Canon EOS R6 Mark III Review | The Perfect Midlevel Camera?

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[Music]
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Hi, I'm Dustin Abbott and I'm here at
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last to give you another Canon review.
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And I want to start off by saying a big
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thank you to two different sources.
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First of that being Jim from Canon
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Canada for getting me a loaner of the
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Canon EOS R six Mark III along with the
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new RF50mm f1.4 L uh VCM lens which I
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will be doing a review of as well. So, I
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also want to thank Kedar from Camera
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Canada who uh set me up with Jim and got
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me that connection point. And so,
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hopefully now I will be able to give you
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a little bit more Canon um reviews
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moving ahead. And so, I'm really really
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appreciative of that. To the matter at
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hand, today we are looking at the third
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generation of the Canon Canon R six
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line, which is Canon's mid-level camera,
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but has been steadily creeping up into
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an increasingly full function camera
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that can really do a little bit of
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everything. This is a jack-of- alltrades
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camera and at a price point of right
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under $2,800. While that is $300 more
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expensive than what the previous
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generation was, we have moved to a
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camera that has jumped from 24 to 33
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megapixels of resolution that now has
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the kind of video feature set that
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previously we've only kind of seen on
1:26
cine level cameras. And on top of that
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has an extremely robust autofocus system
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that will allow it to do tracking and
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now vastly improved buffers that allow
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it to stack up a whole lot more images
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and become much more useful even as a
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dedicated sports camera. This is a
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camera that does pretty much everything
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quite well. And today we're going to
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dive into the various aspects of
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performance and see whether or not this
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should be your next camera. So let's
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dive in together and let's take a look.
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taking a look at the camera body itself,
2:52
very, very similar in terms of the
2:54
overall size and layout compared to the
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Mark II. Again, we have a grip that fits
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very nicely in the hand here. Big thing
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here is that because the camera is a
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little bit wider than Sony cameras, you
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have room for your knuckles to actually
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fit when you have lenses on there as
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opposed to rubbing up against it. So, I
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do like the way that the grip fits my
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hand here. The grip is 88.4 mm deep. The
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camera itself is 138.4 millimeters wide
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and it is 98.4
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millimeters tall. It weighs in at 699
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grams or 25.7 O. That is with the
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battery and memory cards inserted. And
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so it has gained 19 g relative to the
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last generation. But I think that with
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the advantages we've gotten here, that
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is 19 grams that is well spent. Now, as
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far as some of the basic specifications,
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the there's not a lot of difference here
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when it comes to either the LCD or the
3:48
viewfinder itself. The EVF is a 3.69
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million dot unit, but it is nice and
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clear and it's got a refresh rate of 120
3:56
frames per second, so that makes it very
3:59
useful. Our touchscreen here is fully
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articulating and it is a 1.62 million
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dot unit. It is 3in touchscreen. Control
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scheme here is the same. We've got a
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total of three control dials or command
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dials here, here, and then around the
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set button at the back. We do have a
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joystick that has the same kind of feel
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as the one on the M2. It is clickable to
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give you one more uh, you know, kind of
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customizable point in terms of a
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function. Up front, we do have one, the
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depth of field preview button, but it's
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a customizable button that can be
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assigned any kind of value that you
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like. You can see here we do have the
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shutter that comes down that uh protects
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the sensor itself from getting dust on
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it. I find this to be a very effective
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thing and I also appreciate the fact it
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works a lot faster than what Sony
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cameras do. Just to give you a quick
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look at that, you know, on and then when
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going off it clicks down quicker and not
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quite as much pause as what we see on
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Sony there. I appreciate the fact that
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we have dual setup options and so we can
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switch between stills and video setup.
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The back is very very familiar if you're
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familiar at all with Canon cameras.
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Button placement and quantity of buttons
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pretty much the same. Not really any
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kind of difference there. They have I
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complained about you know the swapping
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putting between the stills and video
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toggle over here and moving the power
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over here because you know my camera
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that I'm most familiar with is the R5
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and you know it was opposite on that.
