Canon 5D Mark IV Review

Canon 5D Mark IV Review -- Now Shooting!

by Mike Tomkins, Dave Etchells, Dave Pardue, William Brawley, Zig Weidelich and Eamon Hickey
Preview originally posted: 08/25/2016
Last updated: 02/02/2017

Updates:
08/29/2016: First Shots & photo shoot Gallery images posted
08/29/2016: A day in the studio with Parish Kohanim posted
08/31/2016: Image Quality Comparisons special supplement posted
09/29/2016: Performance test results posted
10/12/2016: Gallery Images updated
10/21/2016: Field Test Part I posted
01/05/2017: Print Quality Analysis posted
02/02/2017: Field Test Part II posted

NYC-based writer and photographer Eamon Hickey gives us a new perspective on the popular Canon 5D Mark IV in our follow-up Field Test Part II. After we looked at the general design and features and an overall assessment of the camera's image quality in our Field Test Part I, Eamon wanted to test the camera's performance, especially with regards to continuous AF and burst shooting. He also spent some time investigating the 5D IV's new 4K video recording capabilities and the all-new Dual Pixel Raw feature.

For those looking for our Overview of the camera's features and specs, please click here. Also, if you're interested in a Canon 5D Mark IV for shooting weddings, check out our video of Wedding photography tips from Denis Reggie.

Canon 5D Mark IV Field Test Part II

Testing performance capabilities, 4K Video and Dual Pixel Raw

by Eamon Hickey | Posted 02/02/2017

70-200mm f/4L IS: 78mm, f/4.5, 1/500s, ISO 5000 This dunk came off a backcourt steal, which required instant reaction to unexpected action. The camera reacted faster than me, focusing perfectly while I wasn't quite able to get the framing right. (Note: This image has been adjusted. Click image for original.)

If there's one thing you can count on from an enthusiast or pro-level Canon SLR, it's superb responsiveness, and the 5D Mark IV does not disappoint. It just does everything fast. For example, I know that it can't actually shoot at the exact moment that it's turned on, but the lag is so short I can't detect it — power-on to first shot seems instantaneous. Every other camera operation and control are similarly quick. When I'm shooting, I often take 3-shot bracketed sequences, and the 5D Mark IV rips through these in a 1/3 of a second. During my time with the 5D Mark IV, I never found myself waiting for the camera, which is, of course, exactly as it should be for a pro-level tool.

The Canon 5D Mark IV's autofocus as advanced as it gets

As we noted in our overview, the 5D Mark IV comes equipped with an extremely advanced autofocus system, very similar in many ways to the EOS 1DX Mark II. In my tests, it's pretty amazing in low light, able to focus reliably and relatively quickly in situations so dark that I can't really see the subject with my naked eye. The good low light sensitivity holds for both normal viewfinder operation and in live view mode thanks to Dual Pixel CMOS AF.

Over the course of half a dozen shoots with the camera, I took hundreds of pictures of stationary subjects using the 5D Mark IV's One-shot AF mode, indoors and out, and it's predictably excellent — very fast and decisive on almost any subject. Using S-AF in live view mode, the focus point options are somewhat different, and the 5D Mark IV isn't quite as fast and decisive as it is when using the viewfinder. Still, it was reasonably responsive in my tests — even able to focus quickly and accurately on a scatter-brained dog who wouldn't sit still for more than a second at a time.

35mm f/1.4L II: 35mm, f/2.0, 1/2000s, ISO 100 Live view autofocus had no trouble getting the dog's eye sharp, and the EF 35mm F/1.4L provided the smooth background blur.

Truthfully, I haven't used a camera in many years that wasn't capable of excellent autofocus in single-shot mode on stationary subjects. I was much more interested in how the 5D Mark IV does with moving subjects in what Canon calls AI Servo AF mode. It's here where the truly cutting-edge AF systems really stand out. Canon's is as sophisticated as it gets, with multiple focus point settings, the ability to intelligently track the subject from focus point to focus point as it moves within the frame, and various settings that control things like how long the system will delay before switching from one subject to another, how sensitive it is to acceleration and deceleration, and other parameters. In recent years, high-end Canon DSLR cameras have been providing an AF Configuration Tool menu setting with AF "case" options that set many of these parameters automatically based on the kind of action you're shooting.

