MORE JOY OF SIX CANON EOS 6D MARK II

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1 CANON EOS 6D MARK II REPORT BY PAUL BURROWS The EOS 6D Mark II looks very similar to its predecessor on the outside, but on the inside there s a new sensor, processor and autofocusing system. MORE JOY OF SIX The original EOS 6D was compromised by its poverty pack feature set, but the full-35mm sensor was still a big plus. The Mark II is the much more complete machine, especially if your budget won t stretch to a 5D Mark IV. F It s called product differentiation, and it s how a model range is planned to avoid any cannibalisation of sales across price points. It s a bit of a balancing act and it can be hard to get right, but the key objective is to prevent a less expensive model being perceived as a better buy than its pricier siblings. Canon s big concern with the first EOS 6D was that it didn t lure buyers away from the hugely profitable EOS 5D Mark III. After all, it was a much more affordable Canon EOS D-SLR with a full-35mm sensor, but that was essentially where comparisons ended. Canon s red pen put a line through so many features and specifications that the 6D was effectively hobbled and not just compared to the 5D III, but also Nikon s much better equipped D6 (and later D6). Yet despite this, the EOS 6D was still a fine camera and gained a loyal following among users who were prepared to work around the many omissions in return for having a bigger sensor. With the EOS 5D Mark IV having been promoted up-market and priced accordingly, there s now room to move with the next-gen 6D. Lots of room. Of course, there are still some key differences between the two models which may or may not convince you to spend the extra dollars, including a tougher body (mostly alloy covers compared to GRP), dual memory card slots, more AF points, a faster top shutter speed, faster continuous shooting (albeit only marginally) and 4K video. With the 6D II not far away from being half the price 46

2 of the 5D IV, you d expect it to be down-specced in most key areas, but what s different now is that you aren t being overly penalised for taking the budget route into a Canon full-35mm D-SLR because the main feature set is now more generous and important features such as an adjustable monitor screen are provided. The Mark II camera looks much the same as its predecessor and is very similar in size and weight, so it s still the most compact and lightest Canon full-35mm format D-SLR. As before, it lacks a built-in flash (as, of course, does the 5D IV), but as just noted, gains a monitor screen that s adjustable for both swing and tilt which, incidentally, is a first on any full- 35mm EOS D-SLR. Although the panel size and resolution remain the same, touch controls are provided and this implementation is quite extensive, including menu operations and the Quick Control screen. The external covers are all glass-reinforced polycarbonate with sealing to prevent the intrusion of dust or moisture with, according to Canon, the same level of protection as is provided on the 5D IV (so no penny-pinching here then). THE 6D II IS NOT FAR AWAY FROM BEING HALF THE PRICE OF THE 5D IV, BUT NOW YOU AREN T BEING OVERLY PENALISED FOR TAKING THE BUDGET ROUTE INTO A CANON FULL-35MM D-SLR. it probably doesn t need to given there s no 4K video and the still image resolution is still under 3 MP so file sizes aren t excessive. There s been some tweaking to the image settings on offer with the addition of a : aspect ratio joining 3:, 6:9 and 4:3 formats but with one less image size in each for JPEG capture. As before, RAW files can be captured in large also at 64x46 pixels medium and small sizes. RAW+JPEG capture can be configured in any way you wish as far as image sizes and JPEG compression settings are concerned. RAW files are captured with 4-bit RGB colour and lossless compression. The in-camera processing options for JPEGs has been upgraded to the current standard for higher-end Canon D-SLRs, starting with a choice of eight Picture Style presets which include Auto and Fine Detail. Likewise, the adjustable parameters include more control over sharpness via the Strength, Fineness and Threshold settings. These work in a similar way to Photoshop s Unsharp Masking Strength controls the amount of sharpening, Fineness determines the size of the details which will be sharpened, and Threshold sets the contrast level at which an edge will be subjected to sharpening. Auto Picture Style adjusts the processing parameters according to analysis of the subject using AF, AE and white balance data. Three customised Picture Styles can be created and stored in-camera. The in-camera lens corrections are also expanded to include distortion and diffraction as well as vignetting and chromatic aberrations. Canon s long-serving Auto Lighting Optimiser and Highlight Tone Priority processing functions are provided for contrast control and dynamic range expansion respectively. Alternatively, the 6D II has multi-shot HDR capture which operates over three frames with the exposure adjustment manually set to +/-., +/-. or +/-3. or automatically adjusted according to the brightness range detected in the scene. Bodyshell has the same level of weather sealing as the EOS 5D Mark IV. BY THE NUMBERS The sensor is an all-new, Canonmade CMOS device with a total pixel count of 7. million and effective count of 6. million, giving a maximum image size of 64x46 pixels. It