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But at least Canon is sticking with this
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and this does allow for one-handed
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operation. So, no complaints so long as
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they stick with it, which they have been
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doing here. Up front you have or on top
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we have a mode dial. There's no
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top-mounted LCD, but I actually really
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like a mode dial. It's just the most
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logical way to access things. We do have
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our video record button placed here. And
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then there's another kind of custom
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button that is up there. The shutter
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itself is nicely responsive. No issues
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with that. On the side, we do have one
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significant tweak to the port structure
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here. And one thing I'll make my
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complaint about, and that is that rather
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than nice, clean opening ports, we have
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these kind of flaps that I just I don't
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particularly like. I prefer actual port,
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you know, a door that opens up and so
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it's just neater. But that that's me.
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Big upgrade here is that we go from the
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micro HDMI to a fullsize HDMI. Much
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better for regular video use. So, I
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appreciate that. We've got USBC which
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you can do communication through. Uh you
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can also use this for live streaming or
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as a webcam from the USBC and you can
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also charge the battery through that
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port as well. So long as you have a
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power proper power delivery source um
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which those become increasingly
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ubiquitous. We have a mic input. We have
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a headphone monitoring jack. And then we
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have a remote release um port there. And
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so if you want to use a wired release,
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you can do that there. Over on the other
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side, one other major improvement and
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that is that rather than two SD slots,
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we now have a CF Express TypeB and then
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we have the UHS2 compatible SD slot.
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That gives us some real advantages in
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terms of buffer depth. Buffer depth was
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to me the limiting principle with the
7:20
Mark I as to while you could get up to
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40 frames per second in the electronic
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mode, that buffer would fill before 2
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seconds passed. Now, we have the ability
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to get 150 full-size RAWs at 40 frames
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per second. If you go to to compact RAW,
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you can get up to 280 or 330 JPEGs. And
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if you're shooting with the mechanical
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shutter at 12 frames per second, you
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basically don't have any kind of buffer
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limitations at all. So, uh here's a look
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at the mechanical shutter and what it
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sounds like.
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It is rated for 500,000 actuations,
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which is definitely a prolevel figure.
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And then of course the electronic
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shutter is
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there's no there's no shutter going down
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and so you'll just it's just very very
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quick 40 frames per second. It also
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gives you a higher uh shutter limit up
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to 116,000th of a second at top and we
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have reduced rolling shutter down to
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about 13.2 2 milliseconds versus the
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14.5 or 14.7 milliseconds of the Mark
8:25
II, which means that there is less
8:27
rolling shutter here. Battery has
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changed to a new standard. It is the new
8:32
LP6P
8:34
battery. Now, this is backwards
8:36
compatible with the older batteries.
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However, there are a couple of functions
8:41
that won't be available, mostly
8:42
communicationbased functions. And so,
8:44
you might want to get a second one of
8:46
these batteries though. In a pinch, you
8:48
can use your old batteries as well.
8:49
There's also a new battery grip that is
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available. Same kind of battery grip
8:54
that it's like for the I believe the the
8:57
R5 Mark II, but just be aware of that as
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well. Inbody image stabilization has
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also been improved a bit up from a
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rated, you know, maximum of eight stops
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up to 8.5 stops. And uh and so that is
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measured with the 24 to 105 f2.8 LIS.
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However, I tested with the 70 to 200 F4
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LIS and I got a this 1 second shot at
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200 millimeters, which is pretty close
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to eight stops. So, very, very
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impressive. Overall, our wireless
9:29
communications are slightly improved
9:31
just in terms of just a little bit
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faster Wi-Fi. It is Wi-Fi 5, not Wi-Fi
9:35
6, but uh definitely improving there.
9:37
This is a nice tough magnesium alloy
9:40
body with a thorough weather sealing.
9:43
One other thing that I will note is that
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while I don't love that on Canon we are
9:50
really restricted when it comes to
9:51
full-frame first or third party lenses.
