Hi Guys!

How bright is the Electronic View Finder of the EOS R comapered with the Sony Alpha 7 III?
In bright light, the Electronic View Finder of the Sony Alpha 7 III is very dark and all colurs seem to be grey&blueish for me.
Is the EOS R Electronic View Finder better working in bright light condition?

If anyone owns both cameras, I´d be pleased to read if it is better - or not.

Thank you a lot
Daniela

Last year (2017) I announced a project to create a custom Still Photos and Video CODEC for Canon and other camera bodies that has Full RAW and Compressed 4:4:4, 4:2:2, 4:2:0, 4:1;1 sampling at 16-bit, 14-bit, 12-bit, 10-bit, 8-bit and 6-bits per colour channel or greyscale imagery using an almost noiseless and nearly-visually lossless image compression algorithm. After a period of many months, a third party became VERY interested in our system after my current employer made sure that me using company gear allowed them to say that money was to be made out of my originally MEANT-TO-BE-FREE codec.

I actually have no problem with my employer doing what he did because in the end we all benefited. The current project code name is Wave-8 and basically is very similar to generic Wavelet but with some added features and abilities. Patent-wise we have avoided all patent claims in Europe, USA, Canada, Japan, etc since we have based our technology SPECIFICALLY upon expired intellectual property but implemented in a very appealing, user-friendly everything-and-the-kitchen-sink package.

TODAY, you get to see the final test image results of all that programming that has NO RESTRICTIONS on frame rate, no restrictions on colour depth and no restrictions on bit-rate. YOU THE END USER get to choose what you want to record and save including advanced pre-defined and user-defined-and-added realtime metadata for every video frame/still photo or every user-specified Nth Video frame or group of photos.

There is no image-size restrictions and the system is pre-defined and OPTIMIZED for the following video resolutions and COMMON Canon, Nikon, Sony, Panasonic, Fuji, Leica Still photo resolutions and the still photo and moving video resolutions can be sampled from the FULL FRAME or via a simple centre-crop as specified by YOU the user! The resize algorithms used are one of Lanczos-5, Lanczos-3, Sin-C, Bicubic, Bilinear, 2x, 4x and 8x super-sampling.

All major time-lapse, broadcast video and cinema frame rates are supported from 1 frame per day, hour, minute, second to 10 fps, 15 fps, 23.976 fps, 24 fps, 25 fps, 29.97 fps, 30 fps, 50 fps, 59.98, 60 fps, 100 fps, 120 fps, 240 fps, 300 fps, 480 fps, 500 fps, 600 fps, 960 fps, 1000 fps, 1200 fps, 2000 fps up to TRILLIONS of of fps for scientiffic imaging. This codec is DESIGNED for still photos, broadcast video, Hollywood cinema and broadcast video integral and fractional frame rates, time lapse, nano-scale-to-cosmic-scale scientific imaging and astrophotography.

DCI Still Photo and Video Resolutions (in pixels):
1.89:1 Aspect Ratio:
---------------------------------
131072 x 69120
65536 x 34560
32768 x 17280
16384 x 8640
8192 x 4320
4096 x 2160
2048 x 1080
1024 x 540
512 x 270
256 x 135


HDTV 16:9 Still Photo and Video
Aspect Ratio Resolutions:
---------------------------------
122880 x 69120
61440 x 34560
30720 x 17280
15360 x 8640
7680 x 4320
3840 x 2160
1920 x 1080
1280 x 720
960 x 540
640 x 360
480 x 270
240 x 135


SDTV and VESA Still Photo and Video Resolutions:
4:3 and 3:2 Aspect Ratios
---------------------------------
1600 x 1200
1440 x 960
1280 x 1024
1024 x 768
800 x 600
720 x 576 NTSC and PAL SDTV
756 x 486 OTHER SDTV
720 x 480
640 x 480
360 x 240
320 x 240
180 x 120
160 x 120


Square Still Photo and Video
Aspect Ratios:
---------------------------------
131072 x 131072
65536 x 65536
32768 x 32768
16384 x 16384
8192 x 8192
4096 x 4096
2048 x 2048
1024 x 1024
512 x 512
256 x 256
128 x 128


