I’m not one to generally heap accolade on camera produces that one, I haven’t researched or two, haven’t even been sufficiently announced hitherto let alone liberated. But yielded what we know about Canon’s upcoming EOS R5, I have to change precedents, sit back and time clap.

Canon has been the as of many analysis and jokes over the past nearly ten years, and for good reason: the products they have been secreting have been mostly pomp and situation and not conduct. They haven’t been at the edge of likeness engineering since pretty much the 5D Mark III, except for the 1D X Mark II that was priced above what was competitive at the time, didn’t stay in the technology lead for long, and came with numerous caveats.

The 1D X Mark III was good, but it didn’t setback any of us apart. It impressed, don’t get me wrong, but we aren’t staring slack-jawed at it.

But the EOS R5 — that’s an entirely different floor. This camera is shaping up to be the most impressive technological bounce between examples, nay compared to what is currently on the integrity of the market, that we’ve ever seen.

Here is a conversation between me and Ted Forbes regarding Canon’s R5 announcement 😛 TAGEND

Model-to-Model Technology Leap

I know that the R5 isn’ t technically a next-generation EOS R( we are still expecting them to give us an EOS R Mark II at some moment ), but the timing and grocery presents from Canon places the R5 as its technology successor. If you required, you could argue that the R5 is more the heir to the 5D Mark IV, and since the EOS R is basically a mirrorless 5D Mark IV, I wouldn’t disagree with you.

Whatever you do choose to compare it to, the R5 is offering an remarkable prodigious engineering bounce from any other camera Canon has ever built. Not simply that, it places to reproach every other hybrid camera currently available and even outperforms almost every high-end cinema camera available.

Just looking at the R5 spec list compared to either the EOS R or the 5D Mark IV, it might be the most impressive leap in ability I’ve ever seen between any two modelings of any digital camera, ever. Not only between Canon concoctions, but between any two models of any camera released after any company.

And with all this said, I think we can truly put to rest the notion that Canon purposely comprises back their hybrid cameras to ” protect” their cinema line.

The Effect on the Industry

When the 5D Mark II was exhausted, it genuinely did change service industries exclusively. Both photo and video in one design could be argued as the biggest shift in digital imaging in our lifetimes.

But can you argue that the EOS R5′ s offerings are on par with that, passed what is available on the market?

Given that it can shoot full-frame, uncropped 8K at 24 p and 30 p, in RAW, Canon Log H. 265 or HDR PQ H. 265 with full-time Dual Pixel autofocus all internally, I are certainly racking my psyche to say this camera is worse from a unadulterated definitions standpoint than most RED, ARRI or Sony camcorders. It will even shoot 4K at 120 p, a spec that no composite camera to date has yet to make and is reserved for those super high-end camcorders I just mentioned.

Oh, and it doesn’t just do that slow-motion captivate simply to add a spec to the box, but is nearly without compromise: it’ll record that 120 frames per second internally at 4:2: 2 10 -bit in Canon Log. If you wanted to narrow that remit to just cameras with full-frame, it’s an even more exclusive squad: the R5 is the only member.

The biggest impression on service industries though might be proving how much can fit into a small package without love and without, at this degree, compromise.

To get 8K in a RED( like the Helium, Gemini, and Dragon) asks some serious chill. Same with ARRI cameras like the ALEXA LF or the AMIRA, the Sony Venice( which can only do 6K ), and even the Panasonic S1H( also capped at 6K) which we already mentioned has a specs directory far less impressive than the EOS R5. All those cameras have fans.

Though the R5 doesn’ t quite match up with the high-end ARRI or RED cameras I just mentioned, it does come close. Additionally, those cameras aren’t full frame like the R5 or the Sony Venice are, and the R5 drums the Venice in several key lists. It has 8K, and the Venice is only 6K. The R5 can do 4K at 120 chassis per second internal, the Venice can only do 60 makes per second in 4K.

