Canon EOS R5
The EOS R5 is a good match for its target market: principally professional users who shoot both photos and video for work.
If you specialise in stills shooting and only occasionally need to shoot video, you should find the R5 meets most of your needs. If high resolution and pro video specs aren’t essential, you might be better off looking at the R6.
Announced on 9 July after weeks of ‘teasers’ the pro-level EOS R5 is the new flagship model in Canon’s mirrorless camera line-up. It is equipped with a new 45-megapixel CMOS sensor plus the DIGIC X processor introduced in the EOS-1D X Mark III. The R5 comes with a new 5-axis In-Body Image Stabiliser, which can achieve up to eight stops of stabilisation with lenses like the popular RF 24-105mm f/4 L IS USM which was supplied for our review. It is also the first full frame mirrorless camera that can record 8K RAW video footage.
The EOS R5 shown with the RF24-105mm f/4L IS USM lens. (Source: Canon.)
As the flagship model in Canon’s full frame mirrorless camera range, the EOS R5extends the capabilities of the current line-up, offering the highest resolution for both stills and video recording. The headline feature is the ability to record 8K video in both DCI (8192 x 4320) and UHD (7680 x 4320) resolutions at up to 30 fps as well as 4K DCI/UHD video at 60/50/30/25/24 fps.
The R5 can also record 8K RAW video to one of its memory cards – with full AF functionality. The 8K video capabilities have attracted a lot of media attention, largely because of complaints about the camera heating during recordings.
Note: The tech specs sheet for the R5 cautions that ‘The video recording time of the Canon EOS R5 is limited by heat.’ So buyers of the camera can’t say they weren’t forewarned. For more information on heaqt transfer in the R5, check out the latest post by Lens Rentals here.
Canon’s specifications place a 20-minute limit on 8K movie recording, although whether that is possible will depend upon ambient temperature and how the camera is being used (long continuous recording or multiple short clips with gaps between them of a minute or more). There’s also a recommended limit of 25 minutes for 4K 50p recording in cropped mode and an overall limit of 29 minutes and 59 seconds for all other movie modes. Since the EOS R5 was launched, Canon has released a firmware update to address this issue.
The new firmware, which can be found here improves temperature detection and shooting times and reduces the time between sequential recordings when brief clips are recorded and the camera is powered on and off repeatedly at room temperature.
Addendum: Lens Rental;s has just posted a ‘teardown’ of the EOS R5 where you can read all about the R5’s inner workings and see some neat close-up images of its innards. Click here to read the post.
Who’s it For?
The EOS R5 is priced well above the ‘enthusiast’ level and even higher than the original EOS R when it was first released. Clearly designed for photographers who shoot both photos and video for professional applications, it offers higher stills resolution than Canon’s professional DSLR cameras coupled with leading-edge video capabilities (outlined below).
Dual memory card slots for CFexpress and SD cards plus a 2,100,000-dot vari-angle monitor and an OLED viewfinder with 5,760,000 dots will facilitate shooting video with this camera. Its weather-sealed magnesium alloy body weighs only 738 grams with battery and card, making it ideal for location work, including events and sports photography.
Build and Ergonomics
The EOS R5 feels very solid and boasts a deep grip moulding that will suit users with large hands. Its SLR-like styling marks it as a ‘serious’ camera, which is confirmed by the control layout.
Front view of the EOS R5 body with no lens fitted. (Source: Canon.)
The front of the camera retains the uncluttered appearance of the EOS R series, with the only buttons being for the lens release and depth of field preview. An embedded LED that serves as the AF-assist/self-timer/remote control lamp is located between the top of the grip and the EVF housing, with a single microphone hole beside it.
The remote control sensor is invisibly installed midway down the grip moulding, while a DC coupler cord port is located low down on the inside of the grip moulding. A terminal for a remote control cord sits behind a lift-up rubber cover on the opposite side of the front panel.
The top panel of the EOS R5 with no lens fitted. (Source: Canon.)
