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The 5D Mark IV thread

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    The 5D Mark IV thread

    Updated this first post with the official spec and feature list:

    Continuing on in their legacy of powerful workhorse cameras, Canon has released the 5D Mark IV DSLR with 24-105mm f/4L II Lens which is an outstanding still photography option and an able 4K-capable video machine. This multimedia maven offers a newly developed 30.4MP full-frame CMOS sensor paired with the DIGIC 6+ image processor in order to balance fine detail and resolution with low-light performance and sensitivity. It is able to work within a native range of ISO 100-32000, which can then be expanded to an impressive ISO 50-102400, for sharp, low-noise images in a variety of conditions. Along with these improvements to image quality, users will enjoy a performance boost across the board with an enhanced AF system, built-in Wi-Fi, NFC, and GPS, and much more.

    In order to deliver detailed images quickly and effectively the 5D Mark IV leverages the power of the DIGIC 6+ image processor, which can handle up to 7 frames per second during continuous shooting. It also uses a 150,000-pixel RGB+IR metering sensor to evaluate the scene and subjects for accurate exposures under a variety of different lighting conditions. An improved 61-point High Density Reticular AF furthers the camera's speed by tracking and locking onto subjects quickly and accurately for tack sharp photos. A new AF area select button is now available as well for near immediate access to this setting.

    Video benefits from the addition of Dual Pixel CMOS AF and Movie Servo AF to smoothly rack focus during a shot. Shooters can even make use of the 3.2" 1.62m-dot touchscreen LCD to simply tap to adjust the focus point. Furthermore, now that the camera has DCI 4K (4096 x 2160) video recording at up to 30 fps, users can snag 8.8MP stills from the video for an even faster capture option. Tied into the Dual Pixel sensor architecture is a brand new feature for Canon: Dual Pixel RAW, which allows for fine tuning of certain image parameters, including bokeh shift and focus micro adjustment, after the image is taken.

    The body has been further refined for comfort and ease of access, as well as durability and weather resistance. The Canon N3 remote port has been relocated to the front of the camera body and they have added both GPS and Wi-Fi with NFC to make this model a connected camera. This kit bundles the camera with the EF 24-105mm f/4L IS II USM Lens, an updated version of one of the most popular zoom lenses ever available in Canon's lens lineup. Offering an extremely versatile 24-105mm zoom range as well as a constant f/4 maximum aperture, users can shoot a variety of subjects with ease. This model also features improved peripheral illumination compared to its predecessor.

    30.4MP Full-Frame CMOS Sensor and DIGIC 6+ Image Processor
    In line with previous members of the main 5D series, the Mark IV attempts to balance high resolution with low-light performance with a newly developed 30.4MP full-frame CMOS sensor. This provides a beneficial increase in overall resolution without compromising on sensitivity. Additionally, thanks to the DIGIC 6+ image processor it is paired with, it offers impressive performance within a native range of ISO 100-32000, which can be expanded to ISO 50-102400.

    Versatility is key with the 5D, as it needs to be able to tackle landscapes and weddings with equal ease. By using a 150,000-pixel RGB+IR metering sensor shooters will be able to more comfortably rely on the camera to capture difficult scenes. This sensor also has face detection as well as flicker detection which can ensure proper exposure in less-than-ideal lighting situations. Along with this, the camera offers an improved continuous shooting rate of 7 fps, making it a great option for events and action.

    High Density Reticular AF and Dual Pixel CMOS AF Systems
    Ensuring your subject is tack sharp, the 5D Mark IV incorporates an enhanced High Density Reticular AF system, which offers 61 phase-detect points, with all points sensitive to f/8 and 41 of which are cross-type. The center point can function down to -3 EV for working in extremely dim lighting. Compared to previous versions, this sensor has expanded vertical coverage of 24% on the peripherals and 8% in the center in order to better track and locate subjects in the frame.

