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1DSMK3 specs & availability

Paul Bestwick

pro member
check it out. Available December 2007. (this info is on Amazon. I have done a cut & paste in case the Amazon page gets pulled)



Product Features
21.1-megapixel full-frame CMOS sensor
Large 3.0-inch LCD display with Live View and seven brightness settings
5 fps at shutter speeds 1/500 second or faster (for bursts of up to 45 Large/Fine JPEGs or 15 RAW images)
sRAW mode; 35-zone metering system; 45-point AF; integrated Self-Cleaning Sensor Unit
Powered by LP-E4 lithium-ion battery pack; stores images on CF, SD, or some SDHC memory cards
Technical Details

Effective resolution: Approximately 21.1 million pixels (total pixels: approximately 21.9 million)
Recording pixels: 5616 x 3744
Sensor type: Full-frame CMOS sensor, with primary R-G-B filtration (28 x 18.7 millimeters)
Pixel size: 6.4 microns square
Lens focal length factor: None (1x)
Imaging processor: Dual DIGIC III image processors
Maximum frames per second: 5 frames per second (fps) at shutter speeds 1/500 second or faster, in all recording modes
Drive modes: Single; silent (single-frame); high-speed continuous (5 fps; adjustable 5 to 2 fps); low-speed continuous (3 fps; adjustable 4 to 1 fps)
Maximum number of frames / burst: JPEG: 45 (full-resolution, Level-8 fine compression); RAW: 15; RAW plus JPEG: TBA
Flash sync speed: Up to 1/250, with EX-series Speedlites
Shutter "lag" time: Approximately 55 milliseconds (from half-way to fully depressing shutter button)
Start-up time: 0.15 seconds
Image type: JPEG, RAW (14 bit); improved A/D conversion to 14-bit processing for 16,384 individual tones
Highlight tone priority: Improve tonal range in highlight areas by approximately 1 stop (C.Fn II-2)
Noise reduction: Long exposures 1 second and longer (C.Fn II-1); high-speed ISO images (C.Fn II-2)
Storage media: Compatible with two card slots and external storage media; CompactFlash (Type I or II, including MicroDrives); SD card slot (SDHC-compatible for 2GB higher SD cards); USB external hard drives (requires optional WFT-E2A wireless transmitter)
Recording options: Multiple media recording options: record to only one memory card; record the same image to both SD and CF card; record RAW image to a CF card and JPEG image to a SD card
New additional features: Files can be automatically written to another media if card beomes full; select different image sizes and save to different media (example: different JPEG sizes); record same image using all three media options, including external hard drive; copy files manually from one card to another, or to connected USB hard drive
Image format options: JPEG (compression adjustable in 10 steps on menu); RAW ("CR2" RAW file format); RAW + JPEG (selectable on rear LCD panel); sRAW ("CR2" small RAW file format; 1 /4 file size of full-resolution RAW, approximately 5.2 megapixels)
Resolution options: Large: 5616 x 3744 (approximately 21.0 million pixels); "Medium 1": 4992 x 3328 (approximately 16.6 million pixels); "Medium 2": 4080 x 2720 (approximately 11.0 million pixels); "Small": 2784 x 1856 (approximately 5.2 million pixels); "RAW": 5616 x 3744 (approximately 21.0 million pixels); "sRAW": 2784 x 1856 (approximately 5.2 million pixels)
Data recording format: DCF 2.0 and EXIF 2.21; EXIF 2.21--applies "Adobe 1998 RGB" color space tag to images
Sound recording: Maximum 30 seconds per sound clip (more than one clip can be assigned to each image)
Folder settings: Create new folder and select on memory card
3-part approach to dust reduction: EOS Integrated Cleaning System; self-cleaning sensor unit--low pass filter in front of the sensor vibrates at a very high frequency for about four seconds to "shake" off loose dust and dirt; occurs on start-up and shut down--can also be activated by user or totally disabled; Dust Delete Data: a test shot is taken and any dust spots are "mapped" and added to each image's text data; automatic removal possible in Canon DPP software; manual: user can lock up mirror to blow off any dust or have service technician wipe sensor clean
LCD monitor: 3.0-inch (diagonal) TFT color; approximately 100% coverage; approximately 230,000 pixels
Playback options: Single image; single image with info and histogram; 4-index or 9-index image; magnified zoom display
Live View type: Electronic viewing of scene, directly off imaging sensor, on LCD monitor
Coverage: Approximately 100%
Metering: Real-time evaluative metering (off CMOS imaging sensor)
Grid display: Two vertical and two horizontal lines; can be turned on or off by user
Aspect ratio: Masking for 6:6, 3:4, 4:5, 6:7, 10:12, and 5:7
PC live view: Enabled using EOS Utility (v.2.0) (use computer monitor as viewfinder)
Shutter speed range: 30 seconds to 1/8000, plus bulb (1/3, 1/2, or full-stop increments when user-set)
Maximum flash sync speed: 1/250 second
Anticipated shutter durability: 300,000 exposures
ISO range: 100 to 1600, in 1/3-stop increments; ISO 50 and 3200 can be added via ISO extension on menu; new ISO safety shift (camera shifts ISO in Tv or Av mode if needed to preserve exposure)
