Threads

Sep 5, 2016

Hey,

So the 5D4 was announced and as a 5D3 owner, as soon as I saw the resolution bump, I wasn't thrilled (I've covered it in other threads, I won't rehash it here). That said, there are a few limited applications where I wished I had just a few more pixels to work with (usually when cropping). To make a long story short, I reasoned that if I'm going to go for more resolution, why stop at 30? May as well just go all the way to 50...therefore, I can keep 22 (5D3) for most of my shooting, but have 50 (5DS R) on tap for those applications where I desire it.

So, now to dive in...

I got the 5DS R for very specific applications - controlled environments, so to speak - but curiosity got the better of me earlier today so I ventured out to see how it handled "everyday" photography so to speak. So I just went out, usual structures, flowers, etc. These are some takeaways from that outing...from the view of the "everyday" camera, rather than the specialty point of view that most reviews seem to offer.

Pros

- RESOLUTION: As someone who has never utilized a camera with >22MP before, the sheer detail captured by this camera is a revelation. Background: I used to own a 7D2 and I was never happy with the image quality from that camera...so with the talk of the 5DS cameras having similar image quality at the pixel level, and seeing image samples, I was initially underwhelmed. But, having taken it out myself, I can now say that the 5DS R squeezes out more fine detail than my old 7D ever did, even at moderately high ISOs. Once you get to 3200 and above, the gap narrows considerably, and it becomes a wash - but I'd still give the 5DS R a slight edge over the 7D2. The 5D3 is still the best performer in that range.

- CROPPING POWER, ADDED REACH: I mentioned detail, right? With the 100-400 mounted, when shooting distant subjects I'm realizing that I have significantly more reach than before. Meaning I can crop further into the shot, or stand farther back when shooting (with the intent to crop later) if getting closer isn't possible or desirable. Not only that, but on a pixel level, in good light the shots appear to have more detail in them than I remember seeing with the 7D. Fine detail also seems better refined at 100% view than even with the 5D3 (which, although razor sharp, can be a bit rough in appearance at times). Possibly this could be attributed to the cancelled AA filter effect?

Cons

- SPEED: The 5DS R is probably the slowest camera I've had since my old T2i - and I mean this not only in burst mode, but shot-to-shot times as well. It's taking a couple of seconds between shot taken and shot appearing on LCD screen, which isn't a major issue but stands out when you're used to the image appearing right away on the 5D3, 7D2, etc.

- MODIFIED SHOOTING STYLE: I've noticed I really have had to pay attention to shutter speed and check every image to make sure it's at least acceptably sharp. Usually on the 5D3 it's only a concern with action shots or moving subjects, but on the S there were a couple instances where the image (at 100%) just had a TINY amount of what appears to be motion blur - looks fine if downsized a tad, but then the extra resolution ends up being wasted and I just end up with an unnecessarily large file. Looks like I will have to look at raising the minimum shutter speed in Av mode when using telephotos with this camera...

- ISO: This one is a given, but when I saw noticeable noise in an image and saw that the ISO was only 640...coming from a 5D3, let's just say an eyebrow was raised.

Neither

- I'm finding lens choice is critical with this camera...a 24-105 just won't cut it here. Instead, I plan to use the 100 Macro, 85 1.2, and perhaps the 35 to get the most out of the sensor. The only zoom lenses I'd feel comfortable using on the 5DSR are the 100-400 II and the 70-200 2.8 II - and even then, probably only in good light (outdoors). I haven't had a chance to try the wide-angle zooms on the camera, perhaps the new 16-35 2.8 III could do it justice as well...

Conclusion: This camera excels where it was intended to - in pure resolving power. The detail is incredible, and holds up to higher ISOs than the equivalent crop-sensor cameras I've used in the past. As an everyday camera, however, I'm finding the drawbacks to outweigh the positives. While 50 MP is an outstanding revelation, in my experience, the slowness and added attention to detail demanded of the shooter do not lend well to my everyday style of shooting. That's not what I bought the camera for, but it was still interesting to see how it would hold up. Basically, I confirmed it cannot replace my 5D3, but makes a great companion to it - compliments it well, so to speak. In the case I decide to move the main camera up to a 1DX2, the 5DSR could fit in even better in that aspect.

Generally, I like what I'm seeing so far. Can't wait to use it to its real potential later on!

