Canon EOS 1DX MK3 RAW File Noise Tests 2020

Early today I picked up two brand new Canon EOS 1DX MK3 camera bodies from Sun studios in Melbourne (Thanks Rob!). A few weeks ago I beta tested a pre-production firmware version for Auto Focus and wrote my initial impressions online HERE. I was seriously impressed by what I saw and have been super keen to get production cameras in my hands. I have now had a chance to shoot some images and test the new cameras high ISO capabilities with full production firmware. You can download the RAW files HERE. A few notes below:

I did not bother to test 1/3rd stops since these are either push or pull in camera from the standard full ISO stops – 100, 200, 400, 800, 1600, 3200, 6400, 12,800, 25,600, 51,200 and 102,400.  I did not test Highlight Tone Priority.

I did not underexpose the images by four or more stops and then push them since this approach does not represent real world application (at least in my world). Instead, each image is exposed correctly in camera. I still suggest you ‘normalise’ the exposures and match white balance once you import into Adobe Lightroom.

You must have the latest version of Adobe Lightroom, Adobe Camera RAW or DPP to open the files. I do not use Capture One so did not test this software. Incidentally, Canon EOS 1DX MK3 files are noticeably sharper out of camera than MK2 files. Canon’s brand new AA sensor is the best I have seen in this regard. It is remarkable.

Conclusions: ISO 100-3200 are essentially noiseless in real world use and require no noise reduction. ISO 6400 is still totally ok out of camera without any noise reduction of any kind. ISO 12,800 and 25,600 are exceptional by industry standards and can be made to look as good as ISO 3200 with moderate noise reduction. ISO 51,200 and 102,400 are as expected quite grainy, but still usable with more judicious noise reduction.  This is remarkable performance that represents at least a 2-stop advantage over the MK2 and sets a very high benchmark for other cameras.

The images you are looking at below are JPEG’s that are direct unaltered conversions from the Canon CR3 RAW file in Adobe Lightroom. No noise reduction has been applied to them other than the default Adobe setting. Note that the images are scaled down (which has the effect of lowering noise) so I strongly suggest you download the RAW files linked above and view them at 100%.

Canon EOS 1DX MK3 – ISO 100

Canon EOS 1DX MK3 – ISO 200

Canon EOS 1DX MK3 – ISO 400

Canon EOS 1DX MK3 – ISO 800

Canon EOS 1DX MK3 – ISO 1600

Canon EOS 1DX MK3 – ISO 3200

Canon EOS 1DX MK3 – ISO 6400

Canon EOS 1DX MK3 – ISO 12800

Canon EOS 1DX MK3 – ISO 25,600

Canon EOS 1DX MK3 – ISO 51,200

Canon EOS 1DX MK3 – ISO 102,400

 

BenQ SW321C 32″ Wide Gamut Adobe RGB UHD 4K Monitor Review

Ever since BenQ released the BenQ SW2700PT 27” back in 2016 (Reviewed here on my Blog and also on the Luminous Landscape website) they have been shaking up the photographic world with their high performance, budget priced monitors.  When I reviewed the SW2700PT and the SW320 (reviewed HERE)  I actually wrote that they offered exceptional performance at their price point – that still stands today.

BenQ SW321C Review – Recently BenQ released the update to the SW320, the  32” SW321C 4K UHD Wide Gamut Monitor. I have been testing a production sample of this monitor in my studio for the last couple of months and have now had the time to write a complete review of this new display. To be clear, the SW321C is the direct replacement for the previously reviewed SW320. Everything I wrote about the SW320 still stands with the SW321C; with the added benefit of several improvements (notably an improvement in corner uniformity). It is also worth noting some additional specification differences between SW320 and SW321C:

  1. SW320 did not have USB-C port but SW321C has USB-C port with 60W power delivery.
  2. SW321C has A.R.T. panel which has less glare and reflection.
  3. SW321C have Paper color sync software (I will review this in full at a later date)

The SW321C builds upon the success of its predecessor (the BenQ SW320) whilst continuing to set a new performance benchmark for wide gamut 4K monitors at a low price point. In addition to its UHD resolution the SW321C takes image quality to the next level with the addition of HDR capabilities (not found in the much more expensive Eizo CG-318 I also reviewed a couple of years ago). According to the supplied literature from BenQ, High Dynamic Range (HDR) increases the overall dynamic range between black and white so the resulting image appears closer to what your eyes see in the natural world*. In real world tests the benefit is tangible and noticeable. HDR is one of those features that once you get used to, you wonder how you ever lived without. *To view HDR content from your device, ensure that you use the HDMI cable provided with the SW321 monitor or a High Speed HDMI Cable or Premium High Speed HDMI Certified Cable.benqsw320-2In short, the new SW321C 4K UHD monitor offers extraordinary performance with a true 10-bit panel with 99% Adobe RGB, 100% sRGB colour space coverage as well as supporting HDR content. The knock out punch is that it continues to do so at a price point previously unheard of for a monitor of this size with these features. You simply cant find these specifications and performance at a price point anywhere near what BenQ are asking and that makes this a very special product indeed.