70-200mm f/4L IS: 200mm, f/4.0, 1/500s, ISO 200 This is part of a sharp, 6-shot sequence of this fast skater. (Note: This image has been adjusted. Click image for original.)

For my first test of AI Servo, I took the 5D Mark IV and a Canon EF 70-200mm F/4L USM lens to the Bryant Park ice skating rink. I started out using "Case 5", which Canon says is for "erratic subjects moving quickly in any direction," such as figure skaters. I then tried "Case 1", which is Canon's "versatile, multi-purpose" C-AF setting. When using either Case setting, I mostly utilized the "AF point expansion" mode (sometimes with four surrounding points, sometimes with eight). I ended up getting a somewhat higher hit rate using Case 1, which worked exceptionally well for tracking skaters of all speeds. The rink was crowded the day I went, and obstacles between me and the particular skater I was aiming at were actually a bigger challenge than tracking the skaters. I noticed two things in particular at the skating rink: the 5D Mark IV is extremely fast at acquiring focus when set properly, so you can swing it to your subject and start shooting right away. And it's also very good at accurately tracking erratic motion, so I got a good hit rate on many sequences, even at eight frames per second.

70-200mm f/4L IS: 78mm, f/4.0, 1/1000s, ISO 500 (Note: This image has been cropped and adjusted. Click image for original.)

After shooting the skating and using it as a learning experience, I got permission from the nice folks at New York University's Department of Athletics to shoot the NYU Holiday Classic basketball tournament. I chose high-level basketball because it really puts an AF system (and photographer) to the test. The games are played indoors in significantly lower light than outdoor sports; players move fast and erratically in three dimensions; the action switches instantly and unpredictably from spot to spot as the ball travels around the court; and there are constantly obstacles (players and referees) crossing between you and your subjects. This is a far, far harder test than shooting a single athlete moving in a predictable direction and speed, as with running or bicycling.

70-200mm f/4L IS: 200mm, f/4.5, 1/640s, ISO 6400 This is one of a sequence of 5 shots, all in focus. (Note: This image has been cropped and adjusted. Click image for original.)

70-200mm f/4L IS: 70mm, f/4.5, 1/640s, ISO 6400 The 5D Mark IV's decently high frame rate and extremely high percentage of sharp images improves your chances of capturing peak moments. (Note: This image has been cropped and adjusted. Click image for original.)

For basketball, I used the "AF point expansion" mode and both Case 1 and Case 4 (for subjects that accelerate and decelerate quickly) in the AF Configuration Tool menu setting, and again I noticed no real difference in my success rate between Case 1 and Case 4. Over the course of about four hours of shooting, the 5D Mark IV and EF 70-200mm F/4L combination performed extremely well, giving me hundreds of sharp pictures of very fast, unpredictable action. The camera's ability to acquire focus quickly, get the first or second shot sharp, reacquire focus almost instantly, follow erratic movement, and ignore momentary obstacles was really impressive. All while maintaining an 8fps burst rate.

This sequence shows how the sophisticated AF system of the EOS 5D Mark IV can ignore obstacles (in this case a referee) that momentarily pass between the photographer and the subject when you're following action and shooting a burst sequence. The third image isn't quite tack sharp, but the camera has regained perfect focus only one shot later.

Performance in these kinds of situations is essentially impossible to quantify, but I got about the best results I've ever achieved shooting basketball. Although I can't say if the 5D Mark IV is as good at autofocusing sports as, say, an 1D X Mark II or a Nikon D5, I would feel totally confident shooting any sports assignment with it. I can't say that about most of the cameras I test.

I got two other lenses along with the 5D Mark IV: an EF 24-70mm f/2.8L II USM and an EF 35mm f/1.4L II USM. The 24-70mm has been around for a while, and we've reviewed it very favorably, so I won't spend too much time talking about it. Suffice to say, it's as good as a mid-range zoom can get.

35mm f/1.4L II: 35mm, f/1.6, 1/60s, ISO 320 The EF 35mm f/1.4L shows off its low-light, shallow depth-of-field capabilities.