Anyone use a 5DS(R) as their MAIN camera (not backup or specialist)?

niels123 · Sep 5, 2016

Currently I have the 24-105 f/4L IS USM mk1 among other lenses, but I am quite disapointed about its image quality, especially compared to the 35 f/1.4L II (which I also have).

I consider upgrading to 24-70 f/2.8L II. Is it worth it? How much difference is there between 24-104 f/4L IS and 24-70 f/2.8L II?

I don't care about the IS, In case I need it I have the 16-35 f/4L IS and the Tamron 85 f/1.8 VC

Leadfingers · Sep 5, 2016

Im an amateur, but...based on my understanding there are 3 main elements in the body of any given camera...

Sensor - To gather light data
Processor - To move data around the circuits and storage media
Operating System - To manage traffic flow

Here's my question. In this day and age, why is Canon bothering with the Processor and Operating System part of this equation? Why have they not simply ported the OS to Android, and taken advantage of all the advances in low power processor technology? There's some amazingly powerful processors from the likes of nVidia and other companies.

Is the Canon hardware so awesomely optimized that no one else can compete? I'd be very skeptical of that claim.

Anyway... thoughts?

TommyLee · Sep 5, 2016

I thought I saw mention of a lightroom version that you buy....like the $119..version
.... and it does not expire....
no more updates ...but does not expire.... just for the gear that existed when i bought it...

somehow I thought it was mentioned in this forum..
and Adobe does not mention it ..but is available

and what are alternatives

JoFT · Sep 4, 2016

Pricing of Canon in the US: 3.499.- US$
Pricing of Canon Germany: 4.065.- € incl VAT which is net 3415 € net or 3810 US$....
Pricing seems to be a bit unfair, or?

fussy III · Sep 4, 2016

Dear All,

Like so many others I feel alienated from Canon by their decisions to cripple each of the cameras in their lineup in one way or the other.

After so many years I was hoping Canon would for once address the generalists among photographers instead of offering bits and pieces here and there throughout their line-up. I wish I could buy a universal camera with multiple identical backups as in the old days of the EOS1n or EOS3. But neither the 5D IV nor the 1Dx II nor the 5DSr nor the 80D fullfill the modern needs of generalist photographers.

Speaking of myself, I photograph wildlife with super-teles, I am into fine-art landscapes and for people-reportages I do wide-angle from the hip and around corners. In all these areas I have come to absolutely depend on a flippy tilt screen that is part of the camera. It just gives you all the freedom to choose the best possible angle of view and some of my best compositions I only found because I employed the flippy-tilt as my third eye. I find it hard to accept that the old Rolleiflex of my dad can do things Canons new generalist fails at. I am not overly lazy, immobile or bashful. I do lie down on the ground a lot in public and nature. However there are many situations when you either physically cannot move your body in the right spot or when doing so is impractical or even dangerous. The 70D/80D does the job, the 5D IV won't

These are my personal must-haves:

-Fullframe
-reasonable speed and buffer
-articulating screen
-highest possible resolution, minimum 30 Megapixel
-weather sealing

list of shortcomings in the 5D IV:

-no articulating screen
-inclusion of AA-filter (Why not bringing a EOS 5D IVr to the market as alternative?)
-buffer is rather limited (why no XQD)
-only offering uncompressed MPEG makes filming 4k impractical to most of us
-no accessory EVF
-no truly silent mode

For the mean-time, I consider selling my 16-35 L IS and adding a Pentax K1 with a 15-30/2.8 to my equipment for reportage and landscape purposes. What I like about Pentax is the fact that allthough they do not have access to all the finest technologies like dual pixel af or even a fast regular autofocus, at least they try to give you everything they can in a single package. But ironically I prefer Canon's flippy-tilt concept over Pentax'.

So why can Canon not try to do their best? How arrogant must the company's managers be to think that they can keep crippling their cameras without loosing market-shares? I honestly mourn. But more so I am angry: Photographing with Canon nowadays feels like sitting in an Opera with a star cast but with those highly acclaimed singers not giving a S___ about the arts or the audience on that very evening. Bad performance. Guess I stick to my old recordings or buy a Pentax instead. Not a big voice but giving their best whenever they go on stage.

I foresee: If the 6D II will come out with a flippy-tilt screen, it will not have more than 5fps.
Deal-breaker? No. But then it will need to have 30Megapixel and no AA-filter. Then to the generalist who can sacrifice fps it could be a compromise that might be worth owning for a few years. The 5D IV definately isn't.

