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  • Canon EOS R5: Full Mirrorless Camera Review

    Canon EOS R5: Full Mirrorless Camera Review

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    In this review I discuss my experiences with the Canon EOS R5 in detail having owned it and used it as my primary camera for the last 5 years.

    Appearance & Build Quality

    The EOS R5 is a bit odd looking overall. It is rather small but has a lot of buttons on it. The smallness plus the buttons make it rather hard to hold on to and use effectively at first. It should be a bit larger with more room for people with X-Large hands. I personally wear XL sized gloves which actually isn’t that big. It’s not abnormal or anything, and I find the camera usable but I also find it very cramped. It could use some MAJOR improvements in the design and layout.

    The little screen on top is pointless because it has too much information in it. They should put less information there and try to keep simplifiy that screen because as it is the fonts are way too small inside of that screen which makes glancing at it like trying to read the fine print in the bible at arms length, you know what I mean?

    Now, one things I actually really hate is the stupid top screen backlight button… why is that even there? It’s a dumb inclusion and should be removed or changed into something else. Instead, why not make the screen touch sensitive so it can be touched and it turns on? Then, make it swipe sensitive so I can swipe left and right and see other settings on it with larger fonts?? Ok, does that help at all or am I just crazy?? *rollseyes*

    The flash hot shoe is an old fashioned piece of junk that should be completely rethought. They gotta be kidding with these idiotic flash hotshoes in 2025. Guys, the current flash hot shoe, even the one on the R1, R3, and R5 mk II, is a low level piece of junk that isn’t worth putting on the camera. On my camera the flash hot shoe has come loose and no longer holds certain flashes securely. They really need to fix this flash hot shoe because it is making them look bad. The thing about these hotshoes is that they’re the same thing you’ll find welded to to the top of an ancient camera from the 1950’s. It’s just too old of a concept for modern lighting demands.

    The rubberized grip on the R5 is cheap which is reminiscent of a 1960’s consumer camera manufactured in a sweatshop. It has started bubbling up all over on my camera. So, the grip is actually moving around on the camera which means it is doesn’t feel as secure in hand which is a bad thing.

    All of the buttons are basically badly designed and are like pressing on mush. The clicky wheels are all bad. Every clicky wheel should have the same indentation spacing but they don’t. Some of them are oddly hard to control like the wheel for ISO which is oddly difficult to scroll just one click at a time. The other two wheels are easier to control.

    The menu system is of the spray and pray variety. It is a mess of settings simply dumped onto screen with little or no logic. They need to come up with something new for the menus.

    The overall build quality of the camera is middle of the road, it has good aspect and bad aspects, but, it is also a pretty cheap camera for what it offers so… it is what it is.

    The R5’s exterior is mostly plastic but the top sections are magnesium. The internal frame is magnesium also which should mean that the camera might withstand some abuse.

    Overall the build quality leaves a lot to be desired. Especially the flash hot shoe and the exterior grip which slowly comes loose. We’re past the days of just gluing a grip onto the exterior of the camera… why is my EOS 1N RS built like a tank compared to my R5? I don’t know, but it really is night and day.

    Weather Sealing

    It might be weather sealed it might not… they say it is. I have used it in mild rain by the fact is I don’t trust it very much. The CF card door is pretty weak and worn out at this point so I would assume water would make its way in there pretty quickly if it were in actual rain. The I/O port covers are also just those annoying little rubber covers. They are not going to protect the camera in an actual downpour. Over all the weather sealing is second rate. I’m sure that certain aspects of it or decent, but again, this isn’t something that will survive all day shooting in the rain with no protection on it. Now, it definitely won’t survive being dunked in river or something like that for more than an instant. Bottom line is I wouldn’t trust the weather sealing for more than momentary forays into mild to moderate rain. Best to treat it like its not weather sealed and hope that the weather sealing protects the camera if mistakes are made.

    Battery Life

    The battery on the R5 is one area where there is definitely some room for improvement. The battery grip, BG-R10 is absolutely essential if you actually intend to use this camera professionally. That is because it the batterly life is improved greatly with having two batteries in use rather than just one. You will also massively extend the life of your batteries by using them in the battery grip.

    The bottom line here is that the R5’s battery behaviors are less than perfect but if you use the battery grip the batteries do tend to last.

    Input/Output

    The R5 has the typical inputs/outputs including the standard 3.5mm stereo mic input, stereo headphone out, USB-C port, micro HDMI port, and a flash sync port. The camera can also be charged via the USB-C port if you have a PD compatible USB-C charger to plug it into.

    The issue with the I/O is the same as it ever was. They keep using those annoying little rubber doors to cover the plus. Well, that hardly seems weather resistant but it might be sneeze resistant, I don’t know… I’m starting to think I am living in an echo chamber and nobody will ever hear my words because this crap just never gets fixed. It just goes on and on and on. When will anyone listen to what I am saying to them about anything?

    Dual Card Slots

    The much requested feature of Dual Card Slots was finally added into the EOS R5. The R5 sports a UHS-III compatible SD card slot and a CFExpress type B card slot. Both card slots can deliver impressive performance which is necessary to handle the high bandwidth video this camera can generate in it’s 8k RAW setting.

    Most camera’s in this price bracket have dual SD card slots so the fact that the R5 has a CFExpress type B slot at all is a bonus. CFExpress Type B cards are capable of higher speeds than SD cards currently are. This is because CFExpress Type B is essentially the NVME standard for SSD’s that are used in laptops and desktops. NVME drives have a memory controller built onto the drive which allow them to run at high speeds but also generate a lot of heat.

    CFExpress Type B cards are great but they’re also expensive. I appreciate the dual card setup because it means I don’t have to rely solely on expensive CFExpress Type B cards. If worse comes to worst and I forget my cards (happened before), then being able to borrow an SD card from a fellow photographer is a lot more likely than borrowing a CFExpress Type B card. I have also stored cheap SD cards in bag pockets, cases, and gloveboxes just in case I forget to bring cards again. For most kinds of photography SD cards are perfectly usable. The main reason to use CFExpress Type B is for 4k and 8k video on the R5.

