 And here we have the new Canon mirrorless, so hi, so who are you? I'm Mike Bernhill, I am the sort of product specialist for the EOS R and many other Canon products. And this is a 50mm prime? This is the 50mm RF 1.2, it's our new sort of one of our new demonstration lens of what the new RF mount is capable of regarding resolution, etc. So what's the spec on that one? It's a f1.2 that's very, very bright. It's very bright, it's probably the fastest autofocus lens for any mirrorless camera that's currently on the market. Again, this lens is all about resolution and providing the ultimate sort of image quality, but still being able to have a very fast aperture of 1.2. Very fast, but is it going to be expensive? Well, it's all comparative I suppose, it's a little bit more expensive than the existing 50mm 1.2 is already on the market, but again, it's a brand new lens and you know, image quality comparisons, the image quality of this are vastly more expensive than this, so this is almost a bargain if you want to look at picture quality-wise. And so this new full-frame mirrorless is a big, big deal, right? For Canon, for the industry. Oh, well, this is the start of a new journey for Canon and our customers, it's introducing our new RF mount, which opens up a whole range of new potentials for products going forward. Yeah, just so I can see, so it's a full-frame sensor, yeah, it uses our sort of dual-pixel CMOS technology, which allows us to do amazing AF functionality, so we have the ability to focus down to minus 6 EV, which is kind of really, really dark, it's like shooting in almost pitch black. We have an amazing 565 and 55 AF positions you can select, so basically you can select anywhere you want it, it's exactly where you want to select. And again, the AF chip and the new 24105 are very combined, that's the fastest AF of any sort of product market. Can we power it on? Of course we can. Yeah, so it's got the switch right there, and it has something a lot of people like. Yes, the old very annual display, so if you're vlogging or any of the self-portraits you can actually see what is going on. Some companies don't do that for some reason. It's the having this, again, the patent on the hinge and the mechanisms of, you're worried about the body size, thickness, you know, but we've always had this sort of on many of our products and we feel it's the best way to allow a lot of people to shoot in different angles, you can shoot down, you can shoot up, or I can shoot, you know. So this is just a start you say, right? Yeah, this is the start. Is that your USR1? No, it's just R. We don't want to, you know, we slowly built the line, we don't want to position the camera in any particular one position, just to give you a say, this is a 5D or 6D replacement. It's about starting the journey and starting our point and the R is kind of introducing the whole RFR system. So it's got the dual pixel AF, can we go down here, because they're going to start our live streaming here too, so let me just come up here and see, let's sit right here. So it's got the very, very powerful and precise autofocus. Yes. For video too. Yeah, again, we've introduced the same technology a while back in our C300 and C200, the dual pixel runs through all the sort of canons or products, it's kind of one of our unique kind of technologies that no one else has. And obviously for video you can use the same touchscreen to pull focus between two points and that speed is varied depending on the menu setting, so you get a nice smooth focus pull if you want to, or you can have an instantaneous kind of response. So these are the sort of options are available. So there's just a couple of things, people are kind of criticizing on the Internet, the single card slot and the crop and 4K, but you're saying it's the first one, so there might be some more video centric versions. This product is aimed at the kind of photo enthusiast, this is its core market that we was designed for, and when we were looking at designing it, we were looking at the feature set that customer set wants, so the important things for those customers were great AF, compatibility with their existing AF system, a good EVF, these kind of things were high priority. What was lower priority for those type of customers from feedback, and you could solve the same sort of feedback on things like DP review, etc, they did the same sort of surveys and canon rumours, that card slots were lower on their priority and obviously video only about 20% of this market are into video and 4K is even smaller percentage, so looking at what feature set were important to the customer, we prioritized those over something else, so we prioritized having a better EVF over maybe having a 4 frame 4K sensor, because that will appeal to more customers and they will find that more useful than the 4 frame 4K. But there is a potential that maybe, so the video guys perhaps could wait a little bit, but maybe there's going to be one with IBIS also, because IBIS is a big deal too. Yeah, we totally understand what the video market wants, and then again, this is not maybe the product for them, and then we will obviously look at introducing products either end of this sort of product, entry level that will be easier to use, and we will look at higher end ones, and we will look at video focus ones, and we will look at those features, so a video focus one or a professional one will have dual card slots, because that's