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I will note that my two Contraband
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Samyang RF mount lenses 85mm f1.4 and
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14mm f2.8 they do still work fortunately
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and they're still pretty nice lenses and
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so I do wish that that would change but
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overall this is a body that feels nice
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in the hands. It's got good touch
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responsiveness. It has fast shutter, has
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very good buff buffer depth. Overall,
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nice. So, let's talk autofocus. Now, the
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Mark I of the R six already had a really
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outstanding autofocus system. For that
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matter, for its time, the R six was
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impressive as well. But in the R six
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Mark II, essentially, it was upgraded to
10:33
the autofocus system that had previously
10:35
been found in the R3. However, it didn't
10:37
have the same kind of processing speed
10:39
and power and so tracking wasn't quite
10:42
as capable. And of course, there was
10:43
also a limitation when it came to the
10:45
buffer depth because it was relying on
10:48
just SD cards for storage. On the Mark
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III, we have on paper the same autofocus
10:54
type system, but now there is more
10:56
processing power and and while it is
10:59
technically the same processor, it is
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the newest version of that processor and
11:03
has more processing power generally. And
11:06
on top of that, it has improved storage
11:08
medium that allows the buffers now to be
11:11
a whole lot deeper. So what I find is
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that tracking here is it's a really
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fantastic experience when tracking. Not
11:18
only is the the whole thing uh effective
11:21
in terms of moving all across the frame
11:24
because because of the dual Canon's dual
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pixel technology, essentially there is
11:28
the ability to to sense or a focus point
11:32
if you want to call it that, which is
11:33
not hardly relevant at this point, but
11:35
essentially every pixel in the frame is
11:37
able to sense movement. And so what we
11:39
have is the ability to track all across
11:41
the frame basically with no exception.
11:43
And so what I I found is that not only
11:45
is it effective no matter kind of where
11:47
the subject is. And of course when
11:48
you're trying to track action, I use
11:50
Nala here from my test. And so as she
11:52
moves, I'm trying to adapt to that, but
11:55
she's able to I'm I'm reacting after
11:57
she's already moving. So that means
11:58
she's not always staying right in the
12:00
center of the frame. And what I found is
12:01
that shots were well focused even if she
12:03
was right off near the frame. I also
12:05
really love the interaction of Cana
12:07
Canon's f focus process where you can
12:10
see the focus moving around and so it
12:13
gives you confidence that you're staying
12:14
locked onto your subject and of course
12:16
the results back that up as well. Now
12:19
you have two different options when it
12:21
comes to your burst rate. You can use
12:22
the mechanical shutter and get 12 frames
12:24
per second which is fine, you know,
12:26
about average for a camera like this.
12:28
But if you switch into the electronic
12:30
shutter, you're getting up to 40 frames
12:31
per second, which is exceptionally high
12:33
for a camera in this class. Now, the uh
12:37
overall quality of those files when you
12:39
switch to that electric electronic
12:41
shutter, you're moving from 14 down to
12:43
12 bit. And so, it's not quite as good,
12:46
but still very, very usable, still very
12:48
good files. So, what that means is that
12:50
not only can you now track action, but
12:52
you can track it long enough to get the
12:53
shot that you want, making this a very,
12:56
very high quality camera when it comes
12:58
to actually working as a sports camera
13:02
or a wildlife camera or all of those
13:04
various things. On top of that, we now
13:06
have the ability, it's inherited another
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bit of technology, and that's the
13:09
ability to register faces up to 10
13:11
faces. And so, that means that it's
13:13
going to give priority to those. So if
13:14
it's someone that you're wanting to
13:16
shoot even in a crowd, it's going to
13:18
prioritize focusing on their face once
13:21
you have set that up. And so obviously
13:23
that is extremely useful as well. You
13:25
also have a pre-capture option now to
13:28
where as you you get about a half second
13:30
of which will give you 20 frames of
13:32
recorded even before the shutter is
13:34
fully depressed. Again, helping you to
13:36
make sure that you get the shot and you
13:37
don't miss it. And I feel like there's
13:39
less of a penalty now that there's a
13:40
deep enough buffer to where you're not
13:42
wanting to waste that pre-capture on,
13:44
you know, and then not having enough
13:46
time to hold it down the shutter to
13:48
actually capture image later on. And so
13:50
just in so many ways, this is a a a
13:53
wonderful evolution of what we saw in
13:55
the M2. And now this is a fully
13:58
functional camera that I think is going
13:59
to be very useful for basically any type
14:02
of photography you want to do with it.
