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Introduction
“Master the moment” is the marketing strapline for the exciting new Canon EOS R5 Mark II prosumer mirrorless camera.
The EOS R5 Mark II is positioned as the company’s highest resolution offering, replacing the original R5 model that was released back in 2020.
It features a brand new 45 megapixel full-frame back-illuminated stacked CMOS sensor, which is different to the R5’s sensor, and the very latest DIGIC X processor and DIGIC Accelerator dual image processors.
The native ISO range runs from 100-51200, which can be expanded to ISO 50-102400. In-camera upscaling enlarges up to 4x the initial resolution with no degradation in quality, while deep learning noise reduction reduces noise by 2 stops.
Burst shooting speeds are rated at 30fps continuous shooting with the electronic shutter or 12fps with the mechanical shutter. Pre-continuous shooting up to 15 frames (Raw or JPEG/HEIF) is available before fully pressing the shutter button.
It has a blackout-free electronic viewfinder with 5.76M dot resolution. The upgraded eye control AF feature lets you select focus points or subjects to track simply by looking at them in the electronic viewfinder.
Compared to the R3 model on which this feature first made its debut, eye control AF on the R5 Mark II offers improved performance thanks to a higher pixel count sensor, improved LEDs, larger eye detection area, an updated detection algorithm, and 2x faster eye movement detection speed.
The new Dual Pixel Intelligent AF system offers an advanced tracking algorithm that can detect subject crossing/upper half of body and avoid obstacles by estimating the head area.
The new Action Priority subject tracking mode uses deep learning tech for football, basketball and volleyball to detect where the action is and move the AF point to that subject at up to 60fps. It can quickly detect and identify multiple people, status of joints and ball positions and automatically determine the main subject and action poses, depending on the sport.
Subject tracking can now recognise horses, aeroplanes and trains in addition to people, animals and motorsport vehicles when shooting both photo and videos. The Canon R5 Mark II can focus down to -6.5EV.
The Registered People Priority mode can detect and prioritise up to 10 faces even in side profile, useful for sports, news and weddings, with the ability to save 10 files on a memory card each with 10 registered faces.
There is up to 8.5-stops of image stabilisation available via a combination of the camera’s in-body Image Stabiliser which works in tandem with the attached lens’s own stabilisation system. High precision white balance and metering with up to 6,144 metering zones ensures that even the smallest of subjects are perfectly exposed.
The Canon R5 Mark II’s magnesium alloy body is both dust- and weather-resistant, offering the same level of weather-proofing as the previous R5 model.
The key video specs for the Canon R5 Mark II are 8K 60p RAW in-camera for up to 120 minutes, 4K 120p, 4K 60p oversampled from 6K, and 2K or Full HD at 240p in XF-HEVC S / XF-AVC S formats. It offers 16+ stops of dynamic range, minimal rolling shutter, Canon Log-2 / Log-3 / HLG profiles, custom pictures, proxy movie support and 4-channel 24-bit audio.
You can shoot video and stills at the same time on the EOS R5 Mark II, even whilst using continuous shooting. It has a full size HDMI port and dual SD UHS II and CFexpress type B memory card slots along with Wi-Fi 6E connectivity.
The Multi-Function Shoe provides data communication and power for accessories such as the ST-E10 Speedlite Transmitter, DM-E1D Stereo Microphone, and AD-P1 Smartphone Link Adapter, as well as acting as a traditional hotshoe for existing Speedlites and triggers via the AD-E1 Multi-Function Shoe Adapter.
The Canon EOS R5 Mark II is priced at £4499 body only in the UK and €5149 in Europe. It is also available in a kit with the RF 24-105mm F4L lens for £5749 / €6549. It is made in Japan.
We were able to briefly test a beta version of the EOS R5 Mark II camera, paired with the Canon RF 400mm f/2.8 L IS USM prime lens. So read on for our Canon R5 Mark II review so far, complete with full-size sample JPEG and RAW photos for you to download and evaluate.
Ease of Use
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On paper the new Mark II R5 camera offers the same number of megapixels as its predecessor, but they crucially use different processors that make a big difference to image quality and especially performance.
The Canon EOS R5 Mark II uses a 45 megapixel stacked BSI CMOS image sensor (which Canon told us is different to the R5’s similarly specced sensor) paired with the very latest DIGIC X and DIGIC Accelerator dual image processors.
The native ISO range of both cameras runs from 100-51,200, which can be further expanded down to ISO 50 and up to ISO 102,400.
The new ‘Accelerated Capture’ imaging platform on the Mark II R5 supports the processing of larger volumes of data, alongside Deep Learning technologies. In turn this unlocks higher performance and improved auto focusing, continuous shooting and image quality compared with the original model.
So instead of the original R5’s 20fps burst shooting with the electronic shutter or 12fps with the mechanical shutter, you now get up to 30fps with the electronic shutter or 12fps with the mechanical shutter on the newer Mark II version.
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The buffer is also larger – 200 JPEG frames or 93/86 (CFexpress/SD card) RAW images on the R5 II versus 170 JPEG frames, 83 RAW or 130 Compressed C-RAW files on the R5.
The R5 II also additionally benefits from the new pre-continuous shooting feature which allows you to capture up to 15 frames (Raw or JPEG/HEIF) before fully pressing the shutter button.
So the combination of faster burst shooting rate, larger buffer and pre-capture make the EOS R5 II even better suited to capturing fast moving action than its already excellent predecessor.
This is backed up by an even more advanced auto-focus system that further builds on the R5.
The Mark II still employs the Dual Pixel CMOS AF system with a whopping 5,940 individual phase detection points that cover the frame up to 100% vertically and horizontally using the Auto AF area selection, but it can now can focus in light levels as low as -6.5EV.
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Subject tracking has been expanded so that it can now recognise horses, aeroplanes and trains in addition to people, animals and motorsport vehicles when shooting both photo and videos.
The new Dual Pixel Intelligent AF system featured on the R5 II offers an advanced tracking algorithm that can detect subject crossing/upper half of body and avoid obstacles by estimating the head area.