Canon's Earnesty Officially sucks.

ahsanford · Sep 3, 2016

We heard about Irix offering a companion 11mm f/4 to go alongside their 15mm f/2.4 back in March, but it looks like it's actually happening soon:

http://photorumors.com/2016/09/02/irix-11mm-f4-full-frame-lens-for-dslr-cameras-rumored-to-be-announced-next-week/

For all of you that only use your EF 11-24mm f/4L as an 11mm prime -- and you know who you are

-- there will soon be a lighter option out there for you, and this one may even have a front filter option (not confirmed, but their 15mm f/2.4 has front filters, so who knows?).

- A

expatinasia · Sep 2, 2016

The MA-400 microphone adapter works with the C300 Mark II I believe and will also work with the upcoming XC15. But what do we know about it?

I searched around but there seems to be little info on this piece of important equipment.

Do we know how it powers the microphones? Can it run of electricity, does it pull power from the camera or does it have its own batteries? If it pulls from the camera can we plug in the camera without it pulling from batteries?

Does it have just two XLR inputs or more? Any other ports?

I saw one picture where it seems to have a touch pad on top, what is that for and does it swivel out as I would often not be able to see up there when shooting some videos?

I also wonder whether some of it such as the shotgun mic arm is detachable as I rarely use shotgun mics.

I currently use Tascam DR-60D for audio, and while not perfect it does a very, very good job. I am though thinking of upgrading to the DR-70D to get an extra XLR input which would be good for 3 or 4-person interviews / discussions.

So what do we know about the MA-400?

Thanks.

rmfagan · Sep 2, 2016

Simple opinion question: I'm prepared to spend around $5000-ish on gear. I shoot in wildlife, landscape, city, starscapes, sports off and on, and a bit of portraiture.

Currently have: 1DX, 5D3; Rok 14, Rok 24, 16-35L IS, 24 TSE II, 24-70L II, 50 1.4, 70-200L IS II, 100L Macro, 1.4x III, 2x III, 600EX-RT x 3, ST-E3-RT, and great tripod setups.

What would you do (all options used)

Option 1: 300 IS II

Option 2: 17 TSE, 85L II, & 100-400 II

Option 3: a different suggestion in keeping with the price range

Thanks in advance for the help!

ahsanford · Sep 2, 2016

News?

http://petapixel.com/2016/09/01/canon-sell-cmos-sensors-companies-first-time/

Curious to see what the EXMOR-loving Nikon camp does if the D820/D900 turns out to just have a 5D4 sensor dropped in it.

Given all the proprietary mojo Canon has wicked into its sensor development (DPAF in particular), I'm guessing this if Canon starts selling sensors, it won't be in 'our' end of photography. I'm assuming they'd make a bigger push in non-consumer areas like security, machine vision, etc. but I very well could be wrong.

- A

chauncey · Sep 2, 2016

I do a fair amount of macro work...if image size is of less importance than is acute image sharpness,
would I see a more acutely sharp IQ @ 300% by using a lower MP sensor (older) as opposed to one
of the newer 30-50 MP beasts?

Am heavy into PS CC.

pwp · Sep 2, 2016

Philip Bloom has posted on Facebook about availability of C Log for the 1DX Mk II. Good!
https://www.facebook.com/search/top/?q=Philip%20Bloom%20c%20log

Here's hoping this is genuine.

-pw

Pansottin · Sep 1, 2016

Hello,
please, this for the 5DsR users.
I recently saw images online from that camera, converted to Black & White, using ISO 2000 and ISO 5000, natural light after the sunset, without any special editing apart from the conversion to B&W, neither added grain to simulated old 35mm film and the images looked to me almost like film (Ilford, maybe).
A beauty.
The grain was very nice, at least in B&W.
Anyone of you 5DsR (everyone knows that this Canon sensors are a bit noisier than other brand sensors even at base ISO) users had the same feeling?
Digital noise in colour isn´t pleasant to me. But in monochrome...

I just saw online images. A print would be important but I don´t have access to one. A RAW file would be also a good test but I don´t have one either.
So I trust in your feedback as users.

Thanks a lot in advance for your help.

martti · Sep 1, 2016

Well I fell in the ocean waves with my 5DIII and the Tamron 24-70 f/2.8. I consider them lost.

