OK, got it. Just came in. 50 mm 1.8 RF.

Just a few shots around the house and it seems pretty good!

And I know that this should be elementary but after having the 24-70 RF on my camera for so long the weight difference Is incredible! It is so light it feels like there is no lens on the camera at all. I have the R5. I have the R5. So now I'm just waiting on the shipment of the 70-200 f4. B&H says last week of January.

Keep on going Canon!!

And sometimes, when it does get to my city, they then deliver it to the wrong address

Yep no thanks!!!!

We have good old yellow jacket wasps here in BC and those are enough for me. Those look absolutely evil.

koenkooi said:

I only tried the 24-70 for still when I had it, the 28-70 is scheduled to get rented next May Since they both have USM motors I'm going to assume they can focus faster in video mode, but I have no direct video experience with them.

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Thanks!I hope these lenses are fast! )))

Hi, after switching from Premiere Pro to DaVinci Resolve I took some drone footage as a color grade exercise. This is the result:

That is an amazing piece of Artwork!!! Really quite phenomenal. For me personally, having your reflection in the image actually makes it more evocative IMHO on a familial level - due to the tie-in with the artist.

Really quite amazing drawing...

AlanF said:

So, using your analogy, Leica is the Rolls Royce of cameras?

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Absolutely!!!

Timo2020 said:

It depends! If you get a new 5D Mark IV that was only send back, but is technically okay, yes, it is a great deal. But when you go to the Canon homepage read the reviews, you will at least find one complain that the buyer got a 5D Mark IV with a shutter count of 9000!!! That is not refurbished anymore as we understand it. That thing is heavily used! Then the price of $1750 is much to high. If you want a used one check Adorama or KEH out. They have always very good deals.

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Thank you...Yes my 7d was was refub from Canon with around 8k shutter {first one was 20k and had to fight a lot}

Was today at my camera dealer. They said it is definitely a warranty case and it has now been sent to Canon. The dealer lent me another R6 while Canon is investigating. I will return in this thread when I know more. Thanks for your input!

geez this is old

Bdbtoys said:

What am I missing with this comment? It looks like there should have been a point made here. The 140mm clearly has more bokeh effect than the 70 cropped.

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I have updated the post for you. Made a point and provided pictures that require less mental interpolation to support said point.

The real point here is that I find it makes life easier when you can stop thinking about cropping, zooming, sensor sizes, teleconverters and so on as very similiar in effect and focus instead on the nuances in which they differ.

Bob Howland said:

Does the Canon R mount support power zoom lenses? One of the benefits of purchasing a camcorder instead of an interchangeable lens video camera is that the camcorder's integral lens can be zoomed, including from a remote control.

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waldi72 said:

You can buy SERVO Cinema Zoom lenses for any Canon C series Cinema Camera.
https://www.bhphotovideo.com/c/products/digital-cine-lenses/ci/25249?sort=PRICE_LOW_TO_HIGH&filters=fct_a_features_4698:servo-zoom-grip,fct_brand_name:canon,fct_zooms-primes_4696:zoom-lenses
What is more you can use them even on EOS 1D X series Camera and by providing external 12V supply you can use power zoom too.

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Just for fun, I did this one day...

I just discovered that the Advanced User Guide has been updated for firmware 1.2.0. I didn't look through it beyond seeing on the cover that it was updated for the latest firmware. https://cam.start.canon/en/C003/manual/c003.pdf

YuengLinger said:

I tried. Without a delay, using Single Shot, I could not get a shot without blur at 1/8th of a second on a very good tripod and ball-head. I tried taking photos of a neighbor's Christmas lights at 1/8th of a second at 200mm . (I wanted 200mm to really see if there was any vibration happening with the timer.) Using one shot and pressing as lightly as I could, there was obvious motion blur. Five shots in a row with 2-second timer, all is fine.

I think you must have had great luck on the 80D. I'm not understanding the reluctance to just try a delay or a remote for 1/8th of a second?!? That would assure you the IBIS system, when turned off, is not malfunctioning, as you seem to worry is happening. Don't forget--I started this thread with testing IBIS, so I'm very open minded, but 1/8th of a second is pretty much, from my experience, mandatory delay or remote.

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thanks and appreciate the tests and feedback. Wouldn't call it luck given I've done it with 40D, 7D, 80D and some with the R5... and various phones etc. I get its more sensitive with higher megapixel (this is a leap) but it was fully manual, and while not a countdown shutter, I did wait a few seconds each time I moved it to ensure things were before touching it and the gentlest of touches on the live view.. on a tripod, on solid ground, not windy, even with electronic shutter etc. Even checked to see if my strap was pulling etc. I also would get absolutely sharp images BEFORE the fuzzy ones without any movement...