The overall quality of colour reproduction on screen has been further improved from the SW320. In side by side comparisons the SW321C outperforms its older brother in colour fidelity and most notably in corner uniformity.

Specifications – There is no need to regurgitate a complete list of the SW321C specifications as those are already available on BenQ’s website. See the SW321C page on BenQ’s website for full details.

Out of the Box – Every single BenQ SW321C ships with an online factory Calibration Report. This detailed report includes some very useful information including Uniformity Measurements and Dealt E reports that tell you just how your individual SW321C performed when tested before it left the factory. It is worth noting that the report is serial number specific and not batch specific so BenQ are testing each and every monitor. These sort of reports are normally only found in much more expensive displays such as those from the NEC SpectraView Line and the Eizo Colour Edge monitors. The mere fact the BenQ SW321C ships with this sort of individual test report speaks volumes to the sort of high quality display BenQ have produced and the care and attention to detail they have invested in this new display.

Out of the box the BenQ SW321C is a breeze to set up and in less than ten minutes I had the stand fully assembled, the display plugged in (via HDMI) to my MacBook Pro and the system fully operable. It seems to me that with every new model BenQ have continued to refine and improve their display stand and ease of installation.  The ‘tool-free’ assembly is most welcome and other manufacturers would do well to take note.

SW321C Performance – Like many displays the SW321C ships in ‘flame-thrower’ mode and out of the box was far too bright for my viewing environment. I know manufacturers do this to try and impress viewers who will no doubt see the display first in a brightly lit fluorescent showroom but I really wish they wouldn’t. Once calibrated however to a more reasonable 120 Candelas and D6500 Kelvin I was able to properly assess the SW321C’s performance and make direct comparisons against other displays.

BenQ Palette Master Software – To get the very best results from the SW321C, the profiling software you use needs to access the internal monitor hardware Look up Tables (LUT), and for that you need the supplied Palette Master Element software. For Apple users, the supplied software is installed as an application. I don’t own a Windows machine so did not test the software under a Windows environment.

The SW321C ships with the BenQ Palette Master Software; but it can also be downloaded for free from the BenQ website. By using the Palette Master Element software and a calibrator (X-rite i1 Display in my case), you can tune and maintain the colour performance of the monitor at its most optimal state. The BenQ SW321C currently supports the X-Rite i1 Display Pro / i1 Pro /i1 Pro 2 , and Datacolor Spyder 4/5, X-rite i1 studio, ColorMunki Photo, and Spyder X colorimeters.  I tested all of these during my time with the SW321C and all performed without issue. BenQ provide a user friendly instruction manual with the Palette Master Software that you can download from their website.  There is both a basic and advanced mode to choose from. 

Driving a 4K UHD Display – Before you rush out and purchase any UHD or DCI 4K display you should make sure your computer can actually drive the display at its native resolution. In my case I tested the SW321C with both a 2013 6-core Mac Pro with 64 gigabytes of RAM and dual AMD FirePro 500 video cards and a late 2019 13” MacBook Pro and both were able to drive the display at its full native resolution. 

Advanced Black and White Mode – The BenQ SW321C also includes an advanced Black and White mode that allows you to view your photos in a black and white film effect. You can choose from three different black and white presets to preview your photographs in before you perform actual adjustments in Lightroom or other image editing applications. I am not a black and white photographer so I didn’t test this feature other than to quickly check it actually functions as advertised; which it does. Black and White photographers should definitely test this feature to see if it fits within their workflow.bwmodeGamut Duo – The BenQ SW321C is equiped with a very cool feature called GamutDuo. GamutDuo enables you to view content simultaneously on the screen in different colour spaces side-by-side for easy comparison. I found this new feature quite useful to soft proof images going from Adobe RGB colour space to SRGB for the web. By viewing the two images side by side it is very easy to see the differences. Users who have to re-purpose their photographs for different colour spaces are likely to find this a very useful feature. To activate the GamutDuo feature you switch to PIP/PBP mode.gamutduoHotkey Puck – Like the BenQ SW320, the BenQ SW321C ships with a The Hotkey Puck that allows the user to switch between Adobe RGB mode, sRGB mode and Black & White modes effortlessly. The hot key buttons can also be customised to map other modes or OSD settings, such as brightness and contrast to bring added convenience to photographers. The Hotkey Puck is a nice addition and it is worth taking a bit of time to properly understand its uses and how it might save you time in your own workflow.

