It’s crazy to think that we could have had 3K raw back in the days of the Canon 5D Mark II. The image is beautiful. This camera has remained viable for a long time thanks to Magic Lantern.
Of course this is using Canon’s new nice but expensive 50mm F1.2 lens. This lens does look quite nice and if this is the starting point for Canon mirrorless then autofocus can only improve in future generations. Shame about the crop.
It’s hard to say that much positive about Canon given their consistent betrayal of the lower end of their products. Yet their tools are still viable in the hands of a competent media producer.
We thought 1-inch sensor 4K camcorders would hit the market sooner than they did. Regardless, we’re glad to see them showing up. Autofocus matters hugely on these since they will be used for more ENG and event purposes than their larger-sensored siblings. Canon’s dual pixel autofocus has proven useful on their cinema cameras and appears promising on the XF400 line.
We can’t forgive Canon for what they did this to camera. It’s a decent camera but it could have been so much better if Canon wasn’t being Canon (your options are basically a crappy codec or raw with nothing more practical in between, among other weird design decisions).
If autofocus is what matters most to you then this camera will definitely appeal.
We’re curious to see how this video camera is going to do against the Sony Z280. We don’t like the trend of the price increases for these non-interchangeable lens video cameras but unfortunately that trend is not likely to reverse.
Canon’s mirrorless camera was supremely disappointing for us. As has most consumer products Canon released since the Canon 5D Mark II. However, a skilled photographer and videographer can do great things with this camera. It’s just that in this day and age we’re spoiled for options and many of Canon’s offerings are highly uninspiring.
Here’s a video showing the EOS R with a the large but great Sigma 18mm-35mm F1.8 lens:
This is an interesting comparison. While Blackmagic’s new BRAW is not identical to their true raw, it’s close enough for most purposes and it it produces nicer looking noise, grain, and skin tones. We expect most people will happily shoot in BRAW without ever looking back.
This comparison pits the new BRAW (on a Ursa Mini Pro) against Canon’s C200 Raw light:
Canon makes some products we like, but they have not been showing love to their consumer and prosumer products for a while. At least Nikon gave their camera crazy zoom. The lens is 21-1365mm equivalent. Same tiny sensor (which may have worked for 1080p video but struggles with 4K).
Price is expected to be $549 on launch.