Then what happened I read Ken Rockwell's thing about "how to win on eBay" and what do you know, I won the EF 24-70 f/2.8 II at 1300 dollars. I congratulated myself until I realized that the way they handle the costs in international affairs in eBay does not necessarily take into account what little buyers in remote places are entitled to.

llcould

Then on my second attempt, I managed to find a 5DIII at 1500 euros...the seller did not know the shutter count.
I met him (without any cash in my pocket) and ran the tests, 34080 shutter releases. No scratches. Nothing wrong so it seemed and the seller was a retired photographer specialized in child photography.

I got the cash from an ATM, paid him, got the original documents and took the camera home. Upgraded the firmware, changed the names and finally got the serial number visible and identical to the one on the camera body.

I washed the camera a couple of times. It still smells!

But then the lens I had bought on eBay arrived.
This was the first time I had tried the EF 24-70 f/2.8 II.

Those who have been in this situation, understand what I am talking about.
The Tamron 24-70 f/2.8 VC is a very nice lens. But this is totally another story.
The Canon lens actually hits the focus every time. Of course, you can goof your shots using unrealistic shutter time. Of course. There is no VC or IS to help you out.
Tonight I used this lens the second time in my life.
My message is: Do not waste your time with anything lesser. This is The Mother of Middle Range Zooms!
Accorrding to Cicala this is the best-built optique on the market.

LovePhotography · Sep 1, 2016

Okay, so I HATE changing lenses when I am out walking around shooting. I'm allergic to dropping lenses, getting dust in the camera and/or lens, inconvenience of juggling expensive stuff, wasting time, etc. SO, I was waiting to see what the 5D4 would be like, and I've decided to buy a very lightly used 5DS-R for $2750 instead. Maybe I'll replace my 6D with a 5D4 in a year when the price softens a bit. I currently have 6D and 7D2 bodies. So, now I will have three, which is what I want for walking around. One body for wide angle zoom (16-35), one for standard (24-105) and one for longer zoom (70-200 plus TC 1.4 iii if needed). That way, no changing lenses for +90% of walking around focal lengths.

My plan for walking and shooting (NYC Central Park, arboreteums, vacations, etc) is put my 70-200 2.8 Mk2 on my 7D Mk2 (for longer zoom up to 320mm), and put my EF 16-35 f/4 and Sigma Art 24-105 on the Canon 6D and 5DS-R (when it arrives). That way, I've got 16-320 mm covered seemlessly with good glass without changing lenses.

So, the question is... all things being equal, (and using at least a monopod or tripod, etc., outdoor in good light)... is it better to have the 50 MP on the ultrawide 16-35 to catch all the information in that field of view, or is it better to put the 20 MP 6D on the 16-35, and put the 50 MP body on the 24-105 Art lens to catch the increased detail of close up (like portraits, flowers, buildings, skylines, museum stuff... which of course is the focal length for the lion's share of what most people shoot? Which would you do? Thanks.

jaayres20 · Sep 1, 2016

I am not sure if I understand this, but this seems interesting to me. Especially if LR eventually supports DP RAW files. Most of the time it seems like we look at the ability of a camera's sensor to recover shadows as a measure of dynamic range. But if the info is in the highlights, then there is no reason to underexpose everything by 5 stops.

http://www.imaging-resource.com/news/2016/09/01/dual-pixel-raw-redux-forget-focus-tweaks-canons-new-tech-can-yield-an-addit

Canon Rumors · Sep 1, 2016

HTML:

<em>TAMRON ANNOUNCES TWO TELECONVERTERS</em></p>
<p>New models designed exclusively for Tamron lenses</p>
<p>TELECONVERTER 1.4x (Model TC-X14)

TELECONVERTER 2.0x (Model TC-X20)</p>
<p><strong>September 1, 2016, Commack, New York</strong> – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of two teleconverter models exclusively[1] for select Tamron lenses. These accessories make it easy to expand the versatility of the new SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) ultra-telephoto zoom lens. TELECONVERTER 1.4x (Model TC-X14) increases the focal length by a factor of 1.4x, while TELECONVERTER 2.0x (Model TC-X20) doubles the focal length. Delivery of the new teleconverters, each available in Canon and Nikon mounts, will start on September 23 in the Japanese market and soon thereafter in the U.S. market at a price of $419 for the 1.4X and $439 for the 2X.</p>
<p><!--more--></p>
<p><strong>PRODUCT HIGHLIGHTS</strong></p>
<p>1. Increases maximum focal length

