Canon EOS R6 Review – Not the hybrid king, but a wonderful photographer’s camera

The Canon EOS R6 is a full-frame mirrorless camera with a resolution of 20 megapixels that is designed for amateur videographers and photographers. It is positioned below the R5, similar to how the EOS 6Ds were placed below the 5D DSLRs, and it provides a well-rounded combination of functions for both landscape and portrait photography.

It is also one of the first enthusiast-level cameras that can capture both stills and video and utilize the capabilities of the most recent high-dynamic range displays. This makes it one of the first cameras of its kind. The fact that it frequently exceeds its temperature restrictions, however, brings its video capabilities down to a lower level.


Key characteristics

  • In-body stabilization using a 20-megapixel dual-pixel CMOS sensor, rated at up to 8 stops of correction
  • Dual Pixel AF II with artificial intelligence-trained topic tracking and complete AF coverage
  • 20 frames per second when using the electronic shutter, 12 frames per second while using the mechanical shutter UHD 4K recording at up to 60p, 1080 at up to 120p.
  • 10-bit 4:2:2 internal recording using either C-Log or HDR PQ 10-bit HDR photographs saved in the HEIF format.
  • 3.68 Million Dots Electronic Viewfinder 1.62 Million Dots Fully Articulating Rear Touchscreen
  • A new battery with an approximate 380-shot capacity per charge is available (EVF)

What’s New?

Key takeaways

  • The 20 megapixel sensor and CPU that is comparable to the 1D X III provide for quick shooting capabilities.
  • The excellent 8EV correction rating is achieved by the collaboration of in-body and in-lens stabilization.
  • In comparison to the 1D X III, the autofocus and subject tracking have seen improvements.
  • UHD 4K footage may be captured at up to 60 frames per second in up to 10-bit 4:2:2 color space from 94% of the sensor’s width.
  • The overall spec appears to be competitive with others in both still photography and videography.

The R6 utilizes a modified version of the 20-megapixel sensor that was initially introduced in the EOS-1D X III. Canon did not define the difference; however, there is clearly no mention of the R6 employing the pricey “16-point” anti-aliasing filter from the flagship camera, which is a plausible distinction (we’d anticipate the R6’s AA filter to be of the more standard type).

This sensor has previously demonstrated that it is capable of delivering strong performance, boasting a dynamic range that is respectable (though not exceptional) and readout rates that are outstanding for both still image and video recording.

In terms of autofocus tracking ability, which is an area in which the 1D X III shines (when shooting in live view mode), the sensor is coupled with a processor that bears the ‘Digic X’ trademark, which promises excellent things to come.

The capabilities of the camera to autofocus and shoot at a high rate of burst are supported by the camera’s combination of a quick readout and a large amount of processing power. When using its mechanical shutter, the R6 is capable of shooting at up to 12 frames per second with complete focusing, but when using its electronic shutter, it can equal the highest speed of the 1D X III, which is 20 frames per second.

The electronic first curtain shutter (EFCS) is set to be used by the camera by default; however, you have the option of using the fully electronic shutter for silent shooting or the fully mechanical shutter for high shutter speeds, which can have a negative impact on the bokeh of your images if the EFCS is used. Unfortunately, there is no automatic mode that will make this switch for you.

Image stabilization

The question of whether the in-body system delegates some of the work to the in-lens IS units or if both the in-body and lens systems operate concurrently for pitch and yaw correction has served as the primary criterion for differentiating various IBIS systems up to this point.

Canon takes this one step further by ensuring that the two systems are in continual communication with one another. This indicates that the in-lens image stabilization system receives information from the in-camera movement sensors and gyros, whereas the in-body image stabilization system receives information from the sensors located in the lens. Canon has been successful in delivering a system that is rated at up to 8 stops of correction since they have coordinated their efforts.

Autofocus

The R6 utilizes what Canon refers to as Dual Pixel AF II for its focusing system. In this system, each pixel is composed of a left-looking subpixel and a right-looking subpixel. The ability of the camera to do ‘phase detection’ focusing is dependent on the difference that exists between what each pixel half’sees.’ As a result of this, the whole sensor is capable of functioning as a depth-aware focus sensor, which contributes to the achievement of one hundred percent AF coverage and is advantageous for both still and video AF.

Inherits Canon’s most sophisticated autofocus (AF) technology to date, which features a subject recognition system that has been educated by machine learning. Because it is able to distinguish things like eyes, faces, and heads, the camera will continue to keep its focus on your subject even if they momentarily turn their head away from it. Additionally, it has been taught to identify the eyes, heads, and bodies of certain species of animals, and it gives you the option to select whether the system should favor human beings, animals, or make no priority at all.

