Canon USA has announced the EOS 1D Mk. IV, a 16.1 megapixel Digital SLR which features an APS-H sized CMOS sensor and dual DIGIC 4 processors and the same HD video recording capability and frame rates as the EOS 7D. The camera is a nearly identical twin to the earlier EOS 1D Mk. III, takes the same LP-E4 battery pack as before, and shoots still images at ten frames per second. The camera has a dramatically increased ISO range, going up to 12,800 in standard mode and 102,400 in expanded mode. The MSRP will be $4999. More details in the full text of the press release, available below.

INTRODUCING THE ULTIMATE MULTIMEDIA IMAGING SOLUTION:
THE NEW CANON EOS-1D MARK IV DIGITAL SLR CAMERA

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

LAKE SUCCESS, N.Y., October 20, 2009 – Canon U.S.A., Inc., 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’s most rugged and durable professional camera body.

The crowning achievement of Canon’s 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’clock 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.

“Canon 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’s action photography, photojournalism or HD video and cinematography,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

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.

New 45-Point Autofocus System
The new EOS-1D Mark IV Digital SLR camera features Canon’s 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.

Amazing High ISO Performance
Wedding and event photographers shooting in low light without the benefit of a flash can take advantage of Canon’s widest ISO range and highest performance ever. The EOS-1D Mark IV camera’s 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’s adjustable High ISO Noise Reduction feature, now a default setting in the camera.

The EOS-1D Mark IV, EOS HD Video Powerhouse
Over the past year, Canon’s 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’s 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.

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 – 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.

Image Quality and Performance
The heart of the EOS-1D Mark IV camera’s outstanding image quality is a newly developed 16.1-Megapixel CMOS sensor featuring Canon’s 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.

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.

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’s Highlight Tone Priority feature that takes maximum advantage of the camera’s extensive dynamic range to preserve detail in highlight areas of the image. Canon’s 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.

The EOS-1D Mark IV Digital SLR features Canon’s 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.

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.

Minimize Post-Production with Enhanced Canon Auto Lighting Optimizer
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’s 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’s 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’s ALO works with both RAW[i] and JPEG images as well as video recording.

Rugged Reliability
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’s 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’s 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.

New Wireless Connectivity
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’s 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.

Pricing and Availability
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 $4,999.00[ii]. Final pricing and availability for the Canon WFT-E2 II A wireless file transmitter will be available later this year.

Canon Digital Learning Center
Online visitors and Web surfers are encouraged to browse the Canon Digital Learning Center and take advantage of the various educational resources that Canon has to offer for novices and advanced photographers alike. The Canon Digital Learning Center provides a schedule for a wide variety of Live Learning classes across the country with renowned photographers as well as online resources and tips. The site also features online tutorials for beginners and professionals to learn their way around a digital SLR camera and inkjet printer and unlock the full creative control of digital photography. To learn more about each program and register, please visit: www.usa.canon.com/canonlivelearning

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked third overall in the U.S. in 2008†, with global revenues of US $45 billion, is listed as number four in the computer industry on Fortune Magazine's World’s Most Admired Companies 2009 list, and is on the 2009 BusinessWeek list of "100 Best Global Brands." Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. At Canon, we care because caring is essential to living together in harmony. Founded upon a corporate philosophy of Kyosei – "all people, regardless of race, religion or culture, harmoniously living and working together into the future" – Canon U.S.A. supports a number of social, youth, educational and other programs, including environmental and recycling initiatives. Additional information about these programs can be found at www.usa.canon.com/kyosei.

†Based on weekly patent counts issued by United States Patent and Trademark Office.

# # #

Specifications and availability are subject to change without notice.
All referenced product names, and other marks, are trademarks of their respective owners.

[i] When processed in Canon Digital Photo Professional software.
[ii] Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.

Vincent Laforet already made a video with it. Looks amazing.

http://blog.vincentlaforet.com/2009/10/19/lights-out-camera-action/

Update: Stu Maschwitz worked on the short film and posted about it here: http://prolost.com/blog/2009/10/19/nocturne-and-the-canon-1d-mark-iv.html

Wow, way to go Chris! You beat dpreview, I am impressed.

Scarlet Killer ?

It won't be as long as Canon/Nikon etcetera don't come with video dedicated buttons, knobs and dials on these cameras. Also, the handgrip should be used to accommodate two XLR inputs. We are heading in the right direction but we aren't there yet.

Scarlet Killer ?

Perhaps not at the higher end, but the 35mm adapter market must be seriously hit, especially if some of problems handling detailed subject matter have been solved and the skewing reduced.

The 2/3" Scarlet has a lot of advantages for many productions, which don't require the shallow DOF effect. The 120 fps is a big advantage for wild life photography for example and long focal length stills lenses on the smaller sensor are workhorses for that.