Exposure modes: Manual, Aperture-priority, Shutter-priority, Program, Bulb
Metering: 63-zone metering linked to 19 AF points; Evaluative metering (63-zone, linked to active AF point); Center-weighted metering; Partial metering (approximately 8.5% of the picture area); Spot metering (approximately 2.4% of the picture area); Options: Center only; linked to any of 19 AF points; and Multi-spot metering up to 8 readings
Metering range: EV 0 to 20 (all patterns; at normal temperatures)
Exposure compensation: Possible in any Auto exposure mode; up to +/- 3 stops, in 1/3-stop increments
Exposure bracketing: 2, 3, 5, or 7 shots (selectable with C.Fn I-6); up to +/- 3 stops, in 1/3-stop increments; Standard Auto bracketing, via aperture and/or shutter speed
Compatible flashes: Canon EX-series Speedlites (TTL flash not possible with non-EX speedlites)
E-TTL II: 63-zone metering with EX-series speedlites; evaluative E-TTL flash metering (can be averaged over all 63 metering zones); distance information now used from compatible Canon EF lenses for flash calculations
Flash metered manual: Possible with flash in Manual mode, via FEL button
Flash exposure lock: 2.4% Spot metering of pre-flash illumination
Flash exposure compensation: Possible on body for certain speedlites (up to +/- 3 stops, in 1/3-stop increments)
Flash exposure bracketing: Possible with 580EX II, 580EX, 550EX, MR-14EX, and MT-24EX (set on Speedlite)
Hi-speed flash speed: Possible with EX-series Speedlites, up to 1/8000 second , normal maximum x-sync is 1/300
PC socket: Standard; sync line voltages up to 250v are OK through PC socket or hot shoe
Number of AF points: 45 (inside of ellipse area of focus screen); 19 high-precision cross-type points (require f2.8 or faster lens for cross-type coverage); 26 assists points (require f5.6 or faster lens)
Number of cross-type points: 19 points--any of these can be user-selected with manual AF point selection (high-precision type points; require a f2.8 or faster lens; center point requires f4 or faster)
Focus modes: One-Shot AF (for stationary subjects); AI Servo AF (for tracking moving subjects)
Manual AF point selection: 19 AF points ( default); inner 9 AF points (via C.Fn III 9-1); outer 9 AF points ( via C.Fn III 9-2)
Automatic AF point selection: Possible in both One-shot and AI Servo AF modes
AF On button: AF button on rear of body executes AF and metering; AE Lock button can switch functions with AF On button via C.Fn IV-2-1
Viewfinder coverage: 100%, vertically and horizontally
Eyepoint: 20 millimeters
Magnification: 0.75x
Focusing screen: Ec-C IV (new standard focusing screen); interchangeable with Ec-series screens from all previous EOS-1 series cameras
Diopter: -3 to +1.0 (user-adjustable); further adjustment possible with Eg series diopter lenses
Mirror lock-up: Possible via C.Fn III-14; new: option to have mirror remain up for multiple pictures, until SET button is pressed
Eyepiece shutter: Built-in; activated by lever to right of eyepiece
White Balance modes: Auto (WB is read off of CMOS imaging sensor only); Pre-set (Daylight, Shade, Cloudy Tungsten, Fluorescent, Flash); Custom (reading taken off 18% gray card or white object; up to 5 custom readings can be stored); Color Temperature (range 2500k to 10,000k; 100k increments); Personal WB settings--PC-1 to PC-5 (up to five, created in computer and uploaded into camera)
White Balance compensation: Alter white balance in amber-blue direction, and/or magenta-green direction +/- 9 levels
White Balance bracketing: Alter White Balance in amber-blue direction or magenta-green direction, up to 15 mireds
Picture Style: Allows user to easily adjust the "look" of JPEG images, or RAW files processed with Canon software; six presets: Standard, Portrait, Landscape, Neutral, Monochrome, Faithful; adjustable settings: Sharpening, Contrast, Color Saturation, and Color Tone
Digital terminal: USB 2.0 Hi-speed (Type B port)
Video output terminal: NTSC/PAL
System extension terminal: 15-pin terminal (connects new wireless file transmitter WFT-E2A)
Remote control terminal: N3-type terminal
Custom functions: 57 Custom Functions (personal functions built into Custom Functions)
My Menu: Up to six menu settings can be stored separately for quick access
Battery: Lightweight LP-E4 lithium-ion battery pack
Battery information: Current power source in use (battery, AC adapter, etc.); remaining capacity (displayed in 1% increments, on camera's LCD monitor); current shutter count on this battery charge; recharge performance (displays when battery should be discarded; 3 levels)
Main switch: Three settings: Off, On, and On with Quick Control Dial active
Camera body exterior material: Magnesium alloy
Chassis material: Magnesium alloy, including mirror box
Operating temperature range: 32 degrees to 113 degrees F (0 degrees to 45 degrees C); 85% or lower relative humidity
Dimensions (W x H x D): 6.1 x 6.2 x 3.1 inches (156 x 160 x 80 millimeters)
Weight (without battery or CF card): 41.3 ounces (1205 grams)
 