Canon claims that the R6’s tracking may be even more improved than that of the 1D X Mark III because it employs the same processor and the same algorithms as that camera. Additionally, the camera has the same AF setup choices, which let you to choose a “Case” that best exemplifies the motion of the subject you are photographing. One of these is a mode labeled “Auto,” which is designed to automatically adjust itself to the moving subject you are photographing and respond appropriately.

Video

It’s the same as the 1D X III: essentially DCI capture with little over 3 percent shaved off both sides, producing a 1.07x crop. The UHD 4K output isn’t exactly full-width, but the difference is quite minimal. Due to the fact that it was demosaiced before being downscaled and was taken from a portion of the sensor measuring 5130 by 2886 pixels, this oversampling should result in a minor improvement in the level of detail.

The camera has two modes for 10-bit H.265 capture in addition to the normal 8-bit H.264 video that is captured when the camera is first turned on. The first is a traditional Log mode, which makes use of a C-Log gamma curve to divide the available data values reasonably evenly across the stops of collected light. This gives the user the opportunity to select a color and tone response during the subsequent color grading process (for either standard or high dynamic range output).

The second alternative is called “HDR PQ” capture, and it involves shooting video in a format that is meant to be seen on the most recent HDR televisions. This type of video captures a wider range of brightness values than standard HDR video does. This mode was developed especially for the purpose of producing ready-to-use material for high dynamic range (HDR) televisions that requires very little or no color grading at all.

In comparison to the usual color modes, Log mode has a base ISO of 400, which indicates that it was created to record 2EV of more highlights. It is interesting to note that the HDR PQ mode use an ISO of 100 as its base setting; nevertheless, it recommends that you activate Highlight Tone Priority, which treats the base setting as ISO 200, in order to capture an additional stop of highlights.

In conclusion, it is important to point out that the camera has a choice in the Custom Functions menu that allows the user to record either uncompressed (Linear PCM) or compressed (AAC) audio while taking pictures or videos.

Video tools

The R6 provides tools and assistance in the form of mic and headphone ports, as well as focus peaking and zebra warnings. Additionally, the R6 is equipped with zebra warnings. This marks the debut of zebra exposure warnings in a non-Cinema EOS-series EOS camera, making this the first consumer EOS camera to use the feature.

In the zebra implementation, you have the option of setting both a threshold value (for example, to identify anything with a brightness of 90 percent or more) and a range value (for example, 70 percent plus or minus 5 percent). The deviation from the mean is always a constant 5 percent. If you are able to distinguish between lines that are slanted to the left and lines that are tilted to the right, then these two zebra patterns can be displayed either one at a time or both at the same time.

Because the Zebras can neither be accessible through the Q menu nor assigned to a button, you will have to use the primary menus in order to toggle their visibility. At the very least, you may help this procedure go more quickly by adding the menu option to the “My Menu” page of your account.

True HDR stills and video

Another feature that was passed down from the 1D X Mark III is the capacity to create 10-bit HDR files, which can be used for still photography as well as video recording. These make use of the capabilities of the most recent monitors and TVs to display a depiction of the actual world that is more convincing to the eye.

Both times, the camera will generate 10-bit files, which have a greater tonal range than regular JPEGs. Additionally, the files will be created in a way that allows them to be viewed on displays that are capable of displaying displays that can show brighter brights and darker shadows tones.

This is analogous to what Panasonic provides with its HLG pictures function, but with a more complex PQ (perceptual quantizer) tone response, which is utilized by both the Dolby Vision and HDR10 standards. It is interesting to note that the camera will not attempt to use different exposures to ensure that it captures additional highlight information in either the stills or video modes. Instead, the menus will advise you to engage the Highlight Tone Priority mode, which employs a lower amplification-to-exposure relationship to ensure that more bright tones are captured. This mode is available in both the stills and video modes.

You have the option of viewing a preview that correctly represents midtones and shadows but appears to clip highlights that have been captured, or you have the option of viewing a preview that correctly represents highlights and midtones but with shadows potentially appearing artificially clogged up. Since the camera’s viewfinder and rear LCD are not HDR-capable displays, Canon employs the same workaround that Panasonic does: you can choose to see a preview that correctly represents midtones and shadows but appears to clip highlights that have This View Assist function allows for different configuration options for the capturing and playing back modes.

Body And Controlls

Key Takeaways

  • Solidly constructed body of a moderate size including a three-dial control system
  • Featured with the intriguing exposure option of Flexible Priority.
  • Makes use of the tried-and-true Canon menu system
  • Detailed partitioning of the stills and video settings in order to facilitate easy changeover.
  • A brand new battery that is 14 percent more powerful gives acceptable battery life figures.

Body

The R6 body is nearly precisely what you’d expect from a camera whose name references to both the EOS R and the EOS 6D cameras. Both the EOS R and the EOS 6D cameras have 6D in their names. It takes elements of ergonomic design from both cameras and combines them in a way that is immediately intuitive to operate.

It is difficult to get a sense of how durable it could be, but if seems very substantial. Canon states that it has the same degree of weather sealing as those two cameras, which is presumably less thorough than on the R5.