Shading Hood – Knowing that ambient lighting can obstruct colour accuracy, all BenQ SW series photographic monitors include a detachable shading hood to reduce screen glare to deliver the most accurate colours possible. The shade hood included with the SW321C can be used in portrait orientation as well as in landscape orientation (a very nice design consideration). What I really appreciated is the solid build quality of the shade hood. It feels like a high quality addition to the display and not a cheap plastic after thought; like it does on the much more expensive Eizo CG-318 display. In fact, the Eizo CG-318 shade hood looks positively cheap and nasty in side by side comparisons. Once secured in place the shade hood feels extremely robust and is nicely finished inside with anti-reflective black flocking. BenQ are to be commended for providing a shade hood with the display of such a high quality. Another nice touch is the addition of a small operable window at the top of the shade hood to pass a colorimeter through for screen calibration. Quite honestly, the shade hood included with the SW321C is the best I have seen regardless of the brand or price of monitor.shadehood

The Bezel and Stand – Attention to small details is very important in high end displays and I was very pleased to see that the bezel of the SW321C is finished in a dark grey matt that minimises any potential bezel reflection. I am told from the factory that extensive testing was done on various bezel surfaces in order to achieve the best result and most optimal viewing experience for photographic professionals. This sort of attention to detail might sound trivial but it ensures an optimal result when you are working for hours at a time in front of the display. In addition to coating changes, the monitor’s stand has been redesigned in a minimalist style, with a sleek L-shaped neck that streamlines with the monitor frame.  It looks great on my desk and will likely fit well in most studio spaces. The stand is shipped in two pieces and is easily assembled without tools. There is some facility for cable management and over all the stand feels very solid and well made.

Real World Use – In Real world use the first thing you notice on turning on the SW321C is the incredible resolution that a UHD screen provides and the subsequent desktop real estate that this resolution enables. If you are used to working with a lower resolution display the vast real estate that this sort of display offers will be a revelation to you. Depending on how close you sit to the screen and the quality of your vision you may need to implement some scaling to increase the text size. In my studio I sit quite close to the monitor and have no problem reading text on screen without the need for any software scaling. Daily life in a UHD environment under MAC OS X just works provided you have good enough eye sight to read the small text. If (like me) you like to work on a single monitor then you recognise the high value of having significant desktop real estate; something the SW321C provides in spades. Colour rendition is excellent on the SW321C and the UHD resolution makes for a powerful and versatile work space.

My daily use for a monitor such as theSW321C involves the editing, post production and printing of digital files in Adobe Lightroom and Adobe Photoshop Creative Cloud. I also use applications such as in-Design, Premiere Pro and other image related programs and plug-ins. On the whole most of my time is in the majority spent in Lightroom and Photoshop and thus this is the area that my comments are most related.

Like its predecessor, the SW320, working in Adobe Lightroom on the BenQ SW321C is a joy and a pleasure. It has always bothered me that the side panels in Lightroom are fixed and not tear away (yes, they can be hidden, but I prefer tear off). The SW321C has so much screen real estate and resolution to play with that the fixed panels are now an absolute non issue for me. I used to have to hide the panels to gain resolution for the actual image on the horizontal axis for a standard 35mm ratio image. On the SW321C however, the extra screen real estate provides sufficient resolution to negate this need and the side panels can now be left open all the time. This might seem like a very small benefit, but in real world use it’s actually extremely beneficial to my workflow. Again, your mileage may vary.

The colour rendition of the SW321C is exceptional and when combined with the excellent uniformity the display offers it is extremely easy to judge tone and contrast when processing RAW files.  For those of you who place a large emphasis on printing (as I do) you will find the BenQ SW321C to offer truly outstanding performance. In fact, it offers performance that far exceeds its modest price tag.

Conclusion – The BenQ SW321C is a superbly constructed high quality UHD wide gamut monitor that offers users exceptional resolution, colour accuracy and uniformity at a price point that puts competitors to shame. The monitor is simple and easy to assemble and operated without issue out of the box with both my laptop and main desktop computers. Overall picture quality is exceptional with excellent linearity and uniformity across the screen that matches the much more expensive Eizo CG-318 in all but the very extreme corners (it is actually so close to the Eizo as to be nothing more than quibble). This is outstanding performance that photographers and other graphic artists will really appreciate in daily use.

The SW321C is also packed with features from the previous SW320 including GamutDuo and an Advanced Black and White mode that photographers are sure to find beneficial in their workflows.

When I reviewed the Eizo-CG318 Display I niggled that the HDMI ports really should have been version 2.0 and not 1.4 on a display at this price point. I was extremely pleased to see that the BenQ SW321C includes the very latest HDMI (again at a price point well below the Eizo).  

The display hood is extremely well constructed and provides a very solid black around the screen when working. The screen itself exhibits very low reflectance.

I am primarily a stills photographer who only occasionally works in video so I confined my testing to predominantly sill images. The video I did pass through the SW321C looked extremely good to my eyes and videographers should be extremely happy with the performance of this display.  During the review I tested several 4K video pieces as well as upscaled 1080p video content.