    In addition to advanced tracking and focusing while using the optical finder for stills, Live View and video can now use Dual Pixel CMOS AF on the actual imaging sensor. This offers about 80% coverage of phase-detection autofocus for faster and more accurate focusing in these modes. It is ideal for video as users will enjoy smoother rack focusing without the downsides normally encountered with contrast-based systems. Also, this works well with the touchscreen functions, allowing shooters to just tap to adjust focus.

    DCI 4K Video Recording
    Designed for both professional stills shooting and video recording, the 5D Mark IV supports DCI 4K (4096 x 2160) resolution recording at up to 30 fps at 500 Mbps, along with Full HD 1080p shooting at 60 fps at 180 Mbps for slow motion playback. When recording in-camera, 4K video has 4:2:2 sampling and 8-bit color depth, while Full HD 1080p footage has 4:2:0 sampling. Uncompressed Full HD 1080p video can also be saved via HDMI to an optional external recorder with 4:2:2 color sampling. 4K video is recorded using a central 4096 x 2160 area of the sensor at a 1.74x crop in order to record video with an ideal 1:1 pixel sampling ratio, while Full HD recording makes use of the entire full frame.

    Audio can be recorded using the on-board stereo microphone or an optional external mic can also be used via the 3.5mm mic jack. Real time audio monitoring is possible, too, via the 3.5mm headphone jack. The 4K video recording also avails the ability to take 8.8MP still frame grabs during playback on the rear touchscreen and save them as single images.

    Dual Pixel RAW
    First implemented here on the 5D Mark IV, Dual Pixel RAW allows photographers to record all the information the sensor's unique pixel architecture can deliver, providing a way for fine adjustments to be made after the image is taken. These adjustments include focus fine tuning that can help you ever-so-slightly adjust the focus point to bring out extra details, shift bokeh around for improved composition, and reduce the impact of ghosting on your photos. This requires the use of Canon's Digital Photo Professional 4.5 software.

    Body Design

    A large 3.2" 1.62m-dot Clear View II LCD monitor is available and features an anti-reflective design for bright, vivid image playback and live view shooting, and its touchscreen interface can be used for intuitive touch-to-focus control and adjusting settings in the menus.
    A dedicated AF mode selection button located beneath the rear joystick offers another avenue for accessing settings, allowing for fast, intuitive access to commonly changed options.
    Dual CompactFlash and SD memory card slots allow you to extend your file saving capabilities by permitting overflow recording or in-camera file type separation while shooting.
    An Intelligent Viewfinder II uses a pentaprism design and offers a bright means for viewing. When using the viewfinder, AF points are highlighted in red for greater visibility in low-light conditions, and the finder can also be configured to display a range of other shooting aids, such as an electronic level, grid, flicker detection, white balance, metering mode, AF information, and other settings.
    A Mirror Vibration Control System helps to minimize mechanical vibrations in order to better ensure sharpness during long exposures or fast continuous shooting bursts.
    A robust magnesium alloy body design is both dust- and weather-sealed to permit working in harsh environments.

    Other Camera Features

    A built-in GPS module allows you to geotag imagery in-camera as well as auto time sync with the Universal Time Code via satellites. This module is compatible with American GPS, Russian GLONASS, and Japanese quasi-zenith Michibiki satellites for a wide coverage of support.
    Digital Lens Optimizer technology compensates for a range of optical defects from various lenses, including chromatic aberration, distortion, peripheral brightness, and diffraction, and the camera can store lens data in order to avoid having to re-register lenses prior to each use. The camera can handle this process in real time, delivering JPEGs with the corrections already applied.
    A built-in intervalometer permits the creation of time lapse imagery and supports recording 1-99 consecutive frames in pre-selected intervals from 1 second to 99 hours 59 minutes and 59 seconds. Users can also choose to set the camera to unlimited frames.
    Built-in Wi-Fi and NFC connectivity enable wireless sharing, control, and image transfer with a compatible smart device as well as the CS100 Connect Station.