I've also gotten sharp shots at lower speeds handheld on the R5! though with IS/IBIS. I wasn't particularly zoomed.. think maybe 30mm.. so really shouldn't get anything like that, but meh... but like any tool, need to learn what it can/can't do.. hence seeing if others experienced similar and not immediately whining at canon.

One thing I haven't done and I might is a full reset of the camera... sometimes when you do a firmware update it can help. Does anyone know if there is a hardcore reset vs the menu one?

took quite a few images so could work around the blurry ones.. this is what I was building

The root of this problem is even attending a "Photographic Society" meetup. Quite an exclusive set there, a pompous lot uninterested in camaraderie or welcoming new members. I'd had an easier time talking to a fellow with a $7 million hyper sports car than these snooty goofs; rather donate the membership dues to Ken Rockwell.

Thanks for the reply. Yes, just trying to get a straight answer. Canon said it does not seem normal, but the answer is more of a default liability one. They just insist to have the camera inspected, which I'm trying to avoid if not necessary. They also don't want me to use the camera in case of damage.

I honestly wasn't even looking for it. The only reason I noticed it is because I just got the 85mm F2 with no weather sealing gasket on the mount, and after I attached the lens, I noticed the gap, and the gap difference immediately as light from the ground bounced up lit up the gap so I could see it clearly - just by complete fluke. If the "L" RF lens was on, I would definitely not have noticed it as the rubber gasket would of blocked the light (hence, never noticing it till now)

cayenne said:

Why oh Why can't they Just come out with moderately reasonable FF sized anamorphic lenses????

I KNOW there's a market for these things....I'd be in line to buy them.

C

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Alternatively, why can't Canon make an RF-EF anamorphic adapter with 2x..... I see Laowa have the 1.33X Rear Anamorphic Adapter for their OOOM 25-100mm T2.9 Cine.
A native Canon anamorphic adapter would be incredible.

keithcooper said:

I do use the Rogeti TSE Frame for shots with my 17/24 when I know there are crossing near/far elements.

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Thank You Keith!
The Rogeti looks very good but is also not cheap.

navastronia said:

Seconded. You didn't like the lens?

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Thirded. I like this lens too. I hope this will be one of the 1st lenses they make

dwarven said:

You're probably missing all of the people who use big whites on the 7D line. You're missing the fact that a higher end APS-C camera gives you reach without losing resolution, and at a cheaper price than an R5. Cropped to x1.6, even the R5 only gives you 17MP.

Third, you're missing the fact that no RF-S lenses have been rumored or announced, indicating that this camera is not going to be a Rebel spin-off of any kind. It's going to be a high end body that people will mount wildlife and sports lenses on.

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Do EF-S lenses fit on the 7D Mark ii?

Maximilian said:

True, but it also depends a lot on the awareness of people/employees, because IT security cannot block and filter out all web bugs and pests.
I have to make 1 or 2 trainings per year about IT and informational security.
As you say, it costs money - but much less money - and reputation (!) - than an incident.

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Yes... one company a friend of mine worked at got hit by ransomeware. It was a really bad one. Their data was inaccessible for weeks, and refused to make it public for obvious reasons. Live in ignorance I suppose.

quantzpphoto,

Thanks for sharing. Beautiful shots.

andrewmckay said:

Plan wouldn't be to sell the R6 but to keep it as a second body when the R1 hits.

I am apprehensive to sell as well but want to avoid a serious value drop when the R1 does come out.

I have glass I'd sell now as well to start the transition into RF from EF (100-400 II condition 7 body 10 glass, 16-35 II condition 5/8, 70-200 2.8 III 10/10). Already sold my 2nd and third bodies (7D II and T5i + 50mm sigma, 18-135 kit, and gave the accessories to my brother).

I LOVE this camera but don't want to be left behind. Taking a $1000 hit now is fine. I've gotten that much and more value out of it. I just don't want to lose more later.

Thanks for the replies and links all!

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I think you have the right idea in mind, if you're already looking towards transitioning to RF you're probably better to start it now, and I'm sure you will definitely love the R6 if that's what you move towards. The R6 is an incredible amount of camera for the price that you can get out of it, and the R1 is definitely going to knock our socks off.

