Canon EOS-1D X Mark II
The Canon EOS-1D X Mark II was announced with a number of interesting new features, and expanded and improved features overall:
Canon USA 1D X Mark II website
Up to 14 fps* Full-resolution RAW or JPEG, Up to 16 fps* in Live View Mode
Shutter unit is rated for 400,000 Actuations
Dual DIGIC 6+ Image Processors
When recording to CFast 2.0™* cards through its new CFast™ card slot, the EOS-1D X Mark II can record up to 170 full-size RAW files, and JPEGs up to full card capacity at 16 fps.
Using CF cards through the camera's CF card slot, the EOS-1D X Mark II can capture up to 73 full-size RAW files and JPEGs up to full card capacity when recording to CF UDMA7 media.
The EOS-1D X Mark II camera features a Canon-developed 20.2 Megapixel full-frame CMOS sensor that not only helps it record more pixels, but also includes gapless micro lenses for enhanced low-light performance. This results in noise reduction in dark portions of the image even at high ISO speeds, and increased sensitivity that contributes to the EOS-1D X Mark II's high-speed image capture rate, accelerating frame-to-frame performance as well as enabling 4K movies (60p/30p) and improved playback. The new sensor is also Canon's first full-frame sensor to include Dual Pixel CMOS AF for high-speed, precise AF during Live View still and movie recording.
An ISO range of 100-51200; expansion to ISO 409600.
Featuring a new 61-point High Density Reticular AF II system with 41 cross-type points that expands the AF area approximately 8.6% in the top and bottom of the central AF area, and approximately 24% at the top and bottom of the peripheral frame.
The AF system's low-intensity limit has been improved to EV -3 and all 61 AF points are compatible down to f/8 (with specific lens limitations) for excellent low-light performance. The EOS-1D X Mark II's AF algorithm has also been improved: it's equipped with AI Servo AF III+, which remembers the AF path and helps refine precision.
The EOS-1D X Mark II camera features a new Intelligent Viewfinder II for convenient composition and setting changes without taking an eye off the subject at hand. The camera's viewfinder can show significantly more information in the LCD display and presents AF points in red, increasing visibility in dark locations where AF is typically difficult and in situations where the ambient light makes the AF frame difficult to see. Features like the electronic level, a grid, flicker detection, white balance, metering mode, AF information and more can be glanced at easily without drawing attention away from the subject.
Thanks to its Dual DIGIC 6+ Image Processors and its advanced sensor, the EOS-1D X Mark II can capture 4K (Motion JPEG) video at up to 60 fps, recording smoothly to CFast™ cards. It's the first EOS camera able to record Full HD video at 120 fps, easily displaying minute details imperceptible to the human eye and ideal for slow-motion video capture. With the camera's new touch panel display, AF points can be easily selected while the camera's rolling, and focus can be quickly confirmed with the EOS-1D X Mark II's 4K still frame grab feature*, wherein an 8.8-Megapixel still image can be selected for review and saved. Low-light performance is improved as well, with video recording at ISOs of up to 12800 in 4K and 25600 in Full HD. The EOS-1D X Mark II also features uncompressed HDMI output for Full HD videos, helping to facilitate video editing with minimal image degradation. Not to mention, it can also save videos as MP4s for easy playback on mobile devices.
With significant improvements in AF operation, the EOS-1D X Mark II camera can be an indispensable and remarkably portable moviemaking tool. Continuous AF, even during 4K recording, is made easy thanks to the EOS-1D X Mark II's Dual Pixel CMOS AF, which is compatible with all Canon EF lenses. Focus points can be selected automatically, or specified on the camera's new touch panel LCD screen. Critical focus throughout the frame can be easily confirmed by enlarging stills grabbed from video recordings. The EOS-1D X Mark II's Movie Servo AF is compatible with all frame rates and resolutions, and can be customized to set tracking sensitivity, AF speed and even Face Tracking priority. These advanced features help make the EOS-1D X Mark II a truly versatile and convenient camera for 4K and Full HD moviemaking.
* (Continuous shooting speed may vary based on the aperture and lens being used and conditions of the subject.)
Canon USA 1D X Mark II website
Up to 14 fps* Full-resolution RAW or JPEG, Up to 16 fps* in Live View Mode
Shutter unit is rated for 400,000 Actuations
Dual DIGIC 6+ Image Processors
When recording to CFast 2.0™* cards through its new CFast™ card slot, the EOS-1D X Mark II can record up to 170 full-size RAW files, and JPEGs up to full card capacity at 16 fps.
