Apple's well-specked 14-inch MacBook Pro with an M3 Pro chip, 18GB of memory and 512GB of storage is on sale for the lowest price we've seen yet at Amazon. You can pick one up for $1,699, a savings of $300 (15 percent) and the lowest price we've seen to date on this particular model. We're also seeing discounts across the board on various 14-inch and 16-inch MacBook Pros.
Ad we noted in our review, Apple's MacBook Pro is one of the best ultraportables you can buy today thanks to the fast and efficient M3 Pro chip, gorgeous 14-inch screen, useful port selection and excellent keyboard and trackpad. It's particularly strong for content creation thanks to real-time decoding of commonly-used pro video formats — a feature missing on many PC laptops.
One issue we had with the MacBook Pro is that updates to the processor, RAM or storage add a lot to the price, and those things are important for video or photo editing. That makes this model a particularly good deal, because it's already well-equipped with 18GB of unified memory and an M3 Pro processor.
If you don't need the M3 Pro's horsepower, the 14-inch MacBook Pro with an M3 chip is on sale for $1,749 and nets you 16GB of RAM and 1TB of storage. Or, if your budget doesn't permit that, the 8GB/512GB M3 model is available for $1,399 or $200 off.
You can also grab a 16-inch M3 Pro model with 18GB of RAM and 512GB of storage for $2,249, a savings of $200 (10 percent) over the list price. Another great deal is on the 16-inch M3 Max model with 36GB of memory and 1TB of storage at $3,099, or $400 off.
This article originally appeared on Engadget at https://www.engadget.com/apples-14-inch-macbook-pro-laptop-with-an-m3-pro-chip-is-300-off-at-amazon-123042013.html?src=rss
Yesterday's Gran Turismo 7 game update 1.49 introduced all-new physics that have added extra realism and generally improved gameplay. However, the change is also causing some bizarre problems in specific situations, making cars bounce violently or just get hurled into the air.
The physics updates are generally positive, adding "more natural cornering physics and acceleration/deceleration stability levels," according to the developer. Similar changes to tire physics and steering allow a more challenging and rewarding driving experience overall.
However, some bugs appear to have crept in as well, according to gtplanet and posts on Reddit's r/granturismo. High-horsepower vehicles, often with engine swaps and extreme suspension settings, are literally flying, bouncing or intersecting with the ground, according to multiple (hilarious) videos.
The problem appears to happen when cars try to accelerate from low speeds, and mostly affects cars under AI control. It also happens during dynamic "Scapes Movies" scenes designed to show off landscapes from cars operated at slow speeds by AI. It's even been seen in GT Auto's garages.
It's clearly a weird z-axis programming bug, but Gran Turismo's team is aware of the issue and working on it. "We are now aware of the following issue in the 1.49 Update released on July 25: Car Physics Simulation — Unintended vehicle behavior is produced when a particular car setting is set within Car Settings," devs said in a post on X. A fix should be ready soon, so enjoy the comedy while it lasts.
This article originally appeared on Engadget at https://www.engadget.com/gran-tourismo-7s-more-realistic-physics-update-is-launching-cars-into-orbit-120045578.html?src=rss
Last month, AMD unveiled the Ryzen 9000 series Zen 5 desktop processors including the 16-core 9950 it called "the world’s most powerful desktop consumer processor." Those chips were set to be released on July 31st, but AMD SVP Jack Huynh announced on X that they'll be delayed up to two weeks "out of an abundance of caution."
The company found that initial production units didn't meet quality expectations, so it plans to replace them with fresh units. "The Ryzen 7 9700X and Ryzen 5 9600X processors will now go on sale on August 8th and the Ryzen 9 9950X and Ryzen 9 9900X processors will go on-sale on August 15th," Huynh wrote.
We appreciate the excitement around Ryzen 9000 series processors. During final checks, we found the initial production units that were shipped to our channel partners did not meet our full quality expectations. Out of an abundance of caution and to maintain the highest quality…
There's no issue with the design of the Ryzen 9000 silicon, and specifications will not change for the processors, a spokesperson told Tom's Hardware. Rather, it's related to an issue with product testing that resulted in "a small number of products reaching the market that do not meet our quality standards," the company said.
