ProPhoto Coalition.com: Dan Carr | Founder

Yesterday Canon launched their new flagship DSLR, the EOS-1D X. Please explore my previous post for a full rundown of the tech specs, this time I will be concentrating on the improvements that Canon have made for those that want to use the camera for movie making. The camera offers the first major improvement to Canon’s DSLR video functionality since the firmware update for the 5d Mark II that enabled 24p.

HDSLR video is now three years old and developments have really been few and far between. We know that Canon was caught by surprise when people took so readily to using the EOS-5D Mark II for making movies. It was never designed with that in mind but due to community pressure Canon eventually enabled some clunky audio controls and 24p through a firmware update. Subsequent cameras like the EOS-7D and the EOS-1D Mark IV had very minor improvements like the ability to shoot in 50/60p at a reduced resolution but there were no advancements. The reason for this is the development cycle of a new camera is many years, the 7D and 1D4 were already in development when the 5Dmk2 was released so there were only minor things that Canon had time to incorporate into those cameras. What they really needed was a totally new camera, one that could be built from the ground up with the knowledge that it would need to have some killer DSLR video functionality to push things forwards. Enter the EOS-1D X.

Through consultation with leading DSLR filmmakers Canon surely compiled a wish list of features. The task then would be to see how many of these they could cram into a camera that first and foremost needed to be a ground breaking stills camera. In that situation there will always be sacrifices and features left by the wayside but we’ll likely see those in a future video specific camera very shortly. So let’s take a run through all the new features and improvements that DID make it into this new camera.

Full Frame Sensor

Whilst obviously not a change made solely for video purposes it’s something that almost everyone wanted to see. The shallow depth of field offered by a 35mm sensor gives even more control over depth than a super 35 sensor or an APS-C sized sensor like those found on the 7D. In fact the 7D sensor and a Super 35 sensor are fairly close in size and a 35mm sensor is much larger. An interesting thing to consider here is that Canon looks set to launch some new large sensor video cameras on November 3rd but those will almost certainly conform to the Super 35 standard to allow it to work with the vast range of PL Mount lenses out there. That means that there is still room for the 1D X in the video industry for those that want the look of a full sized 35mm sensor. Many people used the 5dMK2 for that very reason when there were plenty of S35 and APS-C options out there so I’d expect this to still be a very popular camera, no matter what Canon release in November 2011.

A further benefit of the full frame sensor is it’s low light performance. The EOS-1D X brings a standard iso range of 100-51,200, an improvement over the previous 1dMK4 which was already no slouch in the dark. Factor in the improvements you will see of a full frame sensor over the 1.3x crop and we are surely looking at a camera that will perform better than anything on the market to date. This is likely to be a second area where this camera will outperform any Super 35 sensor option that may also be on the market.

As I mentioned, this is really the first time that Canon have had the chance to design video into the camera from the ground up and they had it in mind right from the sensor design. We are promised improvements in artifacting and moiré; from the Canon technical paper on the 1D X:

SMPTE Timecode

Previous DSLRs have caused no end of headaches due to their lack of SMPTE Timecode. This was probably the most requested feature from people shooting professionally with these cameras. Now we have an easy way to sync separately recorded audio tracks and also footage shot simultaneously on multiple cameras. There appear to be four options for the timecode menu :

The time synchronization functionality appears to be available in two ways. Either you use the new WFT-E6 wireless accessory or you connect cameras together directly with an Ethernet cable. The second method is preferential as ad-hoc networks do not work with the WFT so they require a router. But it does mean that synchronization is limited to being between other Canon EOS-1dXs. There’s no way to sync with other video cameras which is a real disadvantage.

What is not yet clear to me is whether the timecode itself appears on the main 3.2” LCD screen or whether it runs on the secondary screen beneath this. The latter would make far more sense…

Audio Control

Whilst previous cameras have offered audio control the 1D X will be the first Canon DSLR to show audio levels on screen during recording. As before, the camera captures mono audio with the built in microphone at 48KHz and stereo from the 3.5mm mic jack on the side of the camera. Previous camera required you to set the levels prior to recording and then offered no way to monitor them during a take. Now you will have a visual reference and also be able to adjust the levels during recording to make sure that nothing gets clipped. The image below shows the audio level meter in action during recording. (screen grab from Canon promo video)

Compression - IPB or ALL-I

The camera still records to an H.264codec (unfortunately) but at least Adobe and Apple can now handle the files natively in timelines unlike when the 5dmk2 was originally released. You now have the option of selecting the compression type though, either IPB or ALL-I.