Using CF cards through the camera's CF card slot, the EOS-1D X Mark II can capture up to 73 full-size RAW files and JPEGs up to full card capacity when recording to CF UDMA7 media.
The EOS-1D X Mark II camera features a Canon-developed 20.2 Megapixel full-frame CMOS sensor that not only helps it record more pixels, but also includes gapless micro lenses for enhanced low-light performance. This results in noise reduction in dark portions of the image even at high ISO speeds, and increased sensitivity that contributes to the EOS-1D X Mark II's high-speed image capture rate, accelerating frame-to-frame performance as well as enabling 4K movies (60p/30p) and improved playback. The new sensor is also Canon's first full-frame sensor to include Dual Pixel CMOS AF for high-speed, precise AF during Live View still and movie recording.
An ISO range of 100-51200; expansion to ISO 409600.
Featuring a new 61-point High Density Reticular AF II system with 41 cross-type points that expands the AF area approximately 8.6% in the top and bottom of the central AF area, and approximately 24% at the top and bottom of the peripheral frame.
The AF system's low-intensity limit has been improved to EV -3 and all 61 AF points are compatible down to f/8 (with specific lens limitations) for excellent low-light performance. The EOS-1D X Mark II's AF algorithm has also been improved: it's equipped with AI Servo AF III+, which remembers the AF path and helps refine precision.
The EOS-1D X Mark II camera features a new Intelligent Viewfinder II for convenient composition and setting changes without taking an eye off the subject at hand. The camera's viewfinder can show significantly more information in the LCD display and presents AF points in red, increasing visibility in dark locations where AF is typically difficult and in situations where the ambient light makes the AF frame difficult to see. Features like the electronic level, a grid, flicker detection, white balance, metering mode, AF information and more can be glanced at easily without drawing attention away from the subject.
Thanks to its Dual DIGIC 6+ Image Processors and its advanced sensor, the EOS-1D X Mark II can capture 4K (Motion JPEG) video at up to 60 fps, recording smoothly to CFast™ cards. It's the first EOS camera able to record Full HD video at 120 fps, easily displaying minute details imperceptible to the human eye and ideal for slow-motion video capture. With the camera's new touch panel display, AF points can be easily selected while the camera's rolling, and focus can be quickly confirmed with the EOS-1D X Mark II's 4K still frame grab feature*, wherein an 8.8-Megapixel still image can be selected for review and saved. Low-light performance is improved as well, with video recording at ISOs of up to 12800 in 4K and 25600 in Full HD. The EOS-1D X Mark II also features uncompressed HDMI output for Full HD videos, helping to facilitate video editing with minimal image degradation. Not to mention, it can also save videos as MP4s for easy playback on mobile devices.
With significant improvements in AF operation, the EOS-1D X Mark II camera can be an indispensable and remarkably portable moviemaking tool. Continuous AF, even during 4K recording, is made easy thanks to the EOS-1D X Mark II's Dual Pixel CMOS AF, which is compatible with all Canon EF lenses. Focus points can be selected automatically, or specified on the camera's new touch panel LCD screen. Critical focus throughout the frame can be easily confirmed by enlarging stills grabbed from video recordings. The EOS-1D X Mark II's Movie Servo AF is compatible with all frame rates and resolutions, and can be customized to set tracking sensitivity, AF speed and even Face Tracking priority. These advanced features help make the EOS-1D X Mark II a truly versatile and convenient camera for 4K and Full HD moviemaking.
* (Continuous shooting speed may vary based on the aperture and lens being used and conditions of the subject.)
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Up to now, I've seen $5999 or £5199.
(think I'll wait for pathfinder to upgrade and offer him a couple of hundred or so for his mk1 ...at least he'd have a good laugh
pp
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Folks will want to see the files it creates, and how it handles shadows and noise.
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only $6,000
I'll wait till the discounts
In August 2008, the Canon 1Ds Mark III was selling for $7,999USD.
The Canon 1D X originally sold for $6,800USD. (Mid-2012)
Now the Canon 1D X Mark II is retailing (pre-selling) for $5999USD. (... and this model [and the original 1D X] has/have a shutter box with 33% more actuations rating than the 1Ds Mark III.)