    Lens Mount Canon EF
    Camera Format Full-Frame (1.0x Crop Factor)
    Pixels Actual: 31.7 Megapixel
    Effective: 30.4 Megapixel
    Max Resolution 30.4 MP: 6720 x 4480
    Aspect Ratio 3:2
    Sensor Type / Size CMOS, 36 x 24 mm
    File Formats Still Images: JPEG, RAW
    Movies: MJPEG, MOV, MP4, MPEG-4 AVC/H.264
    Audio: AAC, Linear PCM (Stereo)
    Bit Depth 14-bit
    Dust Reduction System Yes
    Memory Card Type CompactFlash
    Focus Control
    Focus Type Auto & Manual
    Focus Mode Continuous-servo AF (C), Manual Focus (M), Single-servo AF (S)
    Autofocus Points Phase Detection: 61, 41 cross-type
    Viewfinder Type Pentaprism
    Viewfinder Eye Point 21.00 mm
    Viewfinder Coverage 100%
    Viewfinder Magnification Approx. 0.71x
    Diopter Adjustment - 3 to +1 m
    Display Screen 3.2" Rear Touchscreen LCD (1,620,000)
    Screen Coverage 100%
    Diagonal Angle of View 170.0
    Exposure Control
    ISO Sensitivity Auto, 100-32000 (Extended Mode: 50-102400)
    Shutter Type: Electronic & Mechanical
    Speed: 30 - 1/8000 second, Bulb Mode
    Remote Control TC-80N3, RS-80N3 (Optional)
    Mirror Lock-Up Yes
    Metering Method Evaluative metering, Partial Metering, Spot metering
    Exposure Modes Modes: Aperture Priority, Auto, Manual, Programmed Auto, Shutter Priority
    Metering Range: EV 0.0 - EV 20.0
    Compensation: -5 EV to +5 EV (in 1/3 EV steps)
    Continuous Shooting Up to 7 fps at 30 MP for up to 21 frames in raw format
    Up to 7 fps at 30 MP for unlimited frames in JPEG format
    White Balance Modes Auto, Cloudy, Color Temperature, Custom, Daylight, Flash, Fluorescent (White), Shade, Tungsten
    Built-in Flash No
    Max Sync Speed Mechanical Shutter: 1 / 200 seconds
    Flash Compensation -3 EV to +3 EV (in 1/3 or 1/2 EV steps)
    Dedicated Flash System eTTL
    External Flash Connection Hot Shoe, PC Terminal
    AV Recording
    Video Recording Yes, NTSC/PAL
    File Size 4096 x 2160p
    1920 x 1080p
    1280 x 720p
    Video Format 4K
    4096 x 2160p / 29.97 fps (500 Mbps) / 24 fps (500 Mbps) / 23.98 fps (500 Mbps)
    High Definition
    1920 x 1080p / 59.94 fps (180 Mbps) / 29.97 fps (90 Mbps) / 24 fps (90 Mbps)
    / 23.98 fps (90 Mbps) / 59.94 fps (60 Mbps) / 29.97 fps (30 Mbps)
    / 24 fps (30 Mbps) / 23.98 fps (30 Mbps)
    1280 x 720p / 120 fps (160 Mbps)
    High Definition
    1920 x 1080p / 59.94 fps (60 Mbps) / 29.97 fps (30 Mbps) / 24 fps (30 Mbps)
    / 23.98 fps (30 Mbps) / 29.97 fps (12 Mbps)
    Exposure Control Auto: Shutter Speed, Aperture, ISO
    Manual: Shutter Speed, Aperture, ISO
    ISO Sensitivity Auto, 100 - 32000
    Exposure Compensation -3 EV to +3 EV (in 1/3 or 1/2 EV steps)
    Focus Auto
    Continuous Auto
    Video Clip Length 4096 x 2160
    29 min. 59 seconds
    Audio Recording Built-in Mic: With Video, Mono
    Optional External Mic: With Video, Stereo
    Start-up Time 0.1 seconds
    Shutter Lag 0.058 seconds
    Self Timer 10 seconds, 2 seconds
    Interval Recording Yes
    Connectivity 1/8" Headphone, 1/8" Microphone, Canon N3, HDMI C (Mini), USB 3.0
    Wi-Fi Capable Yes
    Battery 1x LP-E6N Rechargeable Lithium-ion Battery Pack, 7.2 VDC, 1865 mAh
    AC Power Adapter ACK-E6 (Optional)
    Operating/Storage Temperature Operating
    32 to 104F (0 to 40C)
    Humidity: 0 - 85%
    Dimensions (WxHxD) 5.9 x 4.6 x 3.0" / 150.7 x 116.4 x 75.9 mm
    Weight 1.76 lb / 800 g body only
    Kit Lens
    Focal Length 24 - 105mm
    Aperture Maximum: f/4
    Minimum: f/22
    Angle of View 84 - 23 20'
    Minimum Focus Distance 1.48' (45 cm)
    Elements/Groups 17/12
    Diaphragm Blades 10, Rounded
    Autofocus Yes
    Image Stabilization Yes
    Filter Thread Front: 77 mm
    Dimensions (DxL) Approx. 3.29 x 4.65" (83.5 x 118 mm)
    Weight 1.75 lb (795 g)
    Last edited by egproductions; 08-25-2016, 04:44 AM.
    Cameras: 2x - Sony FS7, 2x - Sony A6500, Canon 5D IV, DJI Mavic Pro, Canon 5D II, Canon 60D, Canon G16, Canon Rebel XT, GoPro Hero 7, Gopro Hero 6 (RIP), 6x - GoPro Hero 3+ Black Edition, Canon XL2, iPhone 4, iPhone 6, Ricoh KR-10, Fed-2, Fujica Half Frame, Canon ZR-100, Sony DCR-TRV 310.

