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HomeReviewsCamerasCanon EOS 1D X Mark III Review -A large and quick single-lens...
Canon EOS 1D X Mark III Review -A large and quick single-lens reflex camera for working professionals
The Canon EOS-1D X Mark III is the company's most recent high-end, ultra-tough, and extremely quick DSLR camera. The exterior design is very identical to that of earlier Canon EOS-1D bodies, some of which date back more than two decades. On the other hand, the inside has undergone significant revisions.
If you have the strength to hold the camera in front of you for lengthy periods of time while using the Live View mode, you can use this large DSLR camera as if it were a very powerful mirrorless camera. This is true even though it has a double grip and is a DSLR.
This is a camera that can take you beyond shooting in 8-bit JPEG as your "finished image," that features AF topic identification based on machine learning in both the optical viewfinder and the live view shooting mode, and has some excellent video capabilities (including internal Raw video).
Because there is a lot of information to go over about the EOS-1D X Mark III, let's get started with a very extensive list of essential specs before delving into exactly what this all means on the next pages. There is a lot of information to go over regarding the EOS-1D X Mark III.
Important details are as follows:
Upgraded CMOS sensor with 20.1 megapixels and dual-pixel autofocus
Digic X processor
HEIF recording with a bit depth of 10 (supports HDR display at smaller-than-JPEG sizes)
Bursts may be taken at either 16 or 20 frames per second while using the viewfinder.
Completely redesigned mirror mechanism to lessen shaking and blanking out
191-point autofocus system with a viewfinder that uses a novel "square pixel" design, 155 cross-type points, face, and head detection, sensitivity to -4 exposure value, and all points enable shooting at F8.
The Live View AF system now has a horizontal coverage of 90 percent and vertical coverage of 100 percent, along with improved eye recognition, sensitivity down to -6 EV, and support for F11 shooting.
New "Smart Controller" for the autofocus system integrated within the AF-ON buttons
5.5K recording at 60p with a bit rate of 12; 4K recording at 60p with a bit rate of 10 in H.265, HEVC.
Dual CF Express card slots, allow for an almost limitless buffer in practically all circumstances.
CIPA-rated for up to 2850 shots when using the viewfinder, and 610 while using Live View when powered by an LP-E19 battery.
500 thousand times through the shutter
Weighs 1440g
The Canon EOS-1D X Mark III is the most well-rounded and well-specced camera currently available on the market for both stills and video shooters who have the necessary funds, with the exception of landscape and studio specialists who need massive amounts of megapixels.
This is because these types of photographers require extremely high-resolution images. Despite the ever-quickening rate of technological advancement and the ever-shortening duration of product cycles in the industry, it is abundantly evident that Canon intends for the 1D X III to continue to be of service to professional users for a considerable amount of time in the future.
What's new, and how does it stack up?
The interior of the EOS-1D X Mark III is where all of the most significant updates have been made. However, there have been some modifications made to the exterior as well. It is important to note that there is so much to discuss in relation to autofocus that we have spent the entirety of the page that follows to discussing that topic in further depth.
The upgraded sensor and CPU provide improved speed and should result in improved performance at high ISO.
Burst speeds of 16 and 20 frames per second in the viewfinder and in live vision (an increase from 14/16).
It is possible to utilize either the mechanical or the electronic shutter for the 20 fps burst rate in live view.
Lowpass filter that is brand new and unique in its category
The inclusion of HDR stills captured at 10-bit resolution
Ergonomic enhancements include an AF smart controller
There are a variety of possibilities for the quality of 4K capture, however, there are few capture tools.
Sensor, CPU, driving mechanisms, and low-pass filter have all been upgraded.
A 20.1-megapixel full-frame CMOS sensor with Dual Pixel focusing is at the core of the Canon EOS-1D X Mark III camera. It is accompanied by a brand new Digic X processor, which Canon says should be called "ex" and is not the Roman numeral for the number ten. According to reports, the performance of the new CPU is significantly superior to that of the two Digic 6+ processors found in the earlier Mark II model in terms of both image processing and computing speed. These enhancements bring with them a plethora of new capabilities, the most notable of which is the capacity to capture images at a rate of up to 20 frames per second while maintaining autofocus and autoexposure in live view utilizing either the mechanical or electronic shutter (16 fps using the OVF). The new mirror and shutter drive mechanisms, which were fine-tuned using simulations, make it possible for the camera to achieve quicker burst rates and minimize the amount of viewfinder blackout.