In many ways, the discounts are already here!
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Little differences here and there from one brand to the other, making good hardware design / tweaking the most significant factor.
I think the days of "WOW!" are gone.
Perhaps the next huge "WOW!" will happen when some completely new type of sensor technology is discovered and implemented.
Canon 5DIV | Canon EF 35 f1.4 L II | Canon 24-70 f2.8 L II | Canon 70-200 f2.8 L II IS | Canon 16-35 f4 L IS
Respectfully, I disagree.
Photographic camera makers are in a constant struggle to provide solutions for an ever more insatiable audience. The proliferation of 4k video coming from still photography cameras is one example.
Video from dSLR still cameras is still very much in its infancy, starting with the Nikon D90 (circa August 27, 2008) and Canon EOS 5D Mark II (circa September 17, 2008). In fact, the Canon 5D MkII caught Canon by surprise at how many bodies were purchased in no small part because of its video capabilities.
The video feature alone caused the camera manufacturers to divert much research-and-development resources towards video development, culminating (currently) with 4k video.
Simultaneously there has been a relative explosion in dynamic range (DR), with many of the best broad-DR cameras using Sony imagers (although the latest Canon dSLRs also seem to allow a very broad DR). While this DR advantage exists mostly at base ISOs, and many dSLR owners lack software skills to fully exploit the advantage, it is nonetheless a desired feature. Partly, we don't "see" this advantage because neither print technology nor computer display technology exists to show the advantage easily.
Both Olympus and Pentax use sensor-shift technologies to produce multiple-capture image improvements, either in color purity or gross pixel count. This is very much a "wow" feature used properly, and would normally cost multiple times more to produce the same (or similar) results in a single image.
In-camera HDR is another new feature and still in its infancy, and capable of "wow" results very quickly (either the gaudy in-your-face over-cooked HDR or the more subtle photo-realistic HDR are possible.)
In-camera (i.e. IBIS and similar) and in-lens (OIS, VR, etc.) are also improving at a dramatic rate, with the Panasonic Lumix GX85 providing both. Certainly a "wow" moment for many folks.
For me, I believe that the total sum of the photographic industry is pretty much in "wow" mode.
Open source and free software like Magic Lantern (for recent Canon non-pro bodies), Photivo, GIMP, and HDRMerge, and now including Google NIK freeware (not to mention countless other projects of note) are allowing things never before possible in traditional photography.
Add image stitching to the above and you can literally create images of any practical resolution or color depth or dynamic range (at least for still subjects), using any fairly recent dSLR body. (Again, Magic Lantern is only for recent Canon non-pro bodies, but similar camera "hack" software exists for other manufacturer bodies although not with the same feature set.)
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yes, I agree
When I'm with a local photography club on a monthly "photo walk" we shoot the same subjects at the same time --- and looking at the pics there's not a lot difference between brands and between the expensive and the cheap models
whaaaa !!
I'm hoping that virtual reality 3D cameras will be introduced soon
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We seem to be talking about the difference between instant gratification results (straight-out-of-camera) and similarities between brands and models - vs - the potential results of systemic improvements and careful in-camera treatments with even more careful post-processing technique.
I will agree that for general photography and many applications, most current cameras from almost any manufacturer are nearly synonymous results with minor variations in imager and in the default in-camera processing.
That's a very good thing and should be considered incredibly enabling!
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yes, something like that. And when I look at pics from the same place taken years ago compared to recent pics the megapixls and ISO don't seem make all that much difference. Maybe I'm just getting old
I actually had a 1DXMKII on preorder when this thread was started, but have since canceled it because I discovered that it will not output continuous 4K video to HDMI. I have an application in mind that would have made this camera pay for itself if it could do that. Pity. But if I were an Olympics shooter, this camera would be must-have.
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Nailed it! Yes, I have seen photo walks on nice days with people shooting flowers or a fire hydrant and all the pics are comparable. If you enlarge one to poster size you would see a difference from an older crop sensor at 8mp and new 20mp full frame, but on a normal print with normal viewing--no diff really.
