Apple continues adding new features and tweaking old ones with iOS 10. There were a great many changes in iOS 9 for iPad, but the follow up has more to offer iPhone. Still, there definitely are enhancements to benefit those with an iPad Pro1 or iPad mini2. We extensively tested iOS 10, and here are the new or updated features that will mean the most to tablet users. We also catalogued some much needed enhancements that are notably absent.
Split View Safari Tabs
iOS 9 brought much needed support for side-by-side multitasking the ability to display two applications on-screen at the same time. While that was all very well, each app was still limited to a single window. This was especially burdensome in Safari, as people frequently want to display two web pages simultaneously. This limitation began changing with iOS 10. Apple s web browser can now show a pair of sites, with each taking up half the screen. Arranging the two pages on the display is simple go to the list of open browser tabs and drag one to the side of the screen to open it in a second window but this split-view feature is limited only to landscape mode.
Split View Safari Tabs in iOS 10
Ending split view is just as easy, but not as intuitive as it could be: Touch and hold on one of the Tabs icons and choose Merge All Tabs. This is a welcome step in the right direction, but now this functionality needs to be extended even further. iOS 11 should give third-party app developers the same feature. iPad users need to be able to work with two Word documents at the same time, for example.
iOS 10 changes the look of the Notification Center, and makes it more functional too. Dragging from the top of the screen brings down a list of recent notifications that now appear in grey boxes with rounded corners. Dragging each of these to the left allows the user to either clear the notification or jump to the application that sent it. A small X button can be used to clear all notifications at once.
From the Recent Notifications page, dragging the screen to the right brings up two columns of widgets. These can be a thumbnail view of the calendar, weather reports, and similar snippets of information.
iOS 10 Widgets
An Edit button at the bottom of the left column opens the controls of which settings are displayed, and in which column, and in what order.
Apple made significant changes to the way people use their tablets before they are even unlocked. First off, Slide to Open has been removed, and just pressing the Home button has taken its place. This simplifies the process considerably, especially as everyone should already be touching this button so their fingerprint can be scanned to unlock the computer.
iOS 10 Lock Screen
Before the iPad is unlocked, iOS 10 can show users their newest notifications. They can also respond to these, by dragging the notification to the right. A whole conversation can take place in Messages without ever unlocking the tablet. Dragging down from the top of the Lock Screen brings up a list of other recent notifications. Dragging to the right on the Lock Screen gives quick access to the same widgets displayed in the Notification Center. Anyone who wants to keep private their notifications and the information displayed by these widgets should turn this feature off by going to Settings > Touch ID & Passcode. This is especially important because otherwise anyone can respond to incoming text messages without unlocking the tablet.
Bad news: No current iPad has the motion-sensing chip necessary for Raise To Wake, so it s only users of recent iPhone models that don t have push the Power button to activate their devices.
Dragging a finger up from the bottom of the screen still opens a set of controls for toggling WiFi, Bluetooth, etc., but this has received a facelift with iOS 10. It s now split over two screens so everything is less crowded.
iOS 10 Control Center
The main screen has the controls for various wireless functions, the backlight, as well as links to the camera and Clock app. Sweeping the finger to the left moves to a second screen that s focused on audio.
The Notes application has been gradually improving in recent iOS versions, and has now acquired collaboration capabilities. Users can notify another person that a note has been shared with them, and then they can both see and make changes. Apple suggests using this for simple jobs, like a family sharing a grocery list, not for a team collaborating on a patent filing.
Possibly the most important change in iOS 10 for iPhone users is the improvements to the Messages app. Although instant messaging is done primarily on a phone, that doesn t mean tablet users should overlook it. By turning on Settings > iMessage, conversations happening on a iPhone can also be displayed on an iPad. The larger screen and keyboard make longer conversations easier.
iOS 10 iMessage on iPad
Apple added all kinds of fun features to iMessage, like bubble effects which cause texts to swell up, fall onto the screen with a bang, and more. Messages can be handwritten, or moving images can be inserted into conversations like really big emojis. These look better on a tablet than they do on a phone, even an iPhone 7 Plus.
What s Missing
Apple has tried to keep iOS simple, even to the point of leaving out features it doesn t consider necessary. This is why this operating system debuted on the original iPhone without a central file system accessible to users. But what was the right decision in 2007 has since become a serious limitation. iOS 10 is intended to be used by businesspeople on tablets as powerful as laptops, and they need to be able to easily view and manage their files. Last year s iCloud Drive was a step in the right direction, but iOS 10 should have taken it much further. There s another missing feature that s forcing buyers toward Windows-based alternatives: the new iPad Pro series is being positioned as laptop alternatives, and most people aren t yet accustomed to controlling this type of computer with a just a touchscreen. Apple recognized this when it released its Smart Keyboard3, and it s time to take the next step and add a trackpad to this accessory, as well as support for it to iOS. It would be a step backward a touchscreen is better than a mouse but it would increase iPad sales. Plenty of people have been asking for a removable memory card slot in iPad and iPhone for almost a decade, and at this point it s clear Apple isn t ever going to add one. Fortunately, many accessory makers offer very good alternatives, allowing iOS tablets to access microSD cards and flash drives. There are very good alternatives from SanDisk4, Lexar5, Leef6, and more.