    The website is suggesting that this new Canon camera will have a 1.7x crop factor when shooting 4K video, almost taking it down to Micro 4/3 sensor size.


      Yes, crop factor and sensor sampling will make or break this camera from a video perspective. The cameras that strive to sample the entire sensor for the video image always look the best. If the 4k shooting crop is that severe this camera will lose a lot of appeal imho.


        The main argument for the crop-size is to have a pristine 4K image with no moire and very little aliasing. Sensor sampling from the full sensor may ruin the image from a technical perspective. ( i.e. moire and aliasing keep popping up in your shots from time to time )


          Sorry, I thought the downsampling method/situation created a lot of these issues? The Sony cameras that pull the entire sensor seem to be the sharpest in 4k as well as 1080p.


            The full-sensor 4K off a 30-42 MPX sensor is usually created by dropping lines, which results in moire. At least, that was the case with the preceding generation of cameras and their innate design and processing power. A6300 doesn't bin lines but, once again, due to its design and the processing power limitations, has a horrible rolling shutter on top of the overheating issues. To get rid of both, one would have to jump a few levels and that costs a bit of dough. And there are still huge gaps on the product maps, in terms of price points.

            PS. Someone on another forum opined that Canon's Digic chips can't handle the H264 or H265 and thus they have to resort to MPEG. If that is correct, it isn't that Canon doesn't have the technology - they obviously have it inside C300 MKII - but that they aren't willing to install it at this price point. MKIV external output via HDMI are yet to be revealed but, given what we know so far, there's scarcely a reason for optimism there either.


              I see. The MP number is not optimal for video downsampling. Also, yes, the processing ability explains the use of the MJPEG codec - a way to offer something but not offer it at the same time. But this camera could still make some really nice video. It will be interesting to see how the 1080p looks.