    Video Capability

    The R5 continues Canon’s penchant for putting video in their still camera’s and takes it up to whole new level. We’re now at 8k video! Wow. 8k video is a lot of pixels and the R5 can shoot 8k RAW. Just to give you an idea of what the R5 can do with regards to video here is a chart that lists the bandwidth generated at a few its available video settings:

    8k DCI RAW 29.97 fps 2600 Mbps
    8k UHD ALL-I 29.97 fps 1300 Mbps
    4k DCI ALL-I 119.88 fps 1880 Mbps
    4k DCI ALL-I 59.94 fps 940 Mbps
    4k UHD IPB 29.97 fps 120 Mbps
    Full HD ALL-I 59.94 fps 180 Mbps
    Card Type Maximum Sustained Write Speed
    CFExpress Type B Varies by type & brand: approximately 1,170 Mbps to 16,777 Mbps (bus speed maximum)
    SD V-90 755 Mbps
    SD V-60 503 Mbps
    SD V-30 251 Mbps

    The biggest issue with the video is quite simply the overheating! Yes, the camera overheats within 15 minutes when used outdoors in 90F weather. I almost always shoot in 4k 60fps so that is what you get with this camera, just about 15 minutes and then you’re done. Why it is so low I honestly don’t know. I see videos online of people walking around for hours with cameras and the video is shot at 4k 60fps. I guess they have a better camera than the R5.

    Aside from that the video quality can be good if you know what you are doing. And that’s really the key thing here. Don’t expect the R5 to be the kind of camera that anybody can just pick up and use. Nope, whomever uses this camera will need to be well versed in all the technical details to make the best use of it for the purpose.

    Still Photo Capability

    The still photo capability of this camera is middle of the road in all honestly. While it is 45MP, and certainly is pretty good, and usually looks better than a cellphone, it is by no means great. The quality falls off by a LOT even at relatively low ISO’s. It depends on the lighting situation is what I have noticed. But, if you’re shooting in low light, the camera really struggles with absolute image quality. Basically you’ll want to avoid shooting in low light with high ISO’s if you want the best image quality. I don’t know why this is?? Maybe they’re trying to sell tripods, no idea, but the camera works best on a tripod and with longer shutterspeeds.

    At lower ISO settings the image quality is better but still not great. What I’m seeing is that color fidelity falls off and gradient quality falls off substantially by about 800 ISO. I actually feel like the camera was better with earlier firmware versions and has gotten worse at the higher ISO settings with the most recent firmware releases.

    The reality of the still photo capability is that it feels like there is something missing unless I shoot at 100 ISO. Even going to 200 ISO I see issues with the image that aren’t there at 100 ISO. It is just a little too obvious. Because of that, especially when I shoot landscapes, I feel very much trapped at 100 ISO. While the camera may be better than past iterations up to 400 ISO, it’s still not quite meeting expectations for image quality there.

    AF Capability

    Probably the one part of the camera I can say meets most expectations is the AF performance. Now, it’s good for what it is. It is not as a good as a cellphone which is kind of odds, but phones like the iPhone 16 Pro have crazy good tracking AF, even if they don’t focus super fast they track amazingly well.

    On the other hand the EOS R5 tracks well but doesn’t match the iPhone’s tracking capability. The good news is that the R5 doesn’t need to track well for many kinds of photography such as landscape, architecture, or even most portraiture. However, if you’re working with a single person or a couple, the R5’s tracking behavior is probably good enough for professional use. Where the R5 isn’t as good is when there are groups of people, then the tracking AF is best turned off.

    Overall AF accuracy is very good though and it is capable of getting very high focus precision. This is the one feature where I feel like maybe I’m getting a little bit more than I paid for in the R5’s price. Sure, it’s not quite as perfect as an iPhone at tracking but we have to take into account that the iPhone’s battery will be dead in about 1hr of constant use so it is barely worth considering as a professional photo or video tool for that one reason. The reason an iPhone kills its battery is simply because it has a powerful and power hungry CPU in it. On the other hand, the R5 is sipping power by comparison so, for what it is the R5 works pretty well.

    At the end of the day it seems like they’ve kind of finally solved the AF accuracy problem with the latest RF series cameras. Most of the time the images are sharp and in focus and focus misses are usually explainable as slightly mispositioned focus points or something of that nature. Very rarely does the camera just miss focus on a static subject.

    Stabilization

    The performance of the stabilizer in the R5 is a mixed bag. For photo it definitely can help, but it also seems to hurt image quality at times. I can’t say that the R5’s stabilization system really impresses me but I think it does help just enough to make it worth having. Basically, you’ll generally get 3-4 stops of extra room for a lower shutterspeed with most native RF lenses attached to the R5. Some lenses are definitely better than others but I have found that it is tough to make predictions about the stabilization based on lens quality or whether it has IS or not. Regardless of lens, the absolute limit for hand held is about 1/2 a second, which is a pretty long exposure to be sure. But, what I have noticed is that at 1/2 a second the edges are often blurred, so, the center is sharp but the edges are blurred and that is true for almost any lens shot at 1/2 a second. For telephotos obviously 1/2 a second is way too long, the whole frame will just be badly blurred at that speed.

    It’s important to realize that in the standard range, whether shoot at 50mm, or 35mm, or 24mm, or even 10mm, a 1/2 second seems to be about the limit for the stabilizer. I find that kind of odd and I would have thought the 10mm would manage a 1 second shutter speed but it really doesn’t work like that apparently.

    For video the stabilization ranges from amazing to passable depending on the lens used. Lenses like the RF 10-20mm f/4 L seem very well stabilized for video. I also noticed that the RF 24-240mm had great video stabilization results on the R5. In fact, I’d say the RF 24-240mm is one of the best stabilized lenses I own. However, some other lenses like the RF 70-200mm f/2.8 L didn’t perform as well as I’d expected they would.

    Again, I’m generalizing a lot so you may find that for your use case the R5’s stabilzation is exceptional. If all you’re doing is standing there and carefully holding the camera still for a video shot, the IBIS is very, very good. In fact, it’s good enough to be used with manual, unchipped lenses up to around 200mm. If you want stable footage for video the R5 is great if you shoot hand held and simply point the camera where you want to film without panning or moving too much.

    Where we separate lenses with built in IS from those that don’t have it is if we try walking/panning and shooting hand held. Then the lenses like the RF 10-20mm f/4 L and the RF 24-240mm STM really separate out from the rest of the pack.

    But, for the most part, the video stabilization of the R5 is very good if you use the camera within its parameters.

    I don’t think it is fair to compare the R5 to a cellphone because the stabilization on a cellphone has so many advantages to the R5 that it’s basically a dumb comparision. However, with certain lenses like the RF 10-20mm f/4 L, the R5’s stabilization is very close to what a modern pro-level cellphone can do. That is pretty impressive considering how much bigger the moving parts are in the R5.