Chip buyers may be nervous about such issues right now. Reports of instability problems with 13th-gen Intel desktop CPUs started in late 2022 and persisted with 14th-gen models. Earlier this week, Intel announced that it finally found the cause and promised to roll out a fix sometime in August. However, that won't work for chips that have already degraded — those will need to be completely replaced by Intel.
This article originally appeared on Engadget at https://www.engadget.com/amd-delays-ryzen-9000-chip-release-for-up-to-two-weeks-to-address-quality-issues-120033465.html?src=rss
CrowdStrike has blamed faulty testing software for a buggy update that crashed 8.5 million Windows machines around the world, it wrote in an post incident review (PIR). "Due to a bug in the Content Validator, one of the two [updates] passed validation despite containing problematic data," the company said. It promised a series of new measures to avoid a repeat of the problem.
The massive BSOD (blue screen of death) outage impacted multiple companies worldwide including airlines, broadcasters, the London Stock Exchange and many others. The problem forced Windows machines into a boot loop, with technicians requiring local access to machines to recover (Apple and Linux machines weren't affected). Many companies, like Delta Airlines, are still recovering.
To prevent DDoS and other types of attacks, CrowdStrike has a tool called the Falcon Sensor. It ships with content that functions at the kernel level (called Sensor Content) that uses a "Template Type" to define how it defends against threats. If something new comes along, it ships "Rapid Response Content" in the form of "Template Instances."
A Template Type for a new sensor was released on March 5, 2024 and performed as expected. However, on July 19, two new Template Instances were released and one (just 40KB in size) passed validation despite having "problematic data," CrowdStrike said. "When received by the sensor and loaded into the Content Interpreter, [this] resulted in an out-of-bounds memory read triggering an exception. This unexpected exception could not be gracefully handled, resulting in a Windows operating system crash (BSOD)."
To prevent a repeat of the incident, CrowdStrike promised to take several measures. First is more thorough testing of Rapid Response content, including local developer testing, content update and rollback testing, stress testing, stability testing and more. It's also adding validation checks and enhancing error handing.
Furthermore, the company will start using a staggered deployment strategy for Rapid Response Content to avoid a repeat of the global outage. It'll also provide customers greater control over the delivery of such content and provide release notes for updates.
However, some analysts and engineers think the company should have put such measures in place from the get-go. "CrowdStrike must have been aware that these updates are interpreted by the drivers and could lead to problems," engineer Florian Roth posted on X. "They should have implemented a staggered deployment strategy for Rapid Response Content from the start."
This article originally appeared on Engadget at https://www.engadget.com/crowdstrike-blames-bug-that-caused-worldwide-outage-on-faulty-testing-software-120057494.html?src=rss
You can's say Fujifilm is boring. It stuck to APS-C sensors instead of going full-frame like everyone else, while releasing cool and weird models like the X100 VI. That strategy has been refreshing in a conservative industry and undeniably successful.
It also went big by introducing its first medium-format camera seven years ago, the GFX50S. After eight models, they’ve proven to be popular among pro portrait and scenic photographers, a market Fujifilm never really had before. Each has become increasingly more sophisticated, with better image quality, faster shooting speeds and improved video.
Now that the company’s flagship $7,500 100-megapixel GFX 100 II, has been out for awhile and had several firmware updates, I was keen to test the new AF speeds and more. So I went to London to try it out alongside two pro photographer friends who are thinking of buying one.
Body
The original GFX 100 is a gigantic camera, weighing over three pounds with the viewfinder. The GFX 100 II is more manageable at 2.27 pounds, the same as Panasonic’s full-frame S1. Photographers are still likely to be carrying a heavy bag, though, as medium-format GFX lenses are generally bigger and heavier than full-frame glass.