The first thing that you are most likely to notice is that there are three dials: the index finger dial next to the shutter button and the dial on the back of the top plate, as on the existing R and RP, but it also has a large dial on the back-plate, similar to Canon’s DSLRs. The third dial is located on the back of the camera. The end product is a camera with three dials (four if you use an RF lens or EF adaptor with a control ring).

This configuration enables you to make full advantage of the Fv mode that was introduced with the EOS R, while still providing sufficient room for customization to allow you set the dials to run whichever functions you feel to be the most helpful.

Joysticks, or “multi-controllers” as Canon prefers to call them, are included on the R6. Because this option accomplishes very little by default, we suggest that you enable it to be used as an AF point controller by scrolling all the way to the bottom of the “Custom Functions page 3 | Button customisation” menu.

The sensitivity of the controller, also known as its speed, may then be modified on page 5 of the AF menu. After consulting with the rest of the team, we determined that the default and fast settings provided the best results. Regardless of whether we preferred, this meant that we did not find it necessary to utilize the rear screen as an autofocus touchpad, although you are free to do so if you so like.

The ‘Rate’ button, which is located in the upper left corner of the camera, is another function that is often reserved for higher-end Canon cameras. While watching your photographs in playback mode, you will have the ability to rapidly assign star ratings to each of your images using this feature.

The button can be altered (in the Playback tab, rather than the Custom Functions page), to serve as a Protect or Delete button if that is what you would want, but the actual power of the button lies in the fact that you can choose the star ratings it may apply.

Personally, I only allow myself to apply three or five stars, which means that I may tap once for photographs that are a “maybe” and twice for images that are a “certain.” These star ratings are written to the metadata of the file, and the vast majority of editing tools can read them.

“Flexible Priority” mode, abbreviated as Fv

The Canon Fv ‘Flexible Priority’ exposure mode is incorporated into the EOS R6 digital camera, just as it was in earlier EOS R models. This is analogous to the ‘Hyper Program’ mode offered by Pentax: when you turn the camera on, it will operate in Program mode until you choose an aperture, shutter speed, or ISO number, at which time the settings you choose will take precedence.

You also have the option of setting only two of these parameters, allowing the camera to determine the value for the third. When you press the Delete button on your camera, you give the camera control of the current parameter, and when you hold down the Delete button, you return everything to its default setting of Auto (you can customize which buttons perform these actions, if preferred).

You may almost look at it as a method to make sense of the’manual exposure with Auto ISO’ way of working because it gives you access to aperture priority, shutter priority, ISO priority, or combinations of the three (such as shutter and aperture priority, for example), all from a single exposure mode. Although it may take some getting accustomed to, the idea behind it is quite amazing.

Viewfinder and LCD

Although the viewfinder and LCD on the R6 are both smaller than those on the R5, they are nonetheless comparable to other models in the class. The viewfinder is an OLED display that has 3.68 million dots and optics that offer a magnification of 0.76 times.

The viewfinder of the R6 may be operated at either 120 or 60 frames per second, just as the viewfinder of the R5. The default frame rate is 60, which looks nice, but anyone who is adjusting to using an electronic viewfinder (EVF) rather of an optical finder for the first time is likely to appreciate having the option to increase it to 120.

The eyepoint is adequate rather than outstanding, and I discovered that, when I wore glasses, it was difficult for me to see the image’s furthest edges. However, there is an option in the settings labeled “VF display format” that allows the user to significantly lower the size of the preview picture, which eliminates any issues of this nature.

The screen on the back panel is 3.0 inches and 1.62 million dots, making it rather challenging to read in bright light (at least, at the default brightness setting).

Two useful new options have been added to the menu, and they concern the viewfinder and the screen of the camera. The first of these is the availability of two automatic modes for switching between the viewfinder and the LCD on the back of the camera. One of these utilizes the eye-sensor at all times, while the other uses it unless the screen is turned out, in which case it uses the rear LCD instead.

The second concept is obviously intended for those who are transitioning from using DSLR cameras; by default, the camera will not display a replay image in the viewfinder after you have taken a picture.

When you take your eye off the viewfinder, the information is shown on the LCD on the back of the camera, giving you the option to either study the image or continue taking pictures. This feature can be deactivated; if it is, image evaluation will take place after each and every shot. However, the default behavior is remarkably similar to that of a DSLR.

Menus

The menu system of the camera follows the standard layout that Canon has been gradually refining over the course of many, many years. It is laid out in the form of a horizontal sequence of tabs, and each part contains a numbered list of pages.

Because it is laid out horizontally, navigating the menus with the joystick is more time consuming than it would be with a vertical layout. However, if you make good use of the dials (the top-rear dial jumps between tabs, the front dial jumps pages, and the rear face dial scrolls up and down the options), it is possible to get from one end of the menus to the other in a reasonable amount of time. In the event that you are not already familiar with this mode of operation, the menu can be navigated entirely using touch.