ALL-I files will be roughly 3 times the file size of the bi-directionally compressed versions but they will hold up much better to frame editing and grading. A nice option to have for higher end productions.

Silent Control Function

Incredibly Canon have integrated a capacitive touch panel into the Quick Control Wheel on the back of the camera. Upon enabling the Silent Control Function setting in the menu, filmmakers will be able to adjust audio levels, exposure compensation, iso, shutter speed and aperture by simply touching the control wheel. There will be no need to physically rotate the wheel which means that the CLICK CLICK CLICK of the wheel will not be heard on your recording and if you are gentle hopefully no vibration will show on video either as settings are changed. This is a perfect example of how much Canon has thought about the video functionality of this camera because there is no use for this function for a stills photographer. This is purely for the filmmakers.

Clip Size And Length

The maximum clip length has now been increased to 29 minutes and 59 seconds. Interestingly if you exceed this limit you are subjected to a huge taxation in Europe and Canon’s Chuck Westerfall was quoted as saying that it would add %30 to the cost of the camera! I’m fine with 29 minutes and 59 seconds then! Previously the cameras were limited to 12 minutes and the 4GB clip size that is a limitation of Compact Flash file systems. Canon have found a way around the size limitations by introducing a seamless secondary file creation that automatically starts another MOV file on the card without effecting or ending recording. This is fantastic news for the documentary shooter out there who want to leave cameras running during interviews !

Remote Rec. Start / Stop

Previously limited to janky IR remotes or physically pressing the buttons on the camera body, the 1D X now allows use of a regular Canon wired remote in the cable release port on the side of the camera. (Thanks to Dan Chung for the heads up on this one) Dan also speculates that you will be able to use wireless triggers such as the Pocketwizard to trigger the video record. This seems likely if it is used with a motor cable just as the wired remote is. Now if you ave your camera buried inside a huge rig, or up on the end of a crane or boom you won’t need to physically press the record button on the camera body !

Drop frames

Enabling Drop Frame in the video menu will now drop two frames from the frame count every minute to compensate for timecode Vs frame count error that can creep in during longer takes with non whole-number frame rates like 29.97 or 59.94. Not really something you would worry about on short takes but for running long interview or documentary takes where you want to sync audio or second cameras later on then it can become a factor. Canon’s example:

Chromatic Aberation Correction

The 1D X will correct CA on the fly during video recording based on the lens information for the new CA Correction feature that is found in the stills mode.

Video Thumbnails

Video thumbnails are now baked directly into the MOV file. No pesky sidecar THM files which means that you can copy the MOV files to cards and have them play back in camera. Previously you also had to have the corresponding .THM file on the card as well for the video to play on the camera.

What’s Still Missing?

Here’s a summary of a few things that filmmakers would have liked to see, but haven’t made the cut.

Conclusion

So there we have it. Is it ground breaking ? For video no, not groundbreaking but it offers a good collection of new improvements that prove Canon were really listening to what people wanted. Considering we are on the verge of a huge video camera announcement from them in November this is actually more than I was expecting and I think that’s because the know the full frame sensor is still going to attract a lot of filmmakers to this camera. It will certainly be the best performing video in low light situations and if we get improvements in the dreaded ‘jello’ as Canon are promising then I think this will be well received. Of course this is all relating to HDSLR video, for stills photography this looks to be a new king so stay tuned for more on that in the future!

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The LCD screens on these high-priced “flagship” cameras is a bad joke. As you can see from the photo of the back there’s plenty of room for a larger screen, not to mention an articulated one, but neither is provided. In an age when $200 cell phones ($600 without a contract) come with large beautiful 4 to 4.5 inch screens, how come Canon can only manage to put a small 3.2” one on a $8,000 camera ??