We've also given a very positive review to the EF 35mm Mark II lens, but this was my first chance to use it, so I went out two or three times with it alone. It's a handful, but it's beautifully built, with a rock-solid feel. Aside from the weight, it was a joy to use. It focuses quite quickly on the 5D Mark IV and produces beautiful images. The f/1.4 maximum aperture gives this lens the ability to isolate subjects with shallow depth-of-field even with its wide-angle point of view and even when the subjects aren't at super close distances. This worked very well for a shot I made on a dark and funky subway stairwell in Grand Central Station. To me, this is a valuable quality — I often like wide-angle pictures with shallow depth-of-field, and there aren't too many wide-angle lenses that can do it credibly for non-macro shots. Of course, the very wide maximum aperture means the lens has to be big, and that's the tradeoff. For me, the EF 35mm is just too big to be a casual carry-around lens. You win some; you lose some.

35mm f/1.4L II: 35mm, f/1.4, 1/500s, ISO 2000 The camera focused and shot instantly on this dark subway stairwell.

I also shot several video clips with the EF 35mm, and it made very crisp footage. Great performance is what you expect from a lens like this, so I guess what I'm saying boils down to, yes, it's as great as it should be!

5D IV's 4K video crams your computer, but the quality is great

I shot a bit more 4K video with the 5D Mark IV than I typically do for a camera review, and this camera marks the first time that I've run into some computing power obstacles. My MacBook Pro is not new (it's a 2013 model), but it has a quad-core 2.7 GHz Intel Core i7 processor, a separate NVIDIA graphics processor, a 512GB SSD drive, and 16GB of RAM. It has never choked on 4K video before, but it can't quite handle the 500Mbps MJPEG footage from the 5D Mark IV. Playback stutters slightly, and I haven't found a way to cure that. I haven't even tried to edit or grade the clips, but I'm sure it wouldn't be fun on my computer. This isn't a criticism of the camera, per se, but be warned that its 4K footage may put a strain on your computing resources.

Aside from the stuttered playback, my video clips from the 5D Mark IV look fantastic — very sharp and rich. Even clips shot at ISO 6400 have good color, with only a little bit of noticeable noise.

When you're playing back a video clip on the 5D Mark IV itself, it's easy to save 4K still images (4096 x 2160 pixels) from the clip. The stills are quite good, perhaps partly because of the bit rate and codec that the 5D Mark IV uses. Compared to a still image shot at full resolution, with the same framing and settings, then downsampled to the 4K pixel dimensions, the 4K stills from video aren't quite as sharp, and colors aren't quite as well-differentiated or saturated. But the difference is smaller than I've seen with any previous 4K still image function that I've tested.

Testing out the 5D Mark IV's Dual-Pixel Raw features

We've already described the Dual-Pixel Raw feature of the 5D Mark IV in depth, so I won't go into the technical aspects of how it works. To test it, I shot a still life subject in the garden behind my apartment building. Using the same image, we're showing all three Dual-Pixel Raw adjustments at their maximum setting here.

24-70mm f/2.8L II: 50mm, f/2.8, 1/160s, ISO 400, -0.3EV (Click here to download the Raw file.)

This 100% crop example from the above image demonstrates the extent of the Image Microadjustment range using Dual Pixel Raw.

Honestly, I don't see myself ever using Dual-Pixel Raw much in real life. I can't see any practical benefit to either the Image Microadjustment (i.e. focus), as shown above, which has a very small effect, or Bokeh Shift tools, but maybe that's a failure of imagination on my part. I also can't personally think of any time that I would use the Ghosting Reduction, but it occurred to me that for some rare technical or forensic purposes, it might help in the identification of out-of-focus details. Whatever the case, using Dual-Pixel Raw requires you to set the camera beforehand to capture the raw images in dual pixel mode, and the resulting files are almost twice as large as a standard raw image, so the feature is not cost-free.

Dual Pixel Raw: Bokeh Shift example

Dual Pixel Raw: Ghosting Reduction example

So what's my main impression after shooting for a few weeks with this 5D Mark IV? More than anything else, it's the sheer versatility of this camera, with its high resolution and image quality, extensive feature set, and top-notch autofocus and overall performance. It's hard to think of anything I couldn't shoot with it -- the 5D Mark IV just does the job, no fuss, no muss.