what those markets need. And again, IBIS is something we're looking at, and we understand them in the video industry, it's much more important for vlogging like yourself, to see the benefit, but for a lot of entry level photographers who are shooting landscapes, but this sort of product will fit in very nicely in portraits, that is less of a priority, so it's putting the technologies and features in that will appeal to them, and not affect the pricing, because again, pricing is kind of, you know, there's no point in having a product that is perfect for a market if it's twice the price of what the market is willing to pay for it. And I just did an awesome video about the new Camcorder XF705, and it has H265 42210 bit internal 4K60, all this stuff would be so cool in there. Yeah, again, this technology is slowly moving towards potential, but again, it doesn't really fit into the core demographic where this was really going to sell towards, but we totally get it, and we see, you know, we're talking to the broadcasters and these new codecs have great possibilities to transmit videos and edit, and all these getting smaller, you know, it's slowly moving forward, and this is obviously a fantastic product to launch these technologies at the high end, but as you see with this product, it's more 62 pricing, but it brings some of the technology from the 5D4 with the more expensive camera down, and that's what Canon often do, we take the technology from the high end and we bring it into a lower end, and also we like to kind of introduce products in the mid-range area, because that's a bigger user base, and they will use the product more than professionals, they'll provide great feedback that will help steer us in a better direction where the market will go and what the product should do. One other thing I saw is that people said that it would be nice if there was something else here than just an on-off switch, that's just maybe, maybe you're getting a lot of feedback, because maybe you can just have an on-off switch somewhere else, and usually people have a dial here, but you're able to do as much as a dial with this new setup. Well, you can actually, with the dial, you've only got two things, you can spin it around one way or another, but this you've actually got three operations, you can either stroke it across, or you can tap either end, so you can actually set three different functionalities, so for example ISO, I can change my ISO by stroking this, or I can tap this to go to my favorite ISO, or I tap that end, it goes to auto ISO, so you can actually set different parameters, or I can do this for white balance, so you can set the two different white balance temperatures either side, if you wanted to, or you can mix and match it, so I tap one end, it can be focus, eye focus, I can stroke this, change my white balance, or I tap that, and it goes to my favorite ISO, so you can really mix and match this control and to do more than one thing, a dial, you can either go left or right, it can't do, you know, can't be so many... Up and down also, and... Well, you know, with dial it's going around, but it's only controlling one thing, you're... Maybe it's the joystick, I guess. I focus control joystick, but obviously one of the joys of the new camera, the new types of interfaces that we're introducing, is this is a touchscreen, so this actually becomes a mouse pad, so when you're using a viewfinder, I can use my thumb to drag the AF point around the screen, so I can set the AF point anywhere I want, much quicker than I could with the joystick. It's kind of, I'm just doing that, it's very organic, with the joystick, you've only got mechanical switches, so you're moving in jumps, here it's very fluid, and it's very smooth and seamless operation. So, and again, coupled with the 5,000 AF points, wherever I set the AF point, that's where it focuses, it's not slightly to the left, not slightly to the right, but exactly that position. There's maybe a potential that people with their nose that might activate stuff on the screen. No, that's not going to happen. No, again, there's a sensor that turns that off, but obviously the joy he's talking about, big noses, is that the fact that this has the largest eye point of any of the mirrorless cameras on the market, so therefore your eye doesn't have to be as close to the viewfinder, as would say, other cameras, and you still get the 100% viewfinder view. So, again, no touching is not an issue. So, yeah, but it's exciting you get into the full-frame mirrorless. What do you think is going to be the market share of mirrorless compared to DSLR? Well, I think the interesting thing about mirrorless various as DSLR is that it's why you see so many cameras coming today, is the fact that mirrorless wasn't quite universal across the world. People made a lot of noise in different areas, but those, if you went back to the DSLR days, you could apply the same rule across many countries. So, how many cameras sold in the USA? You could times or divide by number to work out in another country. It was quite universal. It was very similar sort of how it worked, but mirrorless it all went all kind of weird. So, in Japan it was very high, but US was very low. Although there's a lot of noise in US, sales were very, very low, considering DSLRs. And now we're seeing that slow shift. It's sort of more stabilizing across globally. So, that's why you see so many mirrorless cameras being launched