The GFX 100 II also feels more like a full-frame camera than an old-school top-down viewfinder medium format model. It has an updated, modern control layout, with a pair of control dials, a mode dial, a joystick, 14 buttons and a movie/photo switch.
The rear display tilts up, down and to the side, but doesn’t flip out — not a huge deal, as this will never be a vlogging camera. It shines where it counts, though, with a high 2.36 million dot resolution and enough brightness to use in sunlight. The viewfinder, meanwhile, is one of the best on any camera, with an extremely sharp 9.36-million dot resolution and 100 percent magnification.
It’s easy to handle, thanks to the well-placed controls and large grip. The top display, which stays on even when the camera is switched off, shows all the main settings at a glance. I’m not a huge fan of Fujifilm’s overly complicated menu system, but it’s fine once you get used to it.
As with other recent high-end cameras, you get both an SD UHS II card slot and a much faster CFexpress B option. The latter is required for fast burst shooting, as I’ll discuss soon. Battery life is solid, with up to 540 shots on a charge, or about an hour of 8K or 4K 60p recording.
Performance
Steve Dent for Engadget
The GFX 100 II is the fastest medium-format camera to date. You can fire bursts at up to 8 fps with the mechanical shutter enabled and capture about 300 lossless RAW frames before the buffer fills. That’s about 36GB of data, so it requires a fast CFexpress card.
Autofocus wasn’t a strong point on the GFX, but it’s a big step up on this model. The majority of shots in our burst testing were in focus, though it becomes less accurate when the subject is close to the camera. This isn’t a sports camera, obviously, but it still has the best AF I’ve seen on any medium format camera.
Face and eye detection have also improved, usually locking onto the eye and not, say the eyebrow as the older model did. Fujifilm also introduced AI subject detection from recent models, so it now has settings for animals, birds, automobiles, motorcycles, bikes, airplanes and trains.
Nathanael Charpentier for Engadget
The GFX 100 II has a new 5-axis stabilization system with up to eight stops of shake reduction, compared to 5.5 stops before. This is useful for portraits and scenics, letting you shoot down to a quarter second or slower and blur water or people, while keeping the background sharp.
Rolling shutter was pretty abysmal on the original model, and isn’t a lot better here. If you’re taking street photos and want to remain silent, it’s fine if the subject doesn’t move much. For anything else, use the mechanical shutter to avoid some bad skewing.
Image quality
Image quality is this camera’s forte. Naturally, photos are pin sharp thanks to the 102-megapixel sensor. And with 16 bits of color depth in RAW mode, dynamic range is outstanding, right up there with Sony and Nikon. All of that makes it ideal for portraits and landscapes, on top of tasks that benefit from high-resolution, like art preservation.
The GFX 100 II now goes down to ISO 80 instead of 100 to further boost dynamic range. All of that allows photographers to get creative with RAW photos, or tease detail out of highlights and shadows.
It’s not bad at high ISOs either, thanks to the sensor’s backside illumination and dual-gain design. There’s very little noise visible at ISO 6400, and photos are usable up to ISO 12800 if exposure is correct.
The medium format sensor offers incredibly shallow depth of field if you need that for portrait shooting. Combined with a fast lens like the 80 mm f/1.7, it allows for incredible bokeh and subject separation.
For those who prefer to use JPEGs straight out of the camera, it delivers color-accurate images with the perfect amount of in-camera sharpening. That’s ideal for previews or for folks who want to use Fujifilm’s impressive film simulation modes. For the GFX 100 II, Fujifilm introduced a new one called Reala Ace that’s based directly on one of its old negative films. With a punchy, saturated and slightly nostalgic feel, it has become one of my new favorites.
There is one quality issue — the GFX 100 II drops from 16- to effectively less than 14-bits when shooting 8fps bursts in order to reduce throughput. That in itself isn’t a huge problem, but Fujifilm has been cagey about how it markets this, which has rubbed a lot of pro photographers the wrong way.