Split-screen support in Safari is probably the best feature for iPad users, but just about all of the new features in iOS 10 are useful, and others are fun. Some oft requested changes are still missing, though. even so, people are wondering when they should install this onto their tablet. We have been testing the official release version on an iPad Pro7 since it debuted, and so far have encountered no significant problems. Apple s new strategy of allowing anyone who s curious to install iOS betas appears to have resulted in a final release version that s more stable than iOS 9 was when it debuted. That said, there have been a few small bobbles. Anyone feeling very cautious might wait for Apple to introduce iOS 10.1.
The EOS M5 is a very welcome addition to Canon’s product line-up and arrives at a time when many photo enthusiasts were starting to doubt whether Canon would ever produce a mirrorless camera that caters for their needs.
Although the M5 doesn’t tick all the boxes (the limited buffer memory being a case in point), it is streets ahead of the previous EOS M models. It seems Canon finally has a serious contender in the burgeoning mirrorless market.
When Photokina opens in Germany next week, a highlight in Canon’s display will be the EOS M5, the company’s first mirrorless camera for photo enthusiasts. It’s been a long time coming but, having handled the camera at a media briefing, we believe it’s a potential game-changer. Equipped with a similar APS-C sized CMOS sensor to the EOS 80D1 plus the DIGIC 7 processor introduced in the PowerShot G7 X Mark II2 it’s a neat little unit that looks and handles like the flagship models in the popular PowerShot G line-up.
The new Canon EOS M5 with the EF-M 15-45mm f/3.5-6.3 IS STM lens, one of the kit options that will be available with the camera from mid-November. (Source: Canon.)
Build and Ergonomics
Although thebody of the EOS M5 is made from polycarbonate, it looks and feels solid and a bit like a ‘grown-up’ PowerShot G5X. It’s somewhat larger because its sensor is significantly bigger and, unlike the PowerShots, it accepts interchangeable lenses. Sadly, it’s not weather-sealed.
Front view of the EOS M5 with no lens fitted. (Source: Canon.)
The control layout will be familiar to users of Canon’s cameras (both PowerShots and DSLRs) and most will also appreciate the modifications introduced in the new camera. The grip is generous making the camera comfortable to hold, regardless of the size of your hands, and there’s a moulding to accommodate your middle finger.
Top view of the EOS M5 with no lens fitted. (Source: Canon.)
Like the PowerShot G5X, the top panel of the EOS M5 has a large mode dial on the left side and an exposure compensation dial on the right. Between them is the pop-up flash housing with a hot-shoe on top. The shutter button sits forward on the top panel between the EV dial and the grip moulding, with a M-Fn (programmable function button) to its right and a flash pop-up button to its left. All pretty standard so far. Located in the right side cluster is a new multi-function dial with a central button that provides quick access to key shooting controls. Pressing the button toggles through different functions (white balance, focus, drive, exposure parameters), while turning the surrounding dial wheel lets you choose individual settings within the selected function. It’s quick to use, since you can see what you’re selecting in the EVF or on the monitor screen.
Rear view of the EOS M5. (Source Canon.)
Controls on the rear panel are also arranged in a conventional fashion, most of them to the right of the monitor screen. However, the power on/off switch is inset into the left side of the top panel below the mode dial and accessible from the rear of the camera. Right of the monitor is a conventional arrow pad with directional buttons that access the ISO, flash, delete and white balance sub-menus. Above are the Info and movie buttons, with buttons for the Starry Sky focus/ single-image erase and AF frame selection functions arranged vertically in the top right hand corner of the rear panel. Below the arrow pad are the playback and menu buttons.
The EOS M5 in ‘selfie’ mode with the monitor flipped down. (Source Canon.)
The monitor tilts up through 85o and down through 180o to allow the camera to be used for low-angle shooting or set to capture the ubiquitous ‘selfie’. It has a 3.2-inch diagonal measurement, which is on the large side of average and a more than acceptable resolution of 1,620,000 dots.
Best of all is its touch-panel overlay, which covers the entire screen. Users gain full access to the camera’s controls, including touch AF and touch shutter functions. A new touch-and-drag function allows your thumb to be moved across the screen to change the focus while you’re composing shots through the EVF. This enables smooth and seamless focus pulling while movie clips are being recorded. The EVF is a major step forward for the EOS M line-up and one of the key features that makes the M5 attractive to serious photographers as well as anyone who shoots video. It’s a 0.39-type OLED screen with a high resolution of 2,360,000 dots and a fast 120 frames/second (fps) refresh rate and it’s positioned mid-way along the top panel. A 22mm eyepoint provides comfortable eye relief for photographers who wear glasses, while dioptre adjustment is also provided. Like the PowerShots, the EOS M5 houses its battery and memory card in a single compartment in the grip, accessed via a hatch on the base plate. This is more characteristic of snapshooters’ cameras and one of the few downsides of the M5 because it prevents you from swapping battery or memory card when the camera is tripod mounted.