retains an optical low-pass filter and has a native sensitivity range equivalent to ISO to 4,. As before, the extensions are down to ISO 5 or all the way up to ISO,4, but with the latter now being slightly more realistic thanks to the new sensor design (which improves efficiency) and more efficient noise reduction courtesy of Canon s latest-gen DiG!C 7 image processor. This also delivers a faster continuous shooting speed of 6.5 fps which is a full. fps snappier than before and only.5 fps slower than the 5D IV. There s a bigger buffer memory which allows for up to 5 maximum-quality JPEGs or RAW files when using an UHS-I speed memory card. The single card slot still doesn t support the faster UHS-II speed devices, but Fully adjustable monitor screen is a first on a Canon full-35mm format D-SLR. Touch controls are more extensively implemented than before too. Quick Control Screen provides direct access to a wide selection of capture functions with the added efficiency of touch control. Tap on the highlighted tile and the submenu pops up instantaneously. Rear control panel is identical to that of the original 6D which means the Mark II model goes without the joystick controller (from the 5D IV and -D X II) for quicker and easier AF point selection. 47

3 An auto image align function is available along with the option of saving all the files or just the final merged HDR image. There s also a set of four creative effects called Art Standard, Art Vivid, Art Bold and Art Embossed which vary the colour saturation, brightness, tonality and boldness of the outlines. Also on the menu is a multiple exposure facility (for combining up to nine frames with either average or additive exposure regulation), an intervalometer (for up to 99 frames), noise reduction for both long exposures and high ISO settings, automatic flicker detection, and a bulb timer. Flicker detection is designed to deal with the rapid switching characteristics of gas-ignition light sources (i.e. fluorescent tubes) which can affect both exposure and colour balance when shooting at faster shutter speeds. The anti-flicker capability detects the frequency of a light source s blinking and subsequently times the shutter release to minimise the effect, even with continuous shooting. The bulb timer can be set for long exposures of up to 99 hours, 59 minutes and 59 seconds which you probably won t need too often, but for shorter durations, it eliminates the need for a remote trigger to manually lock the shutter open and then close it. Very useful for night photography. All this is pretty close to what s on offer on the 5D IV, with neither model having any frills such as special effects or in-camera panorama stitching, but all the basics are available and more so no penny-pinching here either. IN THE ZONE For autofocusing the poor old original 6D got lumbered with something Canon had had lying around in the back of the Main mode dial locks at each position. The 6D II has a set of subject/scene modes with auto recognition in the Scene Intelligent Auto (A+) mode. cupboard just measuring points (and only one cross-type array) versus the 5D III s 6. The Mark II model steps up to a much more sophisticated 45-points system and they re all cross-type arrays with the central point being a dual cross-pattern array that s sensitive down to -3. EV (at ISO ). A total of 7 measuring points are still active with lens speeds as slow as f8. which, of course, means a telephoto with a teleconverter fitted. Switching between the single-shot and continuous AF modes can be done manually or automatically when AI Focus AF is selected. Top deck info panel provides key capture-related data and has builtin illumination. The area modes comprise single point selection with a yet more selective Spot option Zone (a nine points cluster), Large Zone (three 5-points clusters) or the full array (i.e. automatic point selection). The focus tracking can be fine-tuned via adjustments for sensitivity to obstacles (from Locked-on to Responsive) and the sensitivity to changes in the subject s speed (i.e. acceleration or deceleration) which can be set to one of three levels. AF microadjustment is available to deal with lenses which have slight front- or back-focusing characteristics. Single memory card slot for SD types remains and with only UHS-I speed support. For autofocusing in live view or when shooting video, the 6D II joins Canon s Dual Pixel CMOS AF club and maintains phasedifference detection measurement via the imaging sensor s dual-pixel architecture. This technology is now well proven in many of Canon s current-generation D-SLRs and, of course, mirrorless cameras. These sensors employ a pair of photodiodes at each pixel point which are read separately (to give the required offset) for phase-detection autofocusing and together for image capture. In live AF there s the availability of face detection with auto tracking plus Menu system is the standard Canon EOS design with selfcontained pages within tabbed chapters. Logically arranged and easy to navigate. 48 Replay screen options include a display of the active focus points which are shown in both the full image or the thumbnail (as can a brightness warning). Lower section of the thumbnail display can be cycled through seven sets of capture data, including lens info. Live view screen can be configured with two levels of info, a real-time histogram, dual-axis level indicator and a guide grid (not shown in this set-up).