Because the pages themselves are numbered, you will need to retain some degree of memory on the locations of the various alternatives. On the other hand, there is a tab labeled “My Menu” that, if necessary, allows you to collect all of your most often used settings into a single location.

Q Menu

In addition to the primary menu, there is a Q menu that provides access to 10 of the most frequently used configuration options. It consists of a straightforward touchscreen interface and is responsive to different exposure modes (so you only get options such as mic and headphone volume when in Movie mode).

Because this cannot be modified, you are out of luck if you would prefer have rapid access to Auto ISO shutter speed than Anti-Flicker mode.

Video handling

If you press the [REC] button while the camera is being used for normal photography, it will capture video in program exposure mode. Alternatively, there is a full Movie exposure option.

The movie setting on the mode dial grants you access to a significantly greater number of control options. You have the option to employ manual exposure rather than program mode, which has its own settings that are different from those used in the stills mode. Because of this, you are able to switch between them (at a multi-position turn of the mode dial), and the settings you apply to one one will not have an effect on the other.

There are settings for Auto Lighting Optimizer, Highlight Tone Priority, White Balance, High ISO noise reduction, and Lens Corrections, and each of these options may be modified independently of the options in the stills mode. These options are exactly the same as those found in the stills mode.

However, there is the opportunity to alter aperture values with a precision of 1/8EV. Unfortunately, there is no option to specify exposure duration as shutter angle, which would be beneficial for a camera that shoots 4K/60p. Although this places you in the peculiar situation of being able to pick F5.6 4/8 (which, in more common parlance, would be referred to as F6.7), it does provide you with a finer-grained level of control over exposure than the majority of cameras.

Auto ISO

The Auto ISO feature of the camera has a good amount of functionality. You have the ability to set the minimum and maximum values, as well as the threshold for the shutter speed at which the camera will begin to increase the ISO.

This threshold can be a predetermined shutter speed, or it can be set to “Auto,” which selects a shutter speed that is appropriate for the focal length that is currently being used. You may modify this to have the camera maintain shutter speeds faster or slower than this (for example, 1/100 second or 1/25 second at 50mm). The Auto value uses a shutter speed of 1/Focal Length by default, but you can change it to use a different shutter speed.

Auto ISO can still be used even when the exposure mode is set to manual, and exposure compensation can still be accessed, allowing you to fine-tune the brightness level that the camera is attempting to keep constant.

In movie mode, there is no control over the shutter threshold (movie mode only gives program or manual, so you’ll probably be manually choosing a shutter speed anyway), but you do maintain control over the higher and lower values the system will use. Movie mode only offers program or manual.

Storage

For storage, the R6 makes use of a pair of slots that are compatible with UHS-II SD cards. Because of this, it is unable to match the data transfer rates of the R5, but it does allow you to concentrate on a single memory type and just load your pockets with SD cards.

Due to the camera’s very low pixel count, it is capable of shooting over 1000 shot bursts in JPEG, HEIF, or C-Raw formats, as well as 240 raws or 140 raws plus large, fine HEIF files when paired with a fast UHS-II card.

A brand new battery

The LP-E6NH is a new battery that is used in the R6. It has the same dimensions as the LP-E6N that is already on the market, but its capacity has been increased to 2130mAh. The batteries are compatible with older models; the only change is the capacity for storing energy has increased by 14 percent, making it now 16 Wh rather than 14.

The R6 comes with an external charger already attached, and if you have a high-current USB charger, you can also power the device through that port. The camera is also capable of being powered by a connected USB device.

The camera is set to use the slower of its two preview refresh rates by default. When the camera is in this mode, it produces a rather decent 380 shots per charge when using the viewfinder and 510 shots per charge when using the rear LCD.

CIPA ratings always tend to depict a rather heavy usage pattern, and it’s quite typical to obtain twice this figure depending on how you fire. Depending on how you shoot, you can receive this figure. Numbers in the region of 400 shots or more are not likely to cause the majority of enthusiasts undue concern while participating in an extended shooting session.

If you switch the camera to one of its modes with a quicker refresh rate, the number of images you can take drops by around one third, to 250 for the finder and 360 for the LCD. If you find yourself frequently shooting with the viewfinder set to 120 frames per second, we would advise purchasing a second battery or ensuring that you always have a high-current power brick on hand so that you can top off the one you are currently using.

There is a vertical battery grip (BG-R10) that can be purchased for the camera. This grip replaces the built-in battery but adds slots for two LP-E6NH batteries, which doubles the camera’s capacity for continuous shooting. If you connect the camera to a USB power source, the grip will charge both of the camera’s batteries simultaneously.

Image quality

Key Takeaway

  • Image quality is excellent, with pleasantly colored JPEGs, decent levels of detail in the Raw files, and competitive performance even when shooting in low light.

