{"id":5734,"date":"2009-10-19T04:16:26","date_gmt":"2009-10-19T04:16:26","guid":{"rendered":"http:\/\/philipbloom.co.uk\/?p=5734"},"modified":"2009-11-23T22:08:10","modified_gmt":"2009-11-23T22:08:10","slug":"canon-1d-mkv-imminent","status":"publish","type":"post","link":"https:\/\/philipbloom.net\/blog\/canon-1d-mkv-imminent\/","title":{"rendered":"It is the MkIV after all!! Includes Vincent LaForet footage"},"content":{"rendered":"

\"476x238bloombannerV1\"

\"zfinderADforBLOOMV3\"


\n\"\"

EDIT: We now have it confirmed that the name MKV is nonsense. \u00a0MKIV it is!<\/strong><\/p>\n

\"post-19215-1255993141-287x300\"

Spec wise we are not looking at full frame but APC-H which is a 1.3 x crop. Not as much as the 1.6x crop of the 7D but not the full frame of the 5dmkII. Also the megapixel count is lower at 16mp.<\/p>\n

\"431px-SensorSizes\"

If you can get to NY this week then go take a look. I wish I could go as SNL DP Alex Buono will be there talking about why he is shooting using the 7D for the show and also my 7D training DVD<\/a> will be on sale there at the Zacuto booth where Den Lennie will be. Unfortunately my schedule doesn’t permit me to be there as am on the West Coast. Very disappointed. So close…but so far! Just too tight for me to get there after this RE:FRAME gig which finishes on Thursday. I can almost go, if I did it would only be for the last day so not sure it is worth it…Should I go?\"Screen

EDIT:<\/h2>\n

This is what we have now heard. The leaks were almost spot on!<\/p>\n

\"Picture

Here is some 6400 ISO footage from Vincent LaForet. Click on the image below to see it on Smugmug.<\/p>\n

\"Screen

Official Canon Press Release<\/h2>\n

<\/span><\/p>\n

INTRODUCING THE ULTIMATE MULTIMEDIA IMAGING SOLUTION: THE NEW CANON EOS-1D MARK IV DIGITAL SLR CAMERA<\/strong>
The EOS-1D Mark IV Features a Completely Redesigned 45-Point Autofocus System, Fast 10 fps Continuous Shooting, 16-Megapixel Resolution, Outstanding ISO Sensitivity, and Full HD Video Recording at Selectable Frame Rates<\/em><\/p>\n

LAKE SUCCESS, N.Y., October 20, 2009 \u2013 Canon U.S.A., Inc.,<\/strong> a leader in digital imaging, is proud to introduce the next evolution in the EOS 1D series of cameras: the Canon EOS-1D Mark IV Digital SLR camera. The EOS-1D Mark IV is a high-speed multimedia performance monster with a 16-megapixel Canon CMOS sensor, Dual DIGIC 4 Imaging Processors, and 14-bit A\/D data conversion, all at 10 frames-per-second (fps), with the widest ISO range Canon has produced to date. This new camera also features 1080p Full High-Definition video capture at selectable frame rates packaged in Canon\u2019s most rugged and durable professional camera body.<\/p>\n

The crowning achievement of Canon\u2019s 1D Mark IV Digital SLR is its new autofocus system that starts with 45 AF points including 39 high-precision cross-type focusing points capable of tracking fast moving athletes or wildlife accurately at speeds up to 10 frames per second. With greater subject detection capability than ever before plus a newly redesigned AI Servo II AF predictive focusing algorithm, the Canon EOS-1D Mark IV camera sets new standards for autofocus performance among professional digital SLRs. Whether shooting for the six o\u2019clock news or the front page, the EOS-1D Mark IV Digital SLR is the quintessential camera to freeze fast-moving action with high-speed stills or capture stunning HD video with dynamic color and image quality. To accompany the new EOS-1D Mark IV Digital SLR camera, Canon is also announcing a new accessory, the WFT-E2 II A wireless file transmitter providing photographers with a wide range of professional digital connectivity options.<\/p>\n