I understand the original comment on "no Wow", such as when the 5dII came out and video took off, but when you look at the new 1DxII compared to my 1DIII it is amazing. Higher ISO usable, faster, better focus, video, dynamic range--all incredible, and the 1DIII was thought to be pretty good when it came out. I personally can't wait to see where we go from here.......
http://cpn.canon-europe.com/content/education/technical/canon_explorer_andy_rouse_uses_the_eos-1d_x_mark_ii.do?utm_source=newsletter_may_2_16&utm_medium=email&utm_campaign=Newsletter
Why?
pp
Flickr
Agreed that the newer high end cameras are mainly useful at the boundaries--low light, peak action etc.--but it's hard to really compare with consumer-level bodies because most people who use the latter are also using cheap kit lenses. But overall, there is a tendency among amateurs, especially the wealthier classes, to equate newer and higher end equipment with better images. For many uses, it just doesn't matter. (I still use my 5D2 for family trips, hiking, river running and other outdoor photography. Never saw a reason to upgrade to the 5D3.)
Regarding the 1DX2, I can make a few comments as a professional sports and (occasional) performing arts photographer. First off, Canon has exaggerated the ISO range of their 1D bodies for the past three generations. The last honest camera in this respect was the 1D3, which had a high ISO of 6400. No one expects clean images at the highest couple of ISO settings, but the 1D3 was relatively clean up to 2000-2500 (at least for us sports shooters). Then the 1D4 came along and claimed to have a high ISO of 102,400. However, the images looked pretty crappy above 3200-4000, so the ISO range was greatly exaggerated. Then came the 1DX, which has a high ISO of 204,800, but the highest usable ISO for sports photojournalism is about 6400--again, a gross exaggeration. Now the 1DX2 claims to have a high ISO double that of the X, so if past trends continue I suspect that I'll have usable ISO up to 12,800.
The good news is that, if true, this expansion in usable ISO now spans an important range for sports. Many collegiate and some professional venues (like the now-defunct Sleep Train Arena in Sacramento, where the Sac Kings played) require ISOs in the 6400-10,000 range. If the Mark II performs well in this range, I'll upgrade my bodies fairly soon.
The other area the 1DX can struggle with is AF in low light and/or low contrast. In my opinion, the X struggles more than my old Mark 4 bodies did, and it's frustrating. I've missed more than a few shots because of this. Hopefully the new dual-pixel phase comparison method will be faster and more capable than minimizing the Gaussian distribution of edges/contrasts.
I also like the return to a well-illuminated AF point in the viewfinder; a failing of the X in my opinion.
The slightly faster burst mode is not that important in my mind, in part because shooting burst in focus-priority almost always pulls the rate below the nominal peak anyway. (I have no use for soft images.) Also, action is either too fast for this to make a difference (e.g. a batter swinging at the pitch) or to slow for it to matter (e.g. action in front of goal in soccer or hockey).
Most of my colleagues have similar complaints with the X and similar hopes for the mark II. One Getty colleague managed to get an early release in February and I've been peppering him with questions on how well the mark II performs. He seems happy with it, but not totally overwhelmed like we all were when the X came out.
We'll see...
Oh, and since I never use the video functions, I can't really speak to those capabilities.
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Please remember that a faster burst also means a shorter viewfinder blackout time between frames, which can make a difference when tracking the subject.
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Ah, I didn't know that. I thought the whole algorithm for focusing had changed. Ill look into this. I do hope that the low light AF is better in the Mark II, as it's the biggest weakness in the X for my purposes. With decent light, the AF on the X is spectacular--no complaints. Not sure why it struggles so in poor light.
I would think just the opposite, as faster bursts mean more total time that the viewfinder in blocked. And for each individual actuation, I would think this is determined mostly by the shutter speed, though perhaps the mirror action is a fixed quantity of time.
But in any case, I've never found this to be a problem when tracking a subject. Perhaps the 80 milliseconds between actuations is not really enough time to react to changes in the subject's motion; and in fact is damn little time for the subject to move at all.
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In a focal-plane shutter design, used in all Canon dSLRs, once you reach the highest flash sync the shutter speed does not change. The only thing that changes is the size of the slit between first and second curtain, which becomes smaller at faster shutter speeds (effectively reducing the time each pixel receives light from the scene). (For a more involved explanation of focal-plane shutter design and photographic consequences see: https://en.wikipedia.org/wiki/Focal-plane_shutter).
At shutter speeds higher than flash sync the shutter blackout component is therefore a fixed amount*.
The mirror assembly always flips out of the way at a constant rate and its blackout component is also a fixed amount.