14:04
Fantastic. All right, let's talk video
14:07
specs for a moment because this is an
14:08
area of massive improvement over the
14:10
previous generation camera. Kind of the
14:13
headline big ticket item here is that
14:16
now we have access to 7K opengate video.
14:20
Open gate video has become very popular
14:22
because it is shooting the full 43 frame
14:25
which gives you a lot of different
14:26
cropping options while still maintaining
14:28
a very high resolution. And so you can
14:30
go to that 16-9 crop, but you can also
14:33
crop into a vertical and uh you know 916
14:36
and still get very good resolution or
14:38
whatever other crop factor you want. You
14:40
basically have just a lot of potential
14:42
for cropping it down. And so as
14:44
mentioned, you can shoot up to 7K there.
14:46
Then you can shoot in a more typical MP4
14:49
format at 7K up to 60 frames per second.
14:52
You can shoot 4K over sampled, which has
14:55
become increasingly popular because it
14:57
gives you such very high resolution
14:59
greatl looking footage. You can get that
15:01
oversampled up to 4K 60. And then if you
15:03
go to a regular non oversampled 4K
15:07
footage, you can get all the way up to
15:09
120 frames per second for that slow
15:11
motion. So, a lot of really useful
15:13
things. There are tons of codecs and bit
15:16
rate options here. you have options
15:17
between a UHD or 16:9 or a DCI crop
15:22
which I think is a 1710. And so there's
15:25
a lot of options there. There is uh full
15:27
RAW options and then there are light raw
15:30
options. And so just be aware that if
15:33
you're shooting in some of those modes,
15:35
RAW mode for example, you're going to
15:36
need a big memory card because it's
15:38
going to fill really fast. That footage
15:40
is very very high bit rate, but it's
15:43
there. Um and so that you can use it if
15:45
you need. Obviously, as always, there
15:46
going to be APS-C modes available as
15:49
well, which can be useful to allow you
15:51
if you want to shoot, you know, APS-C
15:53
lenses on there, maybe to get an extra
15:54
wide angle of view, uh, could be useful
15:56
there as well. Now, practically, there
15:59
is no recording limit. That used to be a
16:01
limitation on Canon cameras, the 2959
16:04
limit, but that's no longer the case.
16:05
Now, you're going to be limited
16:07
essentially by how much storage
16:08
information you have, or in a rare case,
16:11
maybe by overheating. Though if you're
16:14
shooting in a climate controlled
16:16
environment and not an already hot
16:17
environment, it's more likely that
16:18
you'll run out of storage room before
16:20
you hit any overheating issues.
16:22
Essentially, when you're shooting at,
16:24
you know, typical 4K, there's not really
16:26
any limitations. If you're shooting up
16:28
at, you know, those RAW formats that
16:30
open gate footage, you're you're
16:32
probably going to run into a heating
16:34
issue after a while, but again, it's
16:35
just as likely that you're going to run
16:37
out of storage space. So, it's done
16:39
doing a quite a good job of of solving a
16:42
lot of those heat related issues. I
16:44
certainly didn't run in into anything
16:46
during my test, but then again, it is
16:47
winter in Canada, so not exactly
16:50
overheating territory here. You've got,
16:52
of course, all of the log options. Now,
16:55
that's become fairly ubiquitous. But
16:56
what is changed now for this is that you
16:59
have the ability to input LUTs in the
17:01
camera, including uploading and
17:02
registering user LUTs and then even
17:05
having those LUTs applied to the footage
17:07
coming off the camera. And so it could
17:10
save you a grading stop uh you know
17:12
moving ahead and so all of that is
17:14
useful useful. focus breathing
17:16
compensation is there and even a
17:17
pre-record option kind of like the
17:19
pre-record for burst rate you know even
17:21
when it's kind of partially depressed
17:23
start recording and so that you can help
17:25
to not miss any kind of shot and so
17:27
there is a ton of video options and if
17:30
you want kind of a deep dive into the
17:32
actual video side of things you know
17:34
watch someone like Gerald Undone who
17:36
that's kind of his focus I'm more the
17:38
stills end of the spectrum and but
17:41
suffice it to say this is a remarkably
17:44
robust even cine camera for someone that
17:47
doesn't want to spend the big bucks.