Last edited:
There seems to be something wrong with the specs. 18.7×28 is not full frame. The crop factor is 1.3.

However, the resolution and 6.4µ pixel size does compute to full frame.
 
Last edited:
check it out. Available December 2007.
Interesting, very interesting.

Unfortunately, a 14-bit ADC (instead of 16-bit) combined with a 6.4 micron sensel pitch will almost certainly mean a loss of Dynamic Range
compared to the 1DsMk2 (and the 1DMk3 but that's not intended for the same audience). How much of a loss it will be exactly, depends on the improvements of the fill-factor (which is not known at this time) and improvements in reducing electronic/banding noise.

It seems like serious postprocessing will be needed to reduce the losses to an absolute minimum. Well, it also means it's time for a new computer (was overdue for me anyway, I just needed another push) to host the 'bag-of-tricks' needed to achieve that, and do it in a reasonable time.

Bart
 

Asher Kelman

OPF Owner/Editor-in-Chief
The specs are pretty well what was tested in early 2006. Not much progress for a company that can produce a camera from scratch in 3 months. 16 BIT should be provided by now. Otherwise the gap between the 1Ds flagship and the best MF backs has not been narrowed....

..unless the processing is unusually remarakable.

Apart from action shots, we can use manual everything. We don't need more "features" just better wide angle lenses and pixels!

Asher
 

Steve Saunders

New member
Apart from the extra pixels and stuff that the MkIII has, there isn't a lot to get the pulse racing. 5 fps could have been bettered surely?
 
Apart from the extra pixels and stuff that the MkIII has, there isn't a lot to get the pulse racing. 5 fps could have been bettered surely?

At almost 110 MP (approx. 192 MB) per second, it already seems impressive. And it would be limited to 1/500s or shorter exposures, not that commonly encountered in more studio-like shooting situations. It would be nice, but it is already better than the 3 fps of the 1DsMk2.

Bart
 

John Sheehy

New member
Interesting, very interesting.

Unfortunately, a 14-bit ADC (instead of 16-bit) combined with a 6.4 micron sensel pitch will almost certainly mean a loss of Dynamic Range
compared to the 1DsMk2 (and the 1DMk3 but that's not intended for the same audience). How much of a loss it will be exactly, depends on the improvements of the fill-factor (which is not known at this time) and improvements in reducing electronic/banding noise.
I doubt that anything but analog sensor-read and ADC noises are going to limit DR.
 

John Sheehy

New member
16 BIT should be provided by now.
12 bits is just about right for ISO 50/100 on the 1D cameras. The analog noise is too high for any more than 12 bits to be appreciated in the output. Now, a 16-bit ADC *might* create less noise, and might be worth using, but most likely, the extra bit depth need not be in the output, unless one is going to stack a number of images for greater S/N ratios, in which case the tiny amounts of extra signal in the extra bits might surface visibly.

There might be some benefit in the extra bits in some converters, as it might force them to use more precision in the conversion process. That doesn't need real noise data in the LSBs, though, you could just compress away everything beyond 12 bits in the RAW file, as zeros, and have the file the same size as a 12-bit, but with padding to force more precision in the converters.
 

