![]() If you need wider than that, check out the Tokina 11-16 f2.8. Of course you could spring for Canons expensive 16-35 L lenses, but luckily there's a host of third-party APS-C lenses that DO fit the 5D (and due to the 4K crop factor they finally make sense on the 5D)! The back of lenses like the Sigma 17-50 f2.8 or wonderful Sigma 18-35 f1.8 does not stick out as much as Canon's own APS-C lenses and that's the reason they will fit without an issue! While the 1.64 crop factor is exactly the same as Canons APS-C DSLRs, those lenses will not fit onto the full-frame 5D. While personally I would take a cropped image over a pixel-binned image any day, it does make getting wide shots a little more difficult. The reason Canon chose for a crop over downscaling was to avoid the pixel-binning that plagued many of the early Canon HDSLRs (remember our old friend moiré?). Although almost every cinema camera available has that same industry standard Super-35 ‘crop-factor’, it’s easy to see how it’s a little disappointing for anyone expecting the 5D Mk III’s full frame video look. ![]() The other issue with the 5D Mark IV's 4K video mode, is the fact that it has a 1.64 crop factor. That's why I've created a set of Canon log to Rec709 LUTs designed specifically for Canon log on the 5D Mark IV and EOS R. They seem too punchy and skin tones quickly become unnatural. ![]() The only downside is that you have to send your camera to Canon to do the upgrade, which will often mean 4 to 6 weeks without your camera (unless you become a Canon Professional Services member, in which case it will only take a few days).Īnother issue I found is that the Canon-provided C-log LUTs don't work well with cameras like the 5D Mark IV and EOS R. One of the biggest complaints about the 5D Mark IV was Canons decision to leave out Canon log, and this criticism eventually lead Canon to offer a Canon log upgrade for the 5D Mark IV. ![]()
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