    Example Gallery

    Highlight/Shadow Recovery

    The R5 is also really good about recovering shadows at 100-200 ISO. Beyond that it requires being very careful with the selected exposure as shadows get noisy at 400 ISO and beyond. Shadow noise is really grungy with the R5 beyond 1600 ISO. This is where the IBIS can be a benefit if the scene allows for a slow shutter speed. If you plan on recovering shadows in your scene, then you should learn to lean on the stabilization more to keep the ISO as low as possible.

    This example below shows that at 100 ISO the shadow/highlight recovery is barely enough for cloudy shots.

    All in all it has been a solid camera for me. It was a big improvement over the EOS R in terms of AF and stabilization. Overall image quality is similar between the two but I think the final edge goes to the R5. The R5 does seem to pick out more color and produce more distinct gradations of color than the R does. I wouldn’t fret too much about the R5’s image quality, just focus on taking good pictures if you’re lucky enough to have one!

    Conclusion

    The Canon EOS R5 is a good camera that is capable of performing many photography and videography tasks. It may not be the best choice for all, but it can do sports, wildlife, landscapes, low light, events, family, portraits, studio, product, and I doubt anyone would complain about the results.

    Rating

    4.25 out of 5 stars

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  • Seacam Shipping Housing for the Canon EOS R1

    Seacam Shipping Housing for the Canon EOS R1

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    Seacam is now shipping its housing for the Canon EOS R1. Canon’s flagship full-frame camera, unveiled in July 2024, features a back-illuminated stacked 24.2-megapixel sensor promising essentially no rolling shutter and delivering 40fps continuous shooting using the electronic shutter (full-resolution RAW images with full AF). The EOS R1 can also record 6K/60p RAW, 4K/120p (pixel binned), and 4K/60p (oversampled) video using the full sensor width.

    As you’d expect, Seacam’s Silver housing offers the Austrian company’s well-known combination of ergonomic precision and premium engineering. Depth-rated to 260 feet (80 meters), the housing is milled from a saltwater-proof light metal alloy that is twice hardened and anodized, and the two housing shells are secured with Seacam’s titanium Safety Lock fastening system. The highest quality materials are used throughout, including stainless steel and anodized aluminum buttons and dials.

    The housing features removeable integrated handles, a window for viewing the camera’s LCD, and a second small window to view the essential camera information displayed on the R1’s top plate LCD. Users have the option of using legacy EF-mount lenses via a Canon adapter as well as native RF-mount lenses. The housing ships with S6 or N5 bulkheads for rock-solid electrical strobe triggering, but you have the option of fitting fiber-optic bulkheads and/or an HDMI bulkhead. Seacam’s optical-acoustic leak detector comes as standard, with the vacuum valve and pump purchased separately.

    The Seacam housing for the Canon EOS R1 is available from retailers such as Backscatter, where it is priced at $7,200.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRODUCT INFORMATION

    The EOS 1 series has been the one and only choice for Canon pro shooters for years – now also available in mirrorless. The perfectly adapted SEACAM housing now opens up all the possibilities of this high-end camera under water, too: Fast action, high precision and ergonomic shapes make the Canon R1 system the perfect professional partner for missions below the surface.

    Discover the SEACAM silver Canon R1 in detail here.

     


     

    Knobs and control levers

    • Power switch, shutter release, main- and quick control dial, manual focus, zoom, lens release button, M-Fn 2, MENU, AE-lock/AF-point, AF-ON/Movie start, Film/Photo, AF Drive, LCD, +/– Correction.


    Push buttons

    • M-Fn 3, INFO/LCD, MODE, Multicontroller, delete, play, SET, INFO, Q – quick control, +/– magnifier, rate, movie start, WB.


    Data

    • 2 flash arm T-pieces 25mm, M8 thread on both sides underneath the T-pieces

    • Tripod thread 3/8″ M8 thread on the housing top and 2 removable handles

    • Optical-acoustic leak detector


    Optional

    • Vacuum system incl. socket and pump

    • Socket for Remote, Fiber Optic or Power


    Included in delivery

    • Spare O-ring set, grease and maintenance oil, allen key set and wrist strap in neoprene bag, protective caps and manual



     

    Dimensions: 260 x 215 x 140mm (without port, viewfinder and handles)

    Weight: 2900g (without port, viewfinder and handles, neutral under water depending on port and viewfinder)

    Operation Depth: –80m (deeper operation depth upon request)

    Price: from EUR 6550 (excl. shipping, taxes and custom duties)






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  • Seacam Shipping Housing for the Canon EOS R5 Mark II

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    Seacam’s new silver housing for the R5 Mark II is milled from a saltwater-proof light metal alloy and features premium materials throughout

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  • Canon Unveils EOS C50 7K Cinema Camera

    Canon Unveils EOS C50 7K Cinema Camera

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    Canon has announced the EOS C50, a compact cinema camera featuring a new full-frame CMOS sensor that when paired with the camera’s DIGIC DV7 processor is capable of recording 12-bit video at up to 7K/60p in Cinema RAW Light. Boasting Dual Pixel CMOS AF II, the new RF-mount camera offers a range of features and tools aimed at videographers and cinematographers.

    The new sensor has dual base ISO at 800 and 6400 in C-Log2, and Canon says the sensor is capable of up to 16 stops of dynamic range. The EOS C50 is Canon’s first to support 3:2 open-gate recording, making use of the full sensor height. The camera also supports oversampled 4K up to 60p as well as high frame rate modes such as 4K/120p in 10-bit 4:2:2 with no crop.

    Despite its video-centric design, the EOS C50 offers some impressive still shooting specs. It can capture 32-megapixel photos at up to 40fps in RAW and with full autofocus. Sensitivity ranges from ISO 100 to ISO 64,000 natively, but it can be expanded to ISO 512,000. Photographers should note, however, that with its total lack of a mechanical shutter, the EOS C50 has no flash sync capability.

    Other features include CFexpress 2.0 Type B and UHS-II SD slots (allowing the simultaneously recording of landscape and portrait orientation video files), a full-size HDMI port, dedicated microphone and headphone ports, and a 3-inch fully articulating touchscreen. The EOS C50 takes the powerful LP-E6P battery used in the EOS R5 II, which promises up to 90 minutes of continuous shooting. The camera can also be powered via USB.