Although the maximum focal length is increased, the minimum object distance remains nearly the same, so the magnification ratio during close focusing is enhanced. Both teleconverters are carefully designed and constructed to preserve the original superior image quality of the lens. The 2.0x model uses one LD (Low Dispersion) lens element to suppress aberrations. BBAR (Broad-Band Anti-Reflection) coatings are deployed on both models to help minimize ghosting and flare.</p>
<p>2. Autofocus and VC features are retained with compatible lenses

Autofocus functions normally with compatible lenses (please refer to Compatible Tamron Lens List below). VC (Vibration Compensation) performance is maintained.</p>
<p>3. Moisture-Proof and Dust-Resistant Construction

The new teleconverters are ideal for use in outdoor photography when matched with any lens that has a Moisture-Resistant Construction because special seals that are dust-resistant and moisture-proof are used at every joint and seam.</p>
<p>4. Sturdy, durable barrel design

The barrel frame of the teleconverters are made of die cast aluminum, except for some parts of the exterior finish, to maintain extra strength when used with large lenses. The design utilizes a bayonet mount made of brass on the camera side and stainless steel on the lens side to ensure excellent durability even with repeated mountings and detachments.</p>
<p><strong>Design Concept

</strong>These accessories embody Tamron’s new design that’s born from the pursuit of functional beauty and achieved by smoothly blending engineering and design enhancements. Meticulous craftsmanship is applied to every detail. The new teleconverters feature a metal lens barrel and share this same design concept. Both teleconverters provide remarkable ease of use-even the release lever offers a comfortable touch to the photographer’s finger.</p>
<p><strong>SPECIFICATIONS</strong></p>
<p>TELECONVERTER 1.4x</p>
<ul>
<li>Model : TC-X14</li>
<li>Magnification : 1.4x</li>
<li>Optical Construction : 6 elements in 3 groups</li>
<li>Maximum Diameter : for Canon Ø70mm / for Nikon Ø62.6mm</li>
<li>Length[1] : for Canon, Nikon 0.8 in</li>
<li>Entire Length[2] : for Canon 1.3 in (34.1mm) / for Nikon 1.3 in (32.3mm)</li>
<li>Weight : for Canon 7.2 oz / for Nikon 6.3oz</li>
<li>Standard Accessories : Mount cap, Rear cap, Lens case</li>
<li>Compatible Mounts : Canon, Nikon</li>
</ul>
<p><span class="green">*Use of the TC-X14 tele converter reduces the effective aperture by one f/stop.</span></p>
<p>TELECONVERTER 2x</p>
<ul>
<li>Model : TC-X20</li>
<li>Magnification : 2x</li>
<li>Optical Construction : 9 elements in 5 groups</li>
<li>Maximum Diameter : for Canon Ø69.8mm / for Nikon Ø62.3mm</li>
<li>Length[1] : for Canon, Nikon 2.1 in</li>
<li>Entire Length[2] : for Canon 2.6 in (66.8mm) / for Nikon 2.6 in (65mm)</li>
<li>Weight : for Canon 12.7 oz / for Nikon 10.8oz</li>
<li>Standard Accessories : Mount cap, Rear cap, Lens case</li>
<li>Compatible Mounts : Canon, Nikon</li>
</ul>
<p><span class="green">*Use of the TC-X20 tele converter reduces the effective aperture by two f/stops.</span></p>
<p>Specifications, appearance, functionality, etc. are subject to change without prior notice.</p>
<p>[1]Length is the distance from the front tip of the lens to the lens mount face.

[2]Entire Length is the distance between the tip of the lens and the tip of protrusion.</p>
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Canon Rumors · Sep 1, 2016

HTML:

<em>New generation “G2” lens boasts faster AF speed and enhanced VC</em></p>
<p>SP 150-600mm Di VC USD G2 (Model A022)</p>
<p><strong>September 1, 2016, Commack, New York</strong> – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of the SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022). This second generation “G2” lens builds upon the success of the SP 150-600mm F/5-6.3 Di VC USD (Model A011), which launched in December 2013 and continues to successfully meet photographers’ needs in the ultra-telephoto category. The new G2 version was developed to provide superior optical performance with today’s high resolution DSLRs and to add improvements to several features including speed and accuracy of AF and VC (Vibration Compensation). Also, several new features have been added: FLEX ZOOM LOCK mechanism, Fluorine Coating and optional teleconverters. The new lens delivers outstanding performance and a luxurious, upscale appearance, including a metal lens barrel.</p>
<p>Delivery of the new lens in Canon and Nikon mounts will start on September 23 in the Japanese market and soon thereafter in the U.S. market (Sony A-mount to be delivered at a later date) at a price of $1399.</p>
<p><!--more--></p>
<p><strong>PRODUCT HIGHLIGHTS</strong></p>
<p>1. Optical design refreshed to achieve even higher performance