The R6’s sensor is comparable to its 24MP competitors in terms of resolution, and the JPEG engine that it utilizes creates color that is appealing to the eye.

Because its sensor is so closely related to the one in the Canon EOS-1D X Mark III, the image quality of the EOS R6 is something of a known quantity. Canon claims that the R6 does not have the more sophisticated and expensive AA filter found in its professional sports camera, but other aspects of its performance appear to be the same.

Autofocus as well as overall performance

Key Takeaways

  • The autofocus works quite well, particularly with subjects that are either human or animal.
  • If you want to pre-position the AF point manually so that it may be utilized for tracking, you will need to alter an option in the menu.
  • You are able to make precise adjustments to the AF behavior using the camera.
  • Face detection works really well in all conditions except the darkest ones.

In order to obtain live updates in the viewfinder when using a mechanical shutter, you will need to slow your shooting down to 8 frames per second.

E-shutter permits shooting at a rate of 20 frames per second while maintaining live view, but at the expense of a readout resolution of only 12 bits and a rolling shutter with a delay of 1/50 of a second, which increases the likelihood that rapidly moving subjects may be distorted.

The EOS R6 comes equipped with the most recent iteration of the Dual Pixel CMOS focusing technology that Canon has to offer. The user interface is generally same from what it was in the past; however, there are now a few of new choices in the menu that may be used to fine-tune the behavior of the app.

There are eight distinct AF area modes, each of which may be chosen through the Q.Menu or mapped to a button on the camera. You have the ability to adjust which of these options are available, making it possible to pick them more rapidly when you’re taking pictures.

In addition, there is a Face AF + Tracking option, which, as the name implies, concentrates its attention on faces and makes an effort to follow a subject as it moves across the frame. There is no method to indicate the location of your subject by default; however, there is an option in the menu to supply a starting AF point when shooting in C-AF (Servo) mode. This option can be found on page 5 of the menu’s ‘AF’ tab.

If you find that you frequently switch between AF modes, one of the buttons on your camera can be programmed to switch to a previously registered AF mode. You will also have the option of selecting which AF parameters (AF area mode, tracking sensitivity, and Accel./decel. tracking) are recalled when you press the button.

Recognizability based on the face, eye, and animal

A topic identification system that has been taught via the application of machine learning is utilized by the R6. This indicates that it is equipped with algorithms that can recognize distinctive patterns in a scene, such as those associated with faces, eyes, and certain kinds of animals. You have the ability to choose which topic should take precedence (which might imply a degree of overlap in what the algorithms identify, hence the need to specify which takes precedence).

It works really well a lot of the time, with the camera being able to follow individuals even when they are wearing face masks, so it is very effective. Even when utilizing the somewhat non-specific ‘Zone’ AF zone, the camera did a very fine job of focusing on the subject at hand while photographing birds set against a background that was also at a comparable distance.

As a result, rather than needing to continually switch modes, it became able to use the Zone AF mode when photographing birds both while they were in flight and when they landed on trees.

In addition to these choices for which sort of subject to prioritize, the R6 features options that allow you to modify the AF reaction to match the movement of your subject. These are, in essence, lifted straight from the Canon EOS-1D X Mark III, which serves as the company’s premier sports camera.

You are able to communicate to the camera whether the subject is moving at a (predictable) even speed or is prone to accelerating or decelerating. Additionally, you are able to communicate to the camera whether it should jump to subjects that pass between the camera and the original subject. This is useful because there are situations in which you do want this to happen and other situations in which you do not want it to happen.

Shooting in a continuous fashion

When employing the Electronic First Curtain or the complete Mechanical shutter, the camera is equipped with a number of different continuous shooting settings. The H+ mode offers the fastest burst rates, at a rate of 12 frames per second, however the display shows a slideshow of the photographs you have most recently recorded (making it difficult to follow motion).

By switching to the “H” mode, which can achieve up to 8 frames per second, and activating the “Camera Tab | Page 7 | [Cont.H] High Speed Display,” the live view may be refreshed between each image capture.

It is much simpler to keep up with a moving subject while using electronic shutter mode since it gives live view updates and delivers 20 frames per second in all continuous drive settings. The electronic shutter has a shutter rate of 19.3 milliseconds, which is equivalent to 1/50th of a second. This means that photographs of moving subjects may come out distorted, and taking pictures in artificial light may cause banding to appear in the image.

Performance Regarding Autofocus

After doing our usual set of AF tests, we started by focusing the camera on a single, central AF point. This allowed us to evaluate the camera’s ability to determine the distance to an approaching subject and adjust the AF group to the appropriate setting. We tested this with the RF 70-200mm F2.8 L IS lens with the most recent firmware installed, and we utilized both the mechanical and electronic shutter modes.

