Video:

Camera - - FIRST LOOK -

Canon has been king of the video D-SLRs with its EOS 5D II/III/IV mod­els so there are great ex­pec­ta­tions of the EOS R which, be­ing mir­ror­less, is ob­vi­ously even bet­ter suited to this ap­pli­ca­tion.

The 4K record­ing is in the Ul­tra HD res­o­lu­tion of 3840x2160 pix­els (there’s no 4K DCI op­tion), but im­por­tantly now uses the H.264 codec (in the MP4 for­mat). With UHD and FHD, either ALL-I or IPB com­pres­sion regimes are avail­able, the for­mer en­abling a bit rate of 480 Mbps with 4K, 120 Mbps with FHD. The 4K frame rates are 30, 25 or 24 fps and the 100/120 fps speeds are avail­able with 720p HD record­ing for slow-mo ef­fects. How­ever… the big mi­nus is that 4K record­ing uses a hefty 1.7x crop (as on the 5D IV) whereas FHD/HD uses the full sen­sor width. How­ever, a 1.6x EF-S crop is avail­able to match the ‘Su­per 35’ for­mat. The ‘Dual Pixel CMOS AF’ is avail­able for video shoot­ing and both the wide cov­er­age and very high point den­sity should trans­late into su­pe­rior sub­ject track­ing ca­pa­bil­i­ties. C-Log gamma de­liv­ers a dy­namic range of 12 stops, and other fea­tures in­clude both HDR and time­lapse record­ing (in 4K or FHD), dig­i­tal image sta­bil­i­sa­tion (i.e. by mov­ing the cropped image area around the sen­sor), time­cod­ing and a fo­cus peak­ing dis­play. On the au­dio side, the EOS R has built-in stereo mi­cro­phones with ad­justable lev­els, an at­ten­u­a­tor and a wind-cut fil­ter. Both a stereo au­dio in­put and out­put are pro­vided.

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