The BenQ SW321C monitor offers the big and accurate colour space I need in my photography and the power of the hardware LUT means there is no banding or posterisation in any of the test images I tried when reviewing the screen. Like my previous tests on the SW320, I tested the SW321C with a wide range of my own photographs as well as a large suite of ISF (Image Science Foundation) test images designed specifically to trip up displays (ISF test images are designed to show up weaknesses in displays not often found in general viewing). The SW321C performed without issue on all counts.

I feel it is extremely important that calibration software is intuitive and easy to use. In fact, the simpler the better in most cases as it means there is less chance of users making a mistake during the calibration process. To BenQ’s credit, the supplied Palette Master software is easy and intuitive as well as ensuring accurate calibration of the display. If you purchase an SW321C be sure to use the Palette Master Software to ensure you are accessing the Hardware LUT for the best possible results.

Overall the BenQ SW321C is a superb display that offers a huge UHD resolution workspace in combination with a wide gamut Adobe RGB display at a price point that puts the competition to shame.  That is quite a combination that I feel will again see BenQ continue to shake up the marketplace as photographers rush to embrace a display that offers performance and a feature set previously found only in much more expensive displays for those with much deeper pockets.

Full Disclosure – In the spirit of full disclosure I would like to be clear that BenQ provided me with the SW321C test unit at no cost (at least I have received no invoice to date). I also want to be clear that although I am officially an ambassador for BenQ they have in no way tried to influence my review and instead specifically asked me to be thorough and rigorous in my testing of the SW321C. I only ever accept products to review on the clear understanding that I will be completely impartial and report anything negative I find as well as anything positive.  Since I am using these products in my own workflow being clear, honest and forthright is my number one priority.

BenQ W5700 / HT5550 4K UHD DLP Projector Review

Introduction: More than a year ago now I wrote a fairly extensive two-part review of the BenQ W11000H 4K Projector and gave it a very enthusiastic thumbs up. It was a breakthrough product in the projection arena and offered a level of performance and value not seen previously at this price point. If you have not read the review I recommend you take a moment to at least read Part One to get an understanding of not only my background in the arena of projection, but also a brief history of home cinema projection and its uses in photographic applications.

In the fullness of time, the W11000H has subsequently been superseded by the incrementally upgraded W12000H which is currently now being phased out (technology moves at a rapid pace in this arena these days). The reason BenQ is retiring the W12000H is there is a new kid on the block that has yet again substantially broken through the price and performance barrier. I make no bones when I say the level of performance in the new BenQ W5700 was the realm of science fiction just a few years ago; irrespective of price. The fact that BenQ can now produce a product that offers the highest level of performance at this price point whilst providing consumers with this much value is nothing short of remarkable. The BenQ W5700 is sold in North America as the HT5550.

There was quite a palpable buzz in the marketplace when BenQ announced the W5700 earlier this year (2019) and for some time demand for the product outstripped supply. I have been eager to get my hands on this new projector for many months and was delighted when a review sample arrived on my doorstep a month or so ago.

 

Color Reproduction: If you have read any of my BenQ LCD photographic display reviews (or my review of the now retired W11000H projector) you will already know that BenQ are a company that takes colour reproduction extremely seriously. As a photographer and as an ISF (imaging Science Foundation) certified video engineer, accurate colour reproduction is a subject very near and dear to my heart. Most manufacturers do not go to anywhere near the effort and trouble that BenQ do to ensure colour accuracy in their display products.

The accurate reproduction of colour in both photographic displays and projectors (which I use to display my images during print workshops) is hyper critical to the production of high quality photographs. If you are at all serious about your photography (and movie and TV watching) you absolutely owe it to yourself to ensure that your display device is capable of producing accurate colour and that it has been properly calibrated. In fact, if you have not calibrated your display you are absolutely robbing yourself of the very significant benefits of accurate colour reproduction.

BenQ have taken this aspect of image reproduction to the extreme with its latest W5700 projector. This projector is not only capable of reproducing full Rec. 709 (HD) and DCI (4K UHD) colour gamuts but can also do it accurately and all at a retail price of just $3,999. This is quite simply a ground breaking offering in a product anywhere near this price point.

BenQ actually take their colour reproduction seriously enough to individually calibrate each of the W5700 projectors to exacting tolerances before it leaves their facility. Each unit is hand tweaked by an in-house technician to have a Delta E of less than 3. Delta E is the measurement used to gauge colour errors in a display. Any error of 3 or less is considered imperceptible to human vision. 

Resolution: The W5700 has a native resolution of 3840 x 2160 which is UHD or Ultra High Definition. In reality this falls just short of the DCI 4K standard of 4096 x 2160 which is more commonly associated with cinema. Virtually all consumer displays that are marketed as 4K are 3840 x 2160 UHD with only a small handful of them conforming to the DCI 4K standard. It should be noted that the W5700 uses the same standard as the UHD alliance for 4K. If you are a videographer you may well prefer the UHD standard as many of the digital video cameras on the market shoot video in this format.