Video
Steve Dent for Engadget
I’m starting to sound like a broken record, but the X100 II is also Fuji’s best medium format camera for video. It has a host of new modes, most notably 8K. It also offers 6K, 4K/60p and 1080p at 240fps. All those formats can be captured in 12-bit ProRes, along with 10-bit H.265 formats. You also get access to Fujifilm’s excellent F-Log2 capture that boosts dynamic range.
There are some considerable compromises, though. 8K is captured with a 1.53 times crop, reducing the effective sensor size to less than full frame — which negates one of the main medium-format advantages: shallow depth of field. Other resolutions use the full sensor width, but pixel binning reduces sharpness.
Rolling shutter is also an issue at 8K, so be sure not to move the camera much at that resolution. It’s less bothersome at 4K resolutions, likely due to the pixel binning.
All that aside, video from the GFX100 II has a different quality than I’ve seen from most mirrorless cameras. The larger sensor makes it cinematic, especially with some of Fujifilm’s prime lenses. And the 8K video is extremely sharp when downsampled to 4K in DaVinci Resolve.
Realistically though, video is more of a nice-to-have feature for occasional use, as the majority of buyers will certainly be using it for photography.
Wrap-up
Nathanael Charpentier for Engadget
The $7,500 GFX100 II is an impressive medium format camera with improvements in every area compared to the previous model. More importantly, what did my pro photographer friends think and will they buy one? “What’s most noticeable is the evolution of the autofocus compared to the GFX100,” said Nathanael Charpentier. “In our studio we usually work with Sony, and the GFX100 II autofocus is still far from Sony’s level, but it’s a big improvement.
“It’s not a sports camera, it doesn’t have super-fast burst speeds. It’s more for studio portrait work. For certain types of ‘reportage’ like candid wedding shoots, if we really need the extra dynamic range offered by a medium-format camera, I could see using it.” At this point, they’re not planning on buying one due to the high price (and the fact that they just laid down 6,000 euros for an A9 III), but it’s high on their list of future equipment purchases.
Its main competitor is the $8,200 Hasselblad X2D 100C, which has perhaps slightly better color science and image quality — while also bringing a certain prestige with the Hasselblad name. However, the GFX100 II is superior in most other ways, including speeds, autofocus and video. If you really need to nail autofocus in busy or difficult situations, though, full-frame is still best: Sony’s 45-megapixel $6,500 A1 or Nikon’s $3,800 Z8 or $5,500 Z9 (both 45MP as well) are better choices.
This article originally appeared on Engadget at https://www.engadget.com/fujifilm-gfx-100-ii-the-king-of-medium-format-mirrorless-cameras-143009929.html?src=rss
Adobe has widely released a new and potentially contentious feature: text-to-image generation for Photoshop powered by Firefly, first teased in April. As with LLMs like Dall-E and Midjourney, you can use it to create an image from scratch by typing a description into Photoshop's updated generative AI tool.
I tried it with the text "Dramatic low angle view of a steamship from the 1800s in a storm with large waves and lightning" in multiple styles (anime, watercolor, sketch, realistic) and got decent results. The usual AI art caveats apply though, particularly with weird details if you look closely. But it certainly created useable results and you have the benefit of already being inside Photoshop to fix any errors.
Adobe Firefly AI-generated image
Previously, Photoshop's Generative Fill feature only let you add, extend or remove specific parts of an image. Now, you can create images from scratch, then tweak them later. "This really speeds up time to creation," Adobe's Erin Boyce told Engadget in April. "The idea of getting something from your mind to the canvas has never been easier."
The feature is powered by Firefly Image 3 model, something at the heart of a recent artist backlash against Adobe. Creators were incensed by language in Adobe's recent ToS (terms of service), interpreting it to mean that Adobe could freely use their work to train the company's generative AI models.
In its latest post, however, Adobe stated that it has a "commitment to creator friendly AI" which means "never training on customer content." It promised to take a creator-friendly approach as part of its AI ethics principles of accountability, responsibility and transparency.