3:1 Ultra Wide Still Photo and Video
Aspect Ratios:
---------------------------------
393216 x 131072
196608 x 65536
98304 x 32768
49152 x 16384
24576 x 8192
12288 x 4096
6144 x 2048
3072 x 1024
1536 x 512
768 x 256
384 x 128


Cinema 2.4:1 Anamorphic
Still Photo and Video Aspect Ratios:
---------------------------------
314572 x 131072
157286 x 65536
78644 x 32768
39322 x 16384
19660 x 8192
9830 x 4096
4916 x 2048
2458 x 1024
1228 x 512
614 x 256
308 x 128


8:1 Aspect Ratios
for 360 degree Surround-View
Still Photo and Video (requires 8-cameras).
using Front/Back/Left/Right cameras and
45 degrees/135 degrees/225 degrees/315 degrees angled cameras.
Each camera will use a separate CPU/GPU thread for playback/recording:
---------------------------------
1048576 x 131072
524288 x 65536
262144 x 32768
131072 x 16384
65536 x 8192
32768 x 4096
16384 x 2048
8192 x 1024
4096 x 512
2048 x 256
1024 x 128

AND....Multiple Still Photo Resolutions Common to Canon, Nikon, Sony, Fuji, Panasonic, Leica, Hasselblad, Phase-One, etc.

We have built-in LIVE REAL-TIME RGBA and YCbCrA colour corrections, hue-saturation-luminance, and Highlights/Midtones/Shadows control and support for 3D-XYZ distance-from-lens / 3D-Depth and Alpha Transparency channels in 32 bits per pixel and 64 bits per pixel modes. We have a real-time edge-detection output channel which save BOTH the live video and any still photos AND a SOBEL 2D-XYZ edge detection map into your still photo image, video file AND/OR external communications port. We also support realtime Infrared (IR) and Ultraviolet (UV) filtering that outputs multi-colour thermal/heat maps and green-scale or grey-scale nightvision imaging on a separate data channel that is output to the container file and/or external communications port. Separate resolutions, frame rates and bit-depths can be sent to different files, hard drives, external ports as specified by the end-user in real-time.

We offer built-in real-time digital zoom at 1.5x, 2x, 3x, 4x, 8x, 10x, 16x, 32x and 64x zoom ratios using high quality image resize algorithms (note: this is hardware speed dependent!). Realtime noise reduction, anti-aliasing (or not!), overall image sharpen, edges-only-enhancement, unsharp mask and alpha-channel-based user-defined and preset cookie-cutout Bitmap overlay masks are supported in real-time depending upon processor speed.

We support mono, stereo, 5.1, 7.2, 10.2, and 24/48/96/128 channel sound at 8/16/20/24/32 bits per audio sample at 4, 8, 12, 16, 32, 44.1, 48, 88, 96, 192 KHz up to 5 MHz audio sampling rates saved into the files or sent out to the external communications ports with real-time resampling and waveform anti-aliasing.

We support multiple metadata fields such as GPS Lat/Long/Elevation/Depth, 2D-XYZ/3D-XYZ Orientation/Rotation/Velocity, 2D-XY/3D-XYZ Relative and Absolute Position, True Heading, Compass Heading, Course-Over-Ground (COG), Speed-Over-Ground (SOG), Calendar Date/Clock Time, SMPTE Timecode, audio-waveform-overlay, Live Bitmap and Vector-based Moving Map overlays with AIS (Augmented Information System) and Flight/Submersible/Space-oriented metadata overlays burned right into the video at a user specific transparency level, and/or embedded as separate metadata tracks!

A live blue-screen and green-screen chroma keyer and luminance keyer/alpha channel is built-in with edge smoothing and a user-specified drop shadow addition to the foreground objects.

All codec and camera functions such as iris, focus, optical/servo zoom and digital zoom functions, plus image enhancement/antialiasing, vectorscope, luminance waveform monitoring, RGB/YCbCr Parade monitoring is available in realtime and controllable by USB-2/3 or wireless command codes from your smartphone.