4 Canon Eos 6D mark II Smooth Zone and Live -Point area modes. The Smooth Zone area mode again uses a ninepoints cluster for wider initial subject detection with subsequent fine-tuning using fewer points. Courtesy of the touchscreen, you can simply tap on any desired point to achieve focus and, if activated, automatic shutter release. Manual focus assist in live view is via a magnified image at either 5x or x, but once again, there s no focus peaking display which would actually be more of a help. Exposure metering in live view uses 35 measuring zones with the options of selective area or spot modes. When using the optical finder, metering is via a dedicated 756-pixels RGB+IR sensor which provides 63-segment multi-zone metering with the option, this time, of selective area, spot or centre-weighted average measurements. The program and semi-auto exposure control modes are supplemented by an AE lock, up to +/-5. EV of compensation and auto bracketing. AEB can be set two two, three, five or seven frames with up to +/-3. EV adjustment. The shutter speed range is 3-/4 second with flash sync up to /8 second. The eos 6D Mark II IS Much less Of a MIxeD bag Than ITS predecessor, particularly In TerMS Of ITS feature SeT which IS now what you D expect On a full-35mm D-Slr priced In The OrDer Of $5. Fully automatic shooting is available via the camera s Special Scene Mode which gives access to the standard subject modes such as portraits and sports, plus some more specialised scenarios including Group Photo, Kids, Food, Candlelight, Night Portraits, HDR Backlit and Handheld Night Scene. These last two are multi-shot capture modes to deal with, respectively, contrast or noise. Auto scene recognition which is essentially divided between portrait and non-portrait subjects is performed in the Scene Intelligent Auto mode. The 6D II also has the Creative Auto mode that s on the enthusiastlevel APS-C Canon D-SLRs and which still provides fully automatic control, but with some basic overrides enabling AF point selection and drive mode selection plus settings called Ambience and Background Blur. There are nine Ambience settings comprising Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker and Monochome. They re all adjustable which, in the case of Monochrome, means a choice of sepia, neutral or blue toning effects. Background Blur is adjustable between Blurred and Sharp over a short scale and is obviously changing apertures to alter the depth-of-field. As per all Canon s recent new D-SLRs, the white balance controls include the choice of Ambience Priority or White Priority modes for the automatic correction. The latter aims for neutrality while the former is a development of keep warm colours correction, but works with whatever colour cast predominates in a scene. Alternatively, there are six lighting presets, one custom preset, finetuning, auto bracketing (again over two, three, five or seven frames) and manual colour temperature setting over a range of 5 to, degrees Kelvin. In The hand Externally, the EOS 6D Mark II is largely unchanged from its predecessor in terms of shape or styling and the control layouts are identical with some minor ergonomic tweaks here and there. The handgrip has been reshaped so it s a little more substantial, but otherwise, if you re transitioning from Mark I to Mark II, you won t have to relearn anything. What this status quo does mean, however, is that the 6D II doesn t have the joystick controller which is provided on the 5D IV and -D X II for more efficient focus point selection and as an alternative navigator. Both these duties are performed via the eight-way Multi-controller pad which sits within the rear input wheel or Quick Control Dial as Canon calls it, which lacks feel and is also a bit cumbersome to use. If you re thinking about getting serious about shooting video with a Canon D-SLR then head straight over to the EOS 5D Mark IV because the 6D Mark II isn t the camera for you. It s much, much better than its predecessor because it has the Dual Pixel CMOS AF, an adjustable monitor screen with touch controls, built-in stereo microphones, electronic image stabilisation and Full HD recording at 5 fps (PAL standard), but there are many key omissions too. At the top of this list is 4K video (although you can make time-lapse clips in 4K), but also absent are an uncompressed HDMI output, a headphones connection, time coding, format and compression regime choices (which, curiously, the original 6D did have), zebra patterns, a focus peaking display and, of course, dual memory card slots. If you only want to dabble with video-making then the 6D II does a reasonable-enough job with