17:48
Very, very impressive. Everything that
17:50
Canon has loaded into the R six Mark
17:53
III. All right, let's take a look at the
17:55
sensor performance here. And so, first
17:57
of all, we're going to take a look at
17:58
dynamic range. So, this is the scene
18:01
setup that I use for testing dynamic
18:03
range. So basically what we're trying to
18:04
do is we're trying to see how close to
18:07
this base ISO and basically perfect
18:10
exposure that we can get as we begin to
18:13
overexpose and underexpose and then
18:15
recover the image. Now modern cameras
18:17
are quite good at shadow recovery. So
18:19
here we're underexposed by four stops
18:21
here on the left but and then I have
18:24
added those four stops back in at post.
18:26
And so if we take a look here we can see
18:28
that we've recovered colors all look
18:30
good. There's very very little noise.
18:33
Um, even here there's not much noise out
18:35
in the shadow area. Detail looks good.
18:37
There's no color cast, no real issues
18:40
with color blotching or anything. And
18:42
we've recovered all of our color
18:43
swatches. Now, if we push it one more
18:46
stop, and so in this case, we are
18:48
recovering from five um five stops of
18:52
underexposure. You can see we're
18:54
starting to get some noise here, a
18:56
little bit of discoloration here in the
18:58
camera grip. You can see kind of some
18:59
green and magenta blotches. And we can
19:02
also see some additional noise that's
19:03
popping up here. The shadows aren't as
19:06
inky or consistent. So, I mean, that's
19:08
still probably acceptable in some
19:10
situations, but four stops is kind of
19:13
the practical limit if you want to get
19:15
like a perfectly clean recovery. Now, we
19:17
have less latitude as per usual in the
19:19
other direction. So, here we're
19:20
overexposed by two stops. And you can
19:22
see that right now it looks like
19:24
information has been lost from this uh
19:27
timer face. some of the color swatches
19:29
have, you know, faded, disappeared here.
19:31
When we recover by uh uh reducing this
19:35
by two stops, we can see that it's
19:37
actually done a nice clean job. All the
19:38
color swatches are back. If we look here
19:41
in the timer face, we can see that it
19:43
looks as it should. And so, we've got
19:46
proper color. It's consistent there.
19:48
There's not really any hot spots that
19:50
are left. The texture of the metal, all
19:51
of that's been recovered. Here, the
19:53
print on the book, it all looks fine.
19:56
There is a more radical drop off here
19:58
though between the two and three stop
20:00
metric. And so we can see looking at the
20:02
timer face, we just didn't get that
20:04
color information back. So this is two
20:05
stops. This is three stops. You can see
20:07
that only in the shadow area do we get
20:09
the proper color back. Some of these
20:11
color swatches, they're not fully
20:13
recovered. This green for example, you
20:15
can see again just in the shadow area
20:17
did it bounce back. And some of these
20:19
other swatches, they're just they're not
20:20
quite there. And so that is our
20:23
practical limit. some of these other
20:24
colors are gone. And then we have some
20:26
hot spots where just like for example on
20:29
the the SLR face, the texture is gone.
20:32
That's in a way that it was recovered at
20:34
two stops. So there's your practical
20:36
limit there. So in real world shooting,
20:38
if you're going to bias anyway, do it
20:39
towards underexposure. And so here you
20:41
can see I purposely undersexposed by
20:44
three stops but I could recover
20:45
everything beautifully clean no problem.