Three LD (Low Dispersion) lens elements completely eliminate axial and transverse chromatic aberrations. The design also features an upgraded optical construction (21 elements in 13 groups) and leverages improvements in manufacturing technology. As a result, the lens delivers high resolution, improved sharpness and overall better performance.</p>
<p>2. Tamron’s sophisticated eBAND Coating for eliminating ghosting and flare

eBAND (Extended Bandwidth & Angular-Dependency) Coating is a nano-structured layer deployed on the lens element surface. In addition to regular anti-reflection coatings, eBAND Coating offers higher light transmission and significant improvement in anti-reflection characteristics, especially against angulated incident rays. Combined with BBAR (Broad-Band Anti-Reflection) coatings, flare and ghosting are reduced to imperceptible levels.</p>
<p>3. MOD reduced to provide optimum tele-macro photography

Tamron’s advanced manufacturing technology has made it possible to reduce the MOD (Minimum Object Distance) to 86.6 in (2.2m), compared to 106.3 in (2.7m) for Model A011, and has allowed for the wonders of tele-macro photography with its 1:3.9 Maximum Magnification Ratio.</p>
<p>4. AF speed is faster and much more responsive with moving subjects

The Model A022 is equipped with a USD (Ultrasonic Silent Drive) ring-type motor that delivers excellent responsiveness and control. AF speed is significantly improved from the current model, and it enables accurate high-speed focus even when capturing moving subjects. When shooting with AF, the Full-time Manual Focus override allows you to instantly make fine-focusing adjustments manually, without having to switch between modes.</p>
<p>5. VC performance is now 4.5 stops and offers 3 modes optimized for different situations

The VC (Vibration Compensation) effectiveness is equivalent to 4.5 stops, based on image stabilization performance levels established by CIPA (Camera & Imaging Products Association) when using VC MODE 3. Model A022 now has three types of VC modes, and it is possible to choose the optimum VC mode according to the situation for taking a photograph, such as when panning.</p>
<ul>
<li>VC MODE 1 is the standard mode that strikes a great balance between the stability of the viewfinder image and the stabilization effects.</li>
<li>VC MODE 2 is exclusively used for panning.</li>
<li>VC MODE 3 prioritizes the stabilization of the captured images and forgoes the stabilization of the viewfinder image.</li>
</ul>
<p>A new VC Mode can be programmed with the optional TAMRON TAP-in Console™. You can overwrite VC Mode 1 with a new VC Mode that allows stabilization to be engaged constantly for videography purposes. In this mode, the LCD screen is used.</p>
<p>6. New FLEX ZOOM LOCK mechanism enables locking of the zoom ring at any position

The FLEX ZOOM LOCK mechanism quickly locks or unlocks the zoom at any position simply by sliding the zoom ring. Photographers can shoot from any angle without the zoom extending unintentionally. Additionally, the lens features the conventional Zoom Lock switch to prevent unwanted barrel extension during transportation.</p>
<p>7. Fluorine Coating and Moisture-Resistant Construction for a more user-friendly lens

The front surface of the lens element is coated with a protective fluorine compound that is water- and oil-repellent. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints. For greater protection when shooting outdoors, leak-proof seals throughout the lens barrel help protect your equipment.</p>
<p>8. Electromagnetic diaphragm system now used for Nikon-mount lenses

An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses[1]. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a motor through electronic pulse signals.</p>
<p>9. Lightweight and easy-to-hold tripod mount is compatible with an Arca-Swiss style quick release plate

A new textured grip and Arca-Swiss style tripod interface enhances both speed and utility. And because the tripod mount is made of lightweight magnesium, it is much easier to carry.</p>
<p>10. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory product

The optional TAP-in Console provides a USB connection to your personal computer, enabling you to easily update your lens’s firmware as well as customize features including fine adjustments to the AF and VC.</p>
<p>11. Teleconverters exclusively for the Tamron lens now developed