at this trade show. But, again, customers will decide which cameras kind of, you know, go forward. We see some markets still very traditionalist in SLRs. That's what they've educated. That's what they've kind of traditionally kind of know. And there is a cultural side to what they expect from a camera. So, we'll see other markets maybe flip very quickly to mirrorless, but other markets take a lot longer. And basically, the customers will decide not sort of canon, et cetera, if the mirrorless lives and DSLR dies. Because maybe Canon is a little bit careful about not cannibalizing the DSLR market when this product was conceived or not necessarily. It's just providing what's out there, letting consumer choose. Yeah, exactly. In the past we might have been quite conservative. But, again, we've brought features from the 5D4 into this price point. And we're pricing it at a lower price point, more like a 6D2. So, that's obviously going to affect sales of the 5D4 and the 6D2. So, we can't really be scared of cannibalizing sales. If we're scared of cannibalizing sales, there are other companies out there who actually were happily eating to our sales for us. They're working very hard to get people to move over to the mirrorless. Exactly, yeah. So, if we don't do something to be too conservative or worry, then it's a lose-lose situation. So, we have to be brave and accept that not everyone will want this product and maybe someone wants this product. But, giving customers a choice is not a bad thing. You know, it can only be good for a customer. So, I think Sonya in the press conference said something about... You know, they have lots of lenses, but their mount is a little bit smaller. And they claim that it's not an advantage to have a bigger one, but it's not true. Well... For example, you can do stuff that's better with this size mount. But, to go back to basic optical principles, the best lens you can have is basically a glass that's roughly the same size as the sensor. Fairly close up. Therefore, the light from that glass hits the sensor straight. By having a smaller rear element, you're actually having to bend light to the corners. When you're bending light, this is where you get the chromatic aberration on the sensor, the purple fringing and vignetting and all these issues. So, having that large mount means we can have a large rear diameter optic that would allow the light to travel straight to the sensor. So, it gives you much more flexibility in your design. You're not constrained from what lens design is. To fix things, you put piece of glass in. And every piece of glass you put in creates another problem that you didn't have to correct. You know, it's a kind of compromise with how many pieces of glass you're willing to put in to get the ultimate performance and not knock out another performance. So, you can prove sharpness, but that may affect stigmatism. So, you're doing all this kind of balancing. So, trying to make the lens design as simple as possible. Therefore, provide the best quality. And having that large diameter means we can move the optics further back into the mount and have them, still have them quite large that covers the four frame sensor. And this has new high performance kind of generation of autofocus compared to the DSLR lenses or? Well, it's coupled, yeah. There are two things that drive us forward. There is the new Geopix sensor. Geopix CMOS sensor, it says. That is one of the things. So, it gives us the fantastic number of AF positions. It also allows a low lightability. But what the key thing on this whole system is the new RF mount. So, it's not just about the size, the diameter, but it's the whole principle of things, you know. The fact that the information that travels between here and the body is many, many, many times faster than previous lenses. So, therefore, the whole speed system is faster. There's also the processes in the lens. So, when we zoom, for example, with the zoom lenses, the aperture system automatically adjusts itself. In the auto system, the camera told the lens what to do. And that caused a delay. But you know, with the sort of a 24-1 advice, when you zoom, you'll see a slight flicker as you zoom because the aperture is changing to compensate for the zoom. That is because there's a delay between the mechanism in the camera and the lens communicating. Now, the lenses know what's happening and can compensate that in real time. So, therefore, you see very little flicker between systems. The aperture system in these new lenses is also designed to work an eighth of a stop. So, again, for video operations going forward, you can move in very small increments and get very seamless exposure change than most of the systems. So, most of the lens systems only move in a quarter or a third of a stop. So, if you change your aperture, you will get a slight pulse in the exposure as it kind of varies brightness. But with an eighth of a stop, that becomes almost seamless. So, you don't notice any flashing or strobing as you change aperture. So, there's lots of little communication things that we're building into these lenses for the future that may not be visible today. You know, there are many more contacts than we are using, right, 12 contacts. But some of these can support higher data rates and more power than previous lenses so we can do more going forward. If you think of the EF mount when we introduced it in 87, it was designed for a camera of one single