the main plus points being the autofocusing performance, and the extensive touchscreen controllability. Full HD video can be recorded at either 5 or 5 fps, but there s no 4 fps cinematic option and you re stuck with MP4 files using the IPB compression regime. The NTSC speeds are available. A stereo audio input is provided and sound levels can be adjusted manually, plus there is both a wind-cut filter and an attenuator (which automatically reduces levels to avoid distortion). The electronic image stabilisation gives five-axis correction, but also results in a crop to either side of the image and a slight loss of sharpness. Unlike the intervalometer for shooting stills, which is pegged to 99 frames, the time-lapse movie mode allows for sequences of up to 36 frames in the 4K resolution of 384x6 pixels with Motion JPEG compression or at 9x8 pixels with ALL-I intraframe compression. Playback is at 5 fps. There s also an HDR Movie mode which gives an extended dynamic range (by simultaneously recording brighter and darker frames at 5 fps into clips which are replayed at 5 fps) and a Video Snapshot mode which records short clips of two, four or eight seconds that are subsequently joined together to create a single movie. Continuous AF operation which Canon calls Movie Servo AF here is available with both face recognition and subject tracking, the latter again fine-tuneable for sensitivity. The focus transition speed can also be adjusted over ten steps from slow to fast. Manual focus assist is via a magnified image only. Exposure control can be either fully automatic including with auto scene mode selection or fully manual. Exposure compensation can be applied while shooting. Most of the functions for still photography are also available when shooting video, including the Picture Style presets, the lens corrections for vignetting and chromatic aberration, the grid guides and the Auto Lighting Optimiser and Highlight Tone Priority processing. There s certainly enough here for anybody who is just starting to explore video-making or who wants to make the occasional clip to supplement their still photography, but just about any mirrorless camera (and many D-SLRs) offer a whole lot more and, consequently, the capacity to advance should you get the bug. 49

5 Info Maximum quality JPEGs captured using the Canon EF 4-7mm f4.l IS USM zoom, using shutter-priority auto exposure control and either the Standard or Vivid Picture Style presets. While the resolution increase over the original 6D isn t huge, it still makes a difference in terms of enhanced definition and detailing. Colour fidelity is excellent across the spectrum with nicely smooth tonal gradations even with higher saturation settings. Image quality is excellent at high ISO settings up to 64 with well-balanced noise reduction processing. Dynamic range is fine with JPEG capture, but is no better than the previous model when shooting RAW at the lower ISO settings, consequently limiting the latitude available for dealing with underexposure compared to many rival full-35mm cameras % Doc:.8mb 5

6 All the important capture-related functions such as ISO, white balance, metering pattern, drive modes and AF area selection have dedicated external controls and a small selection of buttons are customisable, although the scope here is fairly limited compared to what s possible with most mirrorless cameras. As is the case on all the higher-end Canon D-SLRs, there s a monochrome readout panel on the top deck and it s supplemented by a Quick Control Screen displayed on the monitor which is rather more extensive in its contents. Being a control screen, it enables direct access to functions, either via the conventional means of navigation or, better still, by simply tapping on the appropriate tile. This allows for really fast changes to settings and will make touchscreen converts of even the most dyedin-the-wool traditionalists. The optical viewfinder uses a proper glass prism and is nicely bright as a result although, curiously, it only provides 98 percent scene coverage (which is still marginally better than the previous 97 percent). THE ORIGINAL 6D IS AN EXCELLENT LOW LIGHT PERFORMER AND THE MARK II DOES BETTER AGAIN IN TERMS OF CONTRAST AND COLOUR WITH A FINELY-POISED BALANCE OF NOISE REDUCTION PROCESSING AND SHARPER DEFINITION. The focusing screen is now fixed, almost certainly because few, if any, 6D users ever changed from the standard one. The viewfinder displays comprise the focus points, a grid guide, a dual-axis level indicator and a basic set of exposure read-outs, including a compensation scale. A dual-axis level display can also be shown in the monitor screen