As part of our twenty fifth anniversary, we’re looking back at some of the most significant cameras launched and reviewed during that period. Today’s pick was launched seven years ago today* and yet we’re only quite recently stepping out of its shadow.

The Nikon D850 is likely to be remembered as the high watermark of DSLR technology. We may yet still see impressive developments from Ricoh in the future (we’d love to see a significantly upgraded Pentax K-1 III), but the D850 was perhaps the green flash as the sun set on the DSLR as the dominant technology in the market.

Click here to read our Nikon D850 review

Why do we think it was such a big deal? Because it got just about everything right. Its 45MP sensor brought dual conversion gain to high pixel count sensors, meaning excellent dynamic range at base ISO and lower noise at high ISOs. Its autofocus system was one of the best we’ve ever seen on a DSLR: easy to use and highly dependable, with a good level of coverage. And then there was a body and user interface honed by years of iterative refinement, that made it easy to get the most out of the camera.

None of this is meant as a slight towards the other late-period DSLRs but the likes of Canon’s EOS 5DS and 5DSR didn’t present quite such a complete package of AF tracking, daylight DR and low-light quality as the Nikon did. With its ability to shoot at up to 9fps (if you used the optional battery grip), the D850 started to chip away at the idea that high megapixel cameras were specialized landscape and studio tools that would struggle with movement or less-than-perfect lighting. And that’s without even considering its 4K video capabilities.

In the seven years since the D850 was launched, mirrorless cameras have eclipsed most areas in which DSLRs once held the advantage. For example, the Z8 can shoot faster, autofocus more with more accuracy and precision, across a wider area of the frame and do so while shooting at much faster rates.

But, even though it outshines the D850 in most regards, the Z8 is still based around what we believe is a (significant) evolution of the same sensor, and its reputation still looms large enough for Nikon to explicitly market the Z8 as its “true successor.”

Nikon D850 sample gallery

*Actually seven years ago yesterday: we had to delay this article for a day to focus on the publishing the Z6III studio scene: the latest cameras taking precedence over our anniversary content.

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We’ve just received a production Nikon Z6III and took it into our studio immediately to get a sense for how the sensor really performs.

Dynamic range tests have already been conducted, but these only give a limited insight into the image quality as a whole. As expected, our Exposure Latitude test – which mimics the effect of reducing exposure to capture a bright sunrise or sunset, then making use of the deep shadows – shows a difference if you use the very deepest shadows, just as the numerical DR tests imply.

Likewise, our ISO Invariance test shows there’s more of a benefit to be had from applying more amplification by raising the ISO setting to overcome the read noise, than there was in the Z6 II. This means there’s a bigger improvement when you move up to the higher gain step of the dual conversion gain sensor but, as with the Z6 II, little more to be gained beyond that.

These are pushing at the extreme of the sensor’s performance though. For most everyday photography, you don’t use the deepest shadows of the Raw files, so differences in read noise between sensors don’t play much of a role. In most of the tones of an image, sensor size plays a huge role, along with any (pretty rare) differences in light capturing efficiency.

As expected, the standard exposures look identical to those of the Z6 II. There are similar (or better) levels of detail at low ISO, in both JPEG and Raw. At higher ISO, the Z6III still looks essentially the same as the Z6II. Its fractionally higher level of read noise finally comes back to have an impact at very, very high ISO settings.

Overall, then, there is a read noise price to be paid for the camera’s faster sensor, in a way that slightly blunts the ultimate flexibility of the Raw files at low ISO and that results in fractionally more noise at ultra-high ISOs. But we suspect most people will more than happily pay this small price in return for a big boost in performance.

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Canon EOS R5 II as a video tool

The Canon EOS R5 II isn’t just a new version of the company’s popular R5 mirrorless camera; it’s the spiritual successor to the EOS 5D series of ‘affordable’ full-frame digital cameras. That includes the EOS 5D Mark II, the world’s first Full HD video-capable DSLR, a model that reset the market’s expectations for video capabilities on ‘photography’ cameras, and which, according to several Canon insiders we’ve talked to over the years, gave Canon the confidence to expand more aggressively into the digital cinema market.

Many of the R5 II’s headline-grabbing specs have centered around the camera’s photo capabilities, but it shouldn’t be a surprise that the EOS R5 II is for filmmakers as much as it is for stills shooters. In the following slides, we’ll examine what the camera offers to movie shooters.

Video specs

The EOS R5 II includes a wide variety of resolutions and frame rates to support just about any level of video quality. At its highest quality, the camera can capture DCI-style 8K Raw video internally at frame rates up to 60p. The R5 II also features a new 4K ‘SRaw’ recording option, with frame rates up to 60p. Canon hasn’t disclosed whether this 4K is downsampled from 8K or subsampled on the sensor, but it’s something we’ll test for our full review.

When shooting compressed video, the camera can capture 8K, 4K, and even Full HD resolutions in either DCI (1.89:1) or UHD (16:9) aspect ratios, using either the full width of the sensor or a very slight crop (1.05x). This includes 8K up to 30p, subsampled 4K up to 120p, and subsampled FHD up to 240p. It’s also possible to capture 4K and FHD resolutions in both DCI and UHD ratios using a cropped APS-C region of the sensor.

Finally, when connected to an external recorder via HDMI, the camera can also output 8K Raw at up to 30p or 4K Raw at up to 60p, both in a 1.89:1 aspect ratio. We’d be very surprised if this can’t be encoded as ProRes RAW once Atomos has had some time with the camera.