AF point. And now, you know, we've got hundreds or thousands of AF points going forward. And cinema, EOS, and shooting, video, and digital weren't even thought about when that mount was created but that mount survived and allowed these sort of systems to develop. And what we wanted to do is make a mount that can do the same for the future. So, trying to incorporate technology that may not be available today but allow expansion to do with the things in the future. So, it's future proof? Yeah, we're trying to make this future proof as possible. It's always, you know, totally impossible to see what the future will hold but we can try to put as many systems in place that allow expansion that won't cause bottlenecks in the future, which means we have to scrap a system and start again by making the system as open and advanced in sort of its communication protocols that allow much more to be done. Again, things like the control ring on here. Every lens now has a control ring which can be customized to either be the aperture, shutter speed, exposure compensation, or ISO. So, this gives you another direct control interface to a control that you want. And if you want to, it clicks which is great for the Nintendo market but it can be de-clicked if you want it to be used for video. And this is also extended into the adapters. Obviously, there are three adapters on launch. There's the standard adapter that allows EF lens to be used. There is an adapter with a control ring. So, if you are using EF lenses, you get the same operation across all your lenses. You can adapt or change the shutter speed or aperture from the lens. And the third adapter has a drop-in filter holder which will sell two kits of. One with a variable ND and one with a circular polarizer which means, you know, again, great for video but also great for landscape and architectural photographers who are using very wide-angle lens like the TSC 17 or 11 to 24 which have these very big curvature lenses so you can't attach filters. So now you can actually apply polarizer to a landscape or architectural and again, or available neutral density if you want to do a long exposure to blur up people moving around, et cetera. But so those adapters are not going to make magic in like bringing all these functions to all the older lenses, right? The new native R lenses have something to step up. Yeah, again, it's all about designing a new language. So it's a new high-speed protocols and processes are all in the new lenses because of the change in the body depth between the old system. The new lenses both physically fit on because of the mount design but also because they wouldn't focus on affinity. Again, they'll be too close to the sensor so you wouldn't be able to use them anyway to get, you know, for many usages anyway. But the adapters allow all the EF series lenses to be used on this camera. In fact, one of the things we're proud of is the, in our caveats for what lenses you can't use, there is really only one lens that we say is not fully compatible. And that's an EF35-80F456 power zoom lens from 1991. And that lens, the power zoom doesn't work but everything else works. So every lens we've launched since 1987 will work as well on this camera or if not better because you will have the low lightability. But what would be the video autofocus speed on all these older lenses? Again, obviously those motors weren't designed for video so they're designed for stills. They're kind of, they're not smooth. They're stop-start. They were designed for stills so you kind of got to that position very quickly. If you want to describe it as a early camcorder kind of lens, you kind of jump focus because that's what you needed to do for a still. You wanted to see the autofocus for sharp. That's what you need. You don't need that nice transition through. So again, using the new motors at the Nano-USN and the new ring types and the new STMs, they're all these gear towards video so giving you a nice smooth kind of focus change. But we've kind of, you know, if you want to do that kind of with the older lenses, you can still manually focus. So we've incorporated technology. We've borrowed from the Cinemaree also. We've got the focus guide, which is a nice little manual indicator that tells you where you're near or front focused and you can manually focus with that. And obviously it's a really good focus speaking as well. And so you have three lenses. Did you see four lenses? Four, four. And do you announce how many it's going to be in the next few days? No, we're going, we've never kind of never really introduced a roadmap. Probably the lenses are quite complex beasties. So when they slip on a roadmap, you know, if something's not going right, you have to redesign the mechanics. It's not something you can fix overnight in software. You have to go back. So roadmaps fluctuate quite a lot. So we do want to promise something that we wouldn't be able to deliver. But we are committed to producing three next year, three 2.8, kind of the trilogy lenses. So you kind of a long 7200 type and 2470s and 1635 type series will kind of be introduced next year. And there are other lenses we are hoping to introduce, but with lenses on it's never as easy to say, we can guarantee when it will come out. So we don't want to kind of make a promise we can't keep. And when are you delivering? Of the camera? Yeah. The sales start is the first week of October. So that's like next