    Avaliable in November, the Canon EOS C50 will have an MSRP of $3,900.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRESS RELEASE

    Canon U.S.A. Announces New EOS C50 7K Full-Frame CMOS Sensor Cinema Camera and RF-Mount RF85mm F1.4 L VCM Hybrid Lens

    Firmware updates for select Canon Cinema EOS cameras and new PowerShot ELPH 360 HS A camera also available

    MELVILLE, NY, September 9, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to introduce the new EOS C50 cinema camera, the newest addition to Canon’s cinema EOS system. The EOS C50 is a compact, full-frame cinema camera featuring a brand new 7K full-frame CMOS sensor, 7K 60P internal RAW recording and 32 megapixel still photo capture, making it a true hybrid camera. Weighing approximately one and a half pounds, the EOS C50 is Canon’s smallest and lightest cinema camera ever, making it ideal for handheld and verité shooting.

    The lightweight design and hyper-mobile form factor the EOS C50 camera meets growing demands from shooters who are increasingly looking for compact, ergonomic cinema cameras for a variety of settings and shooting styles. Excellent for large and small scale productions, documentary shooting in the field, social media video creation, sports, and more, the EOS C50 camera features a detachable top handle which adds two full-size XLR audio inputs, a start-stop button, and a zoom rocker for unbeatable agility. It also features an RF-mount, lending it native compatibility with a wide variety of Canon lenses, such as the new RF85mm F1.4 L VCM Hybrid Lens.

    EOS C50 Camera Recording Options

    At the heart of the EOS C50 camera is the 7K full-frame CMOS sensor, which is capable of a Dual Base ISO of 800 and 6400 in Canon Log 2, and 12-bit Cinema RAW Light recording at up to 7K 60P. This powerful sensor is coupled with a DIGIC DV7 processor. The EOS C50 is the first camera in the Cinema EOS lineup to feature the full frame 3:2 open gate recording. In addition to Cinema RAW Light and the standard XF-AVC, the EOS C50 camera also features XF- AVC S and XF-HEVC S recording codecs, proving an easy-to-manage naming system and folder structure, all while preserving metadata and recording in the familiar MP4 format.

    Social media shooters will enjoy that the EOS C50 camera is capable of simultaneous crop recording when shooting in 4K DCI or UHD, allowing you to record at a chosen aspect ratio while also recording a cropped portion of the frame in 2K. When shooting in simultaneous crop mode, the three format options include: 9:17, 9:16, or 1:1.

    For those looking for camera connectivity, the EOS C50 camera supports XC protocol which allows for remote control over IP via Wi-Fi® or a compatible third-party USB-C ethernet adapter. The EOS C50 camera is also compatible with the Multi Camera Control App and features native integration of frame.io camera to cloud.

    New RF-Mount RF85mm F1.4 L VCM Hybrid Lens

    The new RF-Mount RF85mm F1.4 L VCM Hybrid lens is the latest addition to Canon’s line of VCM lenses, designed for shooters who increasingly are seeking powerful options whether shooting stills or video content. The RF85mm F1.4 L VCM has a focal length of 85mm, making it perfect for portrait-style shooting. The lens provides beautiful background blurring, as well as a F1.4 Maximum aperture, and well-controlled focus breathing.


    Firmware Updates for EOS C400, C80, C70, and R5C Cameras

    A new firmware update for select Canon Cinema EOS cameras bring in a few of these bleeding-edge features, available later this year. New firmware updates will enable full frame 3:2 open gate recording (EOS C400), view assist in media mode, quality improvement of focus peaking, improved assign buttons, improved Joy-Stick operability (EOS C80 and EOS C400), and more.

    New PowerShot ELPH 360 HS A

    Originally released in 2016, the PowerShot ELPH 360 HS still remains a popular compact camera. Appealing to fans of pocketable point and shoot style cameras, the newly updated PowerShot ELPH 360 HS A camera’s memory card slot will be changed from SD to microSD to help meet emerging needs in the compact camera market. The PowerShot ELPH 360 HS A camera will be available in two colors, black and silver.

    Pricing and Availability

    The Canon EOS C50 camera is currently scheduled to ship towards the end of Q4 of 2025 for an estimated retail price of $3,899.00*. The firmware updates for EOS C400, C80, C70, and the R5C cameras are currently scheduled to be available in Q4 of 2025. The RF85mm F1.4 L VCM lens is currently scheduled to be available in September 2025 for an estimated retail price of $1,649.00*. The new PowerShot ELPH 360 HS A camera is currently scheduled to be available in October 2025 for an estimated retail price of $379.99*. For more information, please visit www.usa.canon.com.

    *Specifications, availability and prices are subject to change without notice.



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  • Ikelite Releases Canon EOS R10 Kits

    Ikelite Releases Canon EOS R10 Kits

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    200DLM/D Underwater Housing for Canon EOS R10 with 18-45mm Lens Deluxe Version Complete Kit

     

    Canon’s first mirrorless cameras with APS-C sensors, announced in 2022, were the EOS R7 and R10. Bundled with the RF-S 18–45mm f/4.5–6.3 IS STM lens for $1,100, the R10 is an excellent all-around package offering great value for money. You get 24 megapixels, Dual Pixel AF, 15fps burst shooting with the mechanical shutter, and 4K/30p oversampled uncropped video.

    Now Ikelite has made it even easier to jump in the water with this camera/lens combo and start shooting. Their new housing kit includes everything you need: 200DLM/D housing; dome port, zoom gear, and anti-reflection ring for the RF-S 18–45mm f/4.5–6.3; Dual Tray with Dual Handles; Trigger Extensions; Vacuum System; and a set of spare O-rings. The only thing you need to add is the camera and lens themselves. (Incidentally, Ikelite also sells a full version of the kit that actually includes the camera and lens.)

    The housing kit set up for the Canon EOS R10 with RF-S 18–45mm lens is priced at $1,795, while the housing kit including the Canon EOS R10 and RF-S 18–45mm lens costs $2,895.

    200DLM/D Underwater Housing and Canon EOS R10 Camera Deluxe Version Complete Kit



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  • Nauticam Announces Housing for the Canon EOS C400 Cinema Camera

    Nauticam Announces Housing for the Canon EOS C400 Cinema Camera

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    Nauticam has unveiled its housing for the Canon EOS C400. Sporting a cube-style design like that of the EOS C300 Mark III, the C400 features a full-frame 6K CMOS back-illuminated stacked image sensor with up to 16 stops of dynamic range. It can record 6K/60p full-frame footage in 12-bit Cinema RAW Light, as well as shoot 4K/120p and 2K/180p RAW video.