The new Action Priority subject tracking mode uses deep learning tech for football, basketball and volleyball to detect where the action is and move the AF point to that subject at up to 60fps. It can quickly detect and identify multiple people, status of joints and ball positions and automatically determine the main subject and action poses, depending on the sport.
The Registered People Priority mode can detect and prioritise up to 10 faces even in side profile, useful for sports, news and weddings, with the ability to save 10 files on a memory card each with 10 registered faces.
The R5 II’s eye control AF feature lets you select focus points or subjects to track simply by looking at them in the electronic viewfinder.
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Compared to the R3 model on which this feature first made its debut, eye control AF on the R5 Mark II offers improved performance thanks to a higher pixel count sensor, improved LEDs, larger eye detection area, an updated detection algorithm, and 2x faster eye movement detection speed.
The R5 II has a top shutter speed of 1/8000th second via either its mechanical shutter and an impressive 1/32,000th second via its electronic shutter.
One area where the Mark II surprisingly loses out to the older model is Pixel Shift Multi Shooting.
The Canon R5 had a special multi-shot shooting mode in which it could take 16 different images and combine them to produce a single, 400-megapixel JPEG image.
In stark contrast, the new Canon EOS R5 Mark II doesn’t have any such equivalent mode, which is presumably a limitation of the new image sensor rather than a conscious decision on Canon’s part.
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Instead, it uses the new AI-powered In-camera Upscaling feature to increase the resolution of JPEG/HEIF files, quadrupling the pixel count to 179 megapixels. In practice the results aren’t as good as true Pixel Shift Multi Shooting and it doesn’t work for Raw files, which rather limits its usefulness.
The Canon R5 Mark II can record 8K 60p RAW video in-camera, plus 4K 120p, 4K 60p oversampled from 6K, and 2K or Full HD at 240p in XF-HEVC S / XF-AVC S formats.
It offers 16+ stops of dynamic range, minimal rolling shutter, Canon Log-2 / Log-3 / HLG profiles, custom pictures, proxy movie support and 4-channel 24-bit audio.
You can also shoot video and stills at the same time on the EOS R5 Mark II, even whilst using continuous shooting.
It has a full size HDMI port, whereas the original R5 has a micro-HDMI port. One other key difference between the two cameras is that the R5 II can record 8K/60p for up to 120 minutes, while the EOS R5 can only record 8K/30p for up to 20 minutes before it overheats.
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The new Canon EOS R5 Mark II and 2020’s Canon EOS R5 outwardly look very similar at first glance. The new version has a slightly more angular, sculpted design than the previous model.
The On/Off dial on the top-left of the R5 has been replaced with a Stills/Video switch on the R5 II. The On/Off function has now been integrated into a new switch over on the top-right of the camera which also incorporates the Lock feature.
The new R5 II measures 138.5 x 101.2 x 93.5 mm and weighs 656g body only and 746g with a memory card card and battery fitted.
The original R5 measures 138.5 x 97.5 x 88mm and weighs 650g body only and 738g with a memory card card and battery fitted.
Both cameras use the same very impressive 5.76M-dot OLED electronic viewfinder with 0.76x magnification and a fast 120fps refresh rate, and both have a familiar 3.2-inch LCD panel with 2.1 million dots of resolution. It’s a fully articulating screen that can be flipped out to the side, rotated to the front, and folded against the back of the camera to help protect it.
The magnesium alloy bodies of both cameras have excellent weather-sealing.
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The 2020 Canon R5 has a pretty incredible stabilisation system, with 5-axis in-body image stabilisation (IBIS) which provides up to 8 stops of compensation when using the camera with certain compatible lenses, but the new R5 II is even slightly better again, now offering up to 8.5-stops of image stabilisation.
The Canon EOS R5 Mark II has one UHS-II SD card slot and one ultra-high speed CFexpress Type B slot, just like its predecessor.
The memory card format is an important part of using this camera, supporting the 8K video recording, burst shooting and speedy performance, so you ideally need to use a CFexpress card that supports in excess of 1500Mbps write speeds to get the best out of it.
The R5 II uses a new battery – the LP-E6P – which is required for some of the new video and burst shooting features. You can still use the LP-E6NH battery from the original R5 if you’re upgrading, but some of the newer features won’t be supported by it.
The new battery offers a lifespan of 340 shots when using the electronic viewfinder and 630 shots when using the LCD monitor, which is both better and worse than the R5 depending on how you use the camera.
There is an an optional battery grip available for the R5 II if you’d prefer to have a larger body with portrait controls and extended battery life.
Image Quality
All of the sample images in this review were taken using the 45 megapixel Fine JPEG setting, which gives an average image size of around 15Mb.
The Canon EOS R5 Mark II produced still images of outstanding quality during the review period.
This camera produces noise-free JPEG images from ISO 50 all the way up to ISO 6400, with noise first appearing at ISO 12800. The faster settings of 25600 and 51200 display quite a lot of noise, but they’re still fine to use for making smaller prints and web images. Even the fastest expanded setting of ISO 102400 can be used at a push.
The EOS R5 II proved to very capable in low-light, with the maximum shutter speed of 30 seconds and the Bulb mode allowing you to capture enough light in all situations and the camera’s -6EV rating successfully auto-focusing even in near-dark conditions.
The different Picture Styles and the ability to create your own are a real benefit, as are the HDR settings and multiple exposure mode, all of which can be previewed before you take the shot. Support for the HEIF 10-bit file format is still a little thin on the ground, but should offer a degree of future-proofing.
Noise
ISO sensitivity can be set between ISO 50 and ISO 102400 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.
File Quality
The Canon EOS R3 has two different file quality options – Raw and JPEG. Here are some 100% crops which show the differences.
| JPEG (14.4Mb) (100% Crop) | RAW (46.7Mb) (100% Crop) |
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HDR
The Canon R5 Mark II’s HDR Mode captures three different exposures and combines them into one, retaining more shadow and highlight detail, with an Auto mode, and three different strengths. There’s also a special HDR PQ mode which automatically records in the HEIF file format.
