My first video recordings with the mirrorless CANON EOS R
In my testimonials here it is only about the use of the EOS R in the video area, for the photo area there is a separate category.
The EOS R replaces the EOS 5D Mark IV (extended with Canon-Log) because my focus is increasingly shifting to the video area. In addition, the EOS R is very well applicable in bird photography, apart from the lack of fast series shots and "Bird in flight". I upgraded the Canon EOS 5D4 with an upgrade with Canon-Log at the Canon Service in Nicosia. The resulting better dynamics of 2 aperture levels did the camera very well when recording video. But I didn't like the handling problem when switching from photo to video, the recording control for video only via the Live View screen.
I always compare the cameras with the Panasonic GH5, which is still the absolute number 1 for me in the video sector, especially in my field of bird and nature
videography. So I replaced the EOS 5D Mark IV with the EOS R, the first mirrorless full-format camera with a universally applicable screen and high-resolution electronic viewfinder, 4K and FHD
with high data rates, which is exactly what I am used to from the Pana GH5. It took me some time to find out the best settings for the video area and set the EOS R accordingly. I actually only
use 2 settings, which I saved on the C settings.
On the EOS R I use the RF-EF Mount Adapter with Control Ring, which can be connected and used by all EF, ES and external lenses with EF bayonet. Canon EF connector uses the full-format sensor, as well as full-format foreign lenses. For Canon EF-S lenses or with external lenses for EF-S, the EOS R automatically uses the Crop 1.6x. The lens IS is always activated, except for tripod use.
All lenses with EF bayonet can be used on the EOS R without additional micro-adjustment, because the autofocus is processed directly via the Live View system. The RF-EF Mount Adapter ensures the correct distance of the lens to the sensor, so that the focus level is correctly adhered to and the approx. 5650 focus points on the sensor are used directly via the dual-pixel AF.
My setting for 4K video recording with the Canon EOS R, 4K, 25.00P, ALL-I, Canon-Log, Sharpness 0, Color Saturation -4, Hue -4".
Autofocus "Small AF", partly I also use the "tracking". Movie Digital-IS is always "Disabled"
The EOS R works in 4K mode with a strong Crop 1.72x, the rolling shutter effect is stngly pronounced. The internal Digital IS works in such a way that the captured image on the sensor is shifted by the software of the EOS R. Due to the strong crop, the large amount of data is already highly compressed, which simply does not fit with additional IS. Here, Canon clearly failed to provide the EOS R with a flexible sensor, which has been the standard for other comparable cameras for a long time.
My setting for FHD video recording with the Canon EOS R, FHD, 50.00P, ALL-I, Canon-Log, Sharpness 0, Color Saturation -4, Hue -4.
Autofocus is "Little AF", sometimes I also use the "tracking". Movie Digital IS is switched on in "Enabled Mode".
The EOS R dies with FHD recordings the entire full format sensor, i.e. without any crop. Here the "Movie Digital IS in Activated Mode" works very well, whereby the shaky image of the images is centered in the sensor and there is a small loss at the sensor edge. Therefore, a small crop is automatically created during the recording, but it is not fixed.
With this setting, excellent shots can be taken from the hand. In the "Movie Digital-IS with "Advanced Mode" the wobble crop is used even more strongly by the EOS R, that goes towards Crop 1.6x and I personally would never use that.
An absolute plus: The EOS R delivers FHD recordings with 25 or 50 fps in a very high quality standard, high data volume for post-processing. The recordings can be mixed very well with 4K recordings of the EOS R and other camera systems in post-processing. Not to mention, the EOS R has an HDMI output for recording via an external recorder such as Atomos Ninja V, so 4K recordings can be recorded directly into ProRes Codex with 25 FPS and 10 bit, 4.2.2 color settings. Once again, the Canon Video faction has probably prevented the FHD recordings from being recorded in 10 bit scan of color via the recorder, a rogue who thinks evil in view of the internal high FHD quality.
For post-processing in Premiere Pro CC, I usually use the LUT Canon-Log_10-to-WideDR_FF_Ver.2.0 with a maximum sharpening of +25.