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Author Topic: Canon 1Ds3 specs up !  (Read 29422 times)
BernardLanguillier
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« Reply #40 on: August 21, 2007, 12:57:32 AM »
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Does current line of EF Lenses have enough of resolving power for the 22mp 1Ds Mk III, or we need new/third party lenses?

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Caracalla
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Many a Canon shooter had doubts about the ability of the L lenses to tap into the potential of the 1ds2 sensor already... more pixels (and perhaps sharper pixels) isn't going to help.

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Bernard
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Christopher
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« Reply #41 on: August 21, 2007, 04:34:06 AM »
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Many a Canon shooter had doubts about the ability of the L lenses to tap into the potential of the 1ds2 sensor already... more pixels (and perhaps sharper pixels) isn't going to help.

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Bernard
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Yes and no. I know that for example the longer primes and Zoom lenses are brilliant and will have no problems at all. i.e. 70-200f4, 85, 135, 200, 300, 400, 500 and 600

The problem will be more around 50 downwards and here I have my own solution. I have my 24-105 which peformes quite good (Ok, it's also my third copy), and than I have the 24TSE which is nice. In addition if I need something really wide I will use my Leica R19, which is superb. Alltogether I think I will not have any problems at all, because I prefer to shoot the longer end with my Canons and leave the shorter to my M8 which handels them already better.
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Ronny Nilsen
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« Reply #42 on: August 21, 2007, 05:26:58 AM »
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Yes and no. I know that for example the longer primes and Zoom lenses are brilliant and will have no problems at all. i.e. 70-200f4, 85, 135, 200, 300, 400, 500 and 600
[a href=\"index.php?act=findpost&pid=134469\"][{POST_SNAPBACK}][/a]

But thats not an excuse! Just because there are many lenses that will perform good with the new 1DsMkIII dos not help. As long as there exists some lenses that is not up to the standard of the new camera the release of the camera is wasted and a step in the wrong direction for the industry. You may not enjoy better images with just few handfuls of lenses.  

Regards,
Ronny

But why is it so? The images from a MkIII wit a crappy lens is not going to be worse that an image from  a MkII with the same lens...
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phila
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« Reply #43 on: August 21, 2007, 06:13:24 AM »
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As long as there exists some lenses that is not up to the standard of the new camera the release of the camera is wasted and a step in the wrong direction for the industry.
[a href=\"index.php?act=findpost&pid=134473\"][{POST_SNAPBACK}][/a]

Sorry don't agree. The reality of the situation (for all manufacturers) is that the majority of their existing lens ranges were designed back in film days, and thus (with some notable exceptions) are lacking in performance with high end digital sensors now (or almost now) available. And as much as we would like it, it is unreasonable to expect a manufacturer to completely revamp their entire lens range over night - or even over a year or two. Apart from the physical resources, and sheer time required, most lenses, certainly the professional ones, are made in batches and thus there could be several years worth of stock to be sold before the next production run. Of course they could just dump that stock but would you be willing to pay for that loss with a hefty extra increase in the price of the replacement digital lens?

As it now stands there are quite a few L lenses that I assume will give the best possible results with a 21.1MP sensor. For some these will be enough. Otherwise it is a matter of either "putting up with" less than 100% results with existing, not as well performing, lenses (be very interesting to see what results the new DPP lens correction software provides) and/or wait for Canon to develop new digital lenses (which they have said they need to do) such as the 14 f2.8L II. Or use 3rd party lenses.
« Last Edit: August 21, 2007, 06:21:36 AM by phila » Logged

Ray
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« Reply #44 on: August 21, 2007, 06:21:37 AM »
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There's no need to speculate on what sort of resolution improvement a 21-22mp 1Ds3 will produce, compared with the 1Ds2. Those who own both a 1Ds2 and 20D (or 30D) could take various test shots using the same lens with both cameras and demonstrate the improvement.

I would predict there will be a marginal, but noticeable increase in resolution over the cropped area defined by the 20D with all good lenses, but little or no improvement, with most lenses, in the areas not covered by the 20D field of view.
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phila
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« Reply #45 on: August 21, 2007, 06:24:31 AM »
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There's no need to speculate on what sort of resolution improvement a 21-22mp 1Ds3 will produce, compared with the 1Ds2.
[a href=\"index.php?act=findpost&pid=134480\"][{POST_SNAPBACK}][/a]

And not everyone will be trading up from a 1Ds MkII. In my case it will be from a 1D MkII. I'm sure I'll be noticing quite a difference!
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Ronny Nilsen
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« Reply #46 on: August 21, 2007, 06:29:06 AM »
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Sorry don't agree.
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It's was supposed to be a friendly humorous remark to those that feel that it's no point in a camera with more resolution.  