In line with common practice, most key controls are located on the top panel. The shutter button sits well forward on the hand grip, with a programmable multi-function (M-Fn) button just behind it. Pressing this button and turning the main control dial just behind it lets you adjust the ISO, drive, AF, white balance and flash exposure compensation settings.
The movie button (identified by a red dot) is located at the place where the top panel steps down behind the main dial. Behind it is the button for lighting up the monochrome LCD data display panel to its left.
A multi-function lock button is situated between the movie button and right side strap eyelet, with the Mode button inset into the rear of the panel between it and the LCD data panel. The Mode button is the same as on the original EOS R; you simply press the button and rotate the dial to change shooting modes.
To the left of the LCD data panel is the EVF housing, which has a flash hot-shoe on top. The EVF has a 0.5 inch-type OLED screen with 5,760,000 dots, a significant step-up from the EOS R’s. As on the EOS R, the power on/off switch is a dial that is semi-embedded in the top panel on the left of the EVF housing. Like the other dials, its edge is textured to provide a firm grip.
The rear panel of the EOS R5 with the monitor reversed. (Source: Canon.)
Like the EOS R, the R5 has a vari-angle LCD monitor, and it’s similar in size and resolution to the original R’s screen. Also similar are the touch-panel overlay and Clear View LCD II coating. Seven levels of brightness adjustment are provided.
Above the screen on the left side of the EVF housing is the Menu button with a new Rate/Voice memo button beside it. The contentious M-Fn bar introduced on the EOS R has been dispensed with and a new joystick control has been added to the right of the EVF housing providing quick access to AF frame adjustments and navigation through menus and camera controls.
To the right of the monitor lies the usual cluster of controls, with the AF-On button and AF point/Index/Magnify/Reduce button along the top edge of the thumb rest and a new Magnify/Reduce button below it.
Further down are the Info and Q Menu buttons, while below them lies a normal arrow pad with a central SET button. The Playback and Delete buttons are located below the arrow pad close to the base of the camera body.
The dual card slots in the EOS R5, one for CFexpress cards and the other for SD cards. (Source: Canon.)
Dual memory card slots – one for fast CFexpress cards and the other for SD cards with UHS-1 and UHS-II compatibility – are located in the standard place on the right hand side panel. Users can determine which file format is recorded on which card for both stills and movies.
The shutter mechanism can be driven mechanically or electronically and covers a range from 30 seconds to 1/8000 second as well as a Bulb mode with the mechanical shutter. Flash sync speed is up to 1/200 second for the mechanical shutter and 1/250 second with the electronic first curtain synch shutter. (Flash photography is not supported with the all-electronic shutter mode.)
The R5 can record a continuous burst of frames at up to 12 fps with the mechanical shutter or 20 fps with the electronic shutter, which also supports silent shooting. Buffer capacities depend upon the card used, with the CFexpress card accepting a maximum of 350 JPEG or HEIF frames, 180 CR3.RAW files or 260 Compressed C-RAW files or 190 JPEGs or HEIFs, 66 raw files or 130 C-RAW frames for an SD card.
Multiple exposures are supported for JPEG and HEIF file formats and users can set the number of exposures (2-9), exposure variations and how the frames are combined. The R5 also allows a CR3.RAW file to be set as the first single exposure and have it remain intact when subsequent images are merged. HDR recording is also available, with three images recorded at different exposures and merged automatically.
The left side panel has three lift-up covers that protect the USB and HDMI terminals as well as the microphone and headphone ports and PC terminal. These connections enable the R5 to be used in professional video rigs.
The microphone jack can also be used to record voice memos with shots, although the camera’s built-in microphone should be more than adequate for this task. Recordings can be played back via the camera or a computer.
A new LP-E6N battery slots into the base of the hand grip. It’s CIPA rated for approximately 320 shots/charge or 550 shots/charge in Eco mode. A separate battery charger is supplied with the camera but you can also charge the battery in the camera via the optional PD-E1 USB power Adapter.