Of course the DSLR manufacturers have been using under-sized screens since the beginning, apparently to provide a reason to upgrade to the next model. The original high-end DSLRs from Canon and Nikon shipped with tiny 1.8 to 2” 100k pixel screens at a time (2004) when much less expensive camcorders from Panasonic and Sony already had 3 to 3.5” 200K pixel monitors.

With the massive amount of wasted space on the back of the Canon 1D they could of provided XLR connectors with plenty of room left over.

This camera will likely suffer from the usual artifacts inherent in sub-sampling an 18 MPixel sensor output down to 2 MPixel HD video resolution. Not to mention the CMOS jellocam problem. For eight grand, serious filmmakers would be better off buying one of the new large-sensor camcorders now starting to arrive.

Posted by .(JavaScript must be enabled to view this email address) on 10/19 at 12:11 PM

Hi MikeGT

I believe that they decided no flip screen on the 1d X because a lot of pro stills shooters are not interested in it and that is what this camera is still aimed at for the majority. I’m primarily a stills guy and I would have hated to see an articulating screen on this camera. As for the 3.2’ size, well yes but think of all the things they cram inside there, perhaps there is just not enough room internally. Again from my point of view I don’t desire a bigger screen for my photos I barely look at them on camera.

“With the massive amount of wasted space on the back of the Canon 1D they could of provided XLR connectors with plenty of room left over.”

On this point I have to say I think you are WAY off the mark !! XLR connectors are HUGE. Just because there is some blank space on the back doesn’t mean there is nothing behind the black space internally ! This camera is JAMMED inside with stuff with no room to spare, I guarantee it.

On your last point, maybe , we’ll have to wait and see.

Posted by Dan Carr on 10/21 at 09:36 AM

> hated to see an articulating screen on this camera

Huh ? This would of been a good thing, why would you of “hated” it ?? Especially on such a bulky and heavy camera, an articulated screen would be a godsend.

> things they cram inside there, perhaps there is just not enough room

What things? This camera doesn’t do anything you can’t do with their full-frame 5D model, which is
a fraction of the size and weight. Unless you have actually opened up one of these cameras, you should not assume what’s inside it or how “crammed” it may or not be. This class of cameras are built large and heavy because professional photographers prefer this. Many working photographers are afraid that their clients would consider a small lightweight camera to be un-professional. Silly but true.

> maybe , we’ll have to wait and see.

No we don’t. You can’t get around the laws of physics. To get 2 million pixels out of 18 million, you have to basically throw-away about 75% of the sensor’s output. I think there was an excellent article on how DSLR video is compromised by this issue a while back on this very web-site.

Posted by .(JavaScript must be enabled to view this email address) on 10/21 at 11:41 AM

Mike,

I simply have no use for a swivel screen for the work that I do. This camera is still designed primarily to appeal to still photo shooters, in particular sports shooters (myself included). We’ve just no need for that feature. I’ve never wanted it and would hate to see it because having used the swivel screen on the 60D, I can see it being a point of failure on a body that is designed to be extremely rugged like the 1D.

Things Inside:

Remove a battery from one of these and take a look inside Mike. Most of the additional bulk over a 5d is battery. It’s also not just about is there space, it’s also where is that space.

Of course physics will come into play in your last point everyone knows the issues! But really what is your point ?! That they should have made a 2k sensor so there was no line skipping ? This is a stills camera Mike! You said ‘usual artifacts’ my point is that they have sure made some improvements in that area. So they will be better than before.

There are going to be sacrifices, if that’s not your bag then wait until November 3rd. Simple as that. People who use these cameras understand that there are going to be sacrifices but they usually do it for the form factor.

I guess I don’t really get why there are complaints about the lack of all these things when it’s primary design is NOT to shoot video. They will always please their primary targets first.

Posted by Dan Carr on 10/24 at 10:11 AM

“I guess I don’t really get why there are complaints about the lack of all these things when it’s primary design is NOT to shoot video. They will always please their primary targets first. “

I dont get that either! Primary targets is to shoot photo’s and not video’s!

Posted by fruitdieet on 10/25 at 02:15 AM

Did either one of you half-wits read the title of the article ?