I agree with you, and as long as there are lenses that can utilize the camera today I see the new camera as a good thing. Better to have a camera that is better than many lenses, than a camera limited to an average lens.  At least you have option of getting a superior image.
« Last Edit: August 21, 2007, 06:33:51 AM by ronnynil » Logged

Craig Lamson
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« Reply #47 on: August 21, 2007, 06:59:10 AM »
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I hear you. I feel the same.

Instead of improving the problem areas I think they took a side road which is not very practical for the folks who are shooting advertising or even just plain commercial work.

I just finished a 12 location in 14 days in 8 states shoot and other than Delta not flying my gear on one of the trips (plane was over the weight limit and they elected to leave my gear on the tarmac) the biggest issue was loosing the camera connection due to the dinky 4 pin connection on the camera. Also, the most recent version of DPP seems a bit more flacky - we have to restart it 3-4 times for it to get it in the right folder - didn't have this before.

I love being able to shot my jobs tethered with the II but the III doesn't look like it will be better in any way. Maybe I am wrong but it is bad enough when you shoot some stuff and the camera says "busy" and you know those images are gone forever. Now we only have wi-fi and that really scares me. (Sorry, USB is not an option at 5 meters or using a hub to extend to a longer length).

Who were you listening to Canon?

Ken Gehle
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I guess everyones mileage will vary.  I shoot the MKII in the studio every day, since it was introduced. Its ALWAYS tethered with C1 at the backend.  In all that time I can't remember the last time I lost a connection, and thats with a 30' cable. A simple velcro cable tie from the firewire to the camera strap eliminates any problems with the cable pulling out.  I just had the 4 pin in the camera replaced,  not because it had failed but because it seemed loose and it was time.   Did I like the 6 pin better? Sure.  Does the 4 pin work? Yep.

I've also been using the 5d with a 30' usb.  Moving to the MKIII will not be a problem.

Anyone have a MF solution that gives me a 12mm look?  

YMMV.
« Last Edit: August 21, 2007, 07:00:13 AM by infocusinc » Logged

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Mark_Tucker
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« Reply #48 on: August 21, 2007, 07:35:11 AM »
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I just had the 4 pin in the camera replaced,  not because it had failed but because it seemed loose and it was time.   Did I like the 6 pin better? Sure.  Does the 4 pin work? Yep.

I love the human brain's uncanny ability to justify bad design.

Doesn't it just give you a warm and fuzzy feeling to insert that FW cable, and you feel the entire FW port move up and down vertically, due to the constant downward pressure from a heavy 30' cable, on a tiny 4-pin receptor?

I even added that black rubber "collar" from FotoCare, to somewhat prop up the downward force on the cable, and then added quite a bit of paper tape to lock in the cable into the camera. It made for a very elegant presentation -- blue painters tape wrapped all over the 1ds2 body.

Three years of bitching to Canon about the firewire connection, and we get USB-2. You gotta love it. Yeah, they're listening.
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ronno
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« Reply #49 on: August 21, 2007, 08:56:05 AM »
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I love the human brain's uncanny ability to justify bad design.

Doesn't it just give you a warm and fuzzy feeling to insert that FW cable, and you feel the entire FW port move up and down vertically, due to the constant downward pressure
[{POST_SNAPBACK}][/a]

As I said [a href=\"http://luminous-landscape.com/forum/index.php?showtopic=18997]elsewhere[/url], the USB on the 5D has proven to be VASTLY more reliable than the lame firewire in the 1Ds2/1D2 cameras in my studio. I have had to send the 1Ds2/1D2  cameras back for firewire port repair many, many times in the past few couple years.
The 5D's USB ports have been rock solid and plenty fast (I have 3 bodies which get daily tethered use) -- although they still need to be  gaffered to the vertical grip so the cable does not come out...
Therefore I much prefer the USB option. Especially because in practice, the USB does not seem slower than Canon's firewire...

I.M.O.
-ron
« Last Edit: August 21, 2007, 09:03:04 AM by ronno » Logged
Craig Lamson
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« Reply #50 on: August 21, 2007, 11:02:54 AM »
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I love the human brain's uncanny ability to justify bad design.

Doesn't it just give you a warm and fuzzy feeling to insert that FW cable, and you feel the entire FW port move up and down vertically, due to the constant downward pressure from a heavy 30' cable, on a tiny 4-pin receptor?