The R5 also supports dual-band 2.4/5Ghz Wi-Fi as well as low-energy Bluetooth connectivity. A metal-lined tripod socket is located in the base of the camera in line with the optical axis of the lens. The body carries a ‘Made in Japan’ label.
Focusing and IBIS
The R5 has an updated Dual Pixel CMOS AF system with 5940 manually-selectable AF points covering the entire frame. This array can be split into 1053 AF zones and the system is rated to -6EV with most lenses, making it usable in extremely low light levels. Touch & Drag AF makes it easy to pinpoint focus, both when shooting in Live View mode.
Manually-selectable AF modes include as Spot or Single-point AF, while auto AT in movie mode lets users select from 819 AF areas in a 39 x 21 dot array. AF tracking performance has been improved with new Deep Learning-based subject detection capabilities plus face and eye tracking for people and animals (specifically dogs, cats and birds).
The R5 provides the standard suites of focus mode selections within its One Shot and Servo (continuous) operation modes. Users can choose from a wide variety of tracking methods and focus point/area selections and focusing aids (peaking). Tapping the magnifier button will magnify the frame be 6x or 15x for checking focus.
The orientation linked AF point lets users apply separate AF points for vertical and horizontal shooting. Focus confirmation switches the AF point from red to green as focus is achieved.
In-Body Image Stabilisation (IBIS) makes its first appearance in an R-series camera offering with up to 8 stops of rated correction with lenses like the RF 24-105mm f/4 L IS USM lens supplied for our review. Lenses like the RF 24-240mm and RF 70-200mm zoom lenses can manage 6.5 stops and 7.5 stops of IS, respectively.
Additional digital stabilisation is available in movie mode, achieved through frame cropping. But it only works with a stabilised lens the lens-based system is switched on. It will, however, work with non-IS lenses but not with telephoto lenses longer then 1000mm.
Sensor and Image Processing
The 36 x 24 mm CMOS sensor in the EOS R5 was developed by Canon for the new camera and has approximately 47 million photosites, providing an effective resolution of 45 megapixels, the highest to date in a Canon mirrorless camera. It is installed behind a fixed optical low-pass filter and paired with the latest DIG!C X processor.
This partnership supports high-speed 20 fps continuous shooting with Servo AF and at full-resolution plus 8K DCI/UHD video recording at up to 30 fps as well as 4K DCI/UHD video at 60/50/30/25/24 fps. In addition to the regular JPEG and 14-bit CR3.RAW file formats, the R5 also 10-bit HEIF format capture, an option introduced in the EOS-1D X Mark III. You can find out more about this new file format here.
It also offers the compressed C-RAW, as well as Canon’s Dual Pixel RAW format and simultaneous capture of RAW+JPEG or RAW+HEIF images.
The table below shows the file sizes and buffer capacities for images captured with the default 3:2 aspect ratio.
|Image format||Quality||Pixels||File size||Max. burst|
|SD card||CFexpress card|
|JPEG||Large/Fine||8192 x 5464||13.5MB||190||350|
|Medium/Fine||5808 x 3872||7.8MB||320||350|
|Small 1/Fine||4176 x 2784||4.7MB||330||150|
|Small 2||2400 x 1600||1.8MB||340||350|
|HEIF||Large/Fine||8192 x 5464||13.4MB||190||280|
|Medium/Fine||5808 x 3872||8.3MB||310||310|
|Small 1/Fine||4176 x 2784||5.1MB||340||350|
|Small 2||2400 x 1600||1.8MB||340||360|
|RAW||Raw||8192 x 5464||45.4MB||66||180|
The R5’s video recording capabilities take it well beyond those of Canon’s existing mirrorless and DSLR cameras and approach those of Canon’s Cinema EOS line. To engage the movie mode you press the Mode button and then the Info button to switch between stills and video recording.
Whether you’re recording movies or stills, most of the same controls and settings will apply. The touchscreen monitor or the front control dial is used to choose between Auto, P, Av, Tv, M and one of the three Custom modes and focus, white balance and Picture Style adjustments are essentially the same for stills and movie capture. Movie Servo AF is the default for video recording
Canon Log and HDR PQ recording modes are available for capturing movies with a wide dynamic range to facilitate post-processing. Which one you choose will depend upon how your footage will be processed. Canon Log is a proprietary format, while HDR PQ uses a more ‘universal’ perceptual quantiser transfer function that might be easier to display on certain screens.