Looking at the word "press" in the release they seem to have an eye on the news market

Most of us that have been waiting for Scarlet own and use other cameras, so it's no big deal and certainly not something worth worrying about. I might even buy this little baby as it's a better piece of kit than the 5D and 7D.

I think Vincent Laforet's video is great and works both as a short film and a marketing tool.

Compare Canon's release of this product to Sony's effort today to announce their new cameras, chalk and cheese. Indeed, rather than Scarlet the real loser with the release of this camera is the EX1.

That's the problem with announcing cameras before they're even developed. Anyone considering a just announced RED camera design project should add 2 years before seeing it as a production item (also allow for the design changes).

The EX series have been impressive with what they've offered for the money and I suspect the series will continue doing rather nicely for a while yet. I expect Sony have the next generation design in their CAD system and more than likely in prototype form.

Not sure where to post this Chris,

Just had a look at the low resolution video from the 1DM4, most of the shots are locked off but at 02:15 (Prairie Dog) you can see a little cmos wobble.

Also at 4:25 street scene, you can see the usual red/blue aliasing stepping on the shop awnings and again at 04:32 in between the logs and widow frames.

I know it seems nit picking at the moment but you have to start somewhere.

James

Ref:
Sample Movie (http://web.canon.jp/imaging/eosd/samples/eos1dm4/player_bluemoon/movie.html?high)

Nocturne - Vincent Laforet's Photos- powered by SmugMug

Impressive low noise at 1080p.

Not a lot said about sound on this one. Chris's post indicates internal or external mic, but nothing on level meters, and control of the levels. Wonder if they were listening on that front.
They could certainly take Tramm's Magic Lantern as a model, and develop from there.

I think the extra weight is enough to discourage me from this but I am curious...

Announced:
Canon EOS-1D Mark IV Digital SLR (http://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=139&modelid=19584)

Advanced Movie Recording for Myriad Applications.
EOS HD movie with manual exposure control and multiple frame rates (1080: 30p (29.97) / 24p (23.976) / 25p, 720: 60p (59.94) / 50p, 480: 60p (59.94) / 50p).


The EOS-1D Mark IV captures video with all the benefits of shooting with an EOS digital SLR. The HD recording area on the EOS-1D Mark IV is approx. 27.9mm x 15.7mm, similar when compared to the 24.89 x 18.65mm recording area of Super 35 motion picture film. By shooting video with a large sensor camera, photographers as well as videographers can take advantage of the creative features native to SLR photography. Along with its manual controls, the EOS-1D Mark IV allows for full use of Canon EF lenses, including wide angle, macro, super-telephoto, tilt-shift lenses and fisheye, providing a wealth of depth-of-field and other creative shooting options once reserved only for still photography. The resulting HD video is a standout in its stunning depth-of-field characteristics, remarkable capture capability under poor lighting conditions with its vast ISO range, and deep clean blacks with nearly undetectable noise.

When shooting HD video in AE modes, the EOS-1D Mark IV employs Center-Weighted average metering to help ensure stable motion-picture exposure with the camera automatically selecting the ISO speed, shutter and aperture. Full manual exposure control is also available while shooting video when the camera is set to Manual mode.

Video can be captured at 1920 x 1080 resolution at frame rates of 24 (23.976), 25 or 30 (29.97) frames per second, for up to 4GB per clip. Movies are saved as MOV files and can be viewed in Full HD with HDMI output. Other recording sizes include HD at 1280 x 720 (50/60 (59.94) fps) or SD/VGA at 640 x 480 (50/60 (59.94) fps). The EOS-1D Mark IV has a built-in microphone for simple mono recording and stereo sound can be recorded through a self-powered external microphone.

Noone noticed who did the Steadicam work in the Laforet video?

Not a lot said about sound on this one. Identical to the 7D.

By the way, the topic of this discussion is the EOS 1D Mk. IV, despite the annoying efforts of some
folks to turn it into something else... I have cheerfully withdrawn all of those posts from public view.

Noone noticed who did the Steadicam work in the Laforet video?I noticed. Hubba hubba! The hardest working man in show business.

Noone noticed who did the Steadicam work in the Laforet video?

I noticed too, a certain young man known to frequent these parts:)

Just when I was thinking the 7d was going to be the right camera for my needs I find out about the 1d. I was curious about the reaction from those in the know to this camera and how it stacks up against the 7d. Are there features that the 7d has over this? I'm wondering about monitoring as you shoot and overall control. It seems to reason that since it's more expensive that the main features should carry over. Any thoughts?

You're talking about a $5000 camera vs. a $1700 camera. They are in two completely different classes. It's not rocket science -- buy the one you can best afford. In terms of video capability, they are practically identical except for two major differences: the EOS 1D Mk. IV will have astonishingly superior low light recording capability, while the EOS 7D will have a greater telephoto reach due to its larger crop factor.