I even added that black rubber "collar" from FotoCare, to somewhat prop up the downward force on the cable, and then added quite a bit of paper tape to lock in the cable into the camera. It made for a very elegant presentation -- blue painters tape wrapped all over the 1ds2 body.

Three years of bitching to Canon about the firewire connection, and we get USB-2. You gotta love it. Yeah, they're listening.
[a href=\"index.php?act=findpost&pid=134489\"][{POST_SNAPBACK}][/a]


I did not justify it, I just learned to deal with it. Thats how life works.  You make the best of things because nothing made by man will ever be perfect nor suit everyone.

 My solution works great, and has since the start.  And it looks quite reasonable. I'm sorry you could not find  another solution besides tape, but they are out there.  

I don't know why you are complaining  Mark.  You have stated your huge dislike of the format, so why complain?  Because Canon did not build you a MF camera?  Exactly what were the chances YOU would have switched?  About zero?

You don't like the camera or Canon?  Fine.  I don't really care.  The MKII has made me a lot of money and has been as solid as a rock.   Show me ANY MF solution that will fill my needs and I'll buy it.  Problem is that solution does not exist.

USB works great, si I  don't see the problem.  But then again I tend not to complain about the little stuff, life is way too short.

Pardon me but I have to get back to work.  I have a studio full of product and my poor old MKII with the 4 pin connection is about to make me some more money.
« Last Edit: August 21, 2007, 11:05:27 AM by infocusinc » Logged

Craig Lamson Photo
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gehle
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« Reply #51 on: August 21, 2007, 11:25:25 AM »
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I guess everyones mileage will vary.  I shoot the MKII in the studio every day, since it was introduced. Its ALWAYS tethered with C1 at the backend.  In all that time I can't remember the last time I lost a connection, and thats with a 30' cable. A simple velcro cable tie from the firewire to the camera strap eliminates any problems with the cable pulling out.  I just had the 4 pin in the camera replaced,  not because it had failed but because it seemed loose and it was time.   Did I like the 6 pin better? Sure.  Does the 4 pin work? Yep.

I've also been using the 5d with a 30' usb.  Moving to the MKIII will not be a problem.

Anyone have a MF solution that gives me a 12mm look? 

YMMV.
[a href=\"index.php?act=findpost&pid=134485\"][{POST_SNAPBACK}][/a]

OK, works for you. I shoot entirely on location and try to do it tethered because the ADs love the show of seeing the shots go by on a 22" LCD. I use a tethergrip to hold the cable and even gaffers tape. What a pain. All they had to do was bring back the 6 pin connector!

So tell me more about a 30' USB cable. How do you do it?

Ken Gehle
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Chris_Brown
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« Reply #52 on: August 21, 2007, 12:29:48 PM »
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So tell me more about a 30' USB cable. How do you do it?
Nah, go for the wireless transmission. Screw the cables. I was hoping for FW800, but I guess Canon thinks wireless is more productive or has a potentially longer life span when looking into future generations. What I couldn't find in any info was the time of transmission for a 22MP raw file.
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gehle
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« Reply #53 on: August 21, 2007, 01:05:41 PM »
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Nah, go for the wireless transmission. Screw the cables. I was hoping for FW800, but I guess Canon thinks wireless is more productive or has a potentially longer life span when looking into future generations. What I couldn't find in any info was the time of transmission for a 22MP raw file.
[a href=\"index.php?act=findpost&pid=134565\"][{POST_SNAPBACK}][/a]

As long as it works I will. I do have more fear about sending my pixs through the air then down a cable though. Plus having a Plan B (a cable) is always a good thing when the Murph God is in.

Ken Gehle
« Last Edit: August 21, 2007, 03:52:39 PM by gehle » Logged
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« Reply #54 on: August 21, 2007, 02:22:19 PM »
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As long as it works I will. I do have more fear about sending my pixs through the air then down a cable though. Plus have a Plan B (a cable) is always a good thing when the Murph God is in.
I live with Murphy and he sez use a Cat5 ethernet cable for backup.  
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Mark_Tucker
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« Reply #55 on: August 21, 2007, 02:35:56 PM »
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If you want added Stress, (as if there isn't enough in a bigger job), I'll try to find that link to SportsShooters, where that newspaper guy rigged up that WIFI unit, covering the red carpet event at the Academy Awards. (Hint: I think it involved plywood and at least one entire roll of duct tape).