Multiple Exposure
The Canon EOS R5 Mark II’s multiple exposure mode allows you to take between two and nine images and merge them into a single photo in-camera.
Picture Styles
Canon’s Picture Controls are preset combinations of different sharpness, contrast, saturation and colour tone settings. The EOS R5 Mark II’s seven available Picture Controls are shown below in the following series, which demonstrates the differences. There are also three User Defined styes so that you can create your own particular look.
Sample Images
As of February 2025, we are no longer providing full size sample images or videos for download.
Please contact us if you have any feedback on our new policy.
Product Images
Conclusion
The new EOS R5 Mark II improves on virtually all the things that we loved about the original model, from auto-focusing to burst shooting and video performance, resulting in the best all-round Canon full-frame mirrorless camera to date.
It might look strikingly similar to its predecessor at first glance whilst offering the same megapixel count, but underneath the hood Canon have clearly been hard at work souping up what was already a very capable engine.
The adoption of the very latest DIGIC X processor and DIGIC Accelerator dual image processors principally allows the R5 II to shoot more quickly, focus faster and more accurately, and record 8K video for longer without overheating, an issue that dogged the original model.
Not only has the range of recognised subjects for auto-focusing been expanded, but the way in which you can focus on them has been further improved with the addition of Eye Control AF, a feature that at first sounds like a gimmick but in practice soon becomes a seamless part of how you use the camera.
The EOS R5 is still a great camera though, despite being 5 years old, and is well worth seeking out if you don’t need the extra bells and whistles offered by the Mark II version. One area where the Mark II surprisingly loses out to the older model is Pixel Shift Multi Shooting which is sadly absent on the newer model.
The Canon EOS R5 Mark II is priced at £4499 body only in the UK and €5149 in Europe, which is only slightly more expensive than the Canon EOS R5 was at launch, so it’s definitely the one to go for unless you can find the older model at a considerable discount.
| Ratings (out of 5) | |
|---|---|
| Design | 4.5 |
| Features | 5 |
| Ease-of-use | 5 |
| Image quality | 5 |
| Value for money | 4.5 |
Main Rivals
Listed below are some of the rivals of the Canon EOS R5 Mark II.
The Canon EOS R3 is a professional full-frame mirrorless camera for sports and action photographers that features a 24 megapixel stacked BSI sensor, 6K/60p Raw and 4K/120p video recording, 30fps burst shooting, eye-control autofocusing and a dual-grip design. Read our in-depth Canon R3 review complete with full-size sample photos and videos to find out just what the all-action R3 is capable of…
The EOS R5 has been the hottest full-frame camera on the block ever since Canon pre-announced it back at the start of 2020, thanks to its headline grabbing twin features of a 45 megapixel sensor and 8K video recording. We’ve seen it a few times since then, but now we can finally bring you our final Canon R5 review, complete with full-size sample photos and videos!
The EOS R6 Mark II is the successor to one of our favourite full-frame mirrorless cameras, principally adding a new 24 megapixel sensor, 40fps burst shooting and improved auto-focusing. Read our in-depth Canon EOS R6 II review now, complete with full-size sample photos and videos.
The Fujifilm GFX 100 II is a 100-megapixel, 8K video, 8-stop IBIS, 8fps continuous shooting, medium-format monster that is light enough to use all day, indoors and out. Find out just how good it is by reading our in-depth Fujifilm GFX 100 II review, complete with a gallery of full-size sample JPEG / Raw images and videos…
The Leica SL3 is a brand new digital camera with a 60 megapixel sensor, 8K/30p video recording and a hybrid AF system. Does this premium take on a 35mm full-frame interchangeable lens camera deliver premium results? Find out now by reading our in-depth Leica SL3 review, complete with full-size sample photos and videos…
The Nikon Z6 III is a new enthusiast full-frame hybrid mirrorless camera with a revolutionary partially stacked sensor and an amazing electronic viewfinder. Is this the best all-round prosumer mirrorless camera on the market? Find out now by reading our in-depth Nikon Z6 II review, complete with full size sample photos and videos…
As the spiritual successor to the popular D850 DSLR, the new Z8 full-frame mirrorless camera could turn out to be one of the most important products that Nikon have ever released. Read our in-depth Nikon Z8 review, complete with full-size sample photos and videos, to find out more about this mirrorless marvel…
The Sony Alpha 1 camera, or Sony A1 for short, is the best camera that Sony have ever released, and currently the best all-round camera on the market. It’s also one of the most expensive, so read our in-depth Sony A1 review complete with full-size sample JPEG and Raw photos and movies to find out if it’s truly the One for you…
The Sony A7R V full-frame camera is a hybrid powerhouse that in some ways outperforms even the flagship Alpha 1 model. Can this exciting camera really meet the needs of all kinds of photographers? Read our in-depth Sony A7R V review to find out…
Review Roundup
Reviews of the Canon EOS R5 Mark II from around the web.
Canon’s EOS R5 II is the company’s latest high-end, full-frame mirrorless camera, which now gains a Stacked CMOS sensor and many of the autofocus features of the company’s new flagship R1 model.
Read the full review »
A compelling camera for creators who mix stills and video, the EOS R5 Mark II’s Stacked CMOS sensor captures at high-resolution while avoiding motion distortion and delivers clear results thanks to Canon’s best-yet autofocus system.
Read the full review »
The Canon EOS R5 Mark II stakes a strong claim to be the best professional high-resolution, high-speed all-rounder on the market. The addition of eye control focus elevates it from its rivals, too.
Read the full review »
Specifications
Image Sensor
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Type
36 x 24 mm Full Frame back-illuminated stacked CMOS sensor
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Effective Pixels
Approx. 45 megapixels
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Total Pixels
Approx. 50.3 megapixels
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Aspect Ratio
3:2
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Low-Pass Filter
Built-in/Fixed
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Sensor Cleaning
EOS integrated cleaning system
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Colour Filter Type
RGB Primary Colour
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Sensor Shift-IS
Yes, up to 8.5-Stops advantage at the center and 7.5-stops peripheral depending on the lens used
Image Processor
Lens
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Lens Mount
RF / RF-S
EF and EF-S lenses can be attached using: Mount Adapter EF-EOS R Control Ring Mount Adapter EF-EOS R, Drop-In Filter Mount Adapter EF-EOS R
EF-M lenses are not compatible -
Focal Length
Equivalent to 1.0x the focal length of the lens with RF and EF lenses, 1.6x with EF-S and RF-S lenses.