Internally the W5700 achieves its 3840 x 2160 resolution with a Texas instruments 0.47” Digital Micro Mirror Device (DMD). By flashing its two million + micrometer sized mirrors four times in very fast succession the projector is able to display 8.3 million pixels. This visual trickery enables the W5700 to reach its UHD resolution. If you want a truly native 4K panel inside your projector then your wallet needs to be prepared to drop a great many thousands of dollars more for your projector.

About: The W5700 looks both svelte and bespoke with its beautiful curves and lines that are both modern and designer in nature. As far as projectors go this is about as beautiful as one could wish for. Finished in a dark matt charcoal black the W5700 has a centrally mounted lens and forward facing air vents. The chassis itself is wider than longer which should make installation easier for those in small rooms. Certainly and in my case, I greatly appreciated the proportions during installation in my small room.

It is clear from the first glance that there has been a lot thought given to the overall design of the W5700; with well considered features such as a small hood that covers the top of the lens to prevent dust build up. Venting for heat dissipation has also been carefully considered and implemented in the W5700.

In regards to the optics, the W5700 has a 4K UHD optimised all-glass lens array that comprises of 11 different elements. The super-high resolution 11-element lens array is structured into six groups with metal barrel and cell framework, far outshining 1080p projector technology with greater light penetration for long-lasting 4K intensity with accurate colour performance, clarity, and sharpness across the entire screen. An all glass lens of this quality and at this price point is something rarely seen in projectors. Keeping in mind that my previous W11000H costs more than twice as much as the W5700, side by side I can see no difference in on screen sharpness and acutance. Make no mistake; the lens in the W5700 is a superb optical light path and you can expect razor sharp images with this projector.

The W5700 is a DLP projector and uses a lamp with a specified life of 4,000 hours in Normal mode (as reviewed), 10,000 hours in Eco mode and a whopping 15,000 hours in smart Eco mode. BenQ have used an Osram lamp that is capable of 2000 ANSI lumens that provides a quoted contrast ratio of 30,000:1. Lamp life is one area of projector technology that has significantly improved in recent years as evidenced in the quoted lamp life hours. Even heavy users should get many years of use before needing to replace the lamp.

I was more than pleasantly surprised to find that the W5700 includes a dynamic iris which is an unexpected and very welcome addition at this price point. The dynamic iris is used in conjunction with BenQ’s HDR Pro technology to improve the projectors tone mapping capabilities. In plain english, it enables the the projector to produce a deeper black on screen. As expected the W5700 has full HDR10 and HLG support. Personally, I find myself susceptible to visual detection of the dynamic iris shifts on screen and found I prefer to leave this setting off most of the time. Your mileage may vary, and it is worth taking some time experiment.

The W5700 includes two HDMI inputs which are both HDMI 2.0b/HDCP 2.2 compliant. Each input supports a full 18 GB bandwidth signal. Also included on the back of the projector is a single USB A input, a single USB B input, a LAN connection, RS232 connection and a 12-volt trigger. I am told that unlike the W11000H that I have now replaced, the W5700 has user upgradeable firmware.

A printed manual is included inside the box (thank you BenQ), a power cord for the projector, remote control and an envelope with the individual calibration report for your W5700. The remote control is a good improvement over the W11000H with large back-lit buttons that enables easy navigation in a room with heavily controlled lighting. I never understood why some other projector manufacturers do not provide a back lit remote knowing full well it needs to be operated in a dark room. 

Setup: The W5700 provides a lot of flexibility with placement both due to its chassis design and its ability to project a 100” image at just three metres distance. Zoom and focus of the lens are manual only and are controlled via an inner and outer ring control on the lens barrel. Since zoom and focus are more or less set once and forget having to do these manually is not a problem.

The W5700 has extensive vertical and horizontal lens shift capability which are both controlled via chassis mounted dials. The lens shift provides a lot of flexibility for placement for those who need to mount the projector off-centre. Digital keystoning is included, but is unlikely to be required given the extensive lens shift the W5700 includes. I never recommend using keystone to correct a projected image in any case as it is always detrimental to the overall image resolution. If you need to use keystone in your system to correct geometry errors you should seriously consider alternate placement for your projector.

The W5700 includes the full suite of calibration controls via its on screen menu. A 2-point gray scale is included, along with a user selectable gamma control and six point colour management system. Everything is provided in a logical easy to ready layout that any competent calibrator or knowledgeable user can navigate.

Calibration: In order to make critical observations of a displays performance it has to be calibrated and viewed in an ideal viewing environment. In my case, I installed the W5700 in my dedicated cinema room that I use to show video and display images during my print workshops. I used both an X-Rite i1 Pro 2 Spectrophotometer and X-rIte  i1 Display Pro Colorimeter to make my measurements. Both meters were tripod mounted and measurements were taken from my 92” Screen Research 4K Projector screen. I put the projector through a few days of heavy use to let the lamp settle into hits sweet spot before I began a calibration.