Adobe
Along with image generation, Adobe introduced an "Enhance Detail" feature in Photoshop's Generative Fill. For Illustrator, it introduced Generative Shape Fill to add detailed vectors in a designer's unique style (above), Enhanced Text to Pattern (creating customized vector patterns in the artists style) and Style Reference. It also added a Mockup tool to create "high-quality visual prototypes of art on objects like product packaging," enhanced selection capabilities and more.
This article originally appeared on Engadget at https://www.engadget.com/adobes-photoshop-can-now-generate-ai-images-via-prompts-like-dall-e-or-mid-journey-130018181.html?src=rss
The CrowdStrike outage that started late on Thursday is still causing havoc as Delta was forced to scrap an additional 1,250 flights yesterday on top of the 3,500 already cancelled, Reuters reported. That has left tens of thousands of Delta fliers stranded waiting for new flights that could take days, forcing many to cancel or postpone trips. The airline has yet to say when it will resume normal operations.
Delta has scratched a third of scheduled flights for a total of 5,000 since Friday, and delayed another 1,700. "In particular one of our crew tracking-related tools was affected and unable to effectively process the unprecedented number of changes triggered by the system shutdown," said Delta CEO Ed Bastian.
CrowdStrike's software update affected 8.5 million Windows devices, causing many to go into a boot loop that could only be recovered by technicians with direct access to machines. The problem turned out to be a faulty sensor designed to detect malicious activity that "triggered a logic error that resulted in an operating system crash," according to CrowdStrike.
Delta was the worst hit of any US airline, and United Airlines was a distant second with about 266 (9 percent) of flights cancelled on Sunday.
At first, United and Delta told stranded travelers that they wouldn't cover bills since the CrowdStrike crash was out of their control. However, US Transportation Secretary Pete Buttigieg later stepped in and said that he considered the situation self-inflicted, so carriers would need to cover food, transportation and lodging costs for any delays longer than three hours as required by law.
CrowdStrike said today that a "significant" number of devices are back online and the company is reportedly close to rolling out an automatic fix to the issue. Also heavily impacted by the outage are healthcare and other public services in the US and UK, with the NHS warning patients that "there may still be some delays."
This article originally appeared on Engadget at https://www.engadget.com/crowdstrike-outage-aftershocks-cause-delta-to-cancel-over-1000-more-flights-120025978.html?src=rss
A massive Microsoft Windows BSOD (blue screen of death) outage has impacted multiple companies worldwide including airlines, broadcasters and others. The problem was caused by a faulty update from security giant CrowdStrike that forced PCs and servers into an unrecoverable boot loop. The change has since been rolled back, and airlines and hospitals were gradually recovering by midday in the US, but many machines are still affected.
"We have widespread reports of BSODs on windows hosts, occurring on multiple sensor versions," CrowdStrike wrote in a pinned Reddit post. "[We have] identified a content deployment related to this issue and reverted those changes." The company went on to describe a workaround, which involves booting Windows into Safe Mode and deleting a specific driver. CrowdStrike CEO George Kurtz apologized for the global meltdown on the Today show (viaThe NY Times), saying, “We’re deeply sorry for the impact that we’ve caused.”
The issue forced Delta, Frontier and other airlines to ground flights, and impacted UK broadcaster Sky and the London Stock Exchange. On a Reddit thread, dozens of commenters stated that their companies were effectively offline due to the problem. Flight-tracking service FlightAware reported in mid-afternoon that over 2,500 US flights had been canceled on Friday. They gradually recovered as the day continued, but the restoration was far from complete.
12-hour timelapse of American Airlines, Delta, and United plane traffic after what was likely the biggest IT outage in history forced a nationwide ground stop of the three airlines. pic.twitter.com/wwcQeiEtVe
US Transportation Secretary Pete Buttigieg told airlines on Friday that they would need to handle the situation as if it were a self-inflicted (mechanical or technical) failure, which requires them to cover travelers’ food, transportation and lodging costs for those whose delays last longer than three hours. Earlier in the day, United Airlines and Delta had told stranded airline passengers they’d have to foot the bills themselves since the CrowdStrike meltdown was out of their control. A United spokesperson later reversed its previous stance after Buttigieg’s comments.