20:48
Similarly in that same scene if I
20:50
overexposed by three stops you can see
20:52
that it did not recover perfectly. You
20:54
can see there's this weird some weird
20:56
colors there in the shadow. There's lots
20:58
of blown out hot spots here in the
21:00
surface of the snow. Just information
21:02
that we're not going to get back at the
21:05
same level. So the bias here on this
21:07
sensor is towards underexposure. It is a
21:10
very useful amount of dynamic range
21:12
here, though it's not exceptionally
21:13
good, but it is it is very uh
21:15
competitively good. And so, we can see
21:18
in a shot like this, I'm able to get a
21:19
much more pleasing end result by
21:21
recovering information in the sky while
21:24
still retaining nice information in the
21:25
shadows and just kind of generally
21:27
brightening the image up. Um, and so
21:29
that there's a very usable amount of
21:31
dynamic range there. So, let's take a
21:33
look at the resolution here. And so now
21:35
at this we have a 6960x 4640 pixel
21:39
resolution here. So you know roughly 33
21:42
megapixels. And so that is obviously
21:44
much more useful than the 24 megapixels
21:46
before. And what it means is that you
21:48
just have more latitude for cropping. I
21:50
could do a 16-9 crop here. I could go to
21:53
a one one crop. And still in these
21:55
images there's a nice amount of
21:58
information that is there. You can see
22:00
here that, you know, after this deep
22:02
crop here, I'm working with about 17
22:04
megapixels, which is still very usable.
22:07
As you can see, a very decent amount of
22:09
resolution. And considering that the
22:11
original 6D was only 20 megapixels. I've
22:13
cropped fairly deep, and I'm not far off
22:16
that resolution point. So, let's take a
22:18
look at how it handles high ISO. And so,
22:21
starting off with our base ISO, this is
22:23
obviously going to be our standard we
22:25
want to keep as close as possible to.
22:27
So, first we of all we'll take a look at
22:29
how well it's holding up at ISO 800. We
22:31
would expect it to be pretty much
22:33
identical to the base ISO in these
22:35
shadow areas. You know, the darkness and
22:38
then in these color swatches, we're not
22:40
wanting to see any kind of noise popping
22:42
up there. This is one of the places
22:44
where you'll start to see shadow noise.
22:45
And then sometimes I'll see some pattern
22:48
noise in this grip where it should be
22:49
staying univers uniformly black. But at
22:52
ISO 800, no problem. How about if we
22:54
jump up to ISO 3200? If we look in here
22:58
once again at the SLR face, you can see
23:01
it looks largely similar. Maybe not
23:03
quite as much contrast, but we're not
23:05
far off. And looking at the shadow
23:07
information, it's still looking pretty
23:08
inky out there. A little bit of
23:11
additional noise, but not too bad. Up
23:13
here in the color swatches, looking
23:15
pretty good other than just some fine
23:16
pattern noise there. So, no big deal.
23:19
Now, from ISO 3200 to ISO 6400, again,
23:23
it's still quite clean. I have no real
23:25
complaints here. A little bit more noise
23:27
inside there. You can see in the color
23:28
swatches, very slightly more noise.
23:31
Shadows are still pretty black, but you
23:33
can see we're getting a little bit more
23:35
noise pattern starting to show up here.
23:38
That becomes more obvious at 12,800. And
23:41
now, for the first time, I feel like our
23:43
shadows are starting to lift a little
23:45
bit. You can just see there's more kind
23:47
of hot or uneven pixels there. A little
23:50
bit of like white noise out there in
23:52
what should be a black area. By 25,600,
23:55
that noise pattern is increasingly rough
23:58
and the shadows are much less dark than
24:01
what they were again because of that
24:03
kind of snowy look in there. Now, as we
24:05
get towards the upper limits of 51,200
24:07
and then 64,000, which is the highest in
24:10
the native range, you can see that now
24:12
even at a global level, we're seeing
24:14
some of that noise pattern. We're seeing
24:16
that the contrast is raised a little
24:18
bit. And if we look back in this zone,
24:20
you can see it's just it's too rough.