See the following images to show you the TYPE OF VISUAL QUALITY you will get! Anti-aliasing AND image-enhancement can be turn-off or turned-on AT WILL at ANYTIME via menu option or USB/Wireless command from your smartphone/laptop/desktop.

I have posted the 2k, 4k, 8k and 16k resolution images in uncompressed PNG format for your pixel-peeping desires.
These uncompressed images were decompressed from the original Wave-8 Still Photo and Moving Video CODEC.
The contents of each image came from various still and video cameras and collaged together at the specified test resolutions.

You will especially notice a very cinematic-looking noise profile AND the impressive sharpness on edges such as found on fonts, lines and curves!
On Canon 5D Mk4 and Canon 1Dx Mk2 you will get DCI 4k (4096 by 2160) at 60 fps even on that cheap 750 MHz to 1 GHz to 1.5 GHz ARM-cortex M4/A4 based DIGIC CPU they use.

Either click on the web links below (hosted on our website) or cut and paste the web links into your browser's address bar.

2048 by 1080 pixel PNG format Still Image from Wave-8 CODEC compressed result:
http://www.midgrid.com/images/2048_by_1080_Pixel_2k_DCI_Test_Image.png

4096 by 2160 pixel PNG format Still Image from Wave-8 CODEC compressed result:
http://www.midgrid.com/images/4096_by_2160_Pixel_4k_DCI_Test_Image.png

8192 by 4380 pixel PNG format Still Image from Wave-8 CODEC compressed result:
http://www.midgrid.com/images/8192_by_4380_Pixel_8k_DCI_Test_Image.png

16384 by 8760 pixel PNG format Still Image from Wave-8 CODEC compressed result:
http://www.midgrid.com/images/16384_by_8760_Pixel_16k_DCI_Test_Image.png


----

See how much reduced blockiness and noise there is over JPEG/JPEG-2000 compression formats!

I will also release a Windows/Mac OS, Linux, iOS, Android plug-in so you can read the new Wave-8 format on your favorite image editing and video editing applications.

I did a 6-shot focus stack using f/8 with the Canon 180mm macro and Canon 5D Mark IV. I tripped the shutter the easy way by using the 2-second self-timer while touching the LCD screen that is set to sensitive. Naturally, the lens is mounted on a tripod with the collar and exposure is set by letting the first blinkies appear in the white portions of the mushrooms. I am shooting only RAW, so I know the first blinkies are not overexposed, just getting close, as the histogram and highlight alert are both based on the embedded JPEG in the RAW file, and not the RAW data. www.gerlachnaturephoto.com

Roger and Aaron at Lensrentals.com have continued their series of taking apart new cameras and lenses, this time doing a teardown of the brand new Canon EOS R.
From Lensrentals.com
It was rather a boring disassembly, really, about what we should expect for Canon doing a Canon 6D Mark II quality mirrorless camera. It’s neatly laid out and nicely engineered inside. One thing that struck me is that it’s not very crowded inside there, or as we like to say ‘they left a lot of air inside’……
Do I think future Rs are going to have IBIS? No, I don’t. Canon has been very clear that they think lens stabilization is superior. The space is probably just a matter of ergonomics and perhaps heat diffusion. But there’s certainly room for it. Read the full article
You can...

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Aaron and Uncle Rog dissect Canons new Mirrorless: Teardown of the Canon EOS R Mirrorless Camera

Bryan at The-Digital-Picture has completed his extensive review of the brand new Canon EOS R full frame mirrorless camera.
Canon seems to have released a very impressive first full-frame mirrorless camera and have what looks to be the most advanced lens mount in the game, and just like other reviews, Bryan thinks the EOS R will be a great tool for a lot of photographers.
From The-Digital-Picture:
Canon aimed this first R model at a very broad market, leaving out a rather small number of advanced features such as a very high drive speed when focus-tracking, in-body image stabilization, dual memory card slots and ultra-high resolution, but keeping the price at a very attractive level. The easy-to-use EOS R will very strongly appeal to both amateurs and seasoned professionals. Read the full review
The Canon EOS R is...