Even though it’s shooting at a rate of 20 frames per second, the camera is doing an amazing job of maintaining sharp focus on the shirt (which is located under the AF point).

Next, we put the camera’s tracking mode to the test to see how effectively it can identify a target and maintain its position relative to it. This presents a greater challenge for the camera, since it must determine not just where to focus, but also at what distance to do so. Both the ‘Case 1’ behavior, which is the default, and the ‘Case 4’ behavior, which is meant for people whose acceleration and deceleration are unexpected, were put to the test.

Due to the fact that Face recognition and AF Tracking are merged into a single mode, the camera has attempted to track the face of the person in this particular case.

Performance in low light conditions

We also try to take a series of photographs of a moving subject in order to evaluate the performance of the face identification feature of the camera when the light levels are low. These pictures were taken with the subject light from the front, the back, and equally.

This challenge pushes the R6 to the very limit of its capabilities. In some situations, the camera will lock onto the nearest eye, but then it will lose that lock as the individual who is being backlit moves their head away from the light.

In these particular conditions, we were required to wait until the subject turned their back to the light in order for the camera to once again locate and focus on one of their eyes. When it focused, it would completely miss the face and the eye every once in a great while, which would result in a picture that was completely blurry.

Video

Key takeaways

  • Strong technical requirements for the video with an outstanding autofocus.
  • The interface makes it simple to switch between taking still photographs and recording video.
  • There is a noticeable amount of rolling shutter in the 4K settings that are most frequently utilized.
  • Because of thermal limitations, shooting video alongside stills might be challenging.
  • The problems with overheating can be avoided by use an external recorder.

Video specs

The EOS R6 boasts a robust video feature set, enabling the recording of up to 4K video at 60 frames per second from a slightly cropped portion of the sensor while maintaining full Dual Pixel AF functionality across the board.

It’s the same as the 1D X III: essentially DCI capture with little over 3 percent shaved off both sides, producing a 1.07x crop. The UHD 4K output isn’t exactly full-width, but the difference is quite minimal. Due to the fact that it was demosaiced before being downscaled and was taken from a portion of the sensor measuring 5130 by 2886 pixels, this oversampling should result in a minor improvement in the level of detail.

As is customary with Canon cameras, in addition to the in-body and in-lens stabilization systems, there are also two degrees of electronic image stabilization that may be applied.

These impose extra cropping on the film, which enables the camera to choose various sections of the sensor in reaction to the movement of the camera. Because of the cropping, not only is it more difficult to get a wide-angle perspective, but the image quality is also negatively impacted. This is especially true for the Enhanced mode.

They aren’t required for the majority of the shooting that you do, but they can be helpful in emergency situations.

The camera is set to record 8-bit video by default, but it also has two 10-bit, 4:2:2 shooting modes that record footage that is both more detailed and more adaptable. The first of them is the C-Log mode, which records extremely desaturated and flat footage with the intention of preserving the user’s freedom for color grading when the video is being edited. The HDR PQ mode is the other option, and it records footage that is HDRTV-ready.

Video performance

The results from capturing a region with a 1.6x cut are less remarkable, but this shouldn’t come as a surprise given that the camera is forced to upsample the data because it was originally captured at a resolution that was significantly lower than 4K.

One of our initial worries with the camera was that it had a propensity to reach its overheat limit. A firmware update (to version 1.1.1) has done a great job of addressing this worry. The vast majority of cameras in this class impose time constraints on their high-resolution video modes; but, due to the R6’s timer-based recovery logic, any use of the camera, including the taking of still photographs, would count toward the camera’s 40-minute restriction.

Because of the update, its behavior is now more comparable to that of its contemporaries; this means that attempts to cool the camera and time spent with the camera entirely turned off both serve to lengthen the amount of time that may be recorded. If you shoot many clips in a row while taking powered-down rests in between, you will significantly decrease the likelihood that the overheat warnings will appear on the screen.

Rolling shutter

The rolling shutter statistics of this camera are fairly comparable to those of the 1D X III in that they are good in certain modes but much less good in others. The roughly 30 millisecond rate for shooting in 24 and 30 frames per second from the larger sensor region is likely to visibly skew the verticals of subjects moving across the frame at speed. This is significantly worse than the 20-25 millisecond figures that are typical for its 24MP competitors in comparable shooting modes.

The film captured with the greater rolling shutter rate has the same amount of spatial detail as the footage captured with the slower settings, which is an intriguing fact. This provides solid evidence that the camera switches to 12-bit readout mode while recording footage at 60 frames per second, exactly as it does when switching to electronic shutter mode when capturing still images.

After all, something must be changing in order to allow for that increased readout rate, and the rolling shutter rate of the 60p footage is equivalent to the speed of the e-shutter mode, when you take into consideration the smaller section of the sensor that is being utilized for video.