week? Basically, yeah. People can get it or just pre-order? Pre-orders available now and the first shipment from the factory, from the factory to the dealers, et cetera, we will start the first week of October. So it depends on what region you're in. So I think sales start is looking around about the ninth depending on the country. And can you give me an exclusive? So for the video version that has 4K 60, no crop and eye-base, no that, no I'm joking. Hopefully they will be soon, maybe. We're not deaf, we've been listening to things on the internet and people were saying and we totally get what they want and it's far, yeah. But unfortunately- It's kind of an invented dual as slots. Yeah, we had it in the 1D2, yeah. Yeah, we had it in the 1D Mark II and we totally get why it's important and why people need it. But all the research showed for the target market for this product that even if they've got cameras with a dual card slot, they're only put one card in because they're taking photographs for themselves. Well, if you're a photo professional business and you're imaging money and you lose all the images, you don't get paid, dual cards make perfect sense and once that product is aimed at those guys, yeah, of course, it's going to have dual card slots. But we don't want to put features into the camera that people don't use. It's better to concentrate on the stuff that they will use or something that will make their life easier, like better auto-focusing or usability or the interfaces. These are things that will affect everyday users and will affect 100% of the customer base rather than kind of a smaller percentage. But yeah, if there's a video-orientated camera, we will kind of look at all these kind of wish lists and try to get as many of those features in. And if you needed to do no-crab 4K video, that means a new sensor design, right? Maybe a sensor that's not yet in the Canon portfolio. Yeah, you need to have a new sensor, you need the high-tech processors, the power units, the heat. Well, yeah, we're kind of getting in with this body of how we're kind of designing the system and it gives us this ability to, because it uses an Electroskeleton, so most cameras have a chassis inside and everything is hung off the chassis and you bolt the outside to it. This is basically, the outside is the skeleton and everything is attached to the inside, so you've got direct access to the heat points to the outside of the body. So we're learning on these kind of technologies to, you know, we can take them forward into the next products and have those issues addressed before we get to them. Cool, but there are some very exciting Photokina, very cool, there's so much new stuff happening. Yeah, it's great. It's never been in such an exciting time. You know, there's been, you know, I don't think it's been a Photokina, but it's been this exciting for many years where there is so many products with customers to choose from, that they have a scope, which is great, you know, having competition is good for Canon, because it drives us to be better, you know, we can't be complacent. And, you know, it's a very good time for the industry and it's so is the industry is still live, you know, the photography isn't dead, smartphones haven't taken over. Dual Pixel is awesome. Dual Pixel is one of our crown jewels. It does allow us to do stuff that other manufacturers can't and it basically can only get better. In fact, you know, one of my amusing stories is, you know, Dual Pixel was actually started by the Canon engineers in 1981. 81? 81, if you will, back to the history books in 81, we introduced the sort of the AL1 and we had these like zoom lenses that had a AF sensor in and the engineers worked out, oh, we could use a CMOS, a CCD and actually use that for measuring focusing, but then they worked up the cast and the processing. So they put that to one side and they went through a basic kind of a measuring sensor and then we got into the EOS 650 and they thought, oh, on this project, maybe we could look at a CCD again to Dual Pixel to work up focusing. Again, time, cost, processing was too much. And then we got into the digital era with, you know, so when we got to the D30 and that's when we kind of went, actually now is the time we can start to look at this technology and that's when we kind of went back to focus on it and then we fine-tuned it ever since. Nice, so thanks a lot for this interview, it was awesome. I have to stop because I'm filming on the Sony and it's just about to overheat. Oh, okay. Now I'm joking, there's a 30-minute limit, which you don't, you have a 30-minute limit also, but- Yeah, the 30-minute limit is, it's really kind of at the moment that most of the cameras- EU tax, right? EU tax, but yeah. Maybe there's a way to sell a plugin, let people unlock the unlimited or maybe not, not yet. Yeah, I think the problem is, you know, there is a problem is as the camera's gone more popular, it basically becomes more difficult because it's all down to like the number of units sold. And how many people wanted it? And how many people wanted it, so we, you know, maybe after Brexit, maybe there'll be like a UK version. That's where Brexit was voted, I think. Yeah, maybe. Because of the EU tax on the 30 minutes. No, it was all to do with the 30-minute recording, yeah, so obviously one in the UK will have like your infinite recording and those people in mainland Europe will be stuck with 30 minutes. Joking. Thank you. Okay.