Canon 5D IV Overview

by Mike Tomkins

For years now, Canon's 5D-series DSLRs have been incredibly popular with photographers and videographers alike. The 5D, 5D II and 5D III each hit a sweet spot in terms of price and performance for a full-frame camera, but even the most recent of these is now rather long in the tooth, having launched way back in March 2012.

Now, the Canon 5D Mark IV is here to take the 5D lineup into the future, and it sports a wide range of significant updates throughout, many of them borrowed from the flagship 1D-series or even marking firsts for Canon or the industry as a whole. No doubt about it, this is one extremely exciting and important camera!

A brand new, higher-res image sensor and faster processor

Perhaps the most important change of the bunch is a brand-new full-frame image sensor. In place of the earlier 22.3-megapixel chip used in the 5D III, the Canon 5D IV's sensor now has an effective resolution of 30.4 megapixels. It also adds support for the company's Dual Pixel CMOS AF system, which we'll come back to in a moment.

Accompanying the new image sensor is an upgraded image processor, something that has allowed Canon to make a step forward in performance -- at least, according to the manufacturer ratings -- despite the significant increase in pixel count. The new DIGIC 6+ image processor replaces the earlier DIGIC 5+ chip, and was previously seen in the Canon 1DX II. (That model included twin DIGIC 6+ processors, however, where the 5D IV makes do with just the one.)

Swifter performance and a wider default sensitivity range

Canon rates its new camera as capable of up to seven frames per second in burst shooting, up from the six fps provided in the earlier 5D III. We will of course be testing this in our lab once final production cameras are available, however we'd expect this rating to be accurate, given that our testing of the earlier camera showed an unwavering 5.99+ fps.

As well as the higher resolution and swifter performance, the new image sensor and processor together allow an improvement in sensitivity. Or at least, in that portion of the sensitivity range which Canon feels is good enough to merit availability by default. The overall expanded sensitivity range of ISO 50 to 102,400-equivalents is unchanged from the 5D III, but the Canon 5D IV allows everything from ISO 100 to 32,000-equivalents by default. The earlier 5D III, by contrast, topped out at ISO 25,600-equivalent unless you enabled ISO sensitivity expansion.

The Canon 5D IV has updated metering and autofocus systems, too

To better take advantage of its new sensor and processor, the Canon 5D Mark IV also sports updated metering and autofocus sensors.

In place of the earlier 63-zone dual-layer iFCL metering sensor borrowed from the 7D, the Canon 5D IV now uses a 153,600-pixel, 252-zone RGB+IR metering sensor. This new design was borrowed from the 7D II, and thanks to its much greater resolution, it should allow for better, more accurate face recognition and tracking in particular. It should also deal with hard-to-meter subjects better thanks to its improved granularity.

The new autofocus sensor, meanwhile, retains the same 61-point count (complete with 41 cross-type points) as in the earlier 5D III. The change in the new High Density Reticular AF II chip -- the earlier variant lacked the 'II' designation -- is that the AF sensor in the Canon 5D IV now has wider coverage, better low-light sensitivity and improved performance.

To put a number on the improvement in low-light AF, where the 5D III had a lower limit of EV -2 to 18, the 5D IV will be able to focus down to EV -3 with its center point and an f/2.8 maximum aperture. And in live view mode, it will focus in even dimmer conditions, all the way down to -4 EV.

And as for the coverage improvement, the Canon 5D IV's AF points now cover 24% more of the image frame horizontally, and 8% more vertically.

Dual Pixel CMOS AF with a touch-screen (and its not just for movies!)

Like the Canon 1DX II before it, the EOS 5D Mark IV now sports Canon's clever Dual Pixel CMOS AF technology. In a nutshell, what this does is to allow for phase-detection autofocus across much of the image frame, either in live view shooting or during movie capture. And just like its flagship sibling, the Canon 5D IV includes a touch-screen to help you get the most from this new feature.

But where the 1DX II limited use of that touch-screen to use during movie capture and in playback mode, there are no such limitations on the 5D IV. Instead, you'll be able to use the touch-screen to specify your subject for autofocus either in movie mode or in live view shooting.