\u201cCanon works hard to be the imaging leader in all our business endeavors. This goal has fueled our innovation and R&D efforts to engineer the most advanced autofocus system Canon has ever produced. We are proud to announce the camera that will deliver the ultimate in imaging quality to professionals working in all areas of multimedia imaging, whether it\u2019s action photography, photojournalism or HD video and cinematography,\u201d stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.<\/p>\n

The Canon EOS-1D Mark IV camera will intrigue professional photographers in virtually every category from photojournalism and sports through nature, wedding, portrait and fashion to commercial, industrial and law enforcement. What makes the EOS-1D Mark IV camera different from its predecessors, in addition to numerous focusing system and image quality improvements, is its exceptional Full HD video capture capability. With this new level of functionality, the 1D Mark IV Digital SLR is destined to appeal not only to professional still photographers but also to a diverse market of professional videographers and filmmakers who are looking for exceptional Full HD video quality, amazing low-light performance, outstanding portability and a level of durability unheard of in most HD video cameras in this price range.<\/p>\n

New 45-Point Autofocus System<\/strong>
The new EOS-1D Mark IV Digital SLR camera features Canon\u2019s most advanced Autofocus system to date. It is equipped with a newly developed 45-point AF sensor featuring 39 high-precision cross-type AF points, and an all new AI Servo II AF mode that gives still photographers the power and performance to track and focus a fast-moving subject at speeds up to 10 frames per second. With more than twice as many cross-type focusing points as the EOS-1D Mark III and a new AF sensor construction that improves performance in low light and with low contrast subjects, the EOS-1D Mark IV has greater subject detection capabilities than any previous EOS model. To complete the range of AF improvements, Canon has developed a new AI Servo II AF predictive focusing algorithm that significantly improves responsiveness and stability by making better decisions on focus tracking in a variety of shooting conditions.<\/p>\n

Amazing High ISO Performance<\/strong>
Wedding and event photographers shooting in low light without the benefit of a flash can take advantage of Canon\u2019s widest ISO range and highest performance ever. The EOS-1D Mark IV camera\u2019s ISO speed settings range from 100 up to 12,800 in 1\/3 or 1\/2 stop increments with ISO Expansion settings of L: 50 for bright light or H1: 25,600, H2: 51,200, and H3: 102,400 for even the most dimly lit situations. Photographers and documentary filmmakers working in available light will be impressed by the low-noise image quality of the 1D Mark IV, capturing amazing still images and video footage even at speed settings as high as ISO 12,800. High ISO, low light still images are further enhanced by Canon\u2019s adjustable High ISO Noise Reduction feature, now a default setting in the camera.<\/p>\n

The EOS-1D Mark IV, EOS HD Video Powerhouse<\/strong>
Over the past year, Canon\u2019s EOS HD Video technology has changed the way users capture 1080p HD video and opened new doors for multimedia journalists and Hollywood cinematographers alike with full manual exposure control, selectable frame rates, and interchangeable lenses on some of the largest and most sensitive image sensors on the market. Canon continues this innovation trend with the new EOS-1D Mark IV Digital SLR with Full HD capture and full manual exposure control, plus selectable frame rates on an all-new APS-H-sized image sensor that\u2019s similar in size to a Super 35mm motion picture film frame. The large sensor allows filmmakers to achieve shallow depth-of-field just as cinematographers have traditionally done using much higher-cost motion picture equipment.<\/p>\n

The more than 50 Canon EF lenses compatible with the EOS-1D Mark IV give videographers incredible creative options, including an impressive selection of large-aperture professional L-series primes as well as zoom lenses, macro, Tilt-Shift and Fisheye optics. The Canon EOS-1D Mark IV allows for three video recording resolutions \u2013 1080p Full HD and 720p HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio. The camera will record Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards. Sound is recorded either through the internal monaural microphone or via optional external microphones connected to the stereo microphone input. The camera also provides an in-camera video editing function allowing users to remove the start or ending of a video clip directly in the camera to eliminate unwanted footage and speed up post-production.<\/p>\n