Asher Kelman

OPF Owner/Editor-in-Chief
There might be some benefit in the extra bits in some converters, as it might force them to use more precision in the conversion process. That doesn't need real noise data in the LSBs, though, you could just compress away everything beyond 12 bits in the RAW file, as zeros, and have the file the same size as a 12-bit, but with padding to force more precision in the converters.
John,

Do you think that is what Leica has done with the M8 which works in 14 bit but delivers 12 bit DNG RAW files!

Asher
 

Steve Saunders

New member
At almost 110 MP (approx. 192 MB) per second, it already seems impressive. And it would be limited to 1/500s or shorter exposures, not that commonly encountered in more studio-like shooting situations. It would be nice, but it is already better than the 3 fps of the 1DsMk2.

Bart

Good point Bart. The "PC live view: Enabled using EOS Utility (v.2.0) (use computer monitor as viewfinder)" will be quite useful for the studio as well.
 
I doubt that anything but analog sensor-read and ADC noises are going to limit DR.
Part of the improvement from the finer tonal resolution from 14 or 16-bit is in the better ability to separate detail in the shadows (the highlights are photon shot noise limited anyway). When a single 12-bit digital number difference at ISO 100 represents approximately a difference of 18 photons, a 14-bit quantization (ilke in the 1DMk3) would represent approx. 15 photon differences. When the noise we need to quantize is less than 15 photons, it can be accurately represented, and on average we might distinguish between approx. 7 photons in round-off under ideal circumstances. That means we might resolve the Least Significant Bit (LSB) with a slightly better accuracy. When we can resolve lower noise, we improve the Shadow S/N ratio, and if we reduce the shadow noise we will increase system Dynamic Range.

Of course, reducing the active surface of a sensel changes the equations adversely, so 16-bit accuracy would be needed to counter that somewhat.

Another benefit of higher bit accuracy is still the fact that any given noise level will be less amplified (= become less visible) when scaling to 16-bits. A 12-bit noise for example will be multiplied by 16 to reach 16-bit output, a 14-bit noise will be scaled by a factor of 4, and 16-bit noise will remain unamplified as it is. It won't affect the S/N perse but it will affect the visibility, especially when we reach unity gain levels, which are also lower when sensel surface area is reduced, hence the ISO limitation of the 1DsMk3 versus the 1DMk3.

Bart
 

Paul Bestwick

pro member
CPS

an email I received from CPS today.

To our valued CPS Members,

With pleasure, Canon announces another breakthrough product continuing our leadership in digital SLR cameras: the new EOS 1Ds Mark III.

Innovative performance and unrivalled SLR quality takes studio photography to a new level. This camera is hot!!!

Shipping in November as a replacement for the leading EOS 1Ds Mark II, you can find out more about the EOS 1Ds Mark III at: www.canon.com.au

A Press Release and Specifications Sheet is also attached for your reference. Please don't hesitate to contact your Canon professional Dealer or CPS on 1800 804 240 if you have any questions.


Thank you.

Rick Slowgrove and Jay Collier

Canon Professional Services
Canon Australia
1 Thomas Holt Drive
North Ryde NSW 2113
PH: 1800 804 240
Fax: 02 98874484
Email: cps@canon.com.au
www.canon.com.au/cps
 

John_Nevill

New member
I did read somewhere that Canon have modified the mirror to provide EF-S compatibility in sRAW format. Can anyone confirm this, or was it pure speculation?
 

John Sheehy

New member
I want 16-bit processing, to compensate for the smaller sensels.
Smaller sensels will give slightly more shot noise at the pixel level . What the read noise is like depends a lot on the technology; multiple read channels allow low read noise with significant burst rates.

This concept of "compensating" doesn't jive, in my view. You can't compensate for noise with a higher bit depth. If anything, the noisier the pixels, the less bit depth you need to capture most of the signal.
 

Nicolas Claris

Administrator/Moderator
I did read somewhere that Canon have modified the mirror to provide EF-S compatibility in sRAW format. Can anyone confirm this, or was it pure speculation?
Hi John

this info is pure speculation… no EF-S as they say in the specs, you may download a complete comparison I made on the European CPS site, between 1DS3 - 1DS2 - 1D3

Here
 

John_Nevill

New member
Nicolas, thanks for clearing that issue up.

I must admit, the 1DsMkIII does look tempting, especially since I have just committed to 6 day safari shoot in Kenya next year.

If the pixels increase and DR of this camera do come together, I may well have to beg, borrow or steal one.
 
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