IT pros around the world struggled to adapt to the nearly impossible hand they’d been dealt.
"Even if [CrowdStrike] fixed the issue causing the BSOD, I'm thinking how are we going to restore the thousands of devices that are not booting up," one user noted. "Let me explain to someone who is not tech savvy and is working from home how to boot their machine into safe mode," another wrote.
Reddit users including many IT managers from Australia, Malaysia, Japan, India, the Czech Republic and elsewhere have said they're fighting through the issue. "Here in the Philippines, specifically in my employer, it is like Thanos snapped his fingers. Half of the entire organization [is] down due to BSOD loop. Started at 2pm and is still ongoing. What a Friday," said one.
US court systems were affected as well, with cases scheduled for the day postponed (including the latest trial of the disgraced Hollywood mogul Harvey Weinstein). Many hospitals reportedly postponed surgeries requiring anesthesia, and some were unable to reschedule due to the required appointment planning software also being down.
CrowdStrike is a US-based security firm that provides real-time protection against security threats to corporations. One of its key products is Falcon, described by the company as "providing real-time indicators of attack, hyper-accurate detection and automated protection" from threats. A CrowdStrike spokesperson said it was likely an issue with Falcon that caused the incident.
To add to the pain, Microsoft appears to have also suffered a separate outage with its Azure services and Microsoft 365 app suite. "Users may be unable to access various Microsoft 365 apps and services," it wrote. It's not clear which, if any, of the outages are related to this instead of the CrowdStrike problem.
Update July 19, 2024 6:12 AM ET: CrowdStrike CEO George Kurtz has acknowledged the problem on X, saying it was caused by a defect in a content update for Windows hosts, and not a "security incident or cyberattack," He added that "the issue has been identified, isolated and a fix has been deployed." There's no mention on whether the fix will be usable on machines currently stuck in a boot loop.
Mac and Linux hosts are not impacted, he added. An identical statement has been posted on CrowdStrike's blog.
Update, July 19, 2024, 3:46 PM ET: This story has been updated to add developments around flights, hospitals, court cases and an apology from CrowdStrike’s CEO.
This article originally appeared on Engadget at https://www.engadget.com/faulty-cybersecurity-update-takes-out-banks-airlines-and-other-major-companies-worldwide-085142264.html?src=rss
DJI has introduced a new video transmission device that will allow creators to control cameras and gimbals and view video from up to 1.8 miles away. Called DJI SDR Transmission (SDR stands for "software defined radio"), it's designed for use in "complex environments" and is targeting small- to medium-sized film crews.
The system consists of transmitter and receiver (each weighing 5.1 ounces), sold separately or in a combo. You can also purchase a phone or tablet holder kit, along with an RX to phone connection cable.
On monitors (which can be dedicated Atomos-type systems, iPhones or tablets), filmmakers will see a 1080p/60fps live feed with a 20Mbps bitrate and latency as low as 35 milliseconds. Video can be transmitted up to three kilometers (1.8 miles) and remain stable in obstacle-laden environments thanks to "superior penetration capabilities," DJI said.
DJI
DJI SDR Transmission can output three SDR signals and two Wi-Fi signals at once. In broadcast mode, it can connect to unlimited receivers for multiple users. Users can connect to monitors via SDI/HDMI and smartphones/tablets via USB-C or Wi-Fi. "The Wi-Fi option allows for a cost-effective, dual-channel monitoring experience without another receiver," according to DJI.
Along with monitoring, the system allows for remote control of cameras and gimbals. That enables features like virtual joystick and gimbal recentering, along with DJI's Force Mobile function that lets you control a gimbal by tiling and rotating your smartphone. It supports PTP (USB-C) camera control for supported devices, along with CEC for Sony Cameras that gives you all the camera's controls on a remote screen.