    Employing the company’s N120 port system, Nauticam’s NA-C400 housing features important controls within easy reach of the integrated ergonomic handles, including lens control dials, and exposure and capture controls. Making use of the camera’s remote functionality, the housing also features electronic controls at the rear and on the sides. The housing supports HDMI 2.0 and 1.4 for external monitors or recorders, while SDI output is also available for either surface monitoring or supported monitors. 

    Retailers such as Backscatter are now taking pre-orders for the NA-C400, which is priced at $11,000.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRODUCT INFORMATION

    INTRODUCING NAUTICAM NA-C400

    The Canon EOS C400 Cinema Camera

    Canon’s EOS C-series Cinema Cameras have long been among the most versatile cinema cameras for underwater filmmakers and the C400 is no exception. Built around a 6K BSI full-frame sensor and the large RF-mount, the C-400 also features mechanical ND filters and Canon’s powerful Dual Pixel AF II.

    Key Camera Specifications:

    Canon EOS-C400

    • 6K Full Frame Back-Illuminated Sensor

    • 6K60, DCI 4K/2K, UHD 4K120

    • Full Frame, Super35 & Super16 Modes

    • Triple-Base ISO: 800, 3200, 12,800

    • Record Internal Cinema RAW Light, XF-AVC

    • Improved Dual-Pixel CMOS AF II


    The Nauticam NA-C400 Underwater Housing

    The Nauticam NA-C400 is a professional underwater aluminum housing that builds on Nauticam’s extensive cinema housing lineup. The NA-C400 features the large N120 port opening shared with other Canon RF and EF-mount cameras such as the R5II and R5C. This allows for the use of identical lens and port combinations when using a combination of RF-mount Canon cameras on a project with Nauticam housings.

    Mission Control

    Nauticam engineers obsess over placing essential controls where they are needed most so you never miss a shot looking for a button, dial or lever. Nauticam’s cinema lineup features large cinema-style lens control dials for precise control of focus and zoom. Exposure and capture controls are placed within easy reach of the ergonomic handles.

    In addition to mechanical controls for Power, Zoom, Focus and Lens Release, the NA-C400 features electronic controls at the rear, and both sides of the housing through the camera’s remote functionality. The left handle adjacent controls are for ‘Up’, ‘Down’, ‘ISO+’, and ‘ISO-‘. Right handle adjacent controls are for ‘Rec’, ‘Fn3’, ‘Fn4’, ‘IRIS+’ and ‘IRIS-‘. The main control board accesses ‘Left’, ‘Right’, ‘Up’, ‘Down’, ‘Set’, ‘1’, ‘2’, ‘Set’, ‘MENU/REC Review’.

     

    LCD Monitor Support

    The C400 features a detachable LCD screen that can be easily integrated into the NA-C400. The LCD monitor is supported inside the housing and is mounted at the rear of the camera with a supplied bracket that allows it to be easily viewed underwater through the shaded rear window making for a streamlined filming solution.


    HMDI/SDI

    The NA-C400 supports Nauticam’s optional HDMI 2.0 and 1.4 system that can accommodate external monitors or recorders in Nauticam housings. SDI output is also available for either surface monitoring or supported monitors. The NA-C400 has 1 M28 and 5 M16 bulkheads to accommodate a variety of configurations to suit mounted or remote setups.


    Battery

    The NA-C400 can accommodate either the BP-A30N or BP-A60N batteries or a combination of the BP-A30N and an FXLION NANO THREE 150Wh Micro V-Mount battery for extended runtimes.

    RESOURCES

    What’s In The Box:

    • NA-C400 Housing with vacuum valve pre-installed

    • Housing Cap

    • 2x Handles with mounting balls and 2x handle brackets

    • Panasonic CR-2450 Battery (pre-installed for moisture alarm)

    • Spare main O-ring, O-ring remover and lubricant  

    • Set of Allen Keys

    • Housing skids

    • Monitor Shade

    • Safety box

    Recommended Accessories:

    Housing Mount

    • 25221 M10 strobe mounting ball for housing

    • 25224 M10 strobe mounting ball for housing (with hole for using with lanyard)

    • 25228 M5 strobe mounting ball for housing

    • 16226 Mounting Bracket for Monitor Housing to use with Cinema Housings

    • 16701 Top Handle for E2/F/C70/BGH1/BMPCC

    • 17961 Swivel and Tilt Adjustable Monitor Mount System (To be release)

    Trim Weights

    • 16232 0.25kg Trim Weights for 16227 (4pcs)

    • 16233 0.5kg Trim Weights for 16227 (4pcs)

    Vacuum Valve

    • 25625 M16 Vacuum Valve II (Pushbutton Release)

    Handles

    • 28123 Pair of handles – size S (10mm closer to housing)

    DMI OUTPUT:

    Required accessories for HDMI 2.0 Cable System

    • 25089 M28 HDMI 2.0 Adapter

    • 25078 M28A1R225-M28A1R170 HDMI 2.0 Cable (for NA-BMPCCII/S1R/S1H to use with 17922/17909N)

    Compatible Monitor Options

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable)

    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories for HDMI 1.4 Cable System

    • 25033 Standard HDMI bulkhead with M16 thread (Mounted on the right side M16 of middle housing)

    • 25100 HDMI (D-A) 1.4 Cable in 200mm length for NA-a1 (for connection from HDMI bulkhead to camera)

    *25033 and 25100 is included in 17927 monitor housing

    Compatible Monitor Options

    • 17927 NA-Shinobi II Housing for Atomos Shinobi II 5.2″ Monitor with HDMI 1.4 input

    SDI OUTPUT:

    Required accessories for SDI Cable System

    • 17926S SDI Cable Set for use with NA-Ultra5/17922S  

    Compatible Monitor Options

    • 17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable) with Atomos AtomX SDI Module

    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories Surface Monitor

    • 25058 M16 SDI Bulkhead

      *Only support to be installed on the back door

    • 25060 SDI cable in 0.4m length (for connection from camera to underside of SDI Bulkhead)

    • 25064 SDI surface monitor cable in 15m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)

    • 25065 SDI surface monitor cable in 45m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)



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  • Marelux Announces MX-R5II Housing for the Canon EOS R5 Mark II

    Marelux Announces MX-R5II Housing for the Canon EOS R5 Mark II

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    Marelux has released its underwater housing for the new Canon EOS R5 Mark II. The second-gen pro-level full-frame mirrorless camera features a back-illuminated, stacked 45MP sensor, shoots up to 30fps using its electronic shutter, and records 8K/60p RAW video internally.

