True, I was considering mainly the enhancements/features that would be valuable to me personally, such as in-camera merging with RAW output, more MP, better DR, higher res "natural" zero-lag EVF.
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Is Pixel-Shift coming to the Canon EOS R5?
- Thread starter Canon Rumors Guy
- Start date
My point was that I’m skeptical that such processing is feasible. Since other cameras have in-camera compositing, if Canon adds pixel shift then I suspect it will be pixel shift OR focus stacking, i.e., focus stacking will not be available with pixel shift enabled.
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We don't even have an option for exposure bracketing with electronic shutter, at least, not with the R5... it would be handy to be able to bracket exposures with noise-sensitive small creatures, by using silent shutter.
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I suspect that’s an intentional choice by Canon, and I can see the logic. The ‘typical’ use case for exposure bracketing is when scene DR exceeds camera DR, so why would one want to bracket exposures with electronic shutter when that drops the bit depth from 14 to 12? The R3 records the full 14 bits with electronic shutter, and allows AEB with full electronic shutter at 30 fps.
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Yes, I'm sure that was Canon's logic, but folk who spend $4000+ on a camera often don't restrict themselves to "typical" use cases. Much of the reason to purchase a high end camera is to get maximum versatility for non-standard usages. I'd chance a bet by saying that there's probably at least as much practical need for exposure bracketing and variable fps in ES, as there is for pixel-shift or 8k video, but the latter get a lot more attention as "features", because they involve the "numbers game", i.e. megapixels.
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I appreciate your thoughts, entoman. I shoot RAW exclusively too. What many users don't realize is that while Auto Lighting Optimizer doesn't affect RAW files, Highlight Tone Priority does. It is easy to demonstrate this to yourself. Take two RAW photos of your computer screen, one with Highlight Tone Priority off, the other with it on. Use the exact same exposure settings making sure to completely blow the images out. Import them into Lightroom. The two photos will appear identical—until you drag down the Exposure slider. You will find significantly more recovery latitude in the file shot with HTP engaged. I've done exactly this in the screenshot below. (Note: Recover using the Exposure slider, not the Highlights or Whites sliders.)
How does the feature work? The actual sensitivity of your sensor is fixed at its native ISO. When you increase the ISO setting, the camera takes the data coming off the sensor, amplifies it, and writes the resulting data to the RAW or JPG file. With Highlight Tone Priority engaged, the camera essentially tone maps the data, amplifying the darker tones but not the lighter tones when it records the image file. This is why the feature doesn't work at ISO 100 where there is no amplification happening. Some people argue that this is no different than shooting at ISO 100 and boosting the shadows. The principle is similar. The difference is your shutter speed. If you're shooting at ISO 800, it is typically because your shutter speed at ISO 100 is too slow.
Is there a downside to always using HTP? Not that I'm aware of, aside from being locked out of lower ISOs. The manual indicates that you may notice noise in the shadows. I've always assumed that this is the same high ISO shadow noise you'd notice with the feature turned off (shooting at the same ISO) but it's never been a problem so I've never bothered to do a comparison.
So do I always shoot with HTP engaged? Sadly, no. I typically shoot in Manual mode with Auto ISO engaged. If I'm shooting landscapes, for example, I have the time to turn the HTP feature on and off based on my ISO. But if I'm shooting street, things are happening quickly. I don't have the time to monitor ISO and change this setting. Hence, my feature request...
The screenshot below demonstrates what I have been describing. Both CR3s were shot with the exact same settings. They looked identical before I applied a -3.75 adjustment to the Exposure slider to both images. The image on the left shows the typical dull whites you get when there is no data to recover. The image on the right, shot with Highlight Tone Priority engaged, shows how much more data is available to recover. No other adjustments were made to either image.
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Great reply, I had always believed that HTP only worked with JPEGs. I'll make more use of it in future, when shooting RAW, as I often shoot in very contrasty lighting conditions (tropical rainforests). Usually in these situations, highlight detail is vital - glossy leaves in rainforests reflect like mirrors, and metallic insects or white-winged butterflies are even more of a problem. In dense forests, dark backgrounds are unavoidable, but I try hard to avoid the black background look, as I want the images to look as natural as possible. Reflectors and fill-flash are not available options, neither is HDR (which requires shooting a burst and merging in-camera), as I'm shooting nervous twitchy wildlife.
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What an interesting approach. What sort of file(s) would you expect to end up with? All the images saved and you assemble them in post? Or perhaps the camera assembles them and you have the option to save all the pieces or just the final one? Sort of like the HDR approach? I am intrigued. I think it would be very nice for landscapes and other stationary things when using a tripod. Not so sure about moving objects (cat photos, how will it enhance cat photos??!)
I hope they provide it.
(t.linn's list would also be really nice, as would my plea, a 640x480 high speed video capture at 1200x or so)
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"let's not pretend that the Cripple Hammer doesn't exist."
I guess the converse is to believe that "the cripple hammer" DOES exist. The reality is that companies differentiate products based on features, the features have value. You can call it whatever you want but it amounts to wanting something for nothing.
FWIW: it is hard to believe that the heat issue in the R5 was purely imaginary when the put a fan in the R5C to improve the cooling.
Conspiracy theorist is right.
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When the word ‘cripple’ is used it indicates more about the poster’s knowledge than any serious criticism.
The fact that canon has made so many firmware updates with new features (particularly video but also af etc) are just bonuses to our initial purchase negates your comment
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The 5div initially had a paid clog option but needed hardware to be installed. It didn’t take too long before the price went up and clog was standard
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Color interpolation is still needed. All three RGB values for each pixel in a digital image created using a CFA are interpolated from the raw monochromatic luminance values collected by the sensor.
This is because the colors of the filters in the Bayer array are not the same as the colors emitted by our screens. They're closer to the spectral sensitivity of the cones in our retinas (our L-cones are not remotely as sensitive to "red" at 640nm as they are to lime-green at 565nm).
Blue and green are kind of close, but the "red" filters in Bayer masks are somewhere between yellow and yellow-orange, usually centered around 590nm, rather than the "Red" output of our monitors, which is around 640nm.
But even if the colors of the filters matched our emissive screens perfectly, there would still need to be interpolation done to account for the color temperature, white balance, and CRI of various illuminating light sources, just like everything must be interpolated when translating from one RGB color space to another, or even from an emissive system like RGB to a subtractive system like CYM.
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David,
The addition of cLog on the 5D4 was software, not hardware.
And, [Respectfully[ Canon like other manufacturers does "cripple" [call it what you like] or omit features that could be included on body's in order to "protect" sales of higher end models. This doesn't have to do with someone's knowledge. Firmware updates that add functionality does not negate what was initially [purposely] omitted. It does enhance the user experience and value, but only after the fact.
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