Leaving heating issues aside, whichever shooting mode you decide to use, the 8K recording capabilities are impressive and the R5 can record with both the ‘cinema’ DCI and UHD aspect ratios, which produce frame sizes of 8192 x 4320 and 7680 x 4320 pixels, respectively. The R5 can also record 8K RAW video to one of its memory cards – with full AF functionality.
That’s 35.4 megapixels and 33.2 megapixels, respectively per frame – a massive amount of data to process at up to 30 frames/second. It’s quite remarkable that the camera’s image processor can keep its cool for as long as it does. (We found no issues when conducting our video tests, although all of the clips we shot were less than five minutes in length.)
But that’s far from the limit for 8K recording as the R5 can record 10-bit 8K RAW video internally to the CFexpress card – with full AF functionality. Only DCI (8192 x 4320) format is available with this mode. Regular 8K video uses the H.265/HEVC compression format, while the 4K and Full HD modes rely on H.264/MPEG-4 for 4:2:0 8-bit or H.265/HEVC for 10-bit modes. ALL-I and IPB compression modes are available for all recording modes.
Handling such quantities of data will challenge the camera’s storage capacities. Only three minutes of 8K DCI RAW recording will fill up 64GB of storage space on a card or attached drive. This can extend to six minutes if you don’t use the RAW video format and up to 18 minutes if you record with IPB compression rather than ALL-I.
Either way, it should make you think seriously about storage and when (or whether) clips should be stored on memory cards. By default, the R5 will save video to the CFexpress card slot and, while these cards are quite readily available, they’re far from cheap. The lowest price we found in an online search for 64GB cards was around AU$280 each, with average process closer to AU$350 for this capacity. Cards with 256GHB and 512GB capacities are priced at around AU$850 and AU$1300, respectively.
The options for 4K video are quite extensive with both DCI (4096 x 2160) and UHD (3840 x 2160) aspect ratios and ALL-I and IPB compression modes supported at frame rates ranging from 25 fps through to 100 fps for PAL system users. Users can choose between recording with the full sensor width or with a cropped format. A special 4K High Quality setting is available based upon downsampled 8K readout.
FHD video can also be recorded at 50p and 25p and an IPB Light compression mode is available for 25p recording. Dual Pixel CMPOS AF is available for all recording modes, including 8K and the camera supports 8K time-lapse movie recording to the CFexpress card.
Time-lapse movies can be recorded with 8K UHD, 4K UHD or Full HD resolution and the camera will automatically match the frame rate to the video system setting (PAL or NTSC). The camera defaults to YCbCr 4:2:0 (8-bit) colour sampling and the BT.709 colour space for all recordings.
Users can set the interval and the number of shots to be taken in a sequence and turn the screen display off during the recording time. An initial test shot can be captured to check exposure levels and selecting auto exposure enables the camera to meter the scene before each frame is recorded.
The interval timer can also be used to record a sequence of stills and users can specify the interval across a range of 00:00:01 to 99:59:59 minutes and the number of shots to be taken across a range of 0 to 99. Setting this function to 00 will keep the camera recording indefinitely.
Playback and Software
All the standard playback modes are available, from single image (with and without shooting data) to index displays (9, 36 or 100 thumbnails). Selected images can be magnified 2x, 4x, 8x or 10x by touch/spread or with the magnifier button. Users can browse through images with the star button or by rotating the quick control dial or flipping between frames.
Basic editing controls are available for both raw files and movies in playback mode and users can ‘grab’ individual frames from 4K and 8K video clips and save them as JPEGs. Frame grabs from HDR movies will be saved at HEIF images. The HDMI out terminal allows the camera to be connected to a TV set to playback recorded slideshows or movie clips.
