New Workshop! Lighting 3 | Advanced Off Camera Flash

Gear & Apps

Canon 5D Mark IV Rumored to Have LOG Support On The Eve Of The GH5 | Is It Too Late?

By Justin Heyes on March 25th 2017

There are whispers floating about on rumor sites that Canon will be coming out with a patch for the 5D Mark IV that will make it possible for their new workhorse to capture video footage in C-LOG. Canon Rumors has confirmed with certainty that the new patch will be available via service center update, and will likely be announced at NAB next month. While we have yet to confirm this, IF this is true it would make the 5D Mark IV the first camera outside their cinema line to be able to do so (with special exemption being the 1DC).


What is LOG?

As photographers, we are used to shooting in a RAW format to get the most out of our images. Whether the files are CR2, NEF, ARW or RAF, or whatever, it is the raw data taken off of the sensor. There are affordable video cameras that capture RAW data like the Black Magic Pocket Cinema camera, but they are limited to 1080p. A video camera that will capture 4K RAW will start at several thousand dollars.

Prosumer cameras instead capture video in a compressed format (think JPEG) that have color settings, like contrast, baked in. To get the most out of the captured image, a logarithmic gamma curve, or LOG, is applied.

Like raw formats, camera manufacturers have their own proprietary log curve. Sony has the S-Log, Fuji has their F-Log, Panasonic has V-Log, C-Log is Canon’s own log file format. The Log curves allow the camera to capture maximum dynamic range from the camera’s sensor while using a limited bit-depth video file, like H.264 or MJPEG in the Mark IV‘s case. The resulting footage is lacking contrast and saturation, appearing flat, and this allows the user have much more flexibility in post production.

There are specific Canon cinema cameras that shoot with a C-LOG profile, like the EOS C300; for the others, there are 3rd party options. Since the advent of the Canon 5D Mark II and the beginnings of the DSLR HD Video Revolution, Canon has collaborated with Technicolor to provide a free flat color profile for their EOS line of DSLR cameras, Cinestyle. Now there are multiple offerings  of C-Log based profiles for EOS branded cameras from the likes of DELUTS and EOSHD (among others), and they provide a flat camera profile that gives the similar effect of LOG to Canon cameras that do not support it.


Canon hasn’t been one to cannibalize their other product lines to make a better camera like Nikon did with the D500. In my opinion, this upgrade to the 5D Mark IV is a powerplay from Canon, as this rumor just happens to coincide with the official release of the Panasonic GH5. But, it might be too little too late.

Back when the 5D Mark II was out, Canon reigned supreme as the king of DSLR video, and, as everyone likes to point out it even filmed the last season of ‘House’, but since then there has been a regime change and now Panasonic wears the crown. The GH5 has the option of shooting either DCI or UHD, has a higher bit video format than the Mark IV (10-bit vs 8-bit), 4K 60fps internal recording, and with future firmware upgrades will be able to record 4K DCI 400Mbps internally.

Some may say this is like comparing Apples to Oranges and to a certain point I agree. Canon has always made better stills cameras than Panasonic, but if the rumor is true, it would seem as though Canon is trying to capture the DSLR video market again.

Photographers who need a Log profile in their camera know why they need one. They may have already chosen a dedicated video solution to suit their needs and if not there are plenty of other options that shoot 4K for under the 5D Mark IV‘s asking price.


Again, if the rumor is true, it would fall in line with the other rumors that Canon is actively looking at ways to improve the 4K capture crop on the EOS 5D Mark IV, showing that Canon is taking an active effort to listen to what photographers want. Now if only they could work on that terrible codec.


[via Canon Rumors]

This site contains affiliate links to products. We may receive a commission for purchases made through these links, however, this does not impact accuracy or integrity of our content.

Justin Heyes wants to live in a world where we have near misses and absolute hits; great love and small disasters. Starting his career as a gaffer, he has done work for QVC and The Rachel Ray Show, but quickly fell in love with photography. When he’s not building arcade machines, you can find him at local flea markets or attending car shows.

Explore his photographic endeavors here.

Website: Justin Heyes
Instagram: @jheyesphoto

Q&A Discussions

Please or register to post a comment.

  1. Frank Romero

    1DC is no more… As for Fuji, video is getting better.  

    | |
  2. Nick Buchholz

    This article ends with “listen to what photographers want”.
    Does anybody know the proportion of 5D owners using it for film vs photography? I ask because the 5D mk4 has been heavily criticized from day 1 because of the lack of professional video features and the fact that it is a great stills camera was been ignored. I’d just be curious if they are losing 10% of sales to “video cameras” (i.e. dedicated like the GH5 etc.) or if we’re talking 40-50% of sales?
    My opinion is that videographers get the rigs, mics, screens, etc, etc. They will do only video and don’t need a great stills camera. Do we really need a great hybrid that can do both (like the Mk2 was)? Should a company try produce such a camera or rather develop several cameras that are good at different things.
    My next point might be controversial, but I would prefer it if Canon made 3 versions of the 5D. One cheaper one with absolutely zero video, the normal price one with whatever crappy video it has now, and then a more expensive version with this RAW-video stuff. (I know which one I would get)

    | |
    • Jonathan Brady

      You’re assuming that leaving video out would make the camera cheaper. I believe that’s an incorrect assumption. 

      | |
    • Justin Heyes

      1- There are many photographers who would prefer a great hybrid camera that is excellent in both Stills and Video. There is only so much R&D that camera companies put into each category.  Unfortunately, when choosing a camera today you pick one vs the other.  

      For example:

      Fuji – Great stills, Horrible Video

      Nikon – Excellent Stills, ok video

      Panasonic – ok stills, great video

      Blackmagic – no still, excellent video

      2 – So, what you are proposing is Canon should follow the Sony model and offer a Base, an R version and an S version. They kind of already do that with their 1D brand with their 1DX and 1DC.

      | |
  3. adam sanford

    Disagree on the D500 statement.  The D500 was the resurrection of Nikon’s Canon 7D2-level (‘pro APS-C’ / wildlife) market spot, which had been left dormant for a few cycles.  Any cannibalization that may have occurred was *much* more likely just the return of those that left that market slot and opted for the D7200 or an FF rig due to that dormancy.

    So you can tally it as sexy-spec’d D500 hurting pricier FF rig sales, but it was really just their birders coming home to roost.  And don’t forget a $1,400 200-500 f/5.6 VR being released around the same time also tractor-beamed the birders back as well.

    | |