The metal-lined tripod socket is in line with the optical axis of the lens, which is welcomed. Also on the base plate is the contact point for the NFC (near field communication) function. A USB socket and microphone jack sit beneath hard plastic covers on the left side panel, while the HDMI port is on the right hand side. Below it is the Wi-Fi/Bluetooth antenna. Metal strap lugs sit high on each side of the camera body.
Who’s it For?
In brief: just about any photographer who wants a lighter, more compact camera, either as an adjunct to a DSLR or an alternative. There are now seven EF-M lenses to choose from if you want the smallest, lightest optics. Or you can use EF lenses with the EF Mount Adapter.
The EOS M5, shown with the new EF-M 18-150mm f/3.5-6.3 IS STM lens that was announced concurrently with the camera as well as the body jacket and neck strap accessories. (Source: Canon.)
The EOS M5 will be particularly welcomed by video shooters because it has an electronic viewfinder, even though it doesn’t support 4K movie recording. As well as making it easier to compose shots, it also lets you see the camera settings on the periphery of the frame and shows what you are recording with accurate detail and colour reproduction.
The 24.2-megapixel CMOS sensor in the EOS M5 is essentially the same as the sensor in the EOS 80D, although it’s actually marginally smaller (but not enough to signify). It has a 3:2 aspect ratio and can produce images with a maximum resolution of 6000 x 4000 pixels (the same as the 80D). The pixel pitch is approximately 3.7 microns. The DIGIC 7 processor has so far been used only in the PowerShot G7 X Mark II3, where it provided improvements to noise handling across the camera’s ISO range, face registration and subject detection and tracking. It also increased battery life by just over 25%.
The EOS M5 also benefits from the new processor, enabling it to support a sensitivity range of ISO 100-25600 and add a new panning mode to the Scene presets. Other welcome additions include HDR (high dynamic range) and time-lapse recording modes, the latter producing a slow-motion movie. Aside from the EVF, the autofocusing system is one of the main features that separate the EOS M5 from its predecessors. This is the first time Canon’s Dual Pixel CMOS AF has been used in an EOS M camera, where it delivers a DSLR-level of focusing speed and accuracy as well as superior tracking performance when shooting in Live View mode for both bursts of still shots and movie recordings. The system operates across more than 80% (both vertically and horizontally) of the sensor area and includes 47 sensor points arranged in a 7 x 7 grid. Users can select AF zone focusing and use a block of nine points in a 3 x 3 grid or single-point focusing and each of these blocks can be moved freely via the touch screen. Depth AF support, a new feature, can detect whether a subject is moving towards or away from the camera and adjust focus accordingly.
In manual focus mode, you can magnify the area around the focus zone by 5x or 10x and a peaking display (which outlines areas that are in-focus) is available. Manual focus over-ride in AF mode is supported. The M5 can support continuous shooting at up to 9 fps when focus and exposure are locked with the first frame or 7 fps with continuous autofocusing. Unfortunately, the buffer memory isn’t overly generous, holding a maximum of 26 JPEG frames. No information has been provided on raw frame capacity but we assume it’s substantially lower. Although designed primarily for taking still pictures, the M5 can also record Full HD movies and supports frame rates of 50, 25 and 24 fps for PAL system users (60 and 30 fps for NTSC). HD movies can be recorded at 50 (60) fps and VGA clips at 30 or 25 fps. The maximum clip length is 29 minutes and 59 seconds or up to 4GB.
Digital stabilisation is available in movie mode. It covers five axes – up, down, pitch, yaw and roll, in the process cropping the frame slightly. Since the frame is already cropped for movie recording, reducing resolution at the same time, this isn’t a major issue as the EVF and monitor will each show the area that will be recorded. You can overlay a grid (3 formats to choose from) and/or an electronic level to help you keep horizons level while recording both still pictures and movie clips. Histogram displays are also available and you can choose from brightness only or brightness plus RGB. Connected photographers are well catered for with integrated Wi-Fi and NFC as well as a low-power Bluetooth connection, which provides an always-on link between the camera and a smart device. Powered by the Canon Camera Connect App, it lets you operate the camera from the connected smart device, view images and upload them to sharing and/or storing websites.
Finally, like Canon’s DSLR cameras, the EOS M5 supports in-camera raw file conversion, enabling users to shoot raw files and quickly convert them into JPEGs for sharing. A new addition is support for batch conversion of multiple raw files. In-camera re-sizing is also available.
The EOS M5 is a very welcome addition to Canon’s product line-up and arrives at a time when many photo enthusiasts were starting to doubt whether Canon would ever produce a mirrorless camera that caters for their needs. Although the M5 doesn’t tick all the boxes (the limited buffer memory being a case in point), it is streets ahead of the previous EOS M models. It seems Canon finally has a serious contender in the burgeoning mirrorless market. Today’s photographers have moved on from the DSLR vs mirrorless battle and it’s no longer a case of choosing one or the other. Most serious enthusiasts use both, and often the mirrorless camera will be favoured for its portability and functionality, while the DSLR will be chosen for its imaging performance particularly for still shots. Because of their EVFs, mirrorless cameras are much more suitable for movie recording than DSLRs, which is why so many manufacturers are offering models with 4K capabilities. Sensor size and resolution are less important for movies because the frame is always cropped.