As is usual, the software bundle must be downloaded from Canon’s website. Applications include EOS Utility, Digital Photo Professional, Picture Style Editor and GPS Log File Utility.
Our Imatest evaluations, which were made with the RF 24-105mm f/4L IS USM lens, showed resolution came close to meeting expectations for the camera’s 450-megapixel sensor with JPEG files. CR3.RAW files, which were converted into 16-bit TIFF format with Adobe Camera Raw, our preferred file converter, comfortably exceeded expectations.
As shown in the graph of our test results above, JPEG resolution remained high from ISO 50 through to ISO 6400 before a gradual decline through to ISO 102400. Results for CR3.RAW files followed the same general pattern but with higher resolution initially but coming closer to the JPEG results by the end of the ISO range.
Imatest showed colour accuracy to be as good as it was with the EOS R5, with similarly constrained saturation and few colour shifts. Raw files converted into TIFF format with Adobe Camera Raw had slightly better colour accuracy than JPEGs and close-to-natural saturation levels.
Long exposures at night plenty of detail and their colour reproduction reflected ambient lighting throughout the sensitivity range. Noise became visible at ISO 12800 on and softening could be seen at around ISO 51200. Blocked-up shadows could be seen in exposures at the ISO 51200 and ISO 102400 settings.
Without a flash we could only test the review camera with tungsten, fluorescent and warm-toned LED lights. Like the EOS R, the R5’s auto setting provides two options: ambience priority (which retains warm colour casts) and white priority, the latter reducing warm colour casts in favour of a whiter balance.
As we found with the EOS R, neither of these settings will eliminate the warm cast of either incandescent or warm-toned LED lighting, although the white priority setting does reduce it. As expected, both settings delivered close-to neutral colours under white fluorescent lighting and all the pre-sets tended to over-correct.
Fortunately, the R5 was able to deliver close-to neutral colours under both warm-toned lights when manual WB measurement was used. The camera also provides Kelvin temperature adjustments along with plenty of in-camera adjustments for tweaking colours on-the-fly, which are straightforward to use.
Autofocusing was consistently fast and accurate when shooting both stills and video clips. The R5’s AF system performed well in very low light levels and was able to track moving subjects very efficiently – even when the main subject changed direction and when an additional subject moved into or out of a frame.
Video clips were impressive with plenty of details recorded along with natural-looking colour and tonal balances. Still frames from 8K clips contained more than enough resolution to enable printing at A2 size (297 x 420 mm) and, even though the files were 8-bit JPEGs, tonal reproduction was good enough to provide a nuanced tonal range.
Most of our video clips were recorded with the RF 24-240mm f/4-6.3 IS USM zoom lens which provided a usefully large distance between the subject and the photographer. We had no problems maintaining focus and exposure with this lens and noticed no extraneous camera noises in the soundtracks of video clips recorded while shooting moving subjects.
Our timing tests were carried out with a 512GB SanDisk Extreme PRO CFexpress card, which claims read/write times of 1700MB/s and 1400MB/s, respectively. The review camera took roughly a second to power-up ready for shooting, which is about twice as fast as the EOS R we tested.
Average capture lag was approximately 0.16 seconds, which was eliminated when the lens was pre-focused. It took an average of 0.16 seconds to process a single JPEG or CR3.RAW file and 0.18 seconds for a RAW+JPEG pair. Shot-to-shot times averaged 0.3 seconds, which is as fast as we could keep pressing the shutter button.
In the high-speed continuous shooting mode with the electronic shutter, the camera was able to record 147 Large/Fine JPEGs in 8.1 seconds, which is better than the specified 20 frames/second frame rate. It took 9.4 seconds to clear the buffer memory.
With the mechanical shutter, the camera recorded 54 frames in 5.2 seconds, which is close to the specified 12 fps frame rate. It took 3.1 seconds to clear the buffer memory.
For RAW+JPEG file capture with the mechanical shutter, the camera recorded 141 shots in 9.4 seconds, which is similar to the rate as we found with JPEGs. It took 3.2 seconds to process this burst.