    Aiming to take full advantage of the R5II’s capabilities, Marelux’s anodized aluminum alloy housing features an ergonomic design with controls arranged around the built-in handles. A quick-release baseplate allows the camera to be easily inserted with precision and removed again. Dual locking levers ensure the housing is safely closed, while ports and extension rings are secured in place using another locking lever. The housing ships with a vacuum detection and moisture alarm system.

    The housing is compatible with various novel accessories, including the Flashfuel FF2100, which combines a flash trigger and a power bank (for charging the camera as well as powering the flash trigger); and the Remote Shutter Module, which allows you to control the shutter remotely using the Marelux Artemis 4500 RMT video light.

    The MX-R5II housing has an MSRP of $3,398 and can be ordered directly from the Marelux website.

     


    PRODUCT INFORMATION

    MX-R5II Housing for Canon EOS R5II Mirrorless Digital Camera

    INTRODUCTION

    Marelux housing has the industry leading design that’s not only more compact than other brands but also more simplified in mechanical structure to make it easy to assemble. With 125mm port diameter, the biggest in the market, users can easily install and uninstall cameras with large lens through the housing.

    Marelux housing is built using uniquely anodized aluminum alloy which provides superb scratch resistance, sea water erosion durability as well as the attractive options of various surface colors. The housings maintain a perfect balance between sturdy body and lightweight. It has the best-in-class ergonomics with all the camera controls readily available at your fingertips including AF-ON and Q Menu.

    Marelux housing can be connected to other innovative products made by Marelux, such as 180-degree Smart Viewfinder etc., making diving and underwater photography easier, safer and more enjoyable.

    FEATURES

     









     

    Flashfuel FF2100 (Manual Flash Trigger + 2100mAh Power Bank Combo)


    • Patented Design: Tailored for underwater photography and high-speed shooting, combining flash triggering and camera power supply in a single compact device.

    • Ultra-durable Trigger Performance: Powered by a single CR123A 3V lithium battery, it can handle up to 300,000 flash triggers before replacement.

    • Robust USB-C Power Output: Integrates a 2100mAh rechargeable battery, offering up to 30W output (5–20V), capable of powering your camera directly.
     

    Remote Shutter Module


    • With an invention patent, the Remote Shutter Module is designed to enhance underwater photography by providing remote control capabilities to remotely control the camera shutter release via Marelux’s Artemis 4500 RMT Light (42703). It features an effective receiving distance of 10 meters and an optical signal receiving angle of 140 degrees, allowing for flexible positioning and reliable performance.
     

    Dual Locking System


    • Requires little effort to lock it in place, while making it almost impossible to be unlocked by accident, and it will take only a second to open if needed for a battery change.
     

    Manual Flash Trigger


    • The flash trigger can translate the electric signal from the camera into light signal, with an extremely long battery life of 10,000 triggers on only two CR2032 batteries.
     

    Built-in Lock


    • Extension ring and port can be safely locked in place with the built-in locking system on the housing with one simple click.
     

    Sturdy Baseplate


    • A 50kg force is applied to secure the camera with the design of the quick release baseplate, while being extremely convenient to operate.


     


     


    SPECIFICATIONS

    • Material: Anodized Aluminum Alloy

    • Dimensions: 354mm(W) x 187mm(H) x 156mm(D)

    • Weight In Air: 3.52kg

    • Depth Rating: 100m

    • Port Mount: Series 5


    INCLUDED ITEMS

    • 55201 Housing Mounting Ball x 2 

    • 12002 Main Housing O-Ring  x 1

    • 41201 Vacuum Detection/Moisture Alarm with CR2032 battery x 1  

    • 54401 Lubricant x 1 

    • Set of Allen keys x 1

    • 54101 Housing Hard Case x 1


    ACCESSORIES

    • 56201 M16 Vacuum Valve (with Hand Pump) – Pre-installed

    • 41110 Manual Flash Trigger for MX-R5II Housing

    • 41403 Flashfuel FF2100 Manual Flash Trigger and Built-in 2100mAh Power Bank Combo


    Item No.: 21106

    US$3,598.00



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  • Aquatica Unveils Housing for Canon EOS R5 Mark II

    Aquatica Unveils Housing for Canon EOS R5 Mark II

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    Aquatica has announced its housing for the Canon EOS R5 Mark II. The second incarnation of the pro-level full-framer sports a new back-illuminated, stacked 45MP sensor, promising much greater readout speeds. The new hardware allows the camera to shoot full-resolution RAW images with AF at 30fps using its electronic shutter as well as record 8K/60p RAW video internally.

    Hewn from aluminum, anodized and baked with tough powder coat paint, Aquatica’s housing features integrated handles, stainless steel push buttons, and compatibility with both native RF and legacy EF lenses (using a mount adapter and extension ring). The housing has a large-bore M24 port supporting HDMI 2.0 output to a recorder/monitor like the Atomos Ninja V+.

    The housing can be ordered in four configurations: (i) with dual Nikonos bulkheads, (ii) with dual optical bulkheads and an LED trigger, (iii) with a single Ikelite bulkhead, and (iv) with Ikelite TTL capability (which requires the separate purchase of Ikelite’s DL5 Canon TTL converter). All versions include Aquatica’s Surveyor vacuum circuitry (pump, valve and sensor) as standard.

    The housing is available for pre-order from retailers such as Backscatter at an MSRP of at $3,400.

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.


    PRODUCT INFORMATION

    Aquatica AR5 II: 20099

    Price includes your choice of strobe connectors & our complete vacuum, sensor & pump system:

    • Double Nikonos

    • Single Ikelite-Manual

    • Dual Optical-Flash trigger included

    • Ikelite TTL capability

      *Ikelite DL5 external converter required #46074

    We are proud to present one of our latest housings: The AR5II for the Canon EOS R5 MKII Mirrorless camera! Continuing in Aquatica’s reputation for offering premium quality and at affordable prices, the AR5II housing has the finest ergonomics and control accessibility combined with the famed ruggedness of our all aluminum construction and distinctive hard coating.