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[url=https://www.canonrumors.com/review-canon-eos-r-by-tdp/]Continue reading...


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I think we all expect to see the new EOS R line of cameras and RF line of lenses to grow quickly. Canon has the R&D and manufacturing resources to make it happen.
We’re told that two EOS R series bodies will be coming in 2019. One will be slotted below the Canon EOS R itself and will come first. The second body will be a “professional” series camera coming later in 2019. What “professional” means is unknown at this time. It could be a baby EOS-1D X Mark II built for speed and video, or it could be a high megapixel body meant for studio and landscape work. We probably won’t get clarity on this until into 2019.
While we have heard that an EOS R series camera with an APS-C sensor is a possibility, this source noted that they’ve seen nothing to suggest one is coming in 2019, saying “We won’t be getting an EOS R version of the EOS 7D Mark II”.
Canon will also be focused on DSLRs, as at least four new DSLR bodies are expected in 2019...

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7D + Tokina 11-16mm lens

The Natural History Museum, London, has announced the "Wildlife Photographer of the Year 2018".

Grand title winner: Marsel van Oosten, The Netherlands
http://www.nhm.ac.uk/visit/wpy/gallery/2018/index.html

Equipment:
Nikon D810, Tamron 24–70mm f2.8, SB-910 flash
(Yes, this title not always goes to Canon )

Young Wildlife Photographer of the Year 2017
Grand title winner: Skye Meaker, South Africa
http://www.nhm.ac.uk/visit/wpy/gall...rapher-of-the-year/5388/lounging-leopard.html

Equipment:
Canon EOS-1D X + 500mm f4 lens
(I wish I had the chance to have access to gear worth a quarter of his at his age )

The "Adult awards":
http://www.nhm.ac.uk/visit/wpy/gallery/2018/adult.html

The "Young awards":
http://www.nhm.ac.uk/visit/wpy/gallery/2018/young.html

Look through and enjoy the galleries. Once again some great pictures there, no matter what gear was used.

The long rumoured Zeiss Otus 100mm f/1.4 was expected at Photokina last month, but it didn’t officially materialize. A few days ago, Nokishita posted some images of the upcoming lens.
This will be the fourth lens in the Otus lineup. The others include the Zeiss Otus 28mm f/1.4, the Zeiss Otus 55mm f/1.4, and the Zeiss Otus 85mm f/1.4 This series of lenses is generally regarded as uncompromised expressions of what Zeiss is capable of.

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Just Posted: Canon EOS R Review
https://www.the-digital-picture.com/Reviews/Canon-EOS-R.aspx

Over the next few weeks I have a need to utilize the EF 11-24 lens (on my 5dMk3).

Renting would work for me; I have long considered purchasing this lens.

The EOS R system is in my future...so I am wondering.

Do CR readers and posters believe that the 11-24 lens (or something like it) will be manufactured with an R mount?

EDIT: fixed thanks to KTJ

Hi. New to this forum and new to Canon. I am not a working professional but do value my images.My recent cameras have had dual slots for memory cards. But I've never had any failures. Due to the R's single slot I'm wondering what would be the symptoms of a failure. Does the camera give an error message so that you know to change the card?
Thanks.

So I'm still very new here but trying to learn. A few shots I took to practice.

I'm headed to Italy for a few weeks and I want to bring along a telephoto lens. Specifically, I'll be in Venice, the Cinque Terre, Florence, and Rome.


I'm torn between which of these two lens I should choose. On one hand, the extra reach of the 100-400 could come in really handy, and I know it would be useful for long-distance canal shots in Venice, as well as close up architecture shots in Rome.

On the other hand, the 70-200 provides more light.

Since the size of both lenses is roughly equal, it's not really an issue.


Can you all help me make up my mind: What would your choice be, and why?

https://www.cameralabs.com/canon-eos-r-review/
A pretty comprehensive review, echoing most of the pros and cons reviewed elsewhere but in far more depth. But, it has one of the first detailed assessments of its AF. The worst feature is the lack of live feedback in AI Servo. It means that it is pretty hopeless for erratic fast moving subjects like birds in flight as you are looking at the previous position and not the present one. It has much better AF with "adapted" EF lenses than the Sony A7III with the same lens. Definitely a step down from the 5DIV for my needs for a body for a telephoto lens for nature and action photography.