Today, manufacturers like Fujifilm, Olympus, Panasonic and Sony have carved out sound reputations among serious enthusiasts and professional photographers in a market where formerly DSLRs ruled. When you can get the same (or better) resolution and imaging performance in a smaller, lighter camera with an EVF that can be used while shooting movies, why wouldn’t you opt for mirrorless?
So thanks, Canon, for adding another mirrorless brand for us to choose from and adding the benefits of the Canon heritage. Let’s hope the company’s designers continue to push the EOS M range further. We look forward to reviewing a camera once they are released locally in November.
Image sensor: 22.3 x 14.9 mm CMOS sensor with 25.8 million photosites (24.2 megapixels effective); fixed low-pass filter
Image processor: DIGIC 7
A/D processing: 14-bit
Lens mount: EF-M (EF and EF-S lenses compatible via Mount adapter EF-EOS M)
Focal length crop factor: 1.6x
Image formats: Stills: JPEG (Exif Ver.2.3), CR2.RAW(14-bit Canon original RAW 2nd edition), RAW+JPEG; Movies: MP4 AVC/H.264; AAC-LC stereo audio
Image Sizes: Stills 3:2 aspect: 6000 x 4000, 3984 x 2656, 2976 x 1984, 1920 x 1280, 720 x 480; RAW – 6000 x 4000, M-RAW – 4500 x 3000, S-RAW – 3000 x 2000; Movies: 1920×1080 (Full HD) at 50p/30p/25p, 1280×720 (HD) at 50p/25p settings
Image Stabilisation: Lens based for still shots; in-camera 5-axis Digital IS available in movie mode
Dust removal: EOS integrated cleaning system
Shutter (speed range): Electronically controlled focal plane shutter (30 to 1/4000 seconds plus bulb, X-sync at 1/200 sec.
Exposure Compensation: +/- 3EV in 1/3EV steps
Exposure bracketing: +/-2 EV in 1/3EV increments (can be combined with manual exposure compensation)
Self-timer: 2 or 10 seconds delay plus Custom and Remote settings
Focus system: Dual Pixel CMOS AF with 49 focus points (7×7 grid) via auto selection; manual positioning – 1 point or 1 AF zone (9 points, 3×3 grid)
Focus modes: One-Shot AF, Servo AF, Face + Tracking, Smooth Zone AF, 1-point AF, manual focusing with peaking and magnification (5x or 10x)
Exposure metering: Real-time metering from the image sensor with Evaluative, Centre-weighted average, Partial at centre and Spot metering; metering range EV 1-20 (23oC/ISO 100)
Shooting modes: Scene Intelligent Auto, Hybrid Auto, Creative Assist Special scene Self-Portrait, Portrait, Landscape, Close-up, Sports, Food, Panning, Handheld Night Scene, HDR Backlight Control, Creative Filters, Program AE, Shutter-priority AE, Aperture-priority AE, Manual exposure, Bulb exposure, Custom (x2)
Picture Style/Control settings: Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful, Monochrome, User Def. 1 – 3
Image Processing: Highlight Tone Priority, Auto Lighting Optimiser (4 settings), Long exposure NR, High ISO NR, Lens peripheral illumination and chromatic aberration correction, diffraction correction, Creative Assist background blur – 5 settings; brightness – 19 levels; contrast, saturation, colour tone, monochrome, filter effects – Ye, Or, R, G plus Sepia, Blue, Purple Green toning
Colour space options: sRGB and Adobe RGB
Custom functions: 12
ISO range: Auto, ISO 100-25600 (in 1/3- or whole-stop increments); Movie ISO 100-6400
White balance: Auto, Daylight, Shade, Cloudy, Tungsten, White fluorescent, Flash, Custom (1 setting can be registered), Colour temperature setting, WB compensation B/A and M/G: +/-9 levels
Flash: Built-in pop-up flash GN approx. 5 (ISO 100, in meters), coverage to 15mm lens angle of view; integrated hot-shoe
Flash modes: Auto (E-TTL II), manual flash on/off, 3 flash power output settings, red-eye reduction lamp is available
Flash exposure adjustment: +/-2EV in 1/3EV steps
Sequence shooting: Max. 9 shots/sec. (7 fps with AF tracking)
Buffer capacity: Max. 26 Large/Fine JPEGs
Storage Media: Single slot for SD/SDHC/SDXC memory cards; UHS-1 compatible
Viewfinder: 0.39-type 2,360,000-dot OLED EVF with 100% coverage, 22mm eyepoint, eye sensor, dioptre correction
LCD monitor: 3.2-inch TFT LCD with 1,620,000 dots, electrostatic capacitative touch screen capabilities, tilts up 85o and down 180o
Playback functions: Single image display, Single image + Info display (8 options), index (6, 12, 42, 110 thumbnails); rotate, delete, zoom (2x – 10x magnification), jump by 1, 10 or 100 images, by shooting date, by folder, by movies, by stills, by rating, movie playback, slideshow (all images, by date, by rating), movie playback, slideshow with transition effect (fade); in-camera raw image processing, PictBridge direct printing supported
Interface terminals: Micro USB 2.0, HDMI micro (Type D connector), 3.5 mm stereo mic jack
Connectivity: Bluetooth (low energy), Wi-Fi (IEEE 802.11b/g/n, 2.4 GHz only), Dynamic NFC support
Power supply: LP-E17 Rechargeable Li-ion Battery Pack; CIPA rated for approx. 295 shots/charge
Dimensions (wxhxd): Approx. 115.6 x 89.2 x 60.6 mm
Weight: Approx. 427 grams with battery and card
Photo Review 9
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Like its predecessor, the Canon EOS 5D Mark IV enters the market with several advantages in the form of high resolution for still pictures, 4K video recording, top-rate autofocusing, a decent continuous shooting speed and touch-screen monitor controls. Add an up-to-date image processor and interesting innovations like the Dual Pixel RAW functions. Add to that comfortable handling, fast autofocus, and strong performance in our image quality testing and you’ll see why we’ve awarded 5D Mark IV an Editor’s Choice in the Pro DSLR category.