Noone noticed who did the Steadicam work in the Laforet video?

Yeah, I caught that when I saw it this morning. Got a chuckle out of it because I wasn't expecting to see Charles' name pop up.

-gb-

They pulled the video. Dang, I would've liked to have seen it!

Still here, I think: ProLost - ProLost Blog - NOCTURNE and the Canon 1D MarkIV (http://prolost.com/blog/2009/10/19/nocturne-and-the-canon-1d-mark-iv.html)

I'm waiting for some genius engineer to put the 1D "guts" and a H4n into a small video camera chassis. Super 35mm video with 4 channels of audio. Hmmmmm......

I contacted Vincent after I saw "Reverie" to offer up my services; all these months later, he came a'callin' with this one and I was glad to be involved and see the new camera ahead of time. It was a real pickle getting it rigged up the night of the shoot, took some serious "thinking outside of the box" but the shoot had a great pioneering quality to it, and I was blown away by the 1D's ability to deliver in "impossible" lighting conditions. Unfortunately I had my own shoot the next morning (a narrative piece with the 5DMKII, coincidentally--currently being edited and looks great) so I could only stick around Vincent's shoot for a few setups, would have liked to do more.

The latest 1D Mark IV certainly looks to have included a lot of features that many have been asking for, such as the new LCD screen that has an anti-reflective surface and a 920,000 dot resolution, up from the MK3’s 230,000, and, according to Canon, an updated focusing algorithm. The addition of HD video in Canon's top tier professional 1.3X crop mode body is an indicator to the way the industry is moving.

With video options now slowly moving in to the higher end pro-DSLR arena, I wonder if Canon will also offer video options in the next full frame 1Ds update.

We are gonna need a whole new category on this site as more and more like these get announced and launched.

Shawn

Just when I was thinking the 7d was going to be the right camera for my needs I find out about the 1d. I was curious about the reaction from those in the know to this camera and how it stacks up against the 7d. Are there features that the 7d has over this? I'm wondering about monitoring as you shoot and overall control. It seems to reason that since it's more expensive that the main features should carry over. Any thoughts?

You've never used a Canon 1 series camera, have you? :)
It's not just about features... the 1D is a machinegun of still photography.

Just go down to your local camera shop and shoot a few frames with a 1DmkIV when it comes out... you'll know the difference right away.
If all you want it for is video, and don't need ultra ultra low light, the cheaper 7D is a perfect answer for most.

Sample movie clip (not full HD) and images on Canon website:

Canon: EOS-1D Mark IV Sample Images & Movie (http://web.canon.jp/imaging/eosd/samples/eos1dm4/)

The moon is shot using Canon EF 800mm f/5.6 IS USM lens plus EF 2X extender.

Compare Canon's release of this product to Sony's effort today to announce their new cameras, chalk and cheese. Indeed, rather than Scarlet the real loser with the release of this camera is the EX1.

How does the release of this camera affect the EX1 in any way, shape, or form? They are two TOTALLY different markets. That's like saying that the release of RED was going to kill Panafflex sales/rentals.

I'm waiting for some genius engineer to put the 1D "guts" and a H4n into a small video camera chassis. Super 35mm video with 4 channels of audio. Hmmmmm......

Have a look at this (http://electricfilms.net.au/):
He removed the zoom and put a 5D2 between the camera body and the matte box

anyone know if the HDMI signal is clean and full rez/colour space?

How small does the chassis have to be? The 1D is so little to begin with, simply building a frame that mounts the camera, audio recorder and whatever other boxes/battery/baseplate required would allow for proper counterbalanced shoulder mounting yet would still be reasonably light and compact (think the JVC HD100/200 series).

I haven't been able to figure out what the Electric Films chap is doing from his website--how is the image from the 5D magically hopping into the XDCAM camera??

EDIT: Holy cow, I get it now--it's just a shell of a video camera! How bizarre. I guess that's one way to "impress the client".

It reminds me of the prop-house Betacams we use on set when there are supposed to be news photographers in a scene. These are extremely detailed Betacam mockups with fake lenses, mike etc. They do take a real battery to power a working AB Ultralight on top as well as tally lights on the front and back. Apparently they cost something like $8000!

Charles,

Quite a contraption... I think that he feeds the HDMI from 5D out to the camera viewfinder.
I'd rather have in 'black box' a Nanoflash and Zoom h4n, if the HDMI output is really HD, at least before recording.
From your observations, how is the HDMI out on 1D4 behaving?

The good news was that it didn't seem to change between not-recording and recording, i.e. the resolution doesn't drop down. But the bad news is that it's not full-frame like it is in playback. So you get an HD image of smaller dimensions--which of course makes it not really HD. At least that's what I remember from that blur of a night.