24:22
It's not usable. And what we're also
24:23
seeing is some color blotchiness. You
24:26
can see it a little bit of pattern, some
24:28
green and magenta here in the grip. But
24:31
over here at 64,000, it's it's quite
24:34
bad. And so I would not recommend going
24:37
to these settings. To me, that's not
24:39
really usable anymore. Once again, I
24:41
would say we have a sensor that has nice
24:43
color rendition here. This is no like
24:46
particular editing done to it. You can
24:48
see the color saturation is nice and
24:50
rich here in this shot here. Again,
24:52
we've got this is with the uh 50mm f1.4
24:57
L VCM lens. You know, good contrast and
24:59
detail, nice out of focus rendering.
25:01
Once again, here we've got very nice
25:04
looking colors, you know, and capturing
25:06
this scene with accuracy, but also a
25:09
little bit of panache there. Once again
25:11
here, I I kind of really like Canon
25:13
color for these kinds of scenes. It's
25:15
just kind of this rich palette that I'm
25:19
really quite partial to. And so again,
25:22
I'm quite happy with those colors. And
25:23
again, here, this looks accurate to me.
25:25
Also, good detail from this sensor. And
25:28
so, in general, I would say that I am
25:30
happy with what I'm getting out of it.
25:33
Once again, we see some good dynamic
25:35
range here, but also we've got, you
25:37
know, good detail showing up the whole
25:39
image. It looks good. So, what's my
25:42
conclusion? I continue to be very
25:45
impressed with the cameras that Canon is
25:47
producing. And if they had an open
25:50
policy when it comes to third-party
25:53
lenses and the way that Sony and
25:55
increasingly Nikon does, it probably
25:57
would be the platform that I would be
25:59
recommending because the cameras are
26:00
really fantastic. and the R six Mark III
26:04
is really I think kind of encapsulates
26:07
that beautifully. It is that, you know,
26:10
sticking point with the third-party
26:11
lenses that I think is really the
26:14
limiting factor with the Canon ecosystem
26:16
generally right now. And so, if you're
26:18
one of the people who doesn't like
26:20
thirdparty lenses anyway, then Canon is
26:22
a great option for you. And if you're a
26:24
Canon shooter already and you're already
26:26
invested in this platform, the R six
26:28
Mark III is a fantastic camera. For
26:31
those of you that already own the Mark
26:32
II, I would say that the primary reasons
26:35
to upgrade would be if you're looking
26:37
for more resolution than what you have
26:39
right now. And then of course, if you
26:40
shoot video, this is an incredibly fully
26:44
functional uh video camera platform now
26:47
at this point. And I think that that's
26:48
another compelling reason to upgrade to
26:50
it. Outside of that, I mean, the Mark II
26:53
is already a very effective camera, and
26:54
if 24 megapixels is enough for you, I
26:57
think it remains a really great camera.
26:59
But if you're looking at this compared
27:02
to other options, the uh Sony A7 Mark
27:05
IV, which of course, as of today, the A7
27:08
Mark II has just been announced. You
27:09
know, that I haven't yet reviewed that
27:11
camera, so that could be a compelling
27:12
option. And then on the Nikon, you've
27:14
got the Z6 Mark III. Again, a compelling
27:17
camera there, but I I feel like the R
27:20
six Mark III definitely is going to
27:22
stand perfectly tall amongst those
27:24
options. It is really an exceptional
27:26
camera. And while the price point of
27:29
$2,800 is more expensive than the
27:31
previous generation, you're also getting
27:33
a lot more camera. And if you're looking
27:35
for a budget sports camera, this makes a
27:38
very compelling argument for itself. And
27:40
so, I think it's certainly worth a look
27:43
at that. And again, as long as you're
27:45
happy with the Canon policies when it
27:47
comes to the lenses that are going to be
27:49
available to you, I think you're going
27:51
to be delighted with the camera itself.
27:53
If you want more information, you can
27:55
check out my full text review which is
27:56
linked in the description down below,
27:58
and it goes a little bit deeper into
27:59
some of these areas. So, check that out.
28:01
And of course, there are some buying
28:03
links down in the description as well if
28:04
you're interested in looking at that. As
28:06
always, thanks for watching. Have a
28:08
great day and let the light in.

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