Since publishing a detailed First Look at the new EOS 5D Mark IV last week, we have been able to carry out our standard suite of technical and user tests. This report has been prepared to complement the initial review, adding comments about our experiences using the new camera plus the results of our standard tests. Links have been provided to enable readers to jump between the two reports.
Angled view of the EOS 5D Mark IV with the new EF 24-105mm f/4L IS II lens. (Source: Canon.)
As outlined in our initial report, the 30.4-megapixel EOS 5D Mark IV, provides some significant improvements on its predecessor for both still photographers and video shooters. Since the 5D IV was announced, we have been able to find out what readers could expect to pay if they decide to invest in the new camera. Because no lens was supplied with the camera, we have reviewed it with our own EF 24-105mm f/4L IS USM lens, which is the same lens we used for our review of the 5D Mark II4 and the 5D Mark III5 cameras.
As a 5D Mark II owner, we found the new body s handling comfortably familiar. The two camera bodies are identical in weight and 50 grams lighter than the 5D III (surely a good thing when weight can be critical in many situations).
We were delighted with the small changes to the user interface that have been made over two generations of the camera and welcomed the fact that the 5D IV uses the same LP-E6N battery as recent Canon DSLRs. The camera is also backwards-compatible with the slightly lower-capacity LP-E6 batteries used in the 5D III and 5D II (also a definite plus). Another welcome feature is the LCD monitor, with its new touch-screen controls that can be interchanged seamlessly with manual adjustments. This often eliminates the need for time-consuming menu diving, particularly when the Quick Menu function is used. It’s a pity the 5D IV’s monitor wasn’t articulated as that would have made it easier to overcome some of the limitations of having to frame shots using the monitor screen for movie recording. Adjustable monitors enable you to position the screen for optimal viewing and are a real advantage when shooting video, including when it’s on a tripod without a separate HDMI monitor that can be placed where you want it. With a fixed screen, there’s only one way to hold the camera and your back and shoulders can suffer during long shoots when using the camera hand-held.
The new ‘Intelligent’ viewfinder in the 5D IV is more efficient to use and being able to see the sensor’s full field of view with overlaid icons showing camera settings and warnings made it easier to change settings without constantly having to resort to the monitor. It’s comfortable to use, thanks to a decent 21 mm eyepoint and provides 0.76x magnification with a 50mm lens at infinity. We’d have liked a slightly wider dioptre adjustment range, although the -3.0 to +1 adjustment should be adequate for most potential users. We noticed some impressive improvements to autofocusing performance, particularly in Live View mode when recording movie clips, where our tests set out to gauge the camera’s ability to track moving subjects. We also assessed the system’s ability to focus upon small, fast-moving subjects at close distances to the lens with the lens at a wide aperture setting. We couldn’t fault the AF system’s tracking ability when we recorded movies of skateboarders; even when someone passed between the camera and the subject, the camera was quick to lock on again and follow the subject faithfully. For close-ups, AF performance wasn’t quite as good, although it was still impressive.
There were a few times when the camera jumped focus between foreground and background when recordings were being made close to the near limit of the lens. This was most likely to occur when there were bright objects in the background to ‘distract’ the sensors and when focus was not established initially by half-pressing the shutter button at the start of a recording. Memory card speed is a critical issue when you want to record movies with 4K resolution. For SD cards, the 5D IV’s instruction manual states clearly that you need a UHS-I Speed Class 3 (U3) card which supports up to 90MB/s read and 80MB/s write speeds. Sadly, the 5D IV is not able to ‘read’ the latest UHS-II SDXC cards, an unfortunate omission in our opinion. Slower cards either won’t record the movie or, if it is recorded, you’ll only get a second or two of footage. For CF cards, UDMA 7 transfer speeds of at least 100 MB/second are required.