The W5700 includes seven different picture modes including Cinema Rec 709, D Cinema, User, Vivid TV, Bright, Silence, and HDR10. HDR10 is only available when the projector receives a HDR signal. BenQ recommend (and I agree with them after performing my own calibration and testing) Cinema Rec 709 for accurate HD colour reproduction and D Cinema for accurate 4K DCI colour reproduction. The W5700 will automatically switch to HDR10 picture mode when fed a HDR signal. 

Once calibrated in Cinema Rec 709 the W5700 exhibits extremely accurate grayscale tracking and I want to note that in my experience very few projectors I have calibrated or tested can match the grayscale tracking of the W5700. At this price point this is exemplary performance.

The HDR10 picture mode exhibits grayscale tracking that comes very close to the performance measured in Cinema Rec 709 picture mode. In HDR10 mode the W5700 does come up just short of the full DCI colour gamut, but still offers excellent performance. It is possible to turn off the HDR10 mode which will force the projector to convert the HDR signal to SDR. Doing so will enable you to get the full colour gamut accuracy of the Cinema Rec 709 mode and some users may prefer this. The W5700 can reproduce the full DCI colour gamut in D Cinema mode. There is no doubt that overall the W5700 offers reference level performance.

All of my testing was done an acoustically transparent Screen Research Clear Pix II 4K micro woven screen that measures 92″ diagonally. The screen is housed in a custom shadow box covered in black felt in a fully light controlled room. Of course the final colour accuracy in your own home is heavily dependant on your screen, screen surface type, viewing environment and ambient light. However, given the included suite of colour management in the W5700 it should be possible to get a great result in many different situations.

Performance: The W5700 offers nothing short of dazzling performance at this price point. Images are razor blade sharp with deep, rich blacks and a great sense of depth and dimensionality. Black levels are no doubt helped along by the W5700’s dynamic iris. Flesh tones are natural and colour reproduction is outstanding with rich, vibrant and saturated colours.  You can expect colour reproduction from the W5700 that meets or exceeds that of projectors that cost many thousands of dollars more. HDR material absolutely pops with superb depth and contrast that I have not experienced in a projector anywhere near this price point. Comparatively, it looks very similar to my previous W11000H which sold for more than twice as much. In a blind test I would be hard pressed to know which was which.

The level of image detail with 4K UHD transfers is simply jaw dropping and really has to be experienced first hand. As a photographer I know and understand the importance of optical quality and it is very clear that BenQ has included a lens that offers little in the way of compromise in the W5700. The overall image is exceptionally film-like with no hint of digital artifacting.

On area of improvement that is extremely welcome is the W5700’s ability to quickly detect and lock onto the HDMI signal. My previous W11000H was quite slow to lock signal – a small niggle that I am pleased to see has been rectified.

Conclusion: In summing up the W5700 one has to keep in mind that this is a projector that retails for less than $4000. Quite simply the performance offered at this price point, as noted in my introduction, is ground breaking. It was unequivocally the stuff of science fiction just a few years ago and  I believe, one would have to spend many, thousands of dollars more to find incremental improvement; and even then any improvement may be imperceptible to all but the most critical eye. In terms of colour accuracy, the W5700 offers exemplary performance that defines the reference that many other manufacturers would do well to follow.

As I stated in my review of the W11000H; Smart consumers will recognise that products such as the W5700 are absolute bargains; offering performance and value that far outweighs the cost of investment. As someone who has owned displays and projectors that cost many times more than the BenQ offerings I can unequivocally report that I don’t believe you can do better for the money (or even close to it.

When considering if the W5700 is the right projector for your needs you should defiantly take into consideration your screen size and viewing environment and how they will impact overall performance in your room.

Associated Review Equipment

  • Screen Research 92” Clear Pix II 4K Ultra High Definition Acoustically transparent THX Certified Projection Screen – mounted in a custom black felt shadow box
  • Acurus Muse ATMOS Home Cinema Processor configured for 5.4.2 with Front Height and Rear Height
  • Cary Cinema 5 Power Amplifiers (2 amplifiers for total of 10 channels of amplification)
  • M&K S300 MKII THX Ultra II Left, Centre and Right speakers
  • M&K S300 MKII THX Ultra II Tripole Surround Speakers
  • M&K X12 MKII THX Ultra II Dual 12” Powered Subwoofers (two subwoofers)
  • Triad In-Ceiling Bronze ATMOS Speakers Front Height (two speakers)
  • Triad In-Ceiling Bronze ATMOS Speakers Rear Height (two speakers)
  • AudioQuest King Cobra Analog Interconnect Cables
  • Fibre HDMI Cables

