CANON EOS R6 MARK II
ALL-ROUND GREAT
The Canon EOS R6 II’s video spec might not break new ground, but it’s one of the finest hybrids for shooting stills and movies
WORDS ADAM DUCKWORTH AND ROGER PAYNE
I f you have been filming on a DSLR or mirrorless camera for video for any length of time, it seems like every generation has been heralded as a ‘hybrid’ for shooting stills as well as video. But in recent times, the hybrid lines have been blurred, especially when you consider Canon’s range. For example, the EOS C70 is a hybrid of a mirrorless and cinema camera, complete with Super 35 dual gain sensor, fan cooling and a combination of EOS mirrorless and Cinema EOS controls. The 8K EOS R5 C is a more video-focused version of the full-frame EOS R5, with a fan to stop the 45-megapixel sensor overheating, but has no in-body image stabilisation. That leaves the new EOS R6 Mark II, a revamped version of the original that came out in 2020. It’s easy to get disappointed from a video viewpoint as it doesn’t have fan cooling or a Cinema EOS bloodline, stacked sensor for speed like the EOS R3, Cinema Raw Light video codec or even All- Intra, 10-bit 4:2:2 shooting. There’s no massive resolution for incredible stills performance or 8K video either. But by sticking to just 24.2 megapixels, it proves that it’s not the number of pixels, it’s what you do with them that counts. What Canon has created is a sensor sweet spot, as it not only creates great images, but also does so ruthlessly quickly and in pretty much any lighting conditions. For video, its 4K/60p might not be 4:2:2 10-bit, All-Intra, ProRes or anything fancy, but as it’s oversampled from 6K and takes in the full width of the sensor, it’s very impressive. It doesn’t cause overheating, either. If you must have more detail, 6K ProRes Raw footage is possible via the HDMI port to an Atomos recorder. Sadly, the HDMI is not full size. The only way of shooting in 10-bit internally is to use Canon Log 3. Everything else is 8-bit
internal which gives around 12 stops of real-world, useful dynamic range. If slow motion is your thing, you’ll get up to 180fps at Full HD. These headline features really only scratch the surface – the Mark II comes with a host of video functionality that cements it as a solid all-rounder. Add in the fantastic IBIS and Dual Pixel CMOS AF and what you get is a very capable camera that can shoot pro-quality stills and video for not a huge amount of money, along with the colours Canon is famous for. The audio is good, too, with compression you can alter to get the best sound. If stills are your bag, the EOS R6 II is a speedy performer despite lack of expensive stacked sensor tech. The camera uses the same Digic X processor as its predecessor, but the readout speed has been boosted, meaning the camera can now deliver up to 40fps with the electronic shutter. That includes focus and exposure calculations between each frame. If you prefer mechanical shutter operation you’ll still get 12fps, plus there’s a 30fps Raw Burst mode and pre-release capture that records images 0.5sec before you press the shutter. This blistering speed is allied to an autofocus system taken from the range-topping EOS R3. If you’ve ever used that camera, you’ll know it’s no slouch. The autofocus is super sticky, locks on “What Canon has created is a sensor sweet spot, as it not only creates great images, but does so ruthlessly quickly in pretty much any lighting”
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