By default, when you’re recording onto two memory cards, slot 1 indicates the CF card while slot 2 is for the SD card. In the default Standard mode, images are recorded to Card 1 by default, although you can change this to Card 2 by diving into the menu and selecting the Record func+card/folder set item from the settings menu. If the Auto switch card mode is selected, the second card takes the overflow when the first card is full. Selecting Rec. separately causes each card to record the same still image but in different formats; for example you can record JPEGs to one card and CR2.RAW files to the other. You can set image sizes and quality options individually for each card. Movies can’t be recorded simultaneously to both cards but will be automatically recorded to the card selected for Playback in the menu. This cannot be changed. The Rec. to multiple mode records each image simultaneously to the CF and SD cards with the same size and quality settings, acting as an in-camera backup.
One factor that has come to light since the 5D IV was announced concerns the way it records movie files. According to an article on the Canon USA website, the 5D IV uses the same Motion JPEG compression method as used by the EOS-1D X Mark II and EOS-1D C. This codec produces a separate JPEG image for each frame of video.
Since MJPEG uses the same kind of compression as JPEG does for stills, an extremely high bit-rate is required to maintain image quality. This means recording at approximately 500 Megabits per second, compared with up to 100 Mbps for competing cameras that use the more efficient H.264 4K codecs and record with the consumer-level 3840 x 2160 pixel resolution. And whereas competing cameras capture the full width of the image frame in 4K movie mode, in the 5D IV, the 4096 x 2160-pixel 4K movie area is extracted from the centre of the frame, effectively cropping the full-frame view in order to eliminate the need for pixel binning. This helps to prevent the reduction in image quality and potential for moir and aliasing that occurs with pixel binning as well as constraining image noise in low light levels. Full HD and HD movies are not cropped. Because of the pixel density on the 5D Mark IV s 30.4-megapixel sensor, the 4K crop factor is equivalent to using a lens with approximately 1.74x the indicated focal length. The view would be similar to what you would see when shooting with a camera with an APS-C sized sensor. This cropping makes shooting wide angles rather challenging, depending upon which lens you use. However, you gain a small telephoto advantage, which can be helpful for close-ups.
In another video-related issue, the 5D IV doesn’t include the Canon LOG function, which is provided in the video-orientated EOS-1D C, and allows recorded footage to be graded and colour corrected with professional software. You don’t even get a flat picture profile, which is the consumer-level equivalent and is provided in 4K enabled cameras from Fujifilm, Nikon, Panasonic and Sony. So users planning to integrate footage recorded with the 5D IV into a current professional video workflow will probably encounter a few problems. Professional video shooters need to be aware that you can’t record 4K clips to an external drive via HDMI out. The only option available is Full HD (1920 x 1080), which doesn’t have high enough resolution for grabbing still frames for printing (one of the main reasons for including 4K video in this camera). These issues aside, thanks in part to the AF performance improvements, we were quite impressed by the overall quality of the clips we recorded with the 5D IV, particularly in the 4K mode, cropping notwithstanding. Even though it can be difficult using the screen to frame subjects in bright outdoor lighting, the combined Still/Video switch and Live View/movie start-stop button made it easy to switch between stills and movie capture and keep the camera steady while recording.
We were keen to follow-up a report by the Amazon-owned DPReview website that claims the 5D IV suffers from ‘significant’ rolling shutter effect. This occurs where each frame is captured by scanning across the scene and can introduce predictable distortions of fast-moving objects. We found no signs of distortions in our recordings of the skateboarders moving across the field of view but did notice some slight vertical skewing when focusing close-ups, as shown in the enlarged sections from three frames, below.
Soundtracks from the built-in microphone were nice and clear in the default auto mode and the manual mode provides 64 levels of adjustment to control sound levels by turning the Quick Control dial. Audio recordings can be monitored as you shoot when you connect a set of headphones via the standard 3.5mm jack. A wind filter/attenuator is available. Time coding is similar to the options found on the 5D Mark III, allowing users to select between rec run and free run, synch the time code to the camera’s internal clock or pre-set a starting time code. It can be applied to movies recorded on the memory card and also appended to movies that are output via HDMI to an external recorder. HDR movie recording is also supported. Selecting the High Frame Rate movie mode in the Movie rec. quality section of the menu, lets you shoot movies with HD (1280 x 720 pixel) resolution and a frame rate for the PAL system of 100 fps (the NTSC frame rate is 119.9 fps). When clips recorded in this mode are played back the action will be slowed to 1/4 normal speed. Focus is locked on the first frame and no audio is recorded.
We found the High Frame Rate mode produced disappointing results and not only because the resolution was low (the ALL-I Intra frame recording mode is used to preserve as much data as possible). The locked focus meant we could only use this setting for subjects that maintained a constant distance from the camera so we haven’t provided a sample frame grab. In addition, we found multiple skipped frames within the relatively short clips we shot. Recordings are limited to seven and a half minutes in this mode.
Dual Pixel RAW
The new Dual Pixel RAW function utilises the image sensor’s dual photodiode construction, which allows the sensor to pick up two separate signals from each photodiode pair and detect phase differences between the two signals. The camera’s Dual Pixel AF system combines these signals to achieve sharp focus. During Dual Pixel RAW shooting, two images one containing data from only one photodiode and the other with combined data from both photodiodes in each pair are saved as a single raw file. This file, which is roughly double the size of a normal raw file, contains both the normal image and also any parallax information picked up through the phase difference detection.