Canon EOS R Mirrorless Camera Field Tested

Those of you who followed my recent landscape workshops to the Great Ocean Road and Tasmania (Read the Trip Report) will already be aware that I took the plunge and purchased a Canon EOS R mirrorless camera body to test in the field. It was not a decision I took lightly and I thought long and hard on the implications before I bought into this new RF mount system (more on RF below). I was quite prepared to take the gamble and sell the camera if I decided it did not work for me and the style in which I like to photograph. As it turned out, I am keeping the camera and it will serve as my dedicated landscape camera going forward. By way of some back story, I have been looking for a light weight landscape camera for some time now and was keen for it to be a mirrorless camera. Although the 5D MKIV has many appealing properties I really wanted something smaller and lighter with an EVF. I specifically wanted an EVF for my landscape camera for the focus peaking feature which is an absolute god send when using tilt and shift lenses. I have tried previous generations of the Sony A7 series; but frankly those cameras are not for me. They left me frustrated at their ridiculous ergonomics and scratching my head at their confused menu structure.

Unlike the vast majority of You Tube camera video reviews (does anyone actually use these videos to make buying decisions?) I wanted to actually spend a good amount of time in the field with the camera to really get my head around it before I made up my mind on what I like and what I did not like. Two weeks of intensive use in Victoria at the Great Ocean Road and in Tasmania gave me a great opportunity to come to grips with the camera and really see how it performs in the field  for my style of photography (specifications are really useless for anything other than armchair evaluation and armchair evaluation is about as useless as it gets for assessing the tool during real field work).

My impressions of the Canon EOS R are based on the application I intend to use the camera for – Landscape photography where I am primarily based on a tripod. My thought process for choosing the EOS R was fairly simple: I wanted a camera that was light weight for hiking and one with which I could utilise my existing Canon tilt-shift lenses (with or without adapter). I did seriously consider the Fuji 50 Medium Format but ultimately decided the lack of tilt shift lenses was a deal breaker for me (I have no interest in focus stacking in post).  I was also less than thrilled at the wallet breaking concept of purchasing into an entirely new lens system (I did try the Fuji camera on several occasions and found it an outstanding camera). Packing the same sensor as the Canon EOS 5D MKIV, the EOS R was perhaps the obvious choice. So how did it perform as a dedicated landscape camera?

In short, the Canon EOS R performed exceptionally well in the field and far better than I had thought it might have as a dedicated landscape camera. I very much appreciated its light weight form factor (especially on hikes) and surprisingly to me I also very much enjoyed the cameras ergonomics (although I have not as yet made up my mind about the touch bar). The buttons more or less fall naturally under my fingers (except for the AF button which is a little too close to the side of the camera for me – but I have big hands). I found the Electronic Viewfinder to be amongst the very best I have tried and although it is not as good as a high quality optical prism I did find it acceptable in most situations. Like all EVF’s, the display in the EOS R tends to fall apart in near darkness and is horrible for high speed capture (more on this below).

When it comes to battery life we need to be crystal clear.  Compared to something like a Canon EOS 1DX MKII battery life in the EOS R (and indeed all mirrorless cameras) is abysmal. I can get thousands of shots on a single charge with a 1DX MKII (even in sub zero temperatures). With the Canon EOS R I was lucky to get 100 shots. For landscape photography where I am utilising a tripod this really isn’t too much of an issue for me and it just means I need to carry a spare battery (no big deal as the batteries are small and light). Even a heavy days landscape photography is usually less than 100 images anyway so battery life is really close to irrelevant. Nonetheless I find the need to carry a 2nd battery an annoyance and the need to change it frequently even more so.

I know the arm chair experts out there are at this point brandishing pitchforks and fire brands with cries of ‘Dynamic Range!’  So, let’s clear up the DR issue right now: Yes, the EOS R has the same sensor as the 5D MKIV and yes it does not have the 14+ stop Dynamic Range of the Sony Sensors. But who cares? Im yet to see a single photograph that is worth the paper it is printed on that actually uses even close to 14 stops of Dynamic Range. Call me old school, but I want to make photographs in soft light with a limited dynamic range and if the sky falls outside of the sensors capability to record it I am more than happy to use a graduated ND filter to tame the Dynamic Range. The new range of high quality optical glass filters on the market are superb and have no negative impact on image quality.

As a wildlife camera and for the sort, type and style of wildlife imagery I pursue I am afraid the EOS R is all but useless. Its frame rate is just far too slow for subjects such as birds, its auto focus is not a patch on the EOS 1DX MKII in the field and the EVF is simply sub optimal with fast moving subjects. The time may come when a mirrorless camera is the weapon of choice for wildlife, but until that time the 1DX MKII and its replacement the 1DX MKIII will be my tools of choice for serious wildlife work.

Canon had a number of solid engineering reasons to develop the new RF mount for its mirrorless system. Frankly, none of those reasons offer me anything I don’t already have in my current EF mount so I think it highly unlikely at this point that I will be purchasing any dedicated RF lenses. The new Canon EOS 1DX MKIII when its officially announced will be EF mount. Working Pros such as myself are fully geared for EF mount and we are not about to dump tens of thousands of dollars of glass when the tools we currently have are more than sufficient for our needs. Canon know this and are not about to abandon their core high end market just because they have a new mount in two different mirrorless bodies. We will get a professional mirrorless camera from Canon with an RF mount, but don’t expect to see it until after the 1DX MKIII is announced.