Focusing
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Type
Dual Pixel Intelligent AF
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AF Positions
100% horizontal and 100% vertical with Face + Tracking and Auto Selection modes
100% horizontal and 90% vertical with manual selection and large zone modes -
AF Working Range
EV -6.5 – 21 (at 23°C & ISO100)
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AF Modes
One Shot, Servo AF, AI Focus AF (in A+ Scene Intelligent Auto mode )
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AF Point Selection
Automatic selection: Face + tracking. 1053 Available AF areas when automatically selected
Manual selection: Spot AF
Manual selection: 1-point AF (AF frame size can be changed) 5850 (stills)/ (4500) movie AF positions available
Manual selection: AF point Expansion 4 points (up, down, left, right)
Manual selection: AF point Expansion surrounding
Manual selection: Flexible Zone AF 1-3 (all AF points divided into minimum 9 to 999 maximum focusing zones, where the width and hight is also adjustable)
Manual selection: Whole area AF
Manual selection: Spot AF (Whole area tracking servo AF OFF)
Manual selection: 1-point AF (Whole area tracking servo AF OFF)
Manual selection: AF point Expansion 4 points (up, down, left, right) (Whole area tracking servo AF OFF)
Manual selection: AF point Expansion surrounding (Whole area tracking servo AF OFF) -
AF Tracking
Humans (Eyes, Face, Head, Upper half of body, Body), Animals (Dogs, Cats, Birds and Horses) or Vehicles (Racing cars or Motor bikes, Airplanes and Trains), Register People Priority (up to 10 x 10 registered people), Action Priority (Football, Basketball, Volleyball)
Supported actions:
– Soccer: Shoot, header, short pass, long pass, dribble, clear, place kick, save by keeper, throw in, sliding tackle
– Basketball: Shoot, rebound, pass, dribble, free throw, jump ball
– Volleyball: Spike, toss, receive, serve -
AF Lock
Locked when shutter button is pressed halfway or AF ON is pressed in One Shot AF mode. Using customised button set to AF stop in AI servo
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AF Assist Beam
Emitted by built in LED or optional dedicated Speedlite (flash)
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Manual Focus
Selected on lens
Exposure Control
-
Metering Modes
Real-time with image sensor, 6144-zone metering.
(1) Evaluative metering (linked to All AF points)
(2) Partial metering (Approx. 9.5% of screen at centre)
(3) Spot metering: Centre spot metering (Approx. 5.3% screen at centre) AF point-linked spot metering not provided
(4) Centre weighted average metering -
Metering Brightness Range
EV -3 – 20 (at 23°C, ISO100, with evaluative metering)
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AE Lock
Auto: AE lock takes effect when focus is achieved Manual: By AE lock button in P, Av, Fv, Tv and M modes
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Exposure Compensation
+/-3 EV in 1/3 or 1/2 stop increments (can be combined with AEB)
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AEB
+/-3 EV in 1/3 or 1/2 stop increments
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Anti-flicker Shooting
Yes. Flicker detected at a frequency of 100 Hz or 120 Hz. Maximum continuous shooting speed may decrease available with both electronic and mechanical shutter
High Frequency anti flicker shooting for M and TV modes
Electronic 1st-curtain: 1/50.0 to 1/2048.0 sec.
Electronic shutter: 1/50.0 to 1/8192.0 sec.
Movie recording: 1/50.0 to 1/8192.0 sec. (NTSC/PAL)
Maximum continuous shooting speed may decrease. -
ISO Sensitivity
Auto 100-51200 (in 1/3-stop or 1 stop increments)
ISO can be expanded to L:50, H1:1024005
Shutter
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Type
Electronically-controlled focal-plane shutter and Electronic shutter function on sensor
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Speed
Mechanical / Electronic 1st-curtain: 30-1/8000 sec (1/2 or 1/3 stop increments), Bulb
Electronic: 30-1/32000 (1/2 or 1/3 stop increments up to 1/16000 then 1 stop until 1/32000), Bulb
(Total shutter speed range. Available range varies by shooting mode) -
Shutter Release
Soft touch electromagnetic release
White Balance
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Type
Auto white balance with the imaging sensor supported by deep learning technology
AWB (Ambience priority/White priority), Daylight, Shade, Cloudy, Tungsten light, White Fluorescent light, Flash, Custom, Colour Temperature Setting -
Settings
White balance compensation:
1. Blue/Amber +/-9
2. Magenta/Green +/-9 -
Custom White Balance
Yes, 5 setting can be registered
-
WB Bracketing
+/-3 levels in single level increments 3, 2, 5 or 7 bracketed images per shutter release
Selectable Blue/Amber bias or Magenta/Green bias
Viewfinder
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Type
0.5-inch OLED colour EVF
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Dot Count
5.76 Million dots (1600×1200)
-
Coverage (Vertical/Horizontal)
Approx. 100%
-
Magnification
Approx. 0.76x
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Eyepoint
Approx. 24mm (from eyepiece lens centre)
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Dioptre Correction
-4 to +2 m-1 (dioptre)
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Display Performance
Power saving: 59.94 fps Smooth 119.98 fps , supress low frame rate 60 -119.8fps (7 level of brightness)
-
Viewfinder Information
AF point information, Eye Control pointer, Exposure level indicator, Shooting mode, ISO speed, Shutter speed, Aperture, Number of remaining multiple exposures, Exposure compensation, HDR shooting, Highlight tone priority, Multiple-exposure shooting, Multi Shot Noise Reduction, Number of self-timer shooting, Digital Lens Optimizer, Maximum burst, AF method, Battery level, Electronic level size, Card free space (%) display, AF operation, Exposure simulation, Drive mode, AEB, Metering mode, FEB, Anti-flicker shooting, Still photo cropping, Aspect ratio, Auto Lighting Optimizer, AE lock, Picture Style, Flash-ready, White balance, Flash off, White balance correction, FE lock, Image Quality, High-speed sync, Bluetooth function, Wi-Fi function, Multi-function lock warning, Histogram, Electronic level, Lens information, focus distance scale, vertical exposure scale, Grid,
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Depth of Field Preview
Yes, via customised button
LCD Monitor
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Type
8.0cm (3.2″) TFT Colour LCD, approx. 2.1million dots
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Coverage
Approx. 100%
-
Viewing Angle (Horizontally/Vertically)
Approx. 170° vertically and horizontally
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Coating
Anti-smudge coating provided.