                Do anyone familiar with Magic Lantern know how hard it will be to port it to Mark IV? Isn't that new Canon cameras use different processors that are harder to break?
                FS7 & other


                  I just can't see Canon competing with Sony in V-DSLR cameras. Why would anyone go back to a camera that ain't got no EVF, ain't got no tilt able LCD-screen and that isn't doing video in the best way? I'm sure the IV is a great still camera but it just ain't as good as the Sony A7 for video.


                    Originally posted by alohype View Post
                    Do anyone familiar with Magic Lantern know how hard it will be to port it to Mark IV? Isn't that new Canon cameras use different processors that are harder to break?
                    It seems that, for Raw recording, it makes little sense to get MKIV when there are lower and higher priced BMD cameras that do it better and dependably so.

                    And for DSLR style camera, there are XT2, GH4 (and soon GH5), G7, GX8, GX85, A6300, A7S, A7SII and A7RII that can outperform MKIV with an external recorder.

                    Plus, there are several fixed lens camcorders that do a decent job with 4K.

                    Sure, three years ago, all these hacks were taking the related cameras to another level. These days, an external recorder/monitor does so much more and with very little risk of bricking the original gear. And, because they will all record via HDMI, a single recorder/monitor will work with pretty much every model made.


                      "30.4 Mp" doesn't seem like something you'd design if you were trying to get the best possible video. On a 3:2 sensor, it means something like 6750x4500. Cameras with a full sensor readout usually have a much lower pixel count (a6300: 24 Mpix, GH4: 16 Mpix, a7S: 12 Mpix) but then again Samsung did it with 28 Mpix which is not that far from 30.4, so, lots of possibilities here:
                      - 3840x2160 readout and 1:1 debayer, which means you get a 1.75x horizontal crop factor (as EOSHD guessed)
                      - 5760x3240 readout and 1.5:1 debayer, which is not as easy but not too complicated either, but leaves you with a not-so-bad 1.17x horizontal crop factor
                      - 6720x3796 readout and a relatively complex 1.75:1 debayer, with no crop

                      I don't think EOSHD has any info on this, he's just extrapolating from what his GH4 does. The NX1 did things very differently. And I don't know of any cameras that do a line-skip plus upscale to get 4K video, but it's an option too (not a very good one, but an option).

                      But keep in mind that all those cameras that do a full readout have absolutely awful rolling shutter. So: either it's a big crop, or a line-skip plus a weird upscale, or a very slow RS. Or maybe they found some new magic and the camera is awesome in all these respects and everything we've been waiting for since we got tired of the 5D2.

                      - Don't count on getting ML on this thing. It may be possible, it may be impossible.
                      - I don't think we're getting it, but I would gladly take 5D3-like 1080p RAW with the DR of the 1DX-II, over any BM offering under the 4.6K mini (even if it has to be 1080p because 4K uncompressed RAW is just too big to be used on a daily basis).
                      - 8-bit MJPEG at 500 Mbps is not what I would ask for but it's not bad at all either.


                        The problem, if you will, with 5DMKIV is that it is facing a different competition than it did in 2012. ML Raw hack virtually created MKIII's acceptance as a great 1080p video camera, something it wasn't with only H264. Now, there are a bunch of affordable 4K cameras that are fairly close to it in stills and video performance, while there are also a bunch of video models that do better on that side of things. As a jack of all trades, it seems quite capable but, for specific uses, it doesn't check all the boxes.

                        And that's as a 2016 $3,000 hybrid. What happens to it when more advanced cameras begin to appear within a few months after its introduction?


                          That is true. I will be interested in what gets announced at Photokina. Even if production is slow, I think many models will be at least talked about.


                            Canon Rumors speculate that the US price will be between $3,200 and $3,500.


                              Originally posted by DLD View Post
                              And that's as a 2016 $3,000 hybrid. What happens to it when more advanced cameras begin to appear within a few months after its introduction?
                              I can see an a7S III in the horizon with all the specs we've heard about the 5D4 (~30 Mpix, 4K 30fps and 1080p60, etc), plus slog2 and IBIS, on a small body that takes all kinds of lenses. And selling for <$2k.