DJI
The new product is not unlike DJI's Transmission system, which transmits 1080 60p video over 20km (12.4 miles) but costs $2,500. It appears to be part of DJI's effort to diversify away from drones in the face of a possible US ban. DJI is likely to get even more deeply into the camera market if that happens, given the success of the DJI Osmo Pocket 3 and other products.
The DJI SDR Transmission system is now available in the US, Europe and elsewhere priced at $549 for the combo, or $309 for the transmitter or receiver sold separately. The phone and tablet holders are $49 each, while the RX to phone connection cable is $10.
This article originally appeared on Engadget at https://www.engadget.com/djis-latest-gadget-lets-you-control-cameras-and-view-video-remotely-130049291.html?src=rss
Canon has unveiled its most important camera in years — the EOS R1 mirrorless. Launched alongside the 45-megapixel R5 II, it’s the company's new flagship designed to replace the 1DX Mark III DSLR and help Canon maintain its leadership in the pro sports photography field.
The R1 is all about speed, with the stacked sensor allowing 40 fps RAW bursts with continuous autofocus. Other features are designed to help nail crucial shots, including pre-capture, eye-tracking AF and sports-specific settings. At the same time, it should be great for video, thanks to its support for 6K RAW capture.
One potential downside is the 24-megapixel resolution, which is lower than rivals like Sony’s A1 and the Nikon Z9. To see how that affected image quality and gather some impressions on performance and new features, I was able to get a short amount of hands-on time with the R1 in Phoenix, Arizona.
Though massive for a mirrorless camera, the R1 is lighter than it looks — it only weighs 2.12 pounds. The magnesium alloy body is dust- and water-resistant and the large, comfortable grip uses new rubber to reduce slippage. It’s a stable platform, even with telephoto lenses, and was clearly designed for working photographers.
Controls are laid out much like the EOS R3, with two control dials, a rear dial, joystick, mode switch and many customizable buttons. It has matching vertical controls, with the same layout in portrait and landscape modes.
Canon did add a touch-sensitive IR button called the smart controller, which offers three ways to adjust autofocus. Overall, the R1 handles like an F1 car — fast and reactive, but there's a steep learning curve.
The viewfinder is Canon’s best yet with 9.44 million dots, 0.9 times magnification and 3x brightness, all tops in the EOS series. The rear display fully articulates for high- and low-angle shooting.
Canon decided to ditch SD cards in favor of two CFexpress type B slots. That allows for maximum RAW burst speeds, as well as fast and reliable backups, but you'll end up throwing your SD card collection out the window. By contrast, Sony's R1 has dual card slots for both SD UHS II and CFexpress type A.
The R1 uses a variant of the battery from the EOS R3 that supports up to 650 shots and 70 minutes of 6K video on a charge. Connectivity is the best I’ve seen on any Canon camera, with Wi-Fi 6E, ethernet, USB-C PD and more.
The R1 is built for action and suffice to say, it’s fast. In blackout free electronic shutter mode, you can shoot JPEG and RAW frames at up to 40 fps for a long while before the massive buffer fills — with Canon promising "1,000 or more" shots when shooting uncompressed RAW and JPEG files. It hits 12 fps with the mechanical shutter, a feature missing on Nikon’s rival Z9.
Steve Dent for Engadget
The latter isn’t usually necessary, though, as the stacked shutter largely eliminates rolling shutter distortion.
Canon is bringing numerous autofocus improvements as well. With regular single-point tracking, you can change the target with either the joystick or smart controller. In addition, the R1 has a new eye-tracking system called Eye AF II, a more sophisticated version of its Eye Control AF from the R3.
As with the R3, you must calibrate Eye AF II first. And it won’t necessarily function well for all eye types, but it worked great for me, as the tracking box followed my gaze with less drift than before. That didn’t always translate to sharp photos, but again, I was using a pre-production unit.
Of course the R1 offers face- and eye-detection for both humans and animals. But what happens if you’re trying to single out someone in a crowd of players?