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Brightness Adjustment
Manual: Adjustable to one of seven levels Colour Tone Adjustment: 4 settings
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Touch Screen Operations
Capacitive method with menu functions, Quick Control settings, playback operations, and magnified display. AF point selection in still and Movies, touch shutter is possible in still photo shooting.
-
Display Options
(1) Basic Camera settings
(2) Advance Camera settings
(3) Camera settings plus histogram and dual level display
(4) No info
(5) Quick Control Screen
(6) Off
Flash
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Modes
E-TTL II flash metering, Manual flash, MULTI flash (stroboscopic), Auto external flash metering, Manual external flash metering
-
X-Sync
When [Cropping/aspect ratio: Full-frame/1:1/4:3/16:9] is set: 1/200 sec mechanical shutter / 1/250 electronic 1st curtain, 1/160 sec Electronic shutter
When [Cropping/aspect ratio: 1.6x (crop)] is set: 1/250 sec mechanical shutter / 1/320 electronic 1st curtain, 1/250 sec Electronic shutter -
Flash Exposure Compensation
‘+/- 3EV in 1/3 increments with EX and EL series Speedlite flashes
-
Flash Exposure Bracketing
‘+/- 3EV in 1/3 increments with EX and EL series Speedlite flashes
-
Flash Exposure Lock
Yes
-
Second Curtain Synchronisation
Yes via Speedlite
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Multi-Function Shoe / HotShoe / PC Terminal
Yes/Yes and Multi-function shoe
-
External Flash Compatibility
EL series Speedlites, EX series Speedlites, Macrolites, Wireless multi-flash support
-
External Flash Control
via camera menu screen
Shooting
-
Modes
Stills: Scene Intelligent Auto, Flexible priority AE, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (x3)
Movie: Scene Intelligent Auto, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb and Custom (x3) -
Picture Styles
Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3)
-
Colour Space
SDR: sRGB and Adobe RGB HDR PQ: BT.2020
Highlight Tone Priority (3 settings)
Auto Lighting Optimizer (4 settings)
Long exposure noise reduction (3 settings) (still only)
Clarity
High ISO speed noise reduction (4 settings) (still and video)
Lens optical correction:
– Peripheral illumination correction, Chromatic aberration correction Distortion correction (during/after still photo shooting, during video only)
– Focus breathing correction(during video only)
– Diffraction correction,
– Digital Lens Optimizer (during/after still photo shooting) -
Image Processing
Resize to M, S1, S2
Cropping: JPEG images can be cropped (Aspect ratios 3:2, 4:3, 16:9, 1:1)
Cropping of images
– Switch between vertical and horizontal cropping orientation
– Image straightening
– Cropping frame can be moved using touch screen operation
– Neural Network Upscaling
RAW image processing
Neural Network Noise Reduction
Multiple exposure
HDR
HEIF to Jpeg conversion (inc Batch conversion)
Focus Bracketing and in camera composition -
Drive Modes
Single, Continuous High+, Continuous High, Continuous Low, Customisable Continuous shooting speeds, Self-timer (2s+remote, 10s+remote, continuous)
-
Continuous Shooting
Max. Approx. 12 fps. with Mechanical shutter/1st curtain electronic speed maintained for 760 JPEG or 230/95(CFexpress/SD card) RAW images or 30 FPS with electronic shutter speed maintained for 200 JPEG or 93/86(CFexpress/SD card) RAW images.