I'm working with Vincent and the 1D on a job next week and will have more thoughts on this. I've just bought a Blackmagic HDMI to HD-SDI converter so I'll be able to use my brand-new HD Steadicam monitor (just arrived today!) along with my Camwave, so we'll know a lot more when we get all this cooking.

I'm designing a rig that will have a lot of these things incorporated in a nice studio/shouldermount configuration--will post pix when it's done. Off to the machinists tomorrow!

Wow, excited to see that, Charles!

Here's a pic of my prep set-up--just a 5D on it at the moment but it's ready for the 1D. Blackmagic converter works beautifully, HD-SDI signal is much more stable than the HDMI (just finished a shoot with a Marshall HDMI monitor, all sorts of issues there--you tap the monitor and the luminance shifts!). That's it piggybacked on the rear of the Camwave transmitter. Bracketry is all cobbled together from my bits and pieces--not as slick as a custom mount but it is solid and will get the job done.

Update regarding the Marshall HDMI setup: I've spoken to the good folks at Marshall about this issue and they are investigating. I'll post updates when I have them, so for those considering a Marshall HDMI monitor, stand by for more information on this issue.

In theory, the HDMI signal should be just at stable. The main problem for pro work is that the connector isn't captive. It's really designed for fixed installations. Assuming that you're not messing with the connector, it sounds like you have a bad solder joint in the monitor.

An HDMI to HD-SDI converter makes a lot of sense for pro applications - it's captive, it supports long cable runs, and you can run it to a DA to split the signal for a video village.

Can someone tell me if the 1 D is the "ideal" camera at the present time? Or to put it another way, what are its drawbacks? Is it the file size limit? Audio recording? Form factor? To record, do you have to have other devices cabled up, making an awkward arrangement?

I use the term "ideal" almost tongue-in-cheek. But the fact that this camera operates under most lighting conditions is very attractive to me. Plus it is lightweight. And its DOF of course, along with lens selection. What's there not to like?

An HDMI to HD-SDI converter makes a lot of sense for pro applications - it's captive, it supports long cable runs, and you can run it to a DA to split the signal for a video village.

Yes, and on top of that, I have yet to see an HD-SDI monitor that doesn't offer loop-through, so you can loop out of your onboard monitor for a director's monitor. Actually, the Blackmagic converter has two HD-SDI outputs so you would have 3 possible outputs with that setup.

For Lynne, the 1D Mk. IV has the exact same HD video recording capabilities as the 7D (with the exception of superior low-light capability, of course). So you could review all of the pros and cons which have been previously discussed rather heavily around here regarding the 7D and the nearly similar (in terms of HD recording) 5D Mk. II and use them to formulate an accurate opinion of the 1D Mk. IV. Hope this helps,

I'm still waiting for somebody to do the strobe test on the 7D in 1080 and 720 modes so we can get an accurate measure of its rolling shutter. From the 1D4 video that I've seen, the rolling shutter effect is significantly less than the 5D2 and 7D. I'd really love to get the scan speed numbers from that puppy!

Can someone tell me if the 1 D is the "ideal" camera at the present time? Or to put it another way, what are its drawbacks?


The most important drawback, IMHO, is that it does not (presently) run Magic Lantern.


But the fact that this camera operates under most lighting conditions is very attractive to me.


I'm hopeful that the low light performance is improved as well, but I haven't seen any raw images from it yet, so I don't know yet. The 5D2 starts with a big size advantage (1.7X more light gathering area), which gives it a 2/3 stop advantage in low light. Hopefully the 1D4 technology is a full stop improvement, enough to take the low light crown from the 5D2.


Plus it is lightweight. And its DOF of course, along with lens selection. What's there not to like?

The DOF control is nice, more than the 7D but not as much as the 5D2. If you never shoot wide angle, the lens selection is good. But if you want wides and ultrawides, the options are worse than the 7D and 5D2. Canon makes lenses for spoons (1.6X) and they make lenses for forks (FF), but they don't make any for sporks (1.3X). For example, to get the same angle of view as the 10-22, Canon would have to make a 13-29mm.

Update on the Marshall monitor issue I mentioned earlier: it seems that it was an isolated issue with the particular monitor in hand. Marshall was able and ready to fix it and did so within a business day.

I will be looking at their transflective 6.5" HD-SDI model as the onboard monitor for my 1D/5D setup. Interested to see whether it will be viewable enough under all daylight conditions to work without a hood. This would replace the need to use a loupe on the camera's viewfinder, resulting in a more streamlined handheld configuration and higher resolution to judge focus.

It was interesting to read Michael's thoughts about the quality of footage he got from the 1Dmk4 compared to the 5D Mk2:

1Dmk4 Footage From Sydney New Years Eve 2009 on Vimeo