and is additionally available, albeit reproduced much smaller, with live view along with a real-time histogram, a grid guide (there s a choice of three this time) plus various info read-outs. A trick for newcomers is that the menu entries for live view are only available when live view is actually operating. A Quick Control screen is also available in live view, but with the various function tiles displayed along either side and the bottom edge of the image area so you can still see what s going on. The sub-menus are then superimposed over the centre of the image which obviously isn t a problem as these will now be your priority, but touch control again allows for very rapid setting changes to be made. Image review screens can be either via a full image with or without basic capture data or a thumbnail display accompanied by a brightness histogram. The lower section of this screen can subsequently be cycled through a selection of seven sets of info, including RGB histograms, lens data (including the actual focal length used), main capturerelated data, the lens correction settings, the Picture Style parameter settings (over two pages), the white balance settings (including any fine-tuning) and the noise reduction settings (plus the selected colour space). Additionally, the AF point (or points) used at capture can be shown superimposed over the image either the full screen display or the thumbnail and there are the options of a grid guide and highlight warning for both too. The replay options include thumbnail pages with four, nine, 36 or images, zooming (up to x); and a slide show function (with adjustable image display time, transition effects and background music) and Photobook Setup. The touch controls really come into their own with image browsing and the 6D II implements the two-fingered pinching action to progressively access the thumbnail pages or a spreading action to move in the opposite direction and onto the image magnification settings of x, 4x, 6x, 8x and x. The in-camera editing functions are mostly limited to the basics (such as cropping or resizing), but there is Photobook Set-Up and RAW-to-JPEG file conversion. A superimposed Quick Control menu is again available as an alternative to the conventional menu and with the convenience of easy selection via the touchscreen. As on other recent new Canon ILC models such as the M6 and EOS 77D, the 6D II s WiFi is supplemented with the Bluetooth LE always on connectivity which adds to the wireless set-up options with a paired smartphone and eliminates the need to continually re-establish a WiFi connection. When you use WiFi from the camera, there s the convenience of quick NFC-enabled connections, and the Canon Camera Connect app (which supports both Android and ios devices) provides considerable remote camera control functionality with live view and even the transfer of settings changed at the camera. Additionally, the 6D II has a built-in GPS receiver so, when it s activated, all images are geo-tagged and you don t have to rely on using a mobile device running the Canon app to record this information. SPEED AND PERFORMANCE Loaded with our reference memory card Lexar s Professional x 8 GB SDXC UHS-II/U3 speed device the EOS 6D II captured a burst of 38 JPEG/large/fine frames in.535 seconds which represents a speed of 6.7 fps, slightly exceeding Canon s quoted spec. The test file sizes averaged around.9 MB, and the buffer emptied very quickly. The autofocusing performance is noticeably improved over the previous model, although the frame coverage is comparatively small as the AF module is essentially the same as the one used in the APS-C format EOS 8D. 5

7 Ironically, the Dual Pixel CMOS AF in live view when the 6D II is essentially functioning as a mirrorless camera has much greater coverage and remains impressively fast with reliable operation maintained in very low light situations. Frankly, using live view for viewfinding is now much more of a realistic proposition with the 6D II thanks to the fully adjustable monitor screen, especially when the camera is mounted on a tripod. The down side is that the maximum shooting speed is reduced to 4.5 fps. Image quality was the original 6D s big selling point given its affordability at the time, but things have changed over the last five years so firstly, the cost of full-35mm cameras has come down a bit and, secondly, there are more higherresolution models. This means the Mark II model is both less of a novelty and also faces stiffer competition, both from D-SLRs and mirrorless cameras. Maximum quality JPEGs exhibit plenty of nicely-resolved detailing with smooth tonal gradations and excellent