Custom Continuous shooting speed with Electronic shutter selectable options 30 / 20 / 15 / 12 / 10 / 7.5 / 5 / 3 / 2 / 1 FPS depending on the drive mode. Pre-Continuous shooting is possible from 15 shots before the shutter button is fully pressed when the AF is on for 15 shots or more. -
Interval Timer
Built in
File Type
-
Still Image Type
RAW 14 bit: RAW and C-RAW (Canon original RAW 3rd edition)
JPEG 8 bit: 10 compression options
HEIF 10 bit: 10 compression options
Complies with Exif 2.31 and Design rule for Camera File system 2.0
Complies with Digital Print Order Format [DPOF] Version 1.1 -
RAW+JPEG Simultaneous Recording
Yes, any combination of RAW + JPEG or RAW + HEIF possible,
-
Image Size
RAW/ C-RAW:
3:2 ratio 8192×5464, 1.6x (crop) 5088×3392
JPEG/ HEIF:
3:2 ratio (L, RAW, C-RAW) 8192×5464, (M) 6000×4000, (S1) 4176×2784, (S2) 2400×1600
1.6x (crop) (L) 5088×3392, (S2) 2400×1600
4:3 ratio (L) 7280×5464, (M) 5328×4000, (S1) 3712×2784, (S2) 2112×1600
16:9 ratio (L) 8192×4608, (M) 6000×3368, (S1) 4176×2344, (S2) 2400×1344
1:1 ratio (L) 5456×5456, (M) 4000×4000, (S1) 2784×2784, (S2) 1600×1600
In-camera Neural Network Upscaling up to 16384×10928 (179MP) -
Folders
New folders can be manually created, named and selected
Movie folder structure is adopting the XF-HEVC S / XF-AVC S format -
File Numbering
(1) Consecutive numbering
(2) Auto-reset
(3) Manual reset -
File Naming
Still:
Preset code Unique 4-digit character string + 4-digit file number
2 User Presets
Movie:
Adopting the XF-HEVC S / XF-AVC S format
Camera index, Reel number, Clip number, Codec type, Shooting start date, Shooting start time, Random ID, User defined 5 characters, Stream number, (Proxy)
EOS Movie
-
Movie Type
RAW/SRAW Video: 8K DCI(17:9) / 4K DCI(17:9)
MP4 Video: 8K DCI/UHD (17:9/16:9) 4K DCI/UHD (17:9/16:9), 2K/Full HD (17:9/16:9)
8K/4K/2K/Full HD: XF-HEVC S/H.265, Audio: Linear PCM / AAC
4K/2K/Full HD: MPEG-4 AVC S/H.264, Audio: Linear PCM / AAC
8K RAW 4K RAW: 12bit CRM Audio: Linear PCM / AAC
8K/4K/FullHD Time-lapse movie mode -
Movie Size
RAW (Light) (17:9) 8192 x 4320 (59.94, 50, 29.97, 25, 24, 23.98 fps)
RAW (Standard) (17:9) 8192 x 4320 (29.97, 25, 24, 23.98 fps)
SRAW (Standard, Light) (17:9) 4096 x 2160 (59.94, 50, 29.97, 25, 24, 23.98 fps)
8K DCI (17:9) 8192 x 4320 (29.97, 25, 24, 23.98 fps) 2-3 type of intra or Long GOP
8K UHD (16:9) 7680 x 4320 (29.97, 25, 23.98 fps) 2-3 type of intra or Long GOP
4K DCI (17:9) 4096 x 2160 (119.9, 100, 59.94, 50, 29.97, 25, 24, 23.98 fps) 3 type of intra or Long GOP
4K UHD (16:9) 3840 x 2160 (119.9, 100, 59.94, 50, 29.97, 25, 23.98 fps) 3 type of intra or Long GOP
2K DCI (17:9) 2048 x 1080 (239.76, 200, 119.9, 100, 59.94, 50, 29.97, 25, 24, 23.98 fps) Intra frame or Long GOP
Full HD (16:9) 1920 x 1080 (239.76, 200, 119.9, 100, 59.94, 50, 29.97, 25, 23.98 fps) Intra frame or Long GOP
HDR movie recording at up to 59.94p in Normal modes of 4K DCI/UHD, 2K DCI/UHD, Full HD
HDR movie recording at up to 29.97p in Fine modes of 4K DCI/UHD, 2K DCI/UHD, Full HD -
Colour Sampling (Internal Recording)
8K/ 4K/ 2K/ Full HD – YCbCr4:2:0 or YCbCr4:2:2 8-bit or 10bit
-
Canon Log
Custom Picture:
C1: Canon 709
C2: Canon Log 2
C3: Canon Log 3
C4: PQ
C5: HLG
C6: BT.709 Standard
C7 – C20: User Defined
Picture Styles: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Defined (x3) -
Movie Length
Max duration 6 hours. (excluding High Frame Rate movies). No 4 GB file limit with exFAT formatted card.
-
High Frame Rate Movie
MP4 Video:
4K – DCI 4096×2160 / UHD 3840×2160 at 119.9 / 100 fps
2K – DCI 2048×1080 / UHD 1920×1080 at 239.76 / 200 / 119.9 / 100 fps
Full HD 1920 x1080 at 239.76 / 200 / 119.9 / 100 fps -
Frame Grab
35.4-megapixel JPEG still image frame grab from 8K DCI movie possible
33.2-megapixel JPEG still image frame grab from 8K UHD movie possible
8.8-megapixel JPEG still image frame grab from 4K DCI movie possible
8.3-megapixel JPEG still image frame grab from 4K UHD movie possible
(HEIF only possible when HDR PQ is set)
Dual Shooting (Still & Movie):
Movie Output:
Main recording format: XF-AVC S YCC420 8bit
Movie recording size: Full HD (Normal) at 29.97p / 25p (LGOP)
Still Drive mode (JPEG only at the resolution of 8K(7680×4320) and Aspect ratio: Approx. 16:9):
High speed (Max. approx. 7.5 shots/sec. (NTSC), Max. approx. 6.2 shots/sec. (PAL))
Low speed (Max. approx. 5.0 shots/sec. (NTSC), Max. approx. 4.1 shots/sec. (PAL))
Single shooting -
Bitrate / Mbps
CRM:
8K RAW Standard (29.97p/25.00p/24.00p/23.98p): Approx. 2600 Mbps
8K RAW Light (59.94p/50.00p): Approx. 2600 Mbps
8K RAW Light (29.97p): Approx. 1670 Mbps
8K RAW Light (25p): Approx. 1400 Mbps
8K RAW Light (24.00p/23.98p): Approx. 1340 Mbps
4K SRAW Standard (59.94p): Approx. 1860 Mbps
4K SRAW Standard (50p): Approx. 1550 Mbps
4K SRAW Standard (29.97p): Approx. 930 Mbps
4K SRAW Standard (25.00p/24.00p/23.98p): Approx. 780 Mbps
4K SRAW Light (59.94p): Approx. 840 Mbps
4K SRAW Light (50p): Approx. 700 Mbps
4K SRAW Light (29.97p): Approx. 420 Mbps
4K SRAW Light (25.00p/24.00p/23.98p): Approx. 350 Mbps
MP4 8K DCI/UHD Normal:
XF-HEVC S YCC422 10bit
High Quality Intra 24p / 23.98p: Approx. 1920 Mbps
Standard Intra 25p: Approx. 1500 Mbps
Light Intra 25p: Approx. 1000 Mbps
Standard LGOP 25p: Approx. 540 Mbps
XF-HEVC S YCC420 10bit Standard LGOP
29.97p/25.00p/24.00p/23.98p: Approx. 400 Mbps
MP4 4K DCI/UHD Fine / Normal (Oversampled from 8K / Not oversampled):
XF-HEVC S YCC422 10bit Standard LGOP
29.97p/25.00p/24.00p/23.98p: Approx. 135 Mbps
XF-HEVC / XF-AVC S S YCC420 10bit / 8bit Standard LGOP
