CANON DE­LIV­ERS ON MK.4 EOS 5D

Camera - - WHAT’S NEW -

lists are show­ing a lot of ticks af­ter Canon took the wraps off its much-an­tic­i­pated fourth-gen­er­a­tion EOS 5D which had its first public show­ing in Cologne, gen­er­at­ing healthy crowds on the Canon stand.

Not sur­pris­ingly the Mark IV model in­her­its quite a bit from the flag­ship EOS-1D X Mark II, but there’s also some new fea­tures to make this cam­era ac­tu­ally much more of an all-rounder for both pho­tog­ra­phers and film-mak­ers.

The Mark IV’s styling and size is very sim­i­lar to those of its pre­de­ces­sor, although it’s a lit­tle lighter and smoother look­ing over­all. In­ci­den­tally, in Aus­tralia at least, the Mark III model con­tin­ues at least un­til the mid­dle of 2017. The Mark IV’s pric­ing is closer to that of the EOS 5DS so the mar­ket for the Mark III is likely to re­main strong for the time be­ing.

The Mark IV has a new full-35mm CMOS sen­sor with a to­tal pixel count of 31.7 mil­lion (30.4 MP ef­fec­tive) and an imag­ing area of 36.0x24.0 mm (giv­ing a pixel size of 5.36 mi­crons). The na­tive sen­si­tiv­ity range is equiv­a­lent to ISO 100 to 32,000 with ex­pan­sions ei­ther side to ISO 50 and 102,400. There are two pro­ces­sors – a DiG!C 6+ chip which does most of the heavy lift­ing and a DiG!C 6 chip which is de­voted to ex­po­sure con­trol du­ties. The Mark IV has two mem­ory card slots; one for SD types (but, cu­ri­ously, only UHS-1 speed com­pat­i­ble) and one for CF types with UDMA-7 sup­port. The max­i­mum con­tin­u­ous shoot­ing speed at full res­o­lu­tion is 7.0 fps so the EOS 5 fam­ily is get­ting steadily faster.

The LCD mon­i­tor screen is fixed and has a res­o­lu­tion of 1.62 megadots plus a new colour tone ad­just­ment with four set­tings. It also of­fers touch­screen con­trols which are now avail­able in all the cam­era’s op­er­at­ing modes. The 5D IV also has a built-in GPS re­ceiver and WiFi with NFC con­nec­tiv­ity. It can be fit­ted with a new op­tional bat­tery grip called the BG-E20. The good news is that it con­tin­ues with the BP-E6 lithi­u­mion bat­tery pack (al­beit in a higher ca­pac­ity form) so con­ti­nu­ity is main­tained with the pre­vi­ous mod­els and the 5DS duo… as well as com­pat­i­bil­ity with a num­ber of third-party ac­ces­sories such as video lights.

The aut­o­fo­cus­ing sys­tem is the same as that of the EOS-1DX Mark II and so em­ploys 61 measuring points (41 of them cross-type ar­rays). A to­tal of 21 cross-type ar­rays are still op­er­at­ing at a lens speed of f8.0 and low-light sen­si­tiv­ity ex­tends down to EV -3.0 (at ISO 100). Com­pared to the -1DX II, how­ever, the AF has been in­creased by up to 24 per­cent at the sides and 8.6 per­cent in the cen­tre. Aut­o­fo­cus­ing in live view or when shoot­ing video is per­formed via phasede­tec­tion mea­sure­ments us­ing the lat­est ver­sion of Canon’s ‘Dual Pixel CMOS AF’ sys­tem. Here, the EOS 5D Mark IV of­fers an in­ter­est­ing de­riv­a­tive func­tion called ‘Dual Pixel RAW’ which uses the im­age data from each of the dual-pixel points to de­liver a num­ber of post-cam­era pro­cess­ing op­tions. DPRAW files are ob­vi­ously twice the size of the stan­dard files (as twice the data is cap­tured) and the pro­cess­ing op­tions are ‘Im­age Mi­cro-Ad­just­ment’, ‘Bokeh Shift’ and ‘Ghost­ing Re­duc­tion’.

The me­ter­ing sys­tem em­ploys a 153,000 pix­els ‘RGB+IR’ sen­sor which gives 252 zones as well as se­lec­tive area, spot and cen­tre-weighted av­er­age mea­sure­ments. The white bal­ance con­trols in­clude a new ‘Am­bi­ence Pri­or­ity’ auto cor­rec­tion mode. The ‘Dig­i­tal Lens Op­ti­miser’ cor­rec­tions are now ap­plied in-cam­era to both RAW and JPEG files while the lens aber­ra­tion cor­rec­tions are ex­panded to in­clude dif­frac­tion and dis­tor­tion.

On the video side, the var­i­ous up­grades start with – not sur­pris­ingly – 4K record­ing which, as on the 1DX II, is in the Cinema 4K for­mat of 4096x2160 pix­els, but at ei­ther 25 (PAL stan­dard) or 30 fps (NTSC). Full HD video can be recorded at 50 or 60 fps and HD at ei­ther 100 or 120 fps for slow-mo ef­fects. Again, Canon is pro­vid­ing a ‘4K Frame Grab’ mode which al­lows for the ex­trac­tion of 8.3 MP stills (like Pana­sonic’s ‘4K Photo’ modes). The new cam­era has built-in stereo mi­cro­phones, but is also equipped with stereo au­dio con­nec­tors (in­put and out­put) and can de­liver an un­com­pressed 4K/2K out­put (8-bit, 4:2:2 colour) to its Type C HDMI ter­mi­nal. FHD and HD footage can be recorded in ei­ther the MOV or MP4 for­mats and there are both HDR and time-lapse movie modes.

Two new lenses have been in­tro­duced with the 5D IV; a long-awaited Mark II ver­sion of the sta­ple EF24-105mm f4.0L IS zoom and a Mark III ver­sion of the EF16-35mm f2.8 USM wide-an­gle zoom. Both have weath­erised de­sign (in­clud­ing flu­o­rine coat­ings on the ex­posed el­e­ment sur­faces), new low-speed USM fo­cus­ing mo­tors (pri­mar­ily for re­duced noise when shoot­ing video) and a new multi-coat­ing tech­nol­ogy called ‘Air Sphere Coat­ing’ (ASC) which is de­signed to more ef­fec­tively counter ghost­ing and flare.

Un­like the wait for the 1DX II to fi­nally go on sale, Canon has filled its sup­ply chan­nels so, as you read this, the EOS 5D Mark IV is al­ready avail­able, although de­mand is ex­pected to be high so it may not take long for a back-order sit­u­a­tion to be reached.

For more in­for­ma­tion please visit www.canon.com.au

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