Steve Dent for Engadget
First off, there are now AI modes for three specific sports, volleyball, basketball and soccer. The idea is that the system will track action around the ball to help you nail key shots. It’s also supposed to stay locked on a player even in traffic. Finally, you can register up to 10 faces to keep track of a whole team of athletes.
How well does this work? It’s hard to say in the short time I had the camera, but I didn’t notice a dramatic improvement with chaotic action or specific sports. But these features require time to master, so a full review will tell me more.
Another new feature to help pros avoid missing shots is pre-continuous shooting, something that's seen on many high-end cameras these days. The R1 starts taking photos when you half-press the shutter button, recording up to the last 20 frames once it’s fully pressed.
Canon has led the way in image stabilization since the R5, and the R1 offers a solid 8.5 stops of shake reduction with supported lenses. This isn’t necessarily a great benefit for action shooting, but it does help with landscapes or low-light shooting.
Canon likely anticipated complaints about the relatively low 24-megapixel resolution. In response, it unveiled a new feature called in-camera upscaling. It uses deep learning to quadruple image size to 96 megapixels in-camera after shooting, supposedly while maintaining apparent resolution.
This is different from Sony's pixel-shift scheme that takes multiple separate photos and merges them into one. However, it was hard to get a straight answer from Canon as to how exactly the upscaling works. Obviously, it can’t be a true resolution increase without actually capturing extra pixels.
Image quality is difficult to judge in pre-production cameras, and Canon specifically said that in-camera RAW processing was a work in progress. Nonetheless, JPEGs looked sharp out of the camera and had the company’s typically excellent skin tones.
Low-light image quality is a selling point of this camera, and it did appear to perform well at high ISOs, with decent image quality at ISO 12,800 and beyond. However, it’s no Sony A7S III at very high ISOs, so the max of ISO 102,400 is for emergency use only.
Steve Dent for Engadget
Stacked sensor cameras tend to sacrifice some dynamic range in favor of speed, but there’s no sign of that with the R1. However, I'll need more time to get a full idea of RAW image quality, particularly at high ISOs.
Though mainly aimed at photographers, the R1 is potentially a monster video camera on its own. It lacks the R5 II’s 8K feature, but does offer 6K Canon RAW video at up to 60 fps, using the full width of the sensor.
You also get fully oversampled full-sensor 4K at up to 60fps, or 4K pixel-binned or cropped at 120 fps. Full HD can be recorded at up to 240 fps, either cropped or with pixel-binning. On top of Log 3, Canon’s Log 2 is now supported with 10-bit capture.
Canon has significantly reduced its previous overheating issues, though they're not completely eliminated. You can record more than 120 minutes of 6K 60p RAW with proxy recording, as well as 4K 60p, with no restriction for 4K 30p. The primary limitation is 15 minutes for 4K 120p, but that shouldn’t be an issue for most videographers or content creators.
As you’d expect, the oversampled 4K 60p and 6K 60p RAW video is sharp. Canon’s RAW video is very easy to work with in post and with the Log 2 setting delivers extra dynamic range and latitude in post.
Steve Dent for Engadget
It’ll be interesting to see how pro photographers react to Canon’s new flagship. They do gain an extra 10 fps in RAW shooting speeds over Sony’s A1 and the Nikon Z9, and the sensor is solid in low light. The downside, though, is the fact that it offers half the resolution of its rivals.
The Eye AF II is an interesting gimmick that may give Canon an edge. Other features like face-memorization, sports-specific AF and cross action seem good on paper, but I wasn’t able to get the most out of them in the short time I had the camera — so further testing is required. The EOS R1 is set to arrive in the fall of 2024 with an estimated price of $6,300.
Canon paid for this contributor's travel and accommodation for the launch of its new cameras in Phoenix, Arizona. This article was produced independently for Engadget, with no oversight from Canon.
This article originally appeared on Engadget at https://www.engadget.com/canon-r1-hands-on-incredible-speed-but-24mp-resolution-may-disappoint-100044085.html?src=rss