colour fidelity (with the Standard Picture Style preset). These all represent small improvements over the 6D s performance, but the dynamic range is actually much the same, if not slightly less, which is a bit of a surprise given the Mark II s sensor is an all-new device (but maybe related to the smaller pixel size) and could be an issue for RAW shooters when there s a need to deal with underexposure either globally or selectively. Not surprisingly, with even lighting everything is just fine, but in contrasty situations, the highlights take a hit so it s necessary to underexpose in order to preserve more detail in the brighter areas, but then the shadow areas can get noisy when brightened post-camera. The limited dynamic range also means there s less latitude for pushing exposures before noise becomes problematic. The original 6D is an excellent low light performer with the key elements of image quality sharpness, contrast and colour saturation all holding together very well up to ISO 64. The Mark II does better again in terms of contrast and colour with a finelypoised balance of noise reduction processing and sharper definition. Canon s extra in-camera controls for adjusting sharpness Strength, Fineness and Threshold can also be very beneficial here. THE VERDICT The EOS 6D Mark II is much less of a mixed bag than its predecessor, particularly in terms of its feature set which is now what you d expect on a full-35mm D-SLR priced in the order of $5. You no longer feel that you re just getting a bigger sensor, but not much else. Consequently, the 6D II is a much more attractive alternative to its APS-C format cousins which are all much better equipped than the 6D. But, as noted earlier, there is now much more competition in the full-35mm category in terms of both pricing and performance including Nikon s D75, the Pentax K- and both Sony s A7 II and A7R mirrorless models. Canon has done a lot to keep the EOS 6D Mark II in the race, but it s no longer enough just to be affordable so the added attractions are the tilt/ swing monitor screen, excellent touch controls implementation, the Dual Pixel CMOS AF performance in live view, wireless connectivity, heavy-duty weatherproofing and excellent JPEG IQ, especially at higher ISO settings. There s little question faithful 6D users will be persuaded to update to the Mark II it is comprehensively better everywhere but for everybody else, it needs to be considered as being greater than the sum of its parts.. and, thankfully, there are now many more parts. VITAL STATISTICS ICS $499 body only. Estimated average street price. Type: Enthusiast/semi-professional digital SLR.7x (5mm lens at infinity). LCD displays with Canon EF bayonet lens mount. and LED focus point indicators. Fixed focusing Focusing: Automatic via 45-point wide-area screen. Eyepiece strength adjustment provided. system using phase-detection type CMOS Additional Features: Polycarbonate bodyshell sensor. All points are cross-type arrays. Focus sealed against dust and moisture, auto exposure bracketing (up to +/-3. EV over two, points may be selected manually or automatically, plus Zone and Large Zone area modes. three, five or seven frames), depth-of-field preview, AE lock, programmable self-timer (two One-shot and continuous (AI Servo) modes with auto/manual switching. Continuous AF and ten second delays, one to ten frames), mirror lock-up, audible signals, wireless remote with predictive function. Sensitivity range is EV (ISO ). AF assist in low light/ control, wired remote control, silent shutter contrast situations is provided by the built-in mode, 8 custom functions. flash. AF micro-adjustment for up to 4 individual lenses. Phase-detection AF available DIGITAL SECTION in live view and video via Dual Pixel CMOS Sensor: 7. million pixels CMOS with AF. Focus assistance via a magnified image 35.9x4. mm area and 3: aspect ratio. (5x or x). Sensitivity equivalent to ISO -5,6 Metering: 63-zone evaluative using 756 pixels (expandable to ISO,4). RGB+IR sensor, selective area (6.5% of image Focal Length Increase: None. area), spot (3.