As with the EOS R, Dual Pixel Raw shooting is only supported at low frame rates and files appear to be processed on-the-fly. We measured an average frame rate of 3.5 fps in this mode with both CR3.RAW files alone and for RAW+JPEG pairs.
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Image sensor: 36 x 24 mm CMOS sensor with approximately 47 million photosites (45.0 megapixels effective), Bayer RGB primary colour filters and fixed low-pass filter; compatible with Dual Pixel CMOS AF; Pixel Unit = approx. 6.56 µm square
Image processor: DIGIC X
Lens mount: Canon RF
Aspect ratio: 3:2
Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31), HEIF, CR3.RAW, C-RAW, RAW+JPEG, RAW/C-RAW and JPEG/HEIF simultaneous recording; Movies: MPEG-4, H.264, H.265, All-I & IPB compression; Canon Log 10-bit internal (card) recording
Audio: Linear PCM Stereo
Image Sizes: Stills – 5472 x 3648, 4368 x 2912, 3648 x 2432, 2736 x 1824; Movies: MP4 – 8K DCI/UHD (8192 x 4320 / 7680 x 4320 @ 30p, 25p, 24p ) max. 1300Mbps; 4K DCI/UHD (4096 x 2160 / 3840 x 2160 @ 60p/50p/25p) max.1880Mbps, 1920 x 1080 @ 100p/50p25p
Image Stabilisation:. Sensor shift (up to 8 stops); Movie digital IS
Dust control: Self-cleaning sensor unit plus Dust Delete Data acquisition and appending
Shutter (speed range): Electronically controlled focal-plane shutter with electronic first curtain; (30-1/8000 seconds plus Bulb; X-sync with mechanical shutter: 1/200 sec. elec. 1st-curtain: 1/250 sec.
Exposure Compensation: +/- 3EV in 1/3EV or 1/2EV steps
Exposure bracketing: +/- 3EV in 1/3EV or 1/2EV steps
Other bracketing options: Focus,
Self-timer: 2 or 10 seconds delay
Interval recording: Yes, for time-lapse for 8K / 4K / FHD movies
Focus system: Dual Pixel CMOS AF with 6072 selectable AF point positions; 39 x 27 (1053 divisions), 100% frame coverage
AF selection: Face/Eye Detection / Face+Tracking / Subject tracking (People / Animals / No priority) / Spot AF, 1-point AF, Expands AF area, Zone AF (9×9, 9×21, 31×9), brightness range EV –6.5 to 20 for stills, EV –5 to 20 for movies
Focus modes: AFS (Single) / AFF (Flexible) / AFC (Continuous) / MF
Exposure metering: -zone multi-pattern sensing system with Multiple, Centre-weighted average and spot metering patterns
Shooting modes: Stills – Scene Intelligent Auto, Flexible-priority AE (Fv), Program AE (P), Shutter-priority AE (Tv), Aperture-priority AE Av), Manual exposure (M), Bulb, Custom shooting mode C1, C2, C3 (Safety shift possible in Tv and Av modes); Movies – A+/Movie auto exposure/Movie manual exposure
Picture Style modes: Auto, Standard, Portrait, Landscape, Fine Detai, Neutral, Faithful, Monochrome, User Defined 1–3
Shooting aids: Zebra display for video:
Colour space options: sRGB and Adobe RGB
ISO range: Auto, ISO 100 to ISO 51200 with expansion to ISO 50 and ISO 102400; Movies – ISO 100-25600 with expansion to ISO 51200
White balance: Auto (Ambience priority/White priority). Daylight, Shade, Cloudy, Tungsten light, White fluorescent light, Flash, Custom (Custom WB), Colour temperature; WB adjustment of +/-9 levels Blue/amber bias or Magenta/green bias
Flash: External flash only with ambience priority, standard, flash priority
Flash modes: Continuous shooting priority (CSP) mode, Safety FE, E-TTL balance
Flash exposure adjustment: +/- 3EV in 1/3EV or 1/2EV steps