Image Quality and Performance<\/strong>
The heart of the EOS-1D Mark IV camera\u2019s outstanding image quality is a newly developed 16.1-Megapixel CMOS sensor featuring Canon\u2019s latest and most advanced proprietary technologies. These technologies include improved photodiode construction to enhance dynamic range and gapless microlenses that are positioned closer to the photodiodes for improved light gathering efficiency. The transmissive quality of the color filter array has been enhanced to improve sensitivity. Canon has also upgraded the sensor circuitry to improve noise reduction before the image data is exported from the CMOS sensor to the rest of the image processing chain.<\/p>\n

With 60 percent more pixels than the EOS-1D Mark III, the EOS-1D Mark IV Digital SLR employs Dual DIGIC 4 Image Processors with approximately six times the processing power of DIGIC III for full 14-bit A\/D conversion at 10 fps. High-speed continuous shooting up to 121 Large JPEGs is possible using a UDMA CF card. This camera also features three RAW shooting modes for versatility with Full RAW (approx. 16 million pixels), M-RAW (approx. nine million pixels), and S-RAW (approx. four million pixels). Three additional JPEG recording formats (M1, M2 and Small) are also available.<\/p>\n

The 14-bit per channel conversion facilitated by the dual DIGIC 4 Processors provides smoother tonalities in final images capturing all 16,384 distinct tones in each channel (red, green and blue) at the full 10 fps frame rate. RAW images shot on the new Canon EOS-1D Mark IV use the entire 14-bit space when converted to 16-bit TIFF files in Canon Digital Photo Professional (DPP) software, which is supplied with the camera at no extra charge. The 14-bit A\/D conversion is also the foundation for Canon\u2019s Highlight Tone Priority feature that takes maximum advantage of the camera\u2019s extensive dynamic range to preserve detail in highlight areas of the image. Canon\u2019s new EOS-1D Mark IV Digital SLR also features an improved white balance algorithm making colors more accurate when shooting under low color temperature light sources such as household tungsten lamps.<\/p>\n

The EOS-1D Mark IV Digital SLR features Canon\u2019s Peripheral Illumination Correction function which corrects darkening that can occur in the corners of images with most lenses when used at their largest apertures. When activated, it is automatically applied to JPEG images and video clips as they are shot. For RAW images, it can be applied in DPP software.<\/p>\n

Other new features include a large three-inch solid structure Clear View II LCD screen with 920,000 dot\/VGA resolution and a wide 160-degree viewing angle for enhanced clarity and more precise color when reviewing images and shooting video. The new in-camera copyright information feature helps professionals secure control over images by setting copyright data directly into the camera and appending that information to each image file in the Exif metadata. Additional features include a fluorine coating on the Low Pass Filter to further repel dust and enhance the EOS Integrated Cleaning System.<\/p>\n

Minimize Post-Production with Enhanced Canon Auto Lighting Optimizer<\/strong>
Action photography truly is all about speed, capturing a fast subject with fast focusing and fast frame rates. However, all this speed might be wasted if it is slowed down by lengthy post-production procedures to adjust image quality. The EOS-1D Mark IV Digital SLR helps reduce post-production work with a powerful new Auto Lighting Optimizer (ALO) system. When enabled, Canon\u2019s ALO automatically adjusts the image for optimal brightness and contrast on the fly during in-camera image processing, reducing clipped highlights while keeping shadowed areas as clear and detailed as they actually appear. By optimizing brightness and contrast in-camera, Canon\u2019s ALO system significantly reduces the need for post-production image optimization, and gives photographers image quality they can take directly to press. Demanding professional photographers who tested ALO clearly stated that this one feature will reduce their post-production image optimization process by more than 75 percent. Canon\u2019s ALO works with both RAWi and JPEG images as well as video recording.<\/p>\n