Back in February, I attended WPPI and Canon testified the R5( an actual working figure, they predicted) behind glass. Though we couldn’t comprised it, we could look at it from virtually 360 degrees. From what I attended and how the Canon team talked about it, the body of the R5 is identical, at least in footprint, as the EOS R.

That body is tiny to report to any video camera with half the specifications that this camera will beat. That happening alone will have major sound outcomes on the industry. Not only is it pushing technology restrictions beyond anything we’ve seen before, but it’s also doing it in a body that’s arguably one of the smallest on the market.

That body also has no fan.

Is all this more impressive from an manufacture perspective than putting video in a DSLR for the first time? That’s definitely a conversation to have and arguments could be made moving both methods. Right now, all I know is it’s an idea we can start to entertain.

I do want to say that I by no means think that the R5 is going to replace ARRI or RED cameras or even the Venice. Though in statements, it’s coming close or drumming many of the capabilities of the cameras made by those three juggernaut labels, camcorders are always going to have major advantages for sizable product corporations that this camera will not address.

But that’s not the point. The spot is the gap is closing from what you can do with certain pieces of equipment, and more powerful equipment in more people’s entrusts implies a better likelihood for incredible independent artistry to be produced. That’s a generate we should all be championing.

Still a Lot of Questions

Folks are going to criticize this article as well as the R5 for all of the unknowns. For example, up until this target, countless public analysts of the R5 have all said there was without a doubt going to be some caveat to the 8K recording, either a terrifying bitrate or ghastly harvest. It was easy to believe this line of judgment because for the last decade, Canon has been the ruler of caveats. They were wrong in this case, but there is still room for healthy skepticism that there will be tradeoffs in other areas.

You can argue that it doesn’t have SDIs, we don’t know how it will manage audio control( maybe they’ll disappear the Panasonic route and sell a red-hot shoe adapter ), we don’t know if it has dual gain ISO, we don’t know how many or how granular the video bitrates and formulate proportion options will be, and we likewise don’t know if it will support all the high-end video boasts many shooters want( like waveform ).

Canon too was reluctant to give us recording time limits at any of these high-end decideds, which could be worrisome if they’re only a couple minutes. Given that the S1H has much lower specs than the R5 and that is fan-cooled, I am not sure-fire how Canon is managing the massive amount of hot shooting at 4:2: 2 10 -bit 8K or RAW will generate. Given what we know about cameras to this point, you would think we would have to limit enter times.

We still don’t know the toll degree, which is likely going to be a subject of mad opinion from here until we do. Given that it bears the “5” in its specify, and that we should expect it to play in a different ballpark than the 1D line, I personally cannot imagine Canon asking for much more than $ 5,000 at launching. I am by no means sure of this, but their camera hierarchy and need to be competitive procreates me feel jolly confident we won’t see a budget-buster of a camera.

But even with all those questions, Canon is showing that Panasonic’s impressive 6K at 4:2: 0 isn’t the best that can happen in a pact camera. They’re showing that 4Kp120 in a composite camera is not a pipe dream. They’re demonstrated that by encompas CFExpress, you do not need to be restricted by the data ceilings of HDMI or even have the need for USB out, and can deliver RAW recording the day of propel instead of having to wait for third party support( looking at you Nikon and Panasonic ).

At every turn it feels like Canon is proving wrong every possible naysayer with the R5. It feels like they are rewriting their stigmas. I am sure the goalposts will be moved again in the coming weeks as kinfolks come up with brand-new intellects to be skeptical of Canon’s impending camera, but I’m going to take a stand and really applaud them for doing as much as they are here.

They haven’t even come close to releasing half the specific characteristics for this camera, and I’m already more than slaked. At the very least, I hope that most of you will agree with me that the claim of this article is not hyperbole. Canon clearly figured out their processor the questions and destroyed( nay, absolutely razed) any of the barriers that were holding back their development in the past, and I’m just happy to be along for the ride.

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