Opening the Dual Pixel RAW Optimizer function in Digital Photo Professional.
Dual Pixel data has to be decoded with the Dual Pixel RAW Optimizer function in Digital Photo Professional software. But, once decoded, it enables three types of fine-tuning to be applied to raw images: focus microadjustment, bokeh shift and ghosting reduction.
The user interface in the Dual Pixel RAW Optimizer showing the three adjustments available.
Because they work at pixel level, the adjustments offered through the Dual Pixel RAW Optimizer are tiny. The focus microadjustment can’t replace the AF microadjustment control in the camera’s menu, which works with an installed database of Canon’s lenses. The Dual Pixel RAW adjustments also depend on the camera’s exposure parameters. According to Canon, the best results will be obtained with lens focal length of at least 50mm and an aperture of f/5.6 or lower plus an ISO value lower than 1600.
We found it difficult to obtain images that would demonstrate each of these adjustments and our samples show just how small they are. Don’t expect to be able to correct anything beyond the smallest deviations from the desired state. But, if your exposure is very close to the mark and a small amount of fine-tuning is required after an image has been captured, as long as you have set the camera to capture Dual Pixel Raw files, they could minimise the need to re-shoot. Examples are shown below.
Focus microadjustment. The top image is a crop from the original JPEG image. Below it is a crop from the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode. This image has been adjusted in Digital Photo Professional.
Bokeh shift. The top image is a crop from the original JPEG image. Below it is a crop from the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode. The red rectangle outlines the area selected for adjustment.
Ghosting reduction. The image on the left is the original JPEG image. On the right is the equivalent CR2.RAW file taken with the Dual Pixel RAW shooting mode and subjected to ghosting reduction.
This pair of flare-affected images demonstrates that the Dual Pixel RAW Optimizer adjustments are unable to correct gross defects. Once again, the image on the left is the original JPEG image while the one on the right has been tweaked with the Dual Pixel RAW Optimizer’s ghosting reduction adjustment.
While images from both cameras are more than adequate for printing at A3+ size, with a resolution roughly 30% higher than the 5D III’s, shots taken with the 5D IV will fit more comfortably on larger A2 paper providing more scope for photographers who like to make large prints. However, even greater gains will come from the new camera’s superior image quality, particularly with moderately high ISO settings. JPEG files straight from the camera with the default Standard Picture Style setting were very clean although somewhat subdued in colour rendition across most of the available sensitivity range. Saturation was slightly lower than we normally see in JPEGs, setting up shots very well for post-capture editing. Colour fidelity was generally very good and detail was finely rendered, although most images benefited from a little unsharp masking in post production.
Since CR2.RAW files are not yet supported in Adobe Camera Raw, our preferred raw file processor, we had to convert them into 16-bit TIFF format with Canon’s Digital Photo Professional software, Version 18.104.22.168 of which is supplied with the camera. This application is superior to most proprietary raw converters and we were able to extract the expected level of resolution from the test files. Imatest showed the review camera to be capable of almost meeting expectations when JPEG files were analysed and slightly exceeding them with raw files. Resolution held up well across the camera’s ISO range, with the expected gradual decline as ISO sensitivity was increased, as shown in the graph of our test results below.
In our after-dark test shots, the first evidence of image noise appeared between ISO 6400 and ISO 12800, with increased softening as noise-reduction processing was applied. Softening was noticeable at ISO 25,600 and increased gradually thereafter. Interestingly, the ISO 102,400 setting delivered images that would be usable at modest output sizes after unsharp masking, even though resolution had been significantly reduced. Like the Mark III, the Mark IV was capable of recording a wide range of tones in subjects with extended brightness ranges, although it didn’t cope well with extreme differences between shadows and highlights. Nevertheless, blown-out highlights were rare in JPEGs, when the Highlight Tone Priority setting was selected.
Unlike the Mark III, the Mark IV provides two auto white balance settings: ambience priority and white priority. The former is the ‘normal’ auto mode, while the latter aims to keep white areas in the subject as close to white as possible. We found the ambience priority setting came very close to producing neutral colour rendition under fluorescent lights, while the white priority setting delivered a high level of correction. Under incandescent lights, neither setting was able to correct the orange cast but the white priority setting reduced the orange cast to a noticeable degree. Pre-sets are provided for daylight, shade, cloudy, tungsten, white fluorescent and flash or you can take custom measurements or use Kelvin temperature settings. Each setting can be fine-tuned in the camera. We found the tungsten and fluorescent pre-sets tended to over-correct, although not excessively.
For our timing tests we used a 16GB SanDisk Extreme Pro UDMA 7 CF card, along with a 32GB SanDisk Extreme Pro SDHC U1 card. The review camera powered-up ready for shooting almost instantaneously, taking less than 0.1 seconds. When the viewfinder was used, we measured an average capture lag of 0.1 seconds. This delay was eliminated by pre-focusing the lens. The average delay times were similar in Live View mode, which is unusual as they tend to be slower in most DSLR cameras we’ve tested. The dual pixel AF system is a likely explanation for such good performance since capture lag is largely a result of autofocusing lag. In both modes, it took an average of 2.5 seconds to process a single JPEG file and 2.6 seconds for a raw file and 2.8 seconds for a RAW+JPEG pair, regardless of which card the images were recorded on. Shot-to-shot times with both cards averaged 2.65 seconds because in single-shot mode, the camera can’t record a shot until the previous one has been processed.
