is unusual as they tend to be slower in most DSLR cameras we’ve tested. The dual pixel AF system is a likely explanation for such good performance since capture lag is largely a result of autofocusing lag.
In both modes, it took an average of 2.5 seconds to process a single JPEG file and 2.6 seconds for a raw file and 2.8 seconds for a RAW+JPEG pair, regardless of which card the images were recorded on. Shot-to-shot times with both cards averaged 2.65 seconds because in single-shot mode, the camera can’t record a shot until the previous one has been processed.
We couldn’t get the review camera to operate in the high-speed continuous shooting mode when the viewfinder was used but it worked perfectly in Live View mode. With the CF card, we were able to record 45 Large/Fine JPEGs in 6.5 seconds, which equates to 6.92 frames/second, just a whisker below the specified frame rate. It took 4.9 seconds to process this burst. For raw file capture, the camera also recorded 19 shots in 2.6 seconds, again, matching specifications. It took five seconds to process this burst.
Swapping to the SDHC card, we recorded 56 Large/Fine JPEGs in eight seconds, which equates to exactly seven frames/second. It took 8.2 seconds to process this burst. Seventeen raw files were recorded in 2.3 seconds, a frame rate of 7.4 fps. It took 13.6 seconds to complete the processing sequence.
Like its predecessor, the Canon EOS 5D Mark IV enters the market with several advantages in the form of high resolution for still pictures, 4K video recording, top-rate autofocusing, a decent continuous shooting speed and touch-screen monitor controls. To these you can add an up-to-date image processor and interesting innovations like the Dual Pixel RAW functions.
Currently, there are three other cameras that might compete with the 5D IV in this market sector, although they don’t provide the full array of benefits: Canon’s 50.6-megapixel EOS 5Ds and 5Ds R pair and the-megapixel Nikon D810. We’ve reviewed two of these three cameras. Local pricing for the EOS 5Ds and Nikon D810 cameras is lower than the current p[rice for the 5D IV, while the 5DsR price is broadly similar.
Although the 5D IV doesn’t offer such high resolution as the 5Ds/sR pair, the difference between 30 megapixel and 36 megapixels in the D810 is effectively irrelevant. More important is the lack of 4K video recording in the three older cameras, all of which are ‘stuck’ with Full HD.
The 5D IV spans the widest sensitivity range of the four and is likely to record a wider dynamic range, due to its more up-to-date image processor. Its touch-screen monitor also puts it ahead of the competition.
Since the 5D IV hasn’t gone on sale yet, it’s too early to discuss potential discounting. Canon has listed the EOS 5D IV in its Australian online store at AU$5699 for the body alone and $8399 for the ‘Professional Kit’, which includes the EF 24-70mm f/2.8L II USM lens. The kit with the EF 24-105mm f/4L IS II USM lens wasn’t listed when this review was published.
Because the EOS 5D Mark III still has plenty to offer to both serious enthusiasts and professional photographers, it will remain on sale, at a reduced price of AU$3349 for the body until an as yet unspecified time during the first half of 2017. Discounted prices for this camera can be as low as AU$2500 or $3500 with the original 24-105mm f/4L lens.
Body-only prices for the EOS 5D IV listed on Australian re-sellers’ sites when this update was published ranged from AU$4999 to AU$5300 and upwards of $7299 for the EF 24-70mm f/2.8L II USM lens kit. Canon USA has the body listed at US$3499 (roughly equivalent to AU$4625 when this review was posted) and the body plus EF 24-70mm f/4L IS USM Kit at US$4399 (approx. AU$5810). It also lists a body plus EF 24-105mm f/4L IS II USM Kit at US$4599. Online re-sellers in the US appear to be sticking with Canon’s MSRPs for both body and body+lens kits ““ at least until the camera starts to ship from 8 September.
Image sensor: 35.9 x 23.9 mm CMOS sensor with 31.7 million photosites (30.4 megapixels effective)
Image processor: DIGIC 6+
A/D processing: 14-bit (Canon original RAW 2nd edition)
Lens mount: EF (excludes EF-S / EF-M lenses)
Focal length crop factor: Equivalent to 1.0x the focal length of the lens
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver.2.3, MPF Baseline compliant), CR2.RAW, M-RAW, S-RAW, RAW+JPEG; Movies: MOV Video: 4K – Motion JPEG (internal recording only), Full HD – MPEG4 AVC / H.264 variable (average) bit rate, Audio: Linear PCM
Image Sizes: Stills ““ 6720 x 4480, 4464 x 2976, 3360 x 2240, 1920 x 1280, 720 x 480; Movies: 4K (17:9) – 4096 x 2160 at 30/25/24 fps; Full HD (16:9) – 1920 x 1080: 50/30/25/ 24 fps (inter- or intra-frame), or 1920 x 1080 HDR 30/25 inter-frame or lite inter-frame; HD -1280 x 720 at 120/100fps intra-frame
Image Stabilisation: Lens based
Dust removal: EOS integrated cleaning system
Shutter (speed range): Electronically-controlled focal-plane shutter (30-1/8000 sec. in 1/2 or 1/3 stop increments plus Bulb); X -synch at 1/250 sec.