    THE CAMERA

    The EOS R5 Mark II Mirrorless Camera is the multimedia professional’s solution for versatility, image quality, and intelligence. Features:

    • 45MP Full-Frame Stacked BSI CMOS Sensor

    • DIGIC Accelerator Processing

    • Dual Pixel Intelligent AF, Eye Control

    • 8K 60 Raw/4K 60 SRAW/4K 120 10-Bit Video

    • Up to 30 fps, Pre-Continuous Shoot Mode

    • 76m-Dot EVF with OVF Sim. View Assist

    • 2″ Vari-Angle Touchscreen LCD

    • In-Camera Upscaling to 179MP

    • CFexpress & SD UHS-II Memory Card Slots

    • Wi-Fi 6E / Wi-Fi 6 Support


    ABOUT THE HOUSING

    As to be expected with all Aquatica housings, it is CNC machined from 6061 T6 Aluminum with a MIL-A-8625 anodized coating and added on top  a baked on, extra tough powder coat paint. All control shafts and push buttons are made from T304 stainless steel. This, as for all our housings, will take a licking and keep going!

    The AR5II housing supports not only the new RF mount lenses but also the EF mount by simply using our new adaptor extension ring #48474. This new adapter can easily be installed and will enable the AR5 housing to function with any previous Canon EF lens and its corresponding extension ring.

    Surveyor monitoring system INCLUDED

    What was previously an optional accessory, we are now including our field proven Surveyor Vacuum System (Pump, valve and sensor) as standard.


    VIEWFINDERS

    The Aquatica AR5 II housing is supplied with our Galileo type eye piece. This high quality and coated optical finder gives a bright and full view of the view finder. For those seeking the ultimate in viewing for still image, the optional Aqua View Finder, available in straight and 45 degrees version, are among the best of the industry, they can easily be installed in a matter of a few minutes by the user. The enlarged and enhanced image provided by the Aqua View Finder (#20054 & 20059) is second to none in clarity; it provides the photographer with tack sharp corner to corner viewing of the camera view finder for composing and critical focusing.

    SPECIFICATIONS

    Part Number:

    • 20099-NK-VC: with double Nikonos bulkheads & complete Surveyor vacuum circuitry

    • 20099-KM-VC: with single Ikelite bulkhead & complete Surveyor vacuum circuitry

    • 20099-OPT-VC: with dual optical bulkheads, LED trigger & complete Surveyor vacuum circuitry

    • 20099-KTTL-VC: with Ikelite TTL capability & complete Surveyor vacccum circuitry

      *Ikelite DL5 External converter required #46074. Purchased separately from Ikelite.

    Composition:  Aerospace grade 6061 T6 Aluminum with MIL-A-8625 Anodized Coating then finished with a baked on, super tough, abrasion resistant powder coat paint.  Control shafts and all push buttons are T304 Stainless Steel

    HDMI: Large 23.75mm (.950 inch) HDMI Bulkhead Opening

    Depth Rating: 90m ~ 300 ft.  Can be upgraded to 130m, ~ 450 ft with our deep spring kit

    Weight: 6.5 lb (2.94kg)

    Dimensions: 9.50” x 7.10” x 5.96” (W x H x D) (241mm x 180mm x 151mm)

    Port System: Compatible with all Aquatica DSLR sized Bayonet Mount Ports


    SUPPORTED ACCESSORIES

    • Aqua View and Aqua View 45 & 180 viewfinders

    • Full line of the Delta 3 Arm System

    • 5HD Monitor

    • Aquatica Close Up Kit

    • Aquatica Housing Lanyard K


    RETAIL PRICE AT ONLY $3,399.00

    For more information, please contact: info@aquatica.ca or call 514-737-9481



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  • Is the Canon EOS R5 still a good buy in 2024?

    Is the Canon EOS R5 still a good buy in 2024?

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    The R5 Mark II has arrived! It is a good camera but very similar to the old R5 which came out in 2020. I’ve had the original R5 since it came out in October 2020 and the question I want answered is should I buy the new R5 Mark II?

    In this post I will strive to answer this question with an honest comparison of these two great cameras.

    Taken with the R5.

    The old R5 has already been marked down by $1,000 on most websites. Previous generations always get reduced in price prior to the next gen camera’s but it still seems like a bit of a low price for a high quality camera like the R5. It looks like market demand for the R5 has tailed off substantially, and that is true for the R3 and R5C as well. That is why Canon is going for a relatively quick refresh of the R5 after almost exactly 4 years they’re upping the ante with a new R5, the R5 Mark II.

    The main thing I want to know is this, is the old R5 at it’s reduced price a good purchase? Below are some stats to help you make sense of this puzzle.

    Click Here to read my original review on the EOS R5.

    Canon R5 Mark II vs original R5 Mark I:

    Sensor Technology

    Canon claims that the R5 Mark II is using a stacked sensor with Sony’s BSI technology. Stacked sensors are supposed to be able to “read out” the sensor much faster than the “old technology”. However, when it comes to video rolling shutter, the R5 Mark II performs exactly the same as the original R5. Perhaps the original R5 had a stacked sensor even though it wasn’t marketed as such? Or, maybe Sony’s sensor technology just isn’t that great.

    Resolution

    The R5 Mark II has the exact same resolution as the current R5.

    Readout Speed / Rolling Shutter

    The R5 Mark II has faster read out speed when using electronic shutter for still photos only. When using the fully electronic shutter for stills, the new R5 Mark II is more than twice as fast as the original R5 which makes the new R5 a lot better if you like to use electronic shutter… but it still isn’t anywhere close to as fast as a mechanical shutter.

    The R5 Mark II’s readout speed remains the same as the R5 for video with a maximum speed around 13 milliseconds. However, the R5 Mark II now adds in 8k 60fps shooting at 13 milliseconds readout speed. This results in a similar readout performance to the original R5 which shot 4k 120fps at its maximum. 4k 120 is equal to 8k 60 in terms of readout performance as 4k 120 is done line skipped in the original R5. Reading half the lines at 120fps is obviously the same speed as reading them all out at 60fps. This type of readout is called “line skipped” readout. The new R5 Mark II, unfortunately, also does 4k 120fps as line skipped, limiting its maximum readout speed to the same as the original R5 for video purposes.

    Video Improvements

    The R5 Mark II now has 8k 60fps resolution which goes above the original R5’s 8k 30fps video resolution.

    The R5 Mark II has also improved upon the dreaded overheating issues the original R5 had, even without the new external cooling battery grip available only for the R5 Mark II.