29.97p/25.00p/24.00p/23.98p: Approx. 100 Mbps
XF-AVC S YCC422 10bit
High Quality Intra 25p: Approx. 500 Mbps
Standard Intra 25p: Approx. 375 Mbps
Light Intra 25p: Approx. 250 Mbps
Standard LGOP 29.97p/25.00p/24.00p/23.98p: Approx. 150 Mbps
MP4 4K DCI/UHD Normal (Not oversampled):
XF-HEVC S YCC422 10bit Standard LGOP
119.9p / 100p: Approx. 450 Mbps
59.94p/50.00p: Approx. 225 Mbps
XF-HEVC / XF-AVC S S YCC420 10bit / 8bit Standard LGOP
119.9p / 100p: Approx. 300 Mbps
59.94p/50.00p: Approx. 150 Mbps
XF-AVC S YCC422 10bit
High Quality Intra 50p: Approx. 1000 Mbps
Standard Intra 100p: Approx. 1500 Mbps
Standard Intra 50p: Approx. 750 Mbps
Light Intra 100p: Approx. 1000 Mbps
Light Intra 50p: Approx. 500 Mbps
Standard LGOP 100p: Approx. 500 Mbps
Standard LGOP 50p: Approx. 250 Mbps
MP4 2K DCI / FullHD Fine / Normal (Oversampled from 4K / Not oversampled):
XF-HEVC S YCC422 10bit Standard LGOP
59.94p/50.00p/29.97p/25.00p/24.00p/23.98p: Approx. 50 Mbps
XF-HEVC / XF-AVC S S YCC420 10bit / 8bit Standard LGOP
59.94p/50.00p/29.97p/25.00p/24.00p/23.98p: Approx. 35 Mbps
XF-AVC S YCC422 10bit
Standard Intra 25p/50p: Approx. 125/250 Mbps
Standard LGOP 59.94p/50.00p/29.97p/25.00p/24.00p/23.98p: Approx. 50 Mbps
MP4 2K DCI/UHD Normal (Not oversampled):
XF-HEVC S YCC422 10bit Standard LGOP
239.76p / 200p: Approx. 200 Mbps
119.88p / 100p: Approx. 100 Mbps
XF-HEVC / XF-AVC S S YCC420 10bit / 8bit Standard LGOP
239.76p / 200p: Approx. 140 Mbps
119.88p / 100p: Approx. 70 Mbps
XF-AVC S YCC422 10bit
Standard Intra 200p: Approx. 1000 Mbps
Standard Intra 100p: Approx. 500 Mbps
Standard LGOP 200p: Approx. 200 Mbps
Standard LGOP 100p: Approx. 100 Mbps
Proxy movie (2K-DCI Normal / Full HD Normal)
XF-HEVC S YCC420 10bit / XF-AVC S YCC420 8bit Standard LGOP
59.94p/50p/29.97p/25p/24p/23.98p: Approx. 16 Mbps
XF-HEVC S YCC420 10bit / XF-AVC S YCC420 8bit Light LGOP
59.94p/50p/29.97p/25p/24p/23.98p: Approx. 9 Mbps -
Dual Card Recording
Yes (including Proxy recording)
-
Microphone
Built-in mono microphone (48 Khz, 24/16-bit x 2 channels)
Audio format:
LPCM / 24 bit / 4CH
AAC / 16 bit / 2CH -
HDMI Display
Output to external monitor only (output of images and shooting information, images are recorded to the card)
Camera screen and External Monitor output (Simultaneous recording to camera and external recorder, camera screen shows images with shooting information) -
HDMI Output
8K RAW or 4K SRAW ProRes recording via HDMI
4K (DCI) 59.94p / 50p/29.97p /25p/24p/ 23.98p,
4K (UHD) 59.94p / 50p/ 29.97p / 25p / 23.98p,
Full HD 59.94p / 60i / 59.94i / 50p / 50i
480p 59.94p
576p 50p
Uncompressed YCbCr 4:2:2, 10-bit, sound output via HDMI is also possible -
Focusing
Dual Pixel Intelligent AF with Eye/Face Detection and Tracking AF (people, animals and vehicles) , Movie Servo AF, Manual Focus
-
ISO
Auto: 100-25600, H: up to 51200 (when custom picture is off)
Manual: 100-25600, H: up to 51200 (when custom picture is off)
Other Features
-
Network Options
Communication functions:
– Via Wi-Fi: FTP, FTPS, SFTP, EOS Utility, image.canon, Sync time between cameras, Camera Connect, Streaming services, Content Transfer Professional, Linked shooting, Camera Control API
– Via Bluetooth: Camera Connect, BR-E1
– Via USB: EOS Utility, Camera Connect, Content Transfer Professional, Video calls/streaming (UVC/UAC)
– Via Ethernet: FTP, FTPS, SFTP, EOS Utility, Sync time between cameras, Camera Control API
Simultaneous use of communication functions:
– FTP (wireless LAN) + EOS Utility (wireless LAN)
– FTP (wired LAN) + EOS Utility (wired LAN)
– FTP (wireless LAN) + EOS Utility (USB)
– FTP (wired LAN) + EOS Utility (USB) -
Metadata Tag
User copyright information (can be set in camera)
Image rating (0-5 stars)
IPTC data (registered with EOS Utility)
IPTC data (via CTP app)
IPTC IIM (via CTP app)
NewsML-G2 (News Metadata) (via CTP app)
Image transfer with caption (Caption registered with EOS Utility)
Blur/Out-of-Focus image detection data -
LCD Panel / Illumination
Yes/Yes
-
Water/Dust Resistance
Yes
-
Voice Memo
Yes
-
Intelligent Orientation Sensor
Yes
-
Playback Zoom
1.5x – 10x in 15 steps / on high resolution image (Upscaled image): 1.5x to 35x (22 levels)
-
Display Formats
(1) Single image
(2) Single image with information (2 levels)
Basic – Shooting information (shutter speed, aperture, ISO and Image quality)
Detailed – Shooting information (shutter speed, aperture, ISO, metering Image, quality and file size), Lens information,
Brightness and RGB histogram, Waveform monitor(movie mode only), White balance, Picture Style, Colour space and noise reduction, Lens optical correction, GPS information, IPTC information
(3) 4 image index
(4) 9 image index
(5) 36 image index
(6) 100 image index
(7) Jump Display (1, 10 or 100 images, start of burst sequence Date, Folder, Movies, Stills, Protected images, Rating)
(8) Movie edit
(9) RAW processing
(10) Rating -
SlideShow
Image selection: All images, by Date, by Folder, Movies, Stills, Protected images or Rating
Playback time: 1/2/3/5/10 or 20 seconds
Repeat: On/Off -
Histogram
Brightness: Yes RGB: Yes
-
Highlight Alert
Yes
-
Image Erase
Select and erase images / Select range / All images in folder / All images on card / All found images (only during image search), Images transmitted via FTP
-
Image Erase Protection
Erase protection of Select images / Select range / All images in folder / Unprotect all images in folder / All images on card / Unprotect all images on card / All found images / Unprotect all found images (only during image search)
-
Self Timer
2 or 10 sec.