We’re told that new diffractive optics super telephoto lenses are on the way, but they may not be for the EF mount.
An unknown source has told us that the 600mm f/4 DO IS that Canon showed at the last Canon Expo could be making its way to the RF mount instead of EF. The same source also claims that two additional DO lenses are in the works, and both are likely going to be for the RF mount.
None of these lenses are expected in 2019, but they may be part of the 2020 roadmap.
More to come…

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I've messed around with the silent shutter function on the EOS R just a little bit, essentially just long enough to notice pretty serious banding it introduces a lot of the time. So I'm wondering, when is it even safe to use the silent shutter? It seems like the only time would be in completely natural daylight. Most of the artificial light sources we use now (LEDs or fluorescent) seem to cause banding with the electronic shutter. Would faster or slower shutter speeds mitigate it? I'm normally at about 1/100sec. when it happens.

I really hope we get past this point of having mirrorless cameras with non-global shutters soon, because frankly these current electronic shutters are kind of crap.

I'm sorry if this has been mentioned before, but I didn't see a title that indicated this question so here I go.

Does anyone know if the EOS R has DSLR or Powershot based firmware like the M series camera?
I'm just wondering since I plan on buying the new M5 Mark II when it comes out. Maybe the firmware base of the R can give us any indication as to what Canon is planning convergence wise on these two lines.

Cheers,

J.S.

One of the first is a shot of a lens cap from the 24-70L that was used for the photo. Its a high ISO photo since it was on my desk at night with just the room light which was LED Fluorescent Tubes behind me.

EOS-R Test Photo Cropped

Hi all,

I'm currently trying to find good copies of FD L series glass. I have the 50 f/1.2L, and it is wonderful. It seems the 85 f/1.2 L shows up the most often, but the FD 14mm f/2.8 L, and the FD 24mm f/1.4 L seem to be the most elusive. Does anyone know good places to look? I scour eBay, Adorama, and B&H regularly, but they don't really seem to turn up.

I have never seen the FD 200mm f/1.8 L turn up. The FD 300mm f/4 L pops up fairly often, and the zooms are readily found in many cases. I guess they didn't produce as many of the wide primes or the 200?

If anyone knows where I can find them, best places to look, or you know someone who is selling them please let me know.

Thanks!!!

Hi, I shot this on with the Canon FDn 135 f/2 on my M5 with an FD to EF-M adapter (No added elements unlike the EF adapters). Shot wide open at f/2.

I've been picking up these lenses where I can so I can do the ED Mika conversions on them and use them with my c500, but I've been testing each lens out on my M5 first. The results are lovely. I'll probably get a few spare primes to keep with my M5 seeing as they are so cheap (L series excluded). Also, just a lot of fun, and they just feel right on an M5.

Note: Image has been resized to 20% smaller to be able to upload.

We’re again being told that an image stabilized 24-70mm f/2.8L lens is coming. This source claims there has been a lot of internal discussions whether or not to release this lens for both RF and EF mounts.
I guess the argument could be made, that if you want people embracing the EOS R system, then providing compelling lenses not available in EF would be an interesting way to make that happen.
The flip side? Ticking off the millions of EOS DSLR shooters that have no immediate plans to move to a mirrorless system.
Our bet is we’ll see both an RF 24-70mm f/2.8L IS and an EF 24-70mm f/2.8L IS some time in the next 12-18 months.

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Hi,

I'm documenting the CR3 file format and crx codec here: https://github.com/lclevy/canon_cr3

Could you please send me EOS R samples with "dual pixel" and "craw"/lossy settings ?
I already have samples with "raw"/lossless settings.
please contact me using [email protected] or with twitter @lorenzo2472

Kind regards
Laurent

Dpreview has posted interview of Sigma CEO.
https://www.dpreview.com/interviews/1588388811/photokina-2018-sigma-interview