However, because the C-Log gamma curve employed by the R6 appears to only encode roughly 11-stops of dynamic range, there is no perceptible shadow noise difference between them. This is in contrast to the case with stills, in which we saw a difference in the dynamic range of the stills.

Video conclusion

The Canon EOS R6 does a lot of things well when it comes to recording video. It has impressive specifications, including the ability to record 60p footage from the same crop as its 24p and 30p capture, autofocus that is both smooth and reliable, and ergonomics and interfaces that have been thoughtfully designed to make it simple to switch between recording video and still images.

It is also beneficial to have a choice of 10-bit modes, such as C-Log if you intend to color grade the video and PQ if you want to transmit it directly to an HDR television. It would be beneficial to have the option to record ‘All-I’ footage with a lower compression level. This would be more for the purpose of reducing the amount of work required to process the film during editing than for any improvement in the video’s overall quality.

The EOS R6 does a lot of things well when it comes to recording videos, but the devil is in the details.

But, as is so often the case, the devil is in the details. Given that we saw the 1D X III employ the whole width of this sensor to provide a DCI 4K option, the lack of a DCI 4K choice in this camera is really disappointing. If you want to make the most of the available sensor space in 24 or 30 frames per second mode, the rolling shutter might be rather noticeable.

The most recent update to the camera’s firmware makes it far less likely that it will reach its temperature limit for overheating, since it is now better able to identify attempts to let it cool. It’s still not a camera that we’d select for shooting video while also taking a lot of still photos, but if you only use it for on-and-off video recording, it has a lot of potential.

Canon EOS Rebel T5i Specifications

Body typeSLR-style mirrorless
Body materialMagnesium alloy
Sensor
Max resolution5472 x 3648
Image ratio w:h1:1, 4:3, 3:2, 16:9
Effective pixels20 megapixels
Sensor photo detectors21 megapixels
Sensor sizeFull frame (36 x 24 mm)
Sensor typeCMOS
ProcessorDigic X
Color spacesRGB, Adobe RGB
Color filter arrayPrimary color filter
Image
ISOYes, 100-102400 (expands to 204800)
Boosted ISO (minimum)50
Boosted ISO (maximum)204800
White balance presets8
Custom white balanceYes
Image stabilizationSensor-shift
Image stabilization notesWorks with lens-based IS systems for maximum shake reduction
CIPA image stabilization rating8 stop(s)
Uncompressed formatRAW
JPEG quality levelsFine, normal
File formatJPEG (Exif v2.31)Raw (Canon CR3)HEIF (10-bit)
Optics & Focus
AutofocusPhase DetectMulti-areaCenterSelective single-pointTrackingSingleContinuousTouchFace DetectionLive View
Manual focusYes
Number of focus points1053
Lens mountCanon RF
Focal length multiplier
Screen / viewfinder
Articulated LCDFully articulated
Screen size3″
Screen dots1,620,000
Touch screenYes
Screen typeTFT LCD
Live viewYes
Viewfinder typeElectronic
Viewfinder coverage100%
Viewfinder magnification0.76×
Viewfinder resolution3,690,000
Photography features
Minimum shutter speed30 sec
Maximum shutter speed1/8000 sec
Maximum shutter speed (electronic)1/8000 sec
Exposure modesProgramAperture priorityShutter priorityManual
Built-in flashNo
External flashYes (via hot shoe)
Flash X sync speed1/200 sec
Drive modesSingle ShootingHigh-speed continuousLow-speed continuous
Continuous drive20.0 fps
Self-timerYes
Metering modesMultiCenter-weightedSpotPartial
Exposure compensation±3 (at 1/3 EV, 1/2 EV steps)
AE Bracketing±3 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV steps)
WB BracketingYes
Videography features
FormatMPEG-4, H.264, H.265
Modes3840 x 2160 @ 60p / 230 Mbps, MOV, H.264, Linear PCM3840 x 2160 @ 30p / 120 Mbps, MOV, H.264, Linear PCM3840 x 2160 @ 23.98p / 120 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 120p / 120 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 60p / 60 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 30p / 30 Mbps, MOV, H.264, Linear PCM1920 x 1080 @ 23.98p / 30 Mbps, MOV, H.264, Linear PCM
MicrophoneStereo
SpeakerMono
Storage
Storage typesDual SD slots (UHS-II supported)
Connectivity
USBUSB 3.2 Gen 2 (10 GBit/sec)
USB chargingYes
HDMIYes (micro HDMI)
Microphone portYes
Headphone portYes
WirelessBuilt-In
Wireless notes802.11b/g/n + Bluetooth
Remote controlYes
Physical
Environmentally sealedYes
BatteryBattery Pack
Battery descriptionLP-E6NH lithium-ion battery & charger
Battery Life (CIPA)360
Weight (inc. batteries)680 g (1.50 lb / 23.99 oz)
Dimensions138 x 98 x 88 mm (5.43 x 3.84 x 3.48″)
Other features
Orientation sensorYes
GPSNone

Final Verdict

If you’ve only read or heard about the Canon EOS R6, it’s easy to think that it’s not as good of a camera as it actually is. If you look at its much-discussed video or resolution problems, you could get the impression that it’s just missing the mark.