During my testing of the EOS R I also inadvertently tested its weather sealing when I slipped on moss covered rocks at Hopetoun falls in Victoria and temporarily submerged both myself and the camera in the river – whoops! I managed to kill a 24-70mm F4L IS lens in the process, but the camera was absolutely fine. It not only survived the short dunking, but it didn’t skip a beat in the process. Once I extracted myself from the river I simply dried off the camera and kept shooting. Whilst I wouldn’t recommend you try this (I may have just been lucky) it is pretty solid evidence that the EOS R is quite a tough little camera with more than decent weather sealing.

In conclusion, I found the EOS R to be a fantastic tool for serious landscape photography and have decided to keep the camera for just this purpose. I love the focus peaking feature with tilt shift lenses and I really like the light weight form factor. I will definitely not be using it to photograph wildlife though. The cameras slow frame rate, EVF and focus tracking make it sub optimal for my wildlife work. The EOS R would likely also make a very nice walk around camera or travel camera for those looking for a light weight alternative to a traditional DSLR. If I were looking to use it for this purpose I would probably consider one of the new RF lenses so I could do away with the RF to EF converter. For landscape photography on a tripod though the converter is a small price to pay for the convenience of tilt shift lenses. I am looking forward to using the EOS R later this year on my landscape workshop in the Faroe Islands. I will also be taking an EOS 1DX MKII with a 400mm f2.8L IS MKIII for the Puffins.

The photograph below was taken at Freycinet Peninsula on the East Coast of Tasmania with the Canon EOS R with the RF to EF adapter, a 1.4 TC MKIII and the 24mm F3.5 MKII TSE lens (giving me an RF mounted 35mm f3.5 TSE equivalent).  Obtaining infinite depth of field with focus peaking with this setup in the field is an absolute joy and a pleasure. Exposure time was two minutes with a 3 stop Medium NISI Graduated Optical Glass Filter.

BenQ ScreenBar e-Reading Lamp

Over the last week since I returned from Antarctica I have been testing a clever new product from BenQ called the ScreenBar e-Reading Lamp. In a nutshell the idea of ScreenBar is to reduce eye strain by softly lighting the screen and surrounding area without introducing any glare. Although the design concept is extremely simple, the problem ScreenBar tries to solve is actually quite complex and has been tackled in various forms and with varying degrees of success by different manufacturers over the years.  This is the first time however, that I have seen a solution that offers not only a soft dimmable glare free light, but that also offers colour temperature control, auto dimming and is powered solely by USB.

Wether its working late hours, watching online videos, extensive word processing or any other kind of non-critical colour work a task light can help reduce and even prevent eye strain. When we sit in front of our computer we look directly into the monitor and our eyes are subsequently affected by the reflected glare. This where the ScreenBar changes the game. The video below show just how simple and easy it is to set up and install ScreenBar.

Personally, I spend a lot of time in front of my computer dealing with email, websites and general running of a business (not to mention time I spend processing and printing photographs) and as a result I often suffer from eye strain after extended sessions in front of my display. To be clear, I don’t use the ScreenBar light when I am editing, processing and printing my photographs, but I have been using it extensively for all my other computer work and I really like the way it eases eye fatigue. I also love the simplicity of the design, the ability to dim the light, set a colour temperature and power the entire device from just a single USB port. Currently I have the Screen Bar installed on my BenQ 4K monitor and a second unit on my iMac.  For general day-today computing needs I have found I prefer to have the light on all of the time and am only turning it off for colour critical work and printing work. In short, I have found significant reduction in eye fatigue with the ScreenBars and I am therefore keeping both lights (although I am going to have to order a third as my son has already stolen the one from my iMac for his own computer).

Screen Bar Key Features

Auto Dimming. Optimal Brightness Instantly: Thanks to the built-in ambient light sensor, ScreenBar adjusts the brightness level automatically and instantly. It can be manually dimmable with the touch sensor control as well.

Space Saving. No Lamp Base, More Desk Space: A specially designed clip makes the attachment onto monitors easy and stable. No need for screws or tape that damage monitors. The clip fits any monitor with thickness from 0.4” to 1.2” (1 to 3 cm).

Screen Bar is available to purchase from Amazon the following countries: (these are not affiliate links)

US: https://www.amazon.com/gp/product/B076VNFZJG

UK: https://www.amazon.co.uk/dp/B07GGVNXSW

DE: https://www.amazon.de/dp/B0785D93KD

AU: https://www.amazon.com.au/dp/B076VNFZJG

JP: https://www.amazon.co.jp/dp/B07D7PDF8L