Sequence shooting: Max. 20 shots/sec. with AF /AE (electronic shutter); 12 fps with mechanical shutter + electronic first-curtain
Buffer capacity: Max. 350 Large/Fine JPEGs, 180 RAW files with CFexpress high-speed card; 190 Large/Fine JPEGs, 66 RAW files with SD card
Storage Media: Dual slots for CFexpress and SD, SDHC, SDXC cards (UHS-II compatible)
Viewfinder: OLED colour EVF with 5,760,000 dots; 119.88 fps refresh rate; approx. 0.76x magnification, 23 mm eyepoint, -4.0 to + 2.0 dpt adjustment
LCD monitor: 3.0-inch (screen aspect ratio of 3:2) Clear View LCD II with 2,100,000 dots; touch-screen operation
Interface terminals: USB-C (v. 3.1 Gen 2). HDMI micro OUT terminal Type D, 3.5mm microphone and headphone terminals, remote terminal (E3 type)
Wi-Fi function: Built-in (IEEE 802.11b/g/n) 2.4GHz; Bluetooth 4.2
Power supply: LPE-6NH rechargeable Li-ion battery; CIPA rated for approx. 360 shots/charge
Dimensions (wxhxd): Approx. 138.5 x 97.5 x 88.0 mm
Weight: Approx. 650 grams body only, 738 grams with battery and card
Distributor: Canon Australia; 1800 021 167
Based on JPEG files:
Based on CR3.RAW files converted into 16-bit TIFF format with Adobe Camera Raw:
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 ambience priority mode with warm-toned LED lighting.
Auto white balance white priority mode with warm-toned LED lighting.
ISO 50, 61mm focal length, 30 second exposure at f/4.
ISO 100, 61mm focal length, 25 second exposure at f/4.
ISO 800, 61mm focal length, 15 second exposure at f/5.6.
ISO 6400, 61mm focal length, 6 second exposure at f/8.
ISO 12800, 61mm focal length, 3 second exposure at f/8.
ISO 25600, 61mm focal length, 2 second exposure at f/10.
ISO 51200, 61mm focal length, 2 second exposure at f/16.
ISO 102400, 61mm focal length, 1.3 second exposure at f/22.
Close-up at 24mm focal length, ISO 100, 1/800 second exposure at f/4.
Close-up at 105mm focal length, ISO 100, 1/640 second exposure at f/4.
Strong backlighting; 42mm focal length, ISO 100, 1/1250 second exposure at f/8.
Flare; 24mm focal length, ISO 100, 1/30 second exposure at f/5.
Stabilisation test; 105mm focal length, ISO 100, 1/4 second exposure at f/4.5.
35mm focal length, ISO 100, 0.8 second exposure at f/8.
24mm focal length, ISO 100, 1/10 second exposure at f/8.
Close-up in dim lighting; 53mm focal length, ISO 100, 1/5 second exposure at f/4.
70mm focal length, ISO 100, 1/30 second exposure at f/7.1.
105mm focal length, ISO 800, 1/100 second exposure at f/6.3.
63mm focal length, ISO 50, 1/640 second exposure at f/4.5.
105mm focal length, ISO 200, 1/250 second exposure at f/5.6.
105mm focal length, ISO 1600, 1/640 second exposure at f/5.6.
The clips below from which the frame grabs were taken were recorded with the RF 24-240mm f/4-6.3 IS USM zoom lens.
Still frame from DCI 8K video clip taken at 25p.
Still frame from UHD 8K video clip taken at 25p.
Still frame from DCI 4K video clip taken at 50p.
Still frame from UHD 4K video clip taken at 50p.
Still frame from DCI 4K video clip taken with 25p.
Still frame from UHD 4K video clip taken with 25p.
Still frame from Full HD 1080 video clip taken with 50p.
Still frame from Full HD 1080 video clip taken with 25p
RRP: AU$6899 (body only); US$3899
- Build: 9.0
- Ease of use: 8.5
- Autofocusing: 9.0
- Still image quality JPEG: 9.0
- Still image quality RAW: 9.0
- Video quality: 9.0