Rugged Reliability<\/strong>
Canon has taken every measure to ensure that the EOS-1D Mark IV Digital SLR camera has the highest degree of weather resistance in the EOS line. The 1D Mark IV camera incorporates a wide range of design features that enhance its durability and reliability for professional assignments. For example, the 1D Mark IV\u2019s body, chassis and lens mount are completely weather-resistant and 76 gaskets and seals surround all buttons and seams. The body covers and internal chassis, including the mirror box, are constructed with magnesium-alloy, one of the strongest and rigid metals available for its weight. For added strength, the lens mount is constructed with stainless steel. In fact, when used with Canon\u2019s Speedlite 580EX II and\/or most current L-series lenses, the entire camera system remains fully weather resistant, so professionals can concentrate on getting the shot instead of worrying about protecting their gear.<\/p>\n

New Wireless Connectivity<\/strong>
Canon is announcing the availability of the new WFT-E2 II A* wireless file transmitter exclusively for the EOS-1D Mark IV Digital SLR camera. The WFT-E2 II A wireless transmitter is an extremely small and versatile device that offers professional photographers a wide range of digital connectivity options including IEEE802.11a\/b\/g and Ethernet, ideal for commercial and studio work. In addition to adding the ability to connect to wireless networks over 802.11a, the new WFT-E2 II A adds a wealth of new professional features to the photographer\u2019s tool kit. The new Camera Linking feature allows a single photographer to simultaneously fire up to 10 cameras remotely; and the updated WFT Server mode lets you remotely use Live View, control settings, and fire the EOS-1D Mark IV over the internet from anywhere in the world using a standard Web browser or many Web-enabled smart phones. Additionally, geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.<\/p>\n

Pricing and Availability<\/strong>
The Canon EOS-1D Mark IV Digital SLR camera is scheduled to be delivered to U.S. dealers in late December, and will be sold in a body-only configuration at an estimated retail price of $4,999.00ii. Final pricing and availability for the Canon WFT-E2 II A wireless file transmitter will be available later this year.<\/p>\n

This is from Vincent LaForet’s blog<\/a><\/h2>\n

In 2008 we witnessed the birth of HD-DSLR Cameras.<\/h4>\n

In 2009 you will be introduced to cameras that can see in the dark better than the naked eye.<\/h4>\n

Just a little over a year ago my jaw dropped when I stumbled upon the 5D MKII and saw 1080p video coming off of a full frame chip for the first time.<\/h4>\n

Just a little over two weeks ago my jaw dropped even harder when I took a prototype of the Canon 1D MKIV outdoors to test it at night. \u00a0I was on the road, it was late and I had just rushed back to my hotel to get to the unit. \u00a0I was expecting a 1D body, with 24p, a 1.3 crop factor sensor, 10 fps for stills, a new AF system – 60 fps at 720p – and of course 1080p video.<\/h4>\n

Nothing prepared me for what happened next.<\/h4>\n

I set the ASA to high – and I pointed it towards an area lit by a single flood light. \u00a0The image was overexposed by 4-5 stops. \u00a0I then started to play with the settings, pointing my light into an area in complete shadow (my eye saw nothing but black) but on the rear of the LCD I saw sharp, green leaves as crystal clear as if it were shot in daylight.<\/h4>\n

I think it\u2019s safe to say that every single filmmaker and photographer has always dreamed of cameras that can see what our naked eyes can see. \u00a0This time these cameras can actually see more. \u00a0 Sure – they may not have the dynamic ranges of our eyes just yet – but they see more than my naked eyes can see in low light.<\/h4>\n

Period.<\/h4>\n

And that\u2019s qualifies as a paradigm shift in my book.<\/h4>\n

The next few years will see photography and filmmaking redefined by technology. \u00a0 While there is no substitute for exquisite lighting – artists will now be able to explore areas once thought impossible to photograph.<\/h4>\n

