The Canon EOS R1 mirrorless camera brings flagship-level video capabilities that wildlife and action shooters have been waiting for. You get features like pre-recording and CLog 2 that fundamentally change how you capture critical moments. Here's what you can expect.
Coming to you from Josh Sattin, this detailed video examines the Canon EOS R1 mirrorless camera from a videographer's perspective after real-world use in the Galápagos Islands. Sattin purchased the camera with his own money and uses it primarily for wildlife video work. The R1 delivers exceptional image quality with its 6K sensor that oversamples down to 4K at up to 60 frames per second. You get clean, detailed footage with excellent dynamic range, especially when shooting in CLog 2. The camera handles challenging lighting conditions well, and Sattin didn't notice any rolling shutter issues during his testing.
Key Specs
- 24.2 MP full frame BSI stacked CMOS sensor
- 6K internal raw recording at up to 60 fps
- 4K DCI and UHD recording at up to 120 fps
- 5-axis sensor-shift image stabilization
- Dual CFexpress Type B card slots
- ISO 100-102,400 (extended to 409,600)
- Canon RF lens mount
- Full-size HDMI output with 4:2:2 10-bit
- Wi-Fi 6 and Bluetooth 5.3 connectivity
- LP-E19 battery (2,750 mAh)
- Weather-sealing with RJ45 Ethernet port
The standout feature that changes everything is the pre-recording capability. You can set the camera to capture either three or five seconds of footage before you actually press record. This means you're constantly buffering video to internal memory, so when that bird takes off or the action happens, you've already captured it. For wildlife and sports work, this eliminates the frustration of missing the decisive moment because you were a split second late hitting record. The autofocus system includes Canon's latest animal detection technology, which Sattin describes as exceptional for video work. However, he notes that the R1 strangely lacks the auto subject detection mode found in cheaper Canon cameras.
The camera features dual CFexpress Type B card slots, which offer superior speed and durability compared to SD cards. You also get a massive, high-resolution EVF that impressed everyone who looked through it, plus a full-size HDMI port that videographers will appreciate. Internal raw recording up to 60 fps gives you maximum flexibility in post-production. But Sattin identifies several frustrating limitations, including the lack of built-in waveforms and issues with the view assist feature that makes exposure evaluation difficult. Check out the video above for the full rundown from Sattin.
7 Comments
24 MP, in 2025. It's absolutely an idiocy.
Would anyone use a 25MP Hasselblad? That's it.
Nikon fanboy.
Sure. Because covering an event with 45-100mp is exactly what professional photographers have been asking for….
No. A native 6K sensor with actually viable video performance and reasonable file sizes for long days of event coverage is exactly what I need for my job. I have the R5II and the Hasselblad X2D and they also have their roles. I would never dream of using them for motorsports or event coverage. Just as I wouldn’t use the R1 in the studio.
Zoom out and look at the bigger picture. There are countless segments of photography that require specialized cameras and lenses and this is exactly why the R1 and the A9 exist. This is why a medium format 102mp Hasselblad camera exists. This is why the R5II and Z9 exist.
Read the title: game changing. Perhaps too much for a 24 MP camera in 2025.
So, for you there, full of certainties, in 2025 there’s no such thing as true low-light performance with a high-megapixel camera. And I didn’t buy the R1 for motorsports, I bought it for low-light street photography and video.
For low-light, you need a) more light or b) brighter lens
Great review.