    AF improvements

    The R5 Mark II has the same AF system as the original R5 just with more firmware updates. There are no new features other than supposedly better tracking AF. Despite initial reports, I doubt the R5 Mark II will be as good as the R1 when it comes to subject tracking.

    Faster CPU

    There is no indication that the R5 Mark II has a different CPU when compared to the current R5.

    Dynamic Range

    According to online review sites, the new R5 Mark II has no dynamic range improvements in stills from 100 ISO to 6400 ISO. In fact, it appears to have slightly less dynamic range than the original R5. It is not known if the new R5 Mark II uses a dual gain sensor like the R5 used, but if it does use a dual gain sensor, it no longer switches to another gain circuit at 400 ISO, instead, this appears to be done at a much higher ISO past 1600.

    The R5 has no problem picking up all the details in this scene of a white building with a gigantic white dome.

    The 100% view crops below show that there are very few details missing in this shot taken in bright midday sun.

    The basic point is, if the R5 isn’t adding more dynamic range then how is it going to make an image like this substantially better?

    Well, for video at least, the R5 Mark II is going to add a couple features that some people will want to buy. It appears to have slightly more accurate colors out of camera which is great for people who want a faster workflow. I think the R5’s colors are close enough most of the time but it does require some color grading to look normal.

    The R5 Mark II is also supposed to have a lot more dynamic range in video mode when shooting in LOG formats. Camera’s like the R5 C have a lot of dynamic range in LOG getting all the way up to 14 stops, but, the R5 Mark II is supposed to have 16+ stops when shooting LOG. That puts the R5 Mark II less than a stop below the latest and greatest cinema cameras… I know a lot of video people will be interested in that capability.

    Ergonomics Updates

    The R5 Mark II has slightly changed ergonomics and physical design. The power switch has been moved to the right side of the camera and there is now a fan included in the battery grip which modestly increases recording times for video. There is also a new flash hot shoe which allows the camera to work with Canon’s new lineup of super high-performance flashes.

    Bottom Line

    The new R5 Mark II is a great camera, which makes sense, since it is nearly the same as the original R5, but now with a few performance updates. Because of all the updates it is now $4,299. And at this price the fully electronic shutter is now competitive with the Nikon Z9, the Canon R3, and the Canon R1. In stills mode the electronic shutter can readout in about 6.3 milliseconds, whereas the original R5 is set to read out in about 16.8 milliseconds for a still photo. Unfortunately, the video readout speeds are just about the same between the two cameras. Because the new R5 Mark II still has overheating as an issue when shooting high resolution video, the sensor is intentionally slowed down to about the same speed as the original R5 to help increase shooting times. On a brighter note, the new R5 Mark II has 16+ stops of dynamic range when shooting in video LOG formats. Since there is no log format for stills, the dynamic range there is just about identical to the original R5. But, getting 16+ stops of dynamic range for 8k 60fps video means the R5 Mark II can definitely deliver some high quality video if called upon to do so.

    If you shoot video the new R5 Mark II appears to be an upgrade over the original. However, if you shoot stills, the original R5 doesn’t give up a whole lot compared to the new one. True, you can shoot with the new electronic shutter, but, the good old mechanical shutter is still superior to every camera’s electronic shutter. Yes, the MECHANICAL SHUTTER IS STILL #1. Basically, there’s no point to an electronic shutter just yet, even though random dip shits will say ITS SOOO IMPORTANT. Well, it really isn’t GOOD ENOUGH. If electronic isn’t better than the mechanical shutter then it really isn’t a replacement for the mechanical shutter, is it?

    If you really need maximum electronic shutter performance, the R5 Mark II still isn’t good enough in my opinion. It reads out in 6.3 milliseconds which is still quite slow. While it’s not exactly the same, it’s still only as fast to scan as a 1/160th shutter speed. And that means it’s more than 3 times slower than the R1 which reads out in 2 milliseconds. That disparity is partially explained by the lower resolution sensor (24mp vs 45mp), but it isn’t entirely explained by that. All things being equal the R5 should be able to read out in about 3-4 milliseconds.

    Ok, the bottom line is this, the new R5 Mark II is a solid camera, but it’s more of a video-oriented camera. If you shoot video, it appears to be better than the original R5, but not really better than the R5 C which doesn’t overheat. For video, the R5 Mark II kind of makes sense if you want 8k 60fps right now, but it overheats even with the fancy battery grip. However, if you don’t need the highest resolution settings, you can enjoy 16+ stops of DR when shooting in LOG. Previously, the only Canon camera with that amount of dynamic range was the C300 Mark III.

    For stills shooters the R5 and R5 Mark II are a little close for comfort. Aside from the electronic shutter being improved and the supposed AF improvements, there’s not a lot to get excited about. With the R5 now being about $1,500 cheaper it seems like the better option if you’re a landscape photographer or the like. It remains to be seen how much the R5 Mark II can really improve on its predecessor.

    Click Here to read my original review on the EOS R5.

    Taken with the R5.

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  • 10 settings to boost your Canon EOS R5 to the max!

    10 settings to boost your Canon EOS R5 to the max!

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    Did you just get a new R5 or R5 mk II? Here are 5 helpful settings that can help you get more out of your R5 mk II.

    Tip #1: Make sure IBIS (In Body Image Stabilization) is turned on.

    Both version of the R5 have IBIS. Make sure IBIS is on so you can get more sharp pictures with less camera shake.

    Tip #2: Turn your EVF and rear display up to the max!

    Set your display to use 120 hz pro motion for the best result. When looking at your screens it will look smoother and better, especially when there’s things moving.

    On the same menu you’ll see a setting called “Suppress lower frame rate”. To maximize performance, turn this off as well.

    Please enjoy the use of your camera.

    Tip #3: “Lower” the image quality to get more on your cards.

    The EOS R5 mk II can record with a variety of different file formats and compression algorithms to help you fit more data onto your memory card. This can be especially useful for 4k video and higher resolutions.

    Tip #4: You can use EF lenses on your R5 mk II with an EF to RF adapter.

    Canon was very nice to design an adapter that will let you use an EF lens with your RF camera. Simply buy Canon’s adapter and attach it to the back of your EF lens, then you can attach the lens to your R5 mk II just like any other RF lens. By do this, you can save money and still have a Canon lens. (Very nice.)

    Tip #5: Use the joystick to control your focus point.

    The R5 mk II has a joystick on the back of it that you can use to move your focus point around. By using the joystick, you can easily select where you want your camera to focus on the frame.

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