I love my 1DX2 and the 1D series, but I just couldn't justify upgrading it to the 1DX3 as I knew RF glass is the future for me, so I went with the R5 instead as a replacement for my second body 5D Mark III awhile while I wait for the R1 to replace my 1DX2.

My line of work requires a second camera, so I unfortunately have to hang onto my 1DX2 until next year when the R1 comes out, and then I'll be selling my 1DX2, EF 70-200, EF 35, and EF 16-35 to move totally to RF mount. I think the R1 is going to have to be an absolutely legendary camera to top the R5 and R6, and that in itself will be a huge leap over the 1DX3.

I think the most important thing you can do for yourself is to ask yourself about the kind of video you're doing and how serious of video equipment you need.

My day job is working in commercial video, and we use a pair of C200s on every shoot, aided by EOS Rs and 5D Mark IVs, mainly on gimbals. If you're shooting long interviews, work with complicated audio set-ups, and need ND filters outdoors, absolutely nothing beats a cinema camera. Some of the documentaries I've helped film we've been in situations where we needed to just hit record and leave the C200S rolling nonstop for like four hours straight. Beyond that, hour long interviews are a piece of cake when you're working with the cinema cameras. One boom mic with a long XLR straight into the A camera, shotgun orlav mic for second track, it's tough to beat the functionality and professionalism that a cinema camera brings to a shoot. On top of that, the built-in ND filters are probably one of my most used cinema camera features, and it makes getting F/1.4 outside in daylight a breeze, especially when you're running and gunning and go from inside and outside often. All it takes to switch between 0 ND, 2-stops, 4 stops, 6 stops, 8 stops, is a push of a dedicated button in either direction, and when your exposure changes you always have the option to instantly hit the ND filter to correct for it without changing any other shooting parameters or fumbling on set with lens mounted NDs. The Cinema batteries are also killer, the BP-A60 battery lets you shoot for *so* much longer than my personal R5 does.

We're actually considering soon picking up a C70 to compliment our C200s, mainly for the size/weight savings we would have for being a bit more nimble, all while it maintains the same connectivity with two mini-XLR inputs, full-size HDMI, BP-A batteries, built-in ND, etc. The C70 actually has better quality than the C200 thanks to the new dual-gain C300 Mark III sensor, other than not having raw video, so it's likely the C70 will be our primary A camera. On top of that, we're very interested in the C70's speedbooster giving us some room to have a more full-frame look in some situations, though that's not a deciding factor as super 35 has never felt limiting on the C200s.

The flipside of all of this, is that outside of my day job, I work for a newspaper as a photojournalist using my own R5 and 1DX mark II. I don't do nearly as much or as intense of video for the paper, so in that scenario I have no issue using the R5 and 1DX2. I love my R5 and have absolutely no complaints about it as a stills camera, but if I used it for much paid video work I would definitely miss so many of the features that the C70 and C200 offer.

I can understand your conundrum, though. When the newspaper has me shooting a video of a graduation as well as a gallery of 50 photos, it's a hassle having to juggle cameras to handle both video and photo on the same shoot. Normally, in those assignments, I've used one camera on a tripod just shooting video, and shot photos with another camera. One video perk for the R5 is that when you hit the record button in stills mode, it switches to a custom video mode of your design, which I have set to shutter priority at 1/60th to ensure the proper shutterspeed for video, and switches back to your stills mode when you finish recording. That's nice when I'm on scene of a fire and have to shoot photographs at 1/1000th but also can hit the record button and immediately be at 1/60th recording smooth video when something happens.

I ultimately shoot maybe one video a month at most with my personal equipment, so I could never justify having the kind of equipment I have at my day job, but I've long considered picking up something like a C100 to dedicate to being an A-camera in those instances. I'm very interested by the rumors of a C50 as an RF mount C100 at a price point under the R5, which I think would be an ideal fit for me.

Adorama has the Datacolor SpyderX Pro Color Calibration for $99 (Reg $169) while quantities last.
I love the SpyderX series for its accuracy and calibration speed. I can hang it on my monitor, press start, go make a coffee and when I get back to my desk, it’s done. If you have an older Spyder and the time it takes bothers you, this is a worthwhile upgrade.
Key Features

SpyderX Pro Advanced Monitor Calibration
Fast & easy calibration modes
Supports calibration of multiple displays
Can adjust for room light changes
Shows before & after comparison of display calibration
Offers tools to check the quality of your display (Basic)
Calibration options: Combinations of gamma, white point and brightness (12 Choices)

Datacolor SpyderX Pro Color Calibration $99

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