Exposure Compensation: +/- 5EV in 1/3EV or 1/2EV steps; can be combined with AEB (+/-EV for movies)
Exposure bracketing: +/-3 EV in 1/3 or 1/2 stop increments
Other bracketing options:
Self-timer: 2 or 10 seconds delay
Focus system: 61 point TTL-secondary image-forming phase-difference detection system with dedicated AF sensor; max. of 41 cross-type AF points inc. 5 dual cross type at f/2.8
and 61 points / 21 cross-type AF points at f/8
Focus modes: One Shot; AI Servo AF (AI Servo AF III+)
Exposure metering: 153,600-pixel RGB+IR metering sensor with Evaluative metering (linked to all AF points), Centre-weighted average, Partial (approx. 6.2% of viewfinder at centre) and Spot (approx. 1.5% viewfinder at centre) metering patterns
Shooting modes: Scene Intelligent Auto, Program AE , Shutter priority AE, Aperture priority AE, Manual, Bulb, Custom (x3)
Picture Style modes: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)
Image Processing modes: Highlight Tone Priority, Auto Lighting Optimiser (4 settings), Long exposure noise reduction, High ISO speed noise reduction (4 settings), Lens optical correction, Dual Pixel RAW (image micro-adjustment/ bokeh shift/ghosting reduction)
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100-32,000; ISO can be expanded to L:50, H1: 51200, H2: 102400
White balance: AWB (Ambience priority/White priority), Daylight, Shade, Cloudy, Tungsten light, White Fluorescent light, Flash, Custom; Colour Temperature Setting
White balance compensation: Blue/Amber +/-9, Magenta/ Green +/-9
Flash: External flash only
Flash modes: E-TTL II Auto Flash, Metered Manual, Second Curtain Synch.
Flash exposure adjustment: +/- 3EV in 1/3 increments with EX series Speedlites
Sequence shooting: Max. 7 shots/sec. at 30.4M
Buffer capacity: Max. 130 Large/Fine JPEGs or 21 RAW files
Storage Media: Dual slots for CompactFlash (UDMA 7 compatible) and SD cards (compatible with UHS-II standard SDHC / SDXC memory cards)
Viewfinder: Pentaprism with approx. 100% FOV coverage, 21mm eyepoint. approx. 0.76x magnification; -3 to +1 dioptre adjustment, fixed focusing screen
LCD monitor: 3.2-inch touch panel LCD with approx. 1,620,000 dots; 7 levels of brightness adjustment, 4 steps of colour tone adjustment (warmer, standard, cooler 1, cooler 2)
Interface terminals: USB 3.0; HDMI, Built-in GPS
Wi-Fi function: IEEE 802.11b/g/n, 2412 MHz – 2462 MHz (1-11 ch), Wi-Fi / WPA / WPA2, Infrastructure mode
Power supply: Rechargeable Li-ion Battery Pack; CIPA rated for approx. shots/charge
Dimensions (wxhxd): Approx. 150.7 x 116.4 x 75.9 mm (excluding protrusions)
Weight: Approx. 810 grams (body only); 890 grams with battery and card
Distributor: Canon Australia; 1800 021 167; www.canon.com.au
Based on JPEG files:
Based on CR2.RAW files converted into 16-bit TIFF format with Digital Photo Professional:
Auto white balance ambience priority mode with incandescent lighting.
Auto white balance white priority mode with incandescent lighting.
Auto white balance ambience priority mode with fluorescent lighting.
Auto white balance white priority mode with fluorescent lighting.
ISO 100, 58mm focal length, 30 second exposure at f/4.
ISO 200, 58mm focal length, 30 second exposure at f/4.5.
ISO 800, 58mm focal length, 20 second exposure at f/4.5.
ISO 3200, 58mm focal length, 20 second exposure at f/9.
ISO 6400, 58mm focal length, 13 second exposure at f/10.
ISO 12800, 58mm focal length, 8 second exposure at f/11.
ISO 25600, 58mm focal length, 5 second exposure at f/18.
ISO 102400, 58mm focal length, 1 second exposure at f/9.
ISO 200, 105mm focal length, 1/250 second exposure at f/9.
ISO 100, 105mm focal length, 1/100 second exposure at f/8.
ISO 200, 58mm focal length, 1/125 second exposure at f/8.
ISO 100, 50mm focal length, 1/200 second exposure at f/11.
ISO 200, 105mm focal length, 1/100 second exposure at f/8.
ISO 200, 70mm focal length, 1/250 second exposure at f/7.1.
ISO 100, 92mm focal length, 1/100 second exposure at f/8.
ISO 100, 105mm focal length, 1/500 second exposure at f/9.
ISO 400, 105mm focal length, 1/500 second exposure at f/6.3.
ISO 100, 45mm focal length, 1/200 second exposure at f/13.
ISO 400, 92mm focal length, 1/320 second exposure at f/5.6.
ISO 100, 100mm focal length, 1/500 second exposure at f/10.
ISO 200, 70mm focal length, 1/500 second exposure at f/11.
ISO 200, 105mm focal length, 1/320 second exposure at f/8.
ISO 100, 47mm focal length, 1/125 second exposure at f/11.
ISO 200, 90mm focal length, 1/80 second exposure at f/5.
ISO 200, 105mm focal length, 1/320 second exposure at f/5.6.
ISO 100, 105mm focal length, 1/1000 second exposure at f/4.
Still frames from 4K video clip taken with MJPEG format.
Still frames from Full HD 1080 video clip taken with 50p, ALL-I compression.
Still frames from Full HD 1080 video clip taken with 50p, IPB compression.
Still frames from Full HD 1080 video clip taken with 25p, ALL-I compression.
Still frames from Full HD 1080 video clip taken with 25p, IPB compression
RRP: AU$5699; US$3499 (body only)
- Build: 9.0
- Ease of use: 8.8
- Autofocusing: 9.0
- Image quality JPEG: 8.7
- Image quality RAW: 8.9
- Video quality: 9.0