The sensor’s design may have
something to do with Canon’s decisions regarding the EOS R7’s video specs compared to the R5, but it’s actually far more likely that there are plans for a more video-orientated version as per the R5 C. Makes sense given the APS-C sensor is pretty much the same size as the Super 35 cinema format.
The R7 is undoubtedly targeted at photographers first and foremost and who, as likely converts from Canon’s
APS-C DSLRs, probably haven’t shot much video… if any. That said, the R7 still boasts pretty decent video capabilities, albeit with an emphasis on real world pragmatism in terms of resolutions, bit rates and file sizes. So you can record 4K UHD Fine at up to 25/30p and the full width of the sensor is used, which means there’s no cropping and the footage is oversampled at 7K to enhance the quality. The standard 4K UHD mode records at up to 50/60p, again with no cropping and oversampled from 6K. The compression is interframe IPB, which keeps file sizes manageable, or there’s IPB Light if you want to go even smaller. Canon Log 3 and HDR PQ recording are provided so you can have 10-bit 4:2:2 colour if you want it (both use the more efficient H.265/HEVC codec). There’s also a 4K UHD Crop mode available at 50/60p and the 1.8x crop essentially gives you some extra telephoto power. Time lapse movie recording is available in 4K and Full HD, and uses ALL-I intraframe compression (so have a couple of high capacity cards in the camera). Full HD clips can be recorded at 100/120p for slowmo effects. The MP4 format is used exclusively. Clip lengths are essentially unlimited beyond the card capacity and the battery. The duration for 4K UHD recording at 50/60p with 8-bit colour is around an hour and it’s the same for 4K UHD Fine recording at 25/30p. Canon quotes a theoretical
‘normal’ recording time limit of six hours.
The HDMI output options are 4K UHD at 60/50/30/25/24 fps, and Full HD at 60/50/30/25/24 fps with 8/10-bit 4:2:2 colour and support for C-Log3 or HDR PQ. The connector itself is the micro Type D and not full-size.
The R7 has built-in stereo microphones supplemented by a stereo audio input and there’s a stereo output for connecting monitoring headphones. Sound levels can be manually adjusted, plus there’s a wind-cut filter and an attenuator to deal with excessive noise. The ‘Multi-Function Shoe’ has connections to provide both power and data communications for accessories such as the DME1D digital stereo microphone. Being powered from the camera, it eliminates a battery – as well as a connecting cable – and has three selectivity settings for shotgun, 90 degrees and 120 degrees.
All the AF capabilities are available, including eye/face detection and object recognition for tracking people, animals or vehicles. Additionally, video functionality extends to all the PASM exposure control, the Picture Style presets, the filter effects, the Clarity adjustment, the Auto Lighting Optimiser and Highlight Tone Priority correction processing, the lens aberration corrections, high ISO noise reduction, and all the same white balance control options that are available for photography. There are also zebra patterns (with adjustable thresholds), time coding (rec run or free run), and both focus peaking displays and image magnification to assist with manual focusing.
By any measure then, the EOS R7 is a very capable video camera and a well-thought out one too, avoiding the hoopla of resolutions and frame rates that very few people will ever use. Shooting video with a DSLR was always compromised but, with the R7, it’s a breeze.