Think of all of the images you\u2019ve missed throughout your career. \u00a0 Think of all of the places you didn\u2019t even consider going to film – because they were too dark. \u00a0 Those days are now but a distant memory. \u00a0Even if you don\u2019t need to go into the shadows – imaging photographing at f 5.6 or at f 8 at some point soon in areas you are struggling to capture at 1\/50th, f 2.8 at 1600 ASA currently\u2026<\/h4>\n

In many ways these past two weeks felt like Reverie all over again. \u00a0 I had not expected to get the 1D MKIV until after the Photo Plus Expo. \u00a0 \u00a0When I got a voicemail letting me know in a very unceremonious way that two units were waiting for me to try \u00a0\u201dwe need your shipping address\u201d the message said – I was surprised. \u00a0Canon did not have any plans to have me or anyone shoot anything this year in time for the announcement.<\/h4>\n

When I saw what this camera did at night, I pushed the all hands on deck button – calling my friends and colleagues to engage in an \u201cinteresting project\u201d that I could not elaborate on. \u00a0 They pretty much had to trust me that it might be worth their time and commit to it blind.<\/h4>\n

Once again – we had very very little time to prepare. \u00a0Just under 72 hours. \u00a0And we were ALL busy working on other jobs as this economy seems to be awakening again.<\/h4>\n

What you will see below – is what we were able to pull together under a pretty ridiculous deadline. \u00a0Once again there were no film permits (no time\u2026 no time to location scout and apply) no fancy anything. \u00a0But I did have some incredibly talented people out here in LA willing to help on such short notice – we shot over two nights in downtown Los Angeles. \u00a0Most of the cast and crew had worked a 10-12 hour day shift. \u00a0We all worked close to 48 hours straight last weekend. \u00a0Everyone was bitten by the bug if you will – once they saw what this camera could do. I was incredibly fortunate to work with one of the best group of people out there -period.<\/h4>\n

Here is the main point that I hope you take into account: the short film you are about to watch was shot in pretty much the very worst light that I could possibly find in an evening urban landscape. \u00a0I did not chose \u201cpretty lighting\u201d in a mall or under neon signs. \u00a0That would have been cheating in my book.<\/h4>\n

The short was shot near\u00a0East 6th and Mateo St. in Los Angeles<\/span><\/span><\/a> – in an industrial part of the city. \u00a0 If you live in the area – go check out the area – you won\u2019t believe the video you see below came from the poor lighting in that area. \u00a0 Sodium and mercury vapor lights. \u00a0 That\u2019s it. \u00a0Really awful lighting.<\/h4>\n

Not a single external light source was used \/ added. \u00a0In other words I did not use a single flashlight, LightPanel, flood light – nothing. \u00a0 For one shot only I pulled out a silver reflector\u2026 just to say we did it really. \u00a0And yes it worked (see the shot of the young girl.)<\/h4>\n

The ISO stayed locked in the 6400 ASA range – with a very few shots hovering 1 stop above and one or two set to 3200 ASA because we had TOO MUCH depth of field\u2026(on the bridge.) \u00a0At one point I found myself shooting at 12,800 ASA by mistake – and I didn\u2019t even notice any noise on the rear LCD in the skies\u2026 6400 ASA is the new 1600 ASA – maybe even the new 800 ASA. \u00a0Stop to ponder that for a second \u00a0– and what it can mean to the way you approach your craft.<\/h4>\n

In the upcoming days I will share more details, behind the scenes, post workflow etc. A huge thanks goes out to my co-directors Stu Maschwitz, David Nelson and our incredibly resourceful Uber Producer Michele Abbott – and every single member of the cast and crew. \u00a0For now – if you even made it this far – take a look into the shadows:<\/h4>\n
\n\t\t\t
\n\t\t\t <\/div><\/div>\n\t\t