%), centre-weighted average Formats/Resolution: Two JPEG compression and E-TTL II auto flash. Metering range is EV settings plus RAW lossless compression. to (5mm/f.4/ISO ). Four resolution settings at 3:; 64x46, Exposure Modes: Continuously-variable program with shift, shutter-priority auto, aperture- Four resolution settings at 4:3 aspect ratio; 46x768, 3x8 and 4x6 pixels. priority auto, Creative Auto, metered manual, 5536x46, 368x768, 768x8 and E-TTL II auto flash. Twelve subject/scene x6 pixels. Four resolution settings programs Portrait, Group Photo, Landscape, at 6:9 aspect ratio; 64x354, 46x336, Sports, Kids, Panning, Close-up, Food, 3x75 and 4x344 pixels. Four resolution settings at : aspect ratio; 46x46, Candlelight, Night Portrait, Handheld Night Scene and HDR Backlight Control. Automatic 768x768, 8x8 and 6x6 pixels subject mode selection in Scene Intelligent. RAW images are captured at 64x46, Auto mode. 468x3 and 3x8 pixels with 4-bit Shutter: Electronically-controlled vertical travel RGB colour. RAW+JPEG capture is possible focal plane type, 3-/4 second plus B. (any combination of size and quality). Bulb timer can be set for exposure times of up Video Recording: Full HD at 9x8 pixels to 99 hours, 59 minutes and 59 seconds. Flash and 5 or 5 fps (progressive scan) and 6:9 sync to /8 second. Exposure compensation aspect ratio (maximum bit rate is 6 Mbps). HD up to +/-5. EV in either ½ or /3 stop increments. scan) and 6:9 aspect ratio (maximum bit rate at 8x7 pixels at 5 or 5 fps (progressive Flash: No built-in flash. External flash units is 6 Mbps). MOV or MP4 formats with MPEGsync via a hotshoe. 4 AVC/H.64 compression and Standard/Light Viewfinder: Optical pentaprism type. Coverage IPB. NTSC standard recording speeds available. Stereo sound recording with = 98% vertical/horizontal. Magnification = auto/manual adjustable levels, attenuator and wind noise filter. Stereo microphone input provided. Clip duration limited to 9 minutes and 59 seconds, and a new file is automatically started when the 4. GB file size limit is reached (FAT3 formatted cards, one continuous file with exfat formatted cards). Video Features: Five-axis electronic image stabilisation, K or 4K time lapse recording (Motion JPEG format), HDR Movie mode, Video Snapshot short clip recording (two, four or eight seconds). Recording Media: SD/SDHC/SDXC memory cards with UHS-I support. Burst Rate: Up to 5 frames at 6.5 fps in JPEG/large/fine mode, up to frames in RAW mode. White Balance: Auto/manual with six presets and one custom setting, white balance bracketing, white balance correction (blue-to-amber and/or green-to-magenta) and manual colour temperature setting (5-, degrees Kelvin). Auto correction can be set to either Ambience Priority or White Priority. Interfaces: USB./AV, mini HDMI (Type C), 3.5mm stereo audio input. Additional Digital Features: Live view functions (with phase-detection AF and 35-zone metering), built-in sensor cleaning, 7.7 cm LCD monitor (.4 megadots) adjustable for tilt/ swing and with touch controls, Touch Shutter control, real-time histogram in live view, highlight warning, Final Image Simulation preview, srgb or Adobe RGB colour spaces, eight Picture Style presets (Auto, Standard, Portrait, Landscape, Fine Detail, Neutral, Faithful and Monochrome), three userdefinable Picture Styles, adjustable Picture Style parameters (Sharpness Strength, Fineness and Threshold; Contrast, Saturation and Colour Tone), B&W contrast filter effects (Yellow, Orange, Red, Green), B&W toning effects (Sepia, Blue, Purple, Green), nine Ambience picture settings (available in the Creative Auto and subject modes), long exposure noise reduction (Auto, On, Off), high ISO noise reduction (Off, Standard, Low, High, Multi Shot), Highlight Tone Priority processing for dynamic range expansion (Enable, Disable), Auto Lighting Optimiser processing for exposure/contrast (Disable, Low, Standard, High), in-camera lens corrections (Peripheral Illumination, Chromatic Abberation, Distortion Correction, Diffraction Correction), multiple exposure facility (up to nine with auto exposure adjustment), multi-shot HDR capture with auto align (Auto, +/-., +/-., +/-3. EV), intervalometer, guide grid (viewfinder), live view and replay grid displays (3x3, 6x4, 3x3 plus diagonals), auto flicker detection, dualaxis electronic level display, Quick Control screen (with touch control), customised My Menu set-up, auto image rotation, 4/9/36/ thumbnail displays, zoom playback (up to x), insert copyright information, Photobook Setup, slide show (with adjustable image display time, transition effects and background music), image rating (one to five stars), playback histogram displays (brightness and RGB), image search modes, WiFi with NFC and Bluetooth LE connectivity, built-in GPS receiver, PictBridge and DPOF compliant. Power: One rechargeable 7. volt 865 mah lithium-ion battery pack (LP-E6N type). Optional BG-E battery grip accepts two LP-E6/E6N packs. Dimensions (WxHxD): body only = 44.x.5x74.8 mm. Weight: body only = 685 grams (without battery pack or memory card). Price: $499 body only. $3499 with EF 4-5mm f4.l IS zoom lens. Estimated average street prices. Distributor: Canon Australia Pty Ltd, telephone 8 67 or visit 5