No thanks to WIFI, if there's money on the table. You guys go first, and then call us. I've seen enough episodes of Star Trek, thank you.

And separate from this, where is a built-in Pocket Wizard Transmitter? Canon claims how revolutionary their camera is; why does it still require a cell phone mounted on the hot shoe?

My Bitch List is getting longer. Three years of quality feedback related to the 1ds2 to that Chuck Westfall guy, direct from studio photographers, and all we get is an upgraded 1DMIII, with a few more pixels and a slightly larger LCD?

All I can say is, Phase and Leaf must be breathing a sigh of relief.
« Last Edit: August 21, 2007, 02:42:35 PM by Mark_Tucker » Logged
Craig Lamson
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« Reply #56 on: August 21, 2007, 06:55:33 PM »
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OK, works for you. I shoot entirely on location and try to do it tethered because the ADs love the show of seeing the shots go by on a 22" LCD. I use a tethergrip to hold the cable and even gaffers tape. What a pain. All they had to do was bring back the 6 pin connector!

So tell me more about a 30' USB cable. How do you do it?

Ken Gehle
[a href=\"index.php?act=findpost&pid=134547\"][{POST_SNAPBACK}][/a]

Here's how....if you don't use a neckstrack then put a split ring in its place.  Simple, cost effective and it works.
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Christopher
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« Reply #57 on: August 21, 2007, 08:15:02 PM »
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Some people will just never be happy .... That is a plain fact.
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gehle
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« Reply #58 on: August 21, 2007, 08:33:33 PM »
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Here's how....if you don't use a neckstrack then put a split ring in its place.  Simple, cost effective and it works.
[a href=\"index.php?act=findpost&pid=134672\"][{POST_SNAPBACK}][/a]

I understand that. What I asked was how you got a 30' USB cable for your 5D. USB is good only to 5m (16 feet) and no longer without a hub. You might want to edit your post to correct your statement error

Going back to my complaint (and I believe Mark Tucker's as well) is why a professional camera uses a 4 pin dinky connecter when there is a 6 pin that does the job soooo much better. You never heard complaints about the firewire port on the original 1Ds, did you? The 4 pin sucks big time and now we have a USB connector that, IMO, sucks even more. I shot with a 15' FW until I went to 25' and there is a difference. I am not a lock down guy and I move a bit but I like to shoot tethered and the ADs like it too. So do the assistants (no card handling).

Jeez all, this is an $8,000.00 camera with a .25 connector. What the heck are they thinking? Mark Tucker is right about you all making mental compromise.

Will I get the III? You bet I will because of the improvements. Will I be happy with the continued short falls? Hell no. Will I bitch about it? Right now I am but I will find a work around. That is what we call "gaffers tape: the work around".

Ken Gehle
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Craig Lamson
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« Reply #59 on: August 21, 2007, 08:57:19 PM »
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I understand that. What I asked was how you got a 30' USB cable for your 5D. USB is good only to 5m (16 feet) and no longer without a hub. You might want to edit your post to correct your statement error

Going back to my complaint (and I believe Mark Tucker's as well) is why a professional camera uses a 4 pin dinky connecter when there is a 6 pin that does the job soooo much better. You never heard complaints about the firewire port on the original 1Ds, did you? The 4 pin sucks big time and now we have a USB connector that, IMO, sucks even more. I shot with a 15' FW until I went to 25' and there is a difference. I am not a lock down guy and I move a bit but I like to shoot tethered and the ADs like it too. So do the assistants (no card handling).

Jeez all, this is an $8,000.00 camera with a .25 connector. What the heck are they thinking? Mark Tucker is right about you all making mental compromise.

Will I get the III? You bet I will because of the improvements. Will I be happy with the continued short falls? Hell no. Will I bitch about it? Right now I am but I will find a work around. That is what we call "gaffers tape: the work around".

Ken Gehle
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My original statement stands as written.  I have 3-10' usb cables connected together....no hub and it works perfectly. Specs be danged, it works.

Why am I making a mental compromise?  This is how the camera comes.  I CAN'T CHANGE IT.  Either I find a way to work with it or not.  Its that simple.  We are supposed to be pro's, either we figure out a way or move on.   I choose not to move on.  

I still have my original 1Ds, as I do my 500c/m's (flaws and all) my Sinars and Horsemans (flaws and all) and so what.  NONE of them are perfect.  Who cares you either make it work or you don't.

You can complain until the cows come home but this is the bottom line.  You vote with your pocketbook.  You don't like the camera, just don't purchase it.  

Bitching is pointless and changes nothing at this point.
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