-
Menu Categories
(1) Shooting menu
(2) AF Menu
(3) Playback menu
(4) Communication Function (Network)
(5) Function settings (Setup menu)
(6) Customize controls
(7) Custom Functions menu
(8) My Menu -
Menu Languages
29 Languages English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Czech, Hungarian, Vietnamese, Hindi, Romanian, Ukrainian, Turkish, Arabic, Thai, Simplified Chinese, Traditional Chinese, Korean, Malay, Indonesia and Japanese
-
Firmware Update
Update possible by the user using Camera Connect app or EOS Utility (Camera, Lens, External Speedlite, BLE remote control, Lens adapter, Power zoom adapter, multi-function shoe compatible accessories)
Interface
-
Computer
SuperSpeed Plus USB 3.2 Gen 2 USB Type-C® connector
-
Wi-Fi
Wireless LAN (IEEE 802.11ax 2×2 MIMO) (6 GHz / 5 GHz / 2.4 GHz), with Bluetooth 5.3 support
-
Other
HDMI out (Type A, HDMI-CEC not supported), External Microphone In (Stereo mini jack), Headphone socket (Stereo mini jack), N3-type terminal (remote control terminal), PC Sync terminal.
Direct Print
Storage
Supported Operating System
Software
-
Image Processing
Digital Photo Professional 4.19.10 or later
Digital Photo Professional Express mobile app 1.10.10 or later (iOS only) -
Other
EOS Utility 3.18.10 or later (incl. Remote Capture), Picture Style Editor, EOS Lens Registration Tool, EOS Web Service Registration Tool, Canon Camera connect app 3.2.10 or later (iOS/Android), Content Transfer Professional app (iOS/Android).
Power Source
-
Batteries
Rechargeable Li-ion Battery LP-E6P (supplied)
-
Battery Life
With LCD Approx. 630 shots (at 23°C)
With Viewfinder Approx. 340 shots (at 23°C) -
Battery Indicator
6 levels + percentage
-
Power Saving
Power turns off after 30 seconds, 1, 3, 5, 10 or 30mins
-
Power Supply & Battery Chargers
Battery charger LC-E6E (supplied), Car Battery Charger CBC-E6, CD Coupler DR-E6P, PD-E2 USB power adapter, PD-E1 USB power adapter
Accessories
-
Lenses
All RF and RF-S lenses (EF & EF-S via Lens adapters)
-
Lens Adapters
EF TO EOS R ADAPTER, EF TO EOS R ADAPTER WITH CONTROL RING, EF TO EOS R Drop in filter ADAPTER
-
Flash
Canon Speedlite (EL-1, EL-5 EL-100, 90EX, 220EX, 270EX, 270EX II, 320EX, 380EX, 420EX, 430EX, 430EX II, 430EX III 470EX-AI, 550EX, 580EX, 580EX II, 600EX, 600EX-RT, 600EX-II-RT, Macro-Ring-Lite MR-14EX, Macro Ring Lite MR-14EX II, Macro Twin Lite MT-24EX, Macro Twin Lite MT-26EX Speedlite Transmitter ST-E2, Speedlite Transmitter ST-E3-RT, Speedlite Transmitter ST-E3-RT V2, Speedlite Transmitter ST- E10)
-
Battery Grip
BG-R20 battery grip, BG-R20EP battery grip, CF-R20EP Cooling Fan
-
Remote Controller / Switch
Remote Switch RS-80N3, Timer Remote Controller TC-80N3, Remote control with N3 type socket, Speedlite 600EX-II-RT. Speedlite EL-1 and BR-E1 Bluetooth remote
-
Other
GP-E2 GPS receiver (digital compass not supported), Eyecup ER-KE, Multi-Function Shoe Adapter AD- E1, Multi-Function Shoe Directional Stereo Microphone DM-E1D (Mic), Multi-Function Shoe Adapter for Smartphone Link AD-P1 for Android, Stereo Microphone DM-E1 / DM-E100, Tascam CA-XLR2d-C XLR microphone adapter, Rain Cover small ERC-R5S, Rain Cover large ERC-R5L, Protecting Cloth PC-E1, Hand Strap E2, Shoe cover ER-SC1, Shoe cover ER-SC2, Shoe cover ER-SC3, Tripod Grip HG-100TBR, Interface Cable IFC-100U, Interface Cable IFC-400U
Physical Specifications
-
Body Materials
Magnesium Alloy body and Chassis with some components consisting of polycarbonate with glass fibre
-
Operating Environment
0 – 40 °C, 85% or less humidity
-
Dimensions (W x H x D)
Approx. 138.5×101.2×93.5 mm
-
Weight (Body Only)
Approx. 656 g (746 g with card and battery)
Your Comments
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