Apparently the both of you have been living in a cave for the past few years and as a result missed the entire DSLR video revolution.

Today, plenty of folks buy these cameras primarily to shoot video, not stills. The video functionality of this class of cameras can no longer be considered of secondary importance.

Posted by .(JavaScript must be enabled to view this email address) on 10/25 at 03:10 AM

Mike,

I WROTE THE ARTICLE. So yes , thank you I did read the title that I gave it. The 1dX has video features so let’s explore them, why not? Again, not really sure what your point is there, nobody is disputing that video features are available. Equally nobody is disputing that plenty of people will shoot video with this.

‘Plenty of folks’ is still a tiny number of people compared to the number of cameras they sell. Do you honestly think they are selling as many 1-series cameras to video pros as they are selling to stills shooters ? Are you kidding me ? Yes DSLR was a revolution, there’s no disputing that, but a revolution in a tiny sector.

The one camera that is nearly an exception is the 5d2, that one was sold in great numbers for video use in the US. BUT in other markets, mainly Europe and Asia the video usage paled in comparison to the stills usage so overall the proportion is still tiny. And that is their best selling camera for video. You can argue with me on this all you want Mike but just take a look at all the marketing material for this new camera. The reason I had to write this post was that they did not make a song and dance about any of these features so I wanted to highlight them.

Did you know that in the Asian press release for this camera it doesn’t mention EVEN ONCE that the camera is even capable of shooting video ?

This camera with it’s 61 AF points (which cant be used for video) and it’s 18MP sensor (which is pointless for video) and it’s 12 frames per second (which can’t be used for video) IS A STILLS CAMERA. Get over it and buy whatever Canon is going to launch on Nov. 3rd.

When they launch this new video camera I’m sure that it will take photos of some sort too. Should I run around making a song and dance about how it doesn’t have a big enough MP count for photos, or doesn’t have a good AF system. No I will go an buy a stills camera if I want to get all those features.

Oh and let’s try and stay courteous Mike. Calling people half-witted cave dwellers is unnecessary.

Posted by Dan Carr on 10/25 at 09:40 AM

> ‘Plenty of folks’ is still a tiny number of people compared to the number of cameras they sell.

Based upon what? Your intuition? Almost all DLSRs now support video shooting. It’s doubtful all this was done to support “a tiny number” of people.

> mainly Europe and Asia the video usage paled in comparison to the stills usage

Again, based on what? Did Canon or the other DSLR makers tell you this? Also Europe apparently has some weird tax law where camcorders are taxed higher than still cameras, this is one of the reasons why the continous recording time is limited, also probably why in certain parts of the world the video capabilities are not loudly advertised.

> 12 frames per second

It’s statements like this that make me want to use terms like “half-wit” again! The 12 fps limitation is for 18 megapixel stills, not 2 megapixel movies which the camera can shoot at least at 30 fps, probably faster. If you don’t understand this then you have no business writing articles for a “Pro Photo” web site.

I also referenced half-wits and cave dwellers because your previous reply was amazingly condescending. If you don’t like being talked to this way then don’t do it to others.

Posted by .(JavaScript must be enabled to view this email address) on 10/25 at 10:06 AM

Mike,

Don’t try and make it sound like I don’t know the difference between 12 FPS stills and 30 FPS video. Come on now… My point was that the headline features which Canon are singing about are 61 AF points, 18MP and 12 FPS. I didn’t think it was necessary to 12fps ‘for stills’ in there or something like that. There’s no need to dumb it down like that for most people, they know the difference.

European tax laws have nothing to do with this. There is additional tax for cameras that record over 30 mins, but this camera does not so it’s not a factor.

‘also probably why in certain parts of the world the video capabilities are not loudly advertised.’

If there was an applicable tax, I don’t think that simply not talking about the video features would sneak these cameras past the relevant tax agencies Mike, this is a multi billion dollar industry.

I’m not going to waste my time anymore going over the relative sizes of the industry with you.

Posted by Dan Carr on 10/25 at 10:35 AM
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Exploring The Video Feature Improvements On The Canon EOS-1D X