Codecs

The R5 II includes multiple codecs to support its myriad video options. When recording Raw video, the camera provides the option to record in either Canon’s Raw or Raw Light format. Video captured at frame rates of 50p or higher uses the Raw Light format to keep file sizes in check. Of course, there’s also the aforementioned SRaw option for 4K Raw video.

In an effort to better align its newest mirrorless cameras with its Cinema EOS product line, the R5 II features Canon’s XF-HEVC S and XF-AVC S compressed video formats, both of which can capture 4:2:2 10-bit color. The XF-HEVC S format, based on the H.265 codec, also allows you to capture 4:2:0 8- or 10-bit video, whereas XF-AVC S, based on the older H.264 codec, offers a 4:2:0 8-bit option.

The R5 II also includes the ability to capture HDR video by simultaneously capturing normal and underexposed frames, combining them to better preserve highlights in high-contrast scenes. This can be combined with the camera’s PQ picture profile for use on compatible TVs or displays.

Rolling shutter

One of the most significant upgrades in the EOS R5 II is the addition of a Stacked CMOS sensor, which promises to improve the camera’s rolling shutter performance (though it isn’t nearly as fast as the one in Canon’s new flagship mirrorless camera, the R1).

We measured the R5 II’s rolling shutter rate when shooting DCI 8K video at ∼12.6ms. That’s not going to set any records, but it’s faster than the 15.4ms we measured for the same resolution on the original R5, which should make rolling shutter artifacts less noticeable on the newer model.

Most Stacked sensor cameras don’t capture video using the super-fast multi-line readout modes they use for stills, so they’re not as impressively fast. A sub-15ms rolling shutter rate is extremely good, though, so you’d have to really provoke it to see any rolling shutter distortion.

C-Log2

The EOS R5 II will be the first Canon mirrorless camera to hit the market with Canon’s C-Log2 gamma profile. According to Canon, this is part of its effort to better align video capabilities and workflows across its product line.

C-Log2 encodes a wider dynamic range than the C-Log3 gamma profile included on some previous Canon mirrorless bodies and will better replicate and match footage from Canon’s cinema cameras. However, C-Log3 remains available for use in less challenging situations where the extra dynamic range of the C-Log2 curve isn’t required, retaining more data per stop of light.

Overheating

The original R5 received criticism for its propensity to overheat, particularly when shooting 8K video. The R5 II can also experience thermal issues at its most demanding resolutions and frame rates, but Canon has introduced a new accessory grip with a built-in cooling fan, the CF-R20EP, to help mitigate this issue. It joins manufacturers like Panasonic and Fujifilm that have provided accessory cooling fans for video-focused mirrorless cameras.

According to Canon, when capturing 8K/30p video, the R5 II should run for up to 26 minutes or up to 37 minutes with the camera’s auto power-off temperature set to high (based on an unused camera starting in an environment of 23ºC/73ºF). With the accessory fan attached, these times should increase to 106 minutes or 120 minutes (or more). When capturing 4K/60p footage, Canon claims the accessory fan will allow recording without time restrictions.

The CF-R20EP has a suggested retail price of $400. It also includes an ethernet port for fast connectivity or remote operation.

Dual recording

The R5 II includes a new dual recording feature that allows you to capture high-resolution JPEG images while recording video. Using this feature, the camera can capture Full HD video at up to 30p on one card while capturing UHD 8K (7620 x 4230 resolution) JPEG images at up to 7.5fps on the other.

This feature does have limitations. You’ll likely need to optimize your shutter speed for either photos or video, as the camera uses the same setting for both media. Also, some camera functions, such as focus breathing correction, chromatic aberration correction, diffraction correction, and in-camera image upscaling, will not work in this mode. Dual recording requires the new LP-E6P battery that can provide more sustained power.

Video tools

Although the R5 II has some very impressive video specs, we’re equally excited to see Canon include helpful tools to better support the user experience of capturing video. To start, Canon has finally added a waveform display to one of its mirrorless bodies, allowing video shooters to judge exposure across the frame when shooting video more accurately. Similarly, Canon has also added a false color display, which makes it easier to visualize exposure values in an image or to quickly dial in the correct exposure for a particular part of an image, like skin tones.

On the hardware side, the R5 II now includes a full-sized HDMI port, an improvement over the mini-HDMI port on its predecessor. It also has a front tally light to let subjects know when you’re recording. It includes 3.5mm headphone and microphone jacks.

Finally, Canon has also added the ability to pre-capture either three or five seconds of video, which should help in situations where it’s difficult to anticipate when the action will start.

Multi-function hot shoe and digital/4-channel recording

The EOS R5 II also gains Canon’s multi-function hot shoe, which includes communication pins for compatibility with accessories beyond speedlights. The original R5 didn’t include this feature, though it appeared subsequently on the EOS R3.

The main benefit of the multi-function shoe for video shooters is support for digital audio input, as well as 4-channel audio support.

Summary

The original EOS R5 came to be known as a capable video camera, able to deliver stunning video quality, once the initial concern about overheating had cooled. The R5 II goes the next step to address some of the challenges encountered by its predecessor, such as providing an add-on fan to improve thermal management, refining the workflow experience through the addition of tools like waveforms, false color and better hardware connections, and through enhanced capabilities, like the addition of C-Log2 and dual recording.

The result is a camera that promises to perform very well for both stills and video and could potentially integrate pretty seamlessly as a B-cam on a production using Cinema EOS equipment. If you’re a serious video shooter or even an enthusiast just looking to experiment and expand your horizons, the R5 has a lot of potential. We’ll see how it stands up to real-world use once we receive a production copy, and look forward to testing the autofocus to see how well the experience on the stills side of the camera translates to video.

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