Two exclusive teleconverters[2], which perfectly match the optics of the new SP 150-600mm G2 (Model A022), offer 1.4x and 2x magnification, and provide a maximum zoom range up to 1200mm. These new teleconverters extend focal length of the master lens, making it possible to take pictures in farther ultra-telephoto ranges.</p>
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Canon Rumors · Sep 1, 2016

HTML:

<em>XLR Microphone Input Provides Audio Support in Addition to High-Quality 4K UHD Video Capture</em></p>
<p dir="ltr"><strong>MELVILLE, N.Y., September 1, 2016</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the XC15 4K Video Camcorder, a 4K UHD digital video camcorder for professional use that achieves high-image quality with a lightweight, compact body.</p>
<p dir="ltr">The new Canon XC15, which builds on the XC10 4K UHD digital video camcorder announced in April 2015, enables shooting with an external microphone through an XLR input and features the selection of visual-expression “Look” modes, including modes that allow it to match the look of other Canon professional cameras, making it ideal for use as a “B”-camera as well as for media and video-content productions.</p>
<p dir="ltr">The Canon XC15 ships with the MA-400 microphone adapter that, when attached, enables shooting with XLR-input microphones used in a wide range of media and content-creation applications. As a result, the camcorder supports the production of content that combines both high-image quality and high-sound quality with reduced noise. The MA-400 is also compatible with the EOS C300 Mark II camera.</p>
<p dir="ltr"><!--more--></p>
<p dir="ltr">Thanks to its high-sensitivity one-inch CMOS sensor and DIGIC DV 5 image processing platform with high calculation-processing power, the new XC15 is capable of capturing high-image quality and low-noise 4K UHD video. Additionally, the camcorder features a compact, lightweight body design, measuring approximately 5.0 x 4.1 x 4.8 inches (WxHxD) and weighs approximately 2.1 pounds while also sporting a 10x optical zoom lens<sup>1</sup>, which facilitates shooting in confined spaces and environments that demand mobility.</p>
<p dir="ltr">The Canon XC15 4K UHD professional video camcorder is scheduled to be available in September 2016 for a list price of $3,000.00.* For more information, please visit <a href="http://www.usa.canon.com/" target="_self">usa.canon.com</a></p>
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Canon Rumors · Sep 1, 2016

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<em>Ideal for Major 4K Cinema, Television, and On-Demand Streaming Productions</em></p>
<p dir="ltr"><strong>MELVILLE, N.Y., September 1, 2016</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the next step in the evolution of the Cinema EOS family of professional cinematography products with the new EOS C700, EOS C700 PL and EOS C700 GS PL cinema cameras.</p>
<p dir="ltr">Featuring a completely new, customizable, modular design, the EOS C700 meets the demands of today’s productions – from feature films to documentaries to episodic dramas. The EOS C700 and EOS C700 PL cameras feature a Super 35mm 4.5K sensor<sup>1</sup> with wide dynamic range, and can be ideal for productions requiring 4K UHD TV or 4K DCI cinema deliverables. The EOS C700 GS PL features a Super 35mm 4K sensor with a global shutter to enable the distortion-free capture of subjects moving at high speeds. In addition to supporting the earlier XF-AVC<sup>2</sup> recording format, the cameras also support Apple<sup>®</sup> ProRes.</p>
<p dir="ltr">Recognizing that customers today demand flexibility and the ability to respond to the changing needs of productions, the EOS C700 allows users to convert between EF mount and PL mounts, and between a standard CMOS image sensor and a global shutter CMOS image sensor at Canon service facilities<sup>3</sup>. The EF lens mount provides compatibility with Canon’s diverse lineup of over 70 interchangeable EF lenses as well as enabling use of Canon’s Dual Pixel CMOS AF technology. While the EOS C700 PL and EOS C700 GS PL allow use of industry-standard PL lenses and compatibility with Cooke /i metadata communication technology.</p>
<p dir="ltr"><!--more--></p>
<p dir="ltr">For those wanting to shoot and deliver High Dynamic Range (HDR)<sup>4</sup> content, the EOS C700 and EOS C700 PL are ideal – providing 15 stops of latitude<sup>5</sup>, Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Additionally, these cameras seamlessly integrate with Canon’s professional 4K displays (DP-V2420, DP-V2410 or DP-V1770) for on-set color management and review that conforms to SMPTE ST 2084<sup>6</sup> standards of HDR display.</p>
<p dir="ltr">To complement these powerful new acquisition tools, Canon has turned to its trusted partner Codex to provide a fully-integrated (no cables) recording and workflow option. The combination of the EOS C700 camera with the optional Codex CDX-36150 recorder allows for high-speed 4.5K RAW recording at up to 100FPS, 4K RAW at up to 120FPS, 4K ProRes at up to 60FPS, 2K ProRes at up to 240FPS and XF-AVC at up to 60FPS.</p>
<p dir="ltr">Canon’s new EOS C700, EOS C700 PL and EOS C700 GS PL are the first Cinema EOS cameras to support anamorphic shooting  by utilizing a “de-squeeze” function for monitoring<sup>7</sup>, making possible the creation of images with the 2.39:1 aspect ratio typical of cinema productions. Furthermore, enabling Full HD high-frame-rate recording at a maximum of 240 fps (crop<sup>8</sup>), the camera enables smooth playback, even when slowed down, for great emotional visual expression.</p>
<p dir="ltr">Along with the announcement of these cameras, Canon is also introducing optional accessories OLED 1920×1080 Electronic View Finder EVF-V70, Remote Operation Unit OU-700, Shoulder Support Unit SU-15, Shoulder Style Grip Unit SG-1 and B4 mount adapters MO-4E/MO-4P.</p>
<p dir="ltr">The EOS C700 and EOS C700 PL are currently expected to go on sale in December 2016, while the EOS C700 GS PL is currently expected to go on sale in January 2017. The EOS C700 and EOS C700 PL will have a list of $35,000.00 each** and the EOS C700 GS PL will have a list price of $38,000.00**.</p>
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Canon Rumors · Aug 31, 2016