However, once you start shooting with it, particularly for still photography, it rapidly reveals itself to be a very superb camera. This is especially the case while shooting in manual mode.

The sensor has 20 megapixels, which is a somewhat lesser resolution than that of its competitors, although the difference is not significant enough to be noticeable. It has extremely strong performance in low light, and the wide dynamic range provides you enough of processing options to choose from.

It is disheartening to see some non-optional noise reduction at low ISOs, and it is important to be aware of which modes push it down to 12-bit readout. However, in the vast majority of shooting situations, these aren’t things that are likely to have a meaningful impact on you: you’ll simply get attractive JPEGs and flexible Raws.

When it comes to video, the R6 has a bit less stability than the other models. The specifications are really excellent, and both the separation of stills and video settings as well as the focusing performance are very strong points.

However, despite the fact that the 40-or-so minute time restriction on 4K capture seems like plenty of time, each usage of the camera starts to chip away at that total, which means that it might constrain your videography more than you might initially think it would. Due to this plus the considerable rolling shutter, it is not quite as powerful a video tool as the specifications would lead one to believe it would be. However, the outcomes are usually extremely astounding. This point cannot be stressed enough.

Above all else, the R6 is a tremendously fun camera to use while you’re behind the lens.

The R6 is a really pleasurable camera to shoot with because it has a comfortable feel in the hand and the essential control knobs are properly positioned. This is the most important aspect of the R6. You also receive a respectable amount of customization, which enables you to obtain instant access to a large number of the camera’s features.

Because there is no simple method to activate HDR PQ mode and Highlight Tone Priority, accessing what should be a truly intriguing feature is rather difficult. For example, there is no easy way to engage HDR PQ mode and Highlight Tone Priority. However, the fundamental photography controls are always within easy reach. This is a very important point.

Pros & cons

Good For
  • High-quality images in Raw and JPEG formats respectively.
  • Superb ergonomics
  • Good dynamic range
  • System of powerful image stabilization that is performed in collaboration
  • Decent resolution, despite pixel count
Need Improvement
  • The use of rolling shutter might diminish the quality of an otherwise stunning movie. Certain capabilities, such as HDR PQ, are difficult to access.
  • Noise reduction is implemented in a mandatory fashion to Raws.
  • Any usage of the camera will reduce the amount of time available for video recording (making video shooting unpredictable)
  • When trying to achieve the ideal reaction, the autofocus setting might become rather complicated.
REVIEW OVERVIEW
Build quality
Ergonomics & handling
Features
Metering & focus accuracy
Image quality
Low light / high ISO performance
Viewfinder / screen rating
Performance
Movie / video mode
Connectivity
Value
The Canon EOS R6 is a mirrorless camera designed for enthusiasts that have many of the same capabilities as the Canon EOS-1D X III. Even though it only has 20 megapixels, this camera is capable of producing excellent images in a wide variety of challenging shooting situations. People who shoot video and stills together may find that the camera's tendency to overheat if used before recording video reduces its attractiveness; nevertheless, if you can find a way to work around this constraint, the film produced by the camera is among the finest in its class. An exceptional camera for photographers, despite the fact that it is not quite the ideal hybrid model.
Previous articleCanon EOS R5 C
Next articleCanon EOS RP Review

More from author

LEAVE A REPLY

Please enter your comment!
Please enter your name here

Related posts

Advertisment

Latest posts

Hasselblad X2D 100C Review

By encapsulating a big sensor within a small and aesthetically beautiful body, the Hasselblad X1D 50C and X1D II 50C contributed to the process...

Best Microphones For Hasselblad X2D 100C

Inspiration in Each and Every Aspect The Hasselblad X2D 100C Medium Format Mirrorless Camera boasts a newly developed sensor, an upgraded phase detection autofocus design,...

Although Tokina’s Mini Pieni Ii Has The Appearance Of A Child’s Plaything, It Is In Fact Very Genuine.

We are all accustomed to having cameras that are really small but nonetheless very functional at this point. After all, they are present in...
Canon EOS R6 Review - Not the hybrid king, but a wonderful photographer's cameraThe Canon EOS R6 is a mirrorless camera designed for enthusiasts that have many of the same capabilities as the Canon EOS-1D X III. Even though it only has 20 megapixels, this camera is capable of producing excellent images in a wide variety of challenging shooting situations. People who shoot video and stills together may find that the camera's tendency to overheat if used before recording video reduces its attractiveness; nevertheless, if you can find a way to work around this constraint, the film produced by the camera is among the finest in its class. An exceptional camera for photographers, despite the fact that it is not quite the ideal hybrid model.