The only way (I am aware of) to increase the framerate is to reduce the blackout between frames, either by increasing the mirror cycle speed and/or increase the shutter transit speed (which also affects the flash sync speed).
The original 1D X has a viewfinder blackout of 60ms. That specification has not yet been released for the 1D X Mark II. Previous Canon 1D models did indeed have blackout times of 80ms to as much as 87ms for older models.
*(Some Canon dSLRs have one or more "Silent" mode(s) of operation. In those modes an "Electronic First Curtain Shutter" may be used. While I don't see any published figures quoted on how those modes affect blackout times, I believe that blackout times are increased in those special modes.)
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I was told a few years ago by an engineer who works on the optical sensors of cameras that the frame rate in dSLRs is limited by the time it takes to clear an image on the sensor and ready it for the next image. The more pixels there are, the slower the clearance. Not sure if this is the whole story, but it is supported by the fact that cameras with very large sensors have slow burst modes.
The other, and perhaps more important, factor is image persistence in the eye. That's the physiologic property that makes moving pictures work. At the current frame rates of 12-14 captures per second, we're getting pretty close to the range where the images start to blend together. Thus, I would think that the blackout time wouldn't much affect the ability to see motion. It might reduce the brightness of the image, perhaps, but not the ability to see things moving.
Another consideration is how much a subject moves in the 60 ms blackout. For someone running 25 mph perpendicular to the visual axis of the camera, they move about 2.2 feet in 60 ms. That's a worst-case scenario, and one in which I'd be panning along with their motion anyway.
As I said before, I've never found this to be a problem. Any inability I have to keep up with the action is mostly a result of my reaction speed.
I agree, Joel, My 1Dx will AF on bright stars usually ( or a planet like Venus ) if the air is clean and dry. Not if it is foggy or humid though. I have always thought my 1Dx was far far better at AF than my 1DMk4 which I will be selling soon.
My 1Dx MkII arrives tomorrow, so I'll see how I think they compare with AF and image noise.
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... And that's what I mean, The shorter blackout means that both you and the AF section of the camera get back to the business of tracking the subject and choosing the perfect moment in the action. When you can't see the action, neither can the camera perform its duties of autofocus and exposure.
Trust me, shorter blackout time is always a benefit, regardless of whether you shoot bursts or not.
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Thanks, Ziggy--you might well be right!
I plan to try a demo unit from CPS to see how well it works. I am hoping that CPS will be at the Stanley Cup championship series so I can try a Mark II, but I don't see it on their schedule.
Chances are I will upgrade my bodies to the Mark II, but I usually wait 4-6 months to buy. It's just been my experience that there are always one or two bugs that make it through beta but show up when it hits the market; it's frustrating to have to send back a nearly new piece of equipment.
I'm expected to keep my kit up-to-date, but I won't get fired for keeping my Xs a little longer.
I'll be curious to get your take. One of my Getty colleagues has been using one since February, and though he thinks it's better, it's hard for him to cite any specific ways the Mark II outperforms the X.
I can't honestly say my old Mark IV bodies had better AF; in general they didn't, but under certain conditions--low light AND low contrast--they did seem to lock on little quicker, without struggling. But certainly for all other situations, my X-bodies are way better.
I used my 1DMk4 a lot for air shows, but air shows are during the summer daylight hours, not in the fog after sunset and for targets with sharp outlines ( airplanes ) rather than softer, blurrier furry critters. I wonder if the 1DMk4 was using all its AF points when it was better in lower light and lower contrast for you, perhaps. There are several balls to juggle in choosing how your AF is set up for various tasks - at least that's how it seems to me, especially with the Mk4.
The 1DX mk2 looks to be a significant improvement in several ways - slightly lower noise and slightly better AF, better file handling in the buffer - and the GPS is now built in and not hanging off the corner ( which is kind of trivial, but really is quite appealing...) I worry about the GPS on the 1DX getting snagged, although mine has survived a fair bit of travel on three continents without any issues. I will see what I think of the 128Gb CFast cards also.
I really like being able to see the direction of my lens as a compass bearing at night on my LCD, in the dark when shooting star shots. I thought GPS would just be a gimmick when it was introduced, and now I find I am annoyed by any camera without it. I use it a lot.
Ultimately, I will probably market my 1Dx this fall, once i have completed a few months with the 1Dx M2.
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