We couldn’t get the review camera to operate in the high-speed continuous shooting mode when the viewfinder was used but it worked perfectly in Live View mode. With the CF card, we were able to record 45 Large/Fine JPEGs in 6.5 seconds, which equates to 6.92 frames/second, just a whisker below the specified frame rate. It took 4.9 seconds to process this burst. For raw file capture, the camera also recorded 19 shots in 2.6 seconds, again, matching specifications. It took five seconds to process this burst.
Swapping to the SDHC card, we recorded 56 Large/Fine JPEGs in eight seconds, which equates to exactly seven frames/second. It took 8.2 seconds to process this burst. Seventeen raw files were recorded in 2.3 seconds, a frame rate of 7.4 fps. It took 13.6 seconds to complete the processing sequence.
Like its predecessor, the Canon EOS 5D Mark IV enters the market with several advantages in the form of high resolution for still pictures, 4K video recording, top-rate autofocusing, a decent continuous shooting speed and touch-screen monitor controls. To these you can add an up-to-date image processor and interesting innovations like the Dual Pixel RAW functions.
Currently, there are three other cameras that might compete with the 5D IV in this market sector, although they don’t provide the full array of benefits: Canon’s 50.6-megapixel EOS 5Ds and 5Ds R6 pair and the-megapixel Nikon D8107. We’ve reviewed two of these three cameras. Local pricing for the EOS 5Ds and Nikon D810 cameras is lower than the current p8
Based on JPEG files:
Based on CR2.RAW files converted into 16-bit TIFF format with Digital Photo Professional:
Auto white balance ambience priority mode with incandescent lighting.
Auto white balance white priority mode with incandescent lighting.
Auto white balance ambience priority mode with fluorescent lighting.
Auto white balance white priority mode with fluorescent lighting.
ISO 100, 58mm focal length, 30 second exposure at f/4.
ISO 200, 58mm focal length, 30 second exposure at f/4.5.
ISO 800, 58mm focal length, 20 second exposure at f/4.5.
ISO 3200, 58mm focal length, 20 second exposure at f/9.
ISO 6400, 58mm focal length, 13 second exposure at f/10.
ISO 12800, 58mm focal length, 8 second exposure at f/11.
ISO 25600, 58mm focal length, 5 second exposure at f/18.
ISO 102400, 58mm focal length, 1 second exposure at f/9.
ISO 200, 105mm focal length, 1/250 second exposure at f/9.
ISO 100, 105mm focal length, 1/100 second exposure at f/8.
ISO 200, 58mm focal length, 1/125 second exposure at f/8.
ISO 100, 50mm focal length, 1/200 second exposure at f/11.
ISO 200, 105mm focal length, 1/100 second exposure at f/8.
ISO 200, 70mm focal length, 1/250 second exposure at f/7.1.
ISO 100, 92mm focal length, 1/100 second exposure at f/8.
ISO 100, 105mm focal length, 1/500 second exposure at f/9.
ISO 400, 105mm focal length, 1/500 second exposure at f/6.3.
ISO 100, 45mm focal length, 1/200 second exposure at f/13.
ISO 400, 92mm focal length, 1/320 second exposure at f/5.6.
ISO 100, 100mm focal length, 1/500 second exposure at f/10.
ISO 200, 70mm focal length, 1/500 second exposure at f/11.
ISO 200, 105mm focal length, 1/320 second exposure at f/8.
ISO 100, 47mm focal length, 1/125 second exposure at f/11.
ISO 200, 90mm focal length, 1/80 second exposure at f/5.
ISO 200, 105mm focal length, 1/320 second exposure at f/5.6.
ISO 100, 105mm focal length, 1/1000 second exposure at f/4.
Still frames from 4K video clip taken with MJPEG format.
Still frames from Full HD 1080 video clip taken with 50p, ALL-I compression.
Still frames from Full HD 1080 video clip taken with 50p, IPB compression.
Still frames from Full HD 1080 video clip taken with 25p, ALL-I compression.
Still frames from Full HD 1080 video clip taken with 25p, IPB compression
RRP: AU£5699; US£3499 (body only)
- Build: 9.0
- Ease of use: 8.8
- Autofocusing: 9.0
- Image quality JPEG: 8.7
- Image quality RAW: 8.9
- Video quality: 9.0
- ^ Log in (www.photoreview.com.au)
- ^ create a user account (www.photoreview.com.au)
- ^ First Look at the new EOS 5D Mark IV (www.photoreview.com.au)
- ^ 5D Mark II (www.photoreview.com.au)
- ^ 5D Mark III (www.photoreview.com.au)
- ^ 5Ds R (www.photoreview.com.au)
- ^ Nikon D810 (www.photoreview.com.au)
- ^ www.canon.com.au (www.canon.com.au)