And now, Dual Pixel RAW arrives to let you subtly fine-tune focus post-capture, too

And not just that, but the Dual Pixel CMOS AF tech is also being used in an entirely new (and we have to say, very clever) way in the 5D IV, courtesy of what Canon is calling Dual Pixel RAW.

It's such an interesting and exciting new feature that we've devoted an entire section of this review to it, which you can read here. In a nutshell, though, what it allows is for minor post-capture adjustments to autofocus, bokeh and ghosting. You can also combine adjustments to all three, if you like.

Much more on this brand-new tech can be found in our Dual Pixel RAW Insights section below.

Ever more capable movie capture including in-camera 4K and high frame-rate video

The 5D III was already a favorite of videographers, and for good reason. Recognizing that, Canon has really worked to make the 5D Mark IV an even more capable video shooter. We've already mentioned the availability of full-time phase-detection autofocus during video capture, but what else is new?

Perhaps the most significant change in this area is in-camera 4K video capture, just as in the flagship Canon 1DX II. And just as in that camera, there's one important thing to note: The sole compression type for 4K video is Motion JPEG.

That's both good and bad news. Since there's no interframe compression, image quality in 4K mode should be good. However, file sizes will also be spectacular. (Although not quite as much so as is possible with the 1DX II, because where that camera tops out at 60 frames per second in 4K capture, the 5D IV is limited to 30 fps capture.)

Just as in the 1DX II, the Canon 5D IV will allow you to extract single high-quality 4K frames at their native 8.8-megapixel resolution in-camera, as well.

And even if you're not shooting 4K yet, the Canon 5D IV brings other video improvements for you. For one thing, you can now shoot Full HD (1080p) at up to 60 frames per second, instead of the earlier 30p limit. And if you're willing to drop the resolution to HD (720p), you'll get 120 fps capture for either silky-smooth motion, or up to a 4x slow-motion effect without dropping your output below 30p.

There's also a new HDR movie function, which allows true high dynamic range shooting. This shoots frames at 60 fps, then combines them to create a Full HD output video at 30 frames per second. And if you want to record video externally, there's also a clean video output via HDMI, although this is at a maximum of Full HD resolution, not 4K, sadly.

Wireless networking and geolocation no longer need clumsy external accessories

If you had the need, the Canon 5D III could be connected to wireless networks to share photos and videos, and could automatically tag your photos with their capture location. Both functions needed external accessories that were expensive and radically changed the camera's handling.

The Canon 5D IV fixes all this, sporting Wi-Fi wireless networking and GPS without the need for external accessories. Instead, these features are built into the camera itself. For Android users, the Wi-Fi connectivity comes complete with NFC for quick-and-easy pairing.

Incidentally, it's worth noting that even if you don't want GPS for its geolocation capabilities, it's also handy for keeping your camera's clock updated. This could be particularly useful if you're shooting multiple cameras, and need their internal clocks to be synced extremely accurately.

A redesigned, better-sealed body, but you'll need to buy a new battery grip

Although it has almost the exact same layout as its predecessor in terms of the controls and features, the Canon 5D IV has a newly-designed body. That means you'll also need a new battery grip accessory, if you're upgrading from the earlier 5D III. In place of that camera's BG-E11 battery grip, the Canon 5D IV requires a new BG-E20 grip.

On the plus side, Canon says that it has taken the opportunity to improve the 5D Mark IV's weather-sealing. It's now said to be similar to the 7D Mark II in this area, with the controls better-sealed than they were in the 5D III.

One change of note to the controls is the addition of a new AF Area Select control on the back of the camera. It's customizable, so if you don't want to use it for this function, you can repurpose it for something else. Oh, and if you're looking for the remote control terminal, it's now been moved to the front of the camera.

Canon 5D Mark IV pricing and availability

The Canon EOS 5D Mark IV will be available in the US market from early September 2016 either body-only or in a kit with the EF 24-70mm f/4 L lens. A second kit opting instead for the EF 24-105mm f/4L IS II USM lens will ship a little behind these, from late October 2016.

Pricing is set at around US$3,500 body-only, the exact same point at which the 5D III launched back in 2012. The 24-70mm kit will cost US$4,400, and the 24-105mm kit will cost US$4,600.

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