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We’re told that we’re going to see the Canon EOS M5 announced before Photokina.</p>
<p>Canon EOS M5 known specifications:</p>
<ul>
<li>24.2mp (80D sensor or some variant, we’re 90% sure on this)</li>
<li>Built-in electronic viewfinder</li>
<li>A new AF system (Could be the best new feature of the EOS M line)</li>
<li>A more classical camera design, more in line with Fuji or Olympus</li>
<li>EF-M 18-150mm f/3.5-6.3 IS STM coming alongside the new body</li>
<li>September 15, 2016 announcement (We’re 90% sure on this)</li>
</ul>
<p>Once we hear more, we’ll pass it on.</p>
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AlanF · Aug 31, 2016

DPreviews
https://www.dpreview.com/news/3229755227/canon-5d-mark-iv-brings-dramatic-dynamic-range-improvements-to-the-5d-line

But, still not good enough. Nikon and Sony ahead.......

Canon Rumors · Aug 31, 2016

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Tomorrow is the day we finally see the Canon Cinema EOS C700, a camera that is apparently aimed squarely at ARRI. We first reported about this camera back in May, but haven’t received any real updates on specifications since then. You can see that information <a href="http://www.canonrumors.com/canon-cinema-eos-c700-coming-in-2016-cr2/">here</a>.</p>
<p>I also think it’s possible that we’ll see an announcement for at least one anamorphic cinema lens from Canon, though I can’t confirm this.</p>
<p>The surprise for tomorrows announcement will be the XC15, a camera we know very little about specifications wise, but images of <a href="http://www.canonrumors.com/canon-xc15-images-leak-out-ahead-of-launch/">leaked a few days ago</a>.</p>
<p>These announcements are for the <a href="http://www.ibc.org/">IBC show</a>, which starts late next week in Amsterdam.</p>
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Canon Rumors · Aug 31, 2016

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<a href="http://froknowsphoto.com/canon-eos-5d-mark-iv-raw-files/">Jared Polin aka FroKnowsPhoto</a> has made available a series of real world DNG files taken with the EOS 5D Mark IV for you to play with. The files are DNG because the CR2 files are not yet supported by Lightroom and you cannot download a working copy of DPP at this time, so there won’t be any playing around with the Dual Pixel RAW feature.</p>
<p>The files you can download will give you a good idea about noise and high ISO and how much latitude you may have with the files.</p>
<p><a href="http://froknowsphoto.com/canon-eos-5d-mark-iv-raw-files/">Download the DNG files here</a></p>
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ahsanford · Aug 31, 2016

http://www.canonrumors.com/forum/index.php?topic=30675.0

I don't know why the topic isn't 5 pages deep already (long long long awaited info on high ISO performance!), so I'll repost it here. Please put comments in the thread I've linked above.

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