According to Canon, the new lowpass filter will produce photographs with backgrounds that appear more organically blurred
The sensor and the Digic X processor work together to provide a maximum native ISO value of 102,400, and they provide a maximum extended ISO value of 819,200. Both of them are one-stop enhancements in comparison to the Canon 1D X Mark II. When we asked about the benefits of using the quiet, totally electronic shutter, we were assured that customers may anticipate experiencing substantially fewer rolling shutter artifacts. Despite the fact that our data point to a strong rolling shutter performance, this camera is still unable to compete with the readout speed of Sony's a9 and a9 II sports cameras.
Image via Canon
A recently developed lowpass filter, also known as an anti-aliasing filter, can be seen in front of the sensor. The one on the 1D X III is unique, despite the fact that they are typically designed to divide light beams in order to mitigate the impacts of moiré patterning. This filter, which Canon refers to as a 16-point lowpass filter, offers separation in eight different radial directions. Canon states that the '16-point separation creates an MTF pattern that closely mimics a Gaussian curve' for more naturally faded backgrounds and improved sharpness for in-focus portions of your photographs. This is in addition to the fact that the '16-point separation' is effective in preventing moiré.
pictures saved in the HEIF 10-bit HDR format
The EOS-1D X Mark III is one of the first cameras that we've seen that goes beyond 8-bit JPEGs and produces out-of-camera photos that more completely leverage the advantages in current screens and sensors. This makes it one of the first cameras in its class. You are now able to provide a more natural-looking perspective of the environment with greater dynamic range since modern displays are capable of displaying a greater range of brightness than was before achievable.
HDR playback of HEIF files enables more realistic image viewing when shown on HDR televisions
If you have an iPhone, there is a good probability that you have already been capturing images in the higher-quality HEIF format. It is actually more of a set of standards than a single file format, and it is far more complex than JPEG. It supports sequences of pictures, encoding of up to 16 bits, larger color gamuts, and rich metadata. HEIF also produces smaller file sizes than 8-bit JPEGs as a result of the more effective compression used in the format.
The solution that Canon uses to offer 10-bit files with HDR encoding makes use of a non-linear tone curve called the perceptual quantizer (PQ). This tone curve was developed to encode high dynamic range in a manner that is compatible with human perception. It is a standard that is being embraced more and more often for HDR content. In addition, pictures are stored in the expansive Rec. 2020 color space, which makes it possible to select from a more extensive color palette.
When you watch images on high-dynamic-range screens, such as those seen in HDR televisions and the most recent iPhones and iPads from Apple, HDR playback enables a more realistic viewing experience for the viewer. This means that rather than trying to cram highlights and shadows into the limited dynamic range of a standard JPEG (which, ironically, can sometimes result in an 'overly-HDR' look), displaying HEIF files on an HDR monitor allows for truly bright brights and dark darks, which is closer to the contrast we perceive in the real world. This is because the HEIF file format has a higher bit rate than the JPEG format.
The rear panel of the Canon 1D X Mark III does not support HDR, but if you shoot in this format, there is an option called "view assist" that makes the files appear more or less normal when you review them in playback. You also have the option to prioritize the accuracy of the highlights or the mid-tones in the image.
Simply said, there is not a lot of support for these photos just yet, and Canon is not the first consumer camera maker to offer HDR capture for still photographs (Panasonic supports still capture based on the HLG standard). However, we are impressed by Canon's forward thinking in embracing this new format, and we hope that more firms will follow Canon's lead in this regard.
To promote its use, if you decide to shoot in HEIF format, your camera will allow you to convert the resulting files to the more common JPEG format on the fly, should you or your client require them. You are also able to record them simultaneously with the Raw and C-Raw files which are the industry standard (although doing so may cause the camera to run more slowly).
AF-ON Smart Controller, in addition to additional improvements in operability
What Canon refers to as the new AF Smart Controller is included in the package for the 1D X Mark III. There are now sensors concealed within the camera's two AF-ON buttons. When you drag your finger over the buttons – they function almost exactly like highly fine touchpads – you can change the placement of the AF point in the optical viewfinder as well as in Live View. It might seem like a gimmick, but it really performs rather admirably. This is not a touch bar blunder in the style of the EOS R. Within the settings, the user is provided with granular control over the sensitivity of the Smart Controller, and it is even usable when wearing gloves.
There are also a handful of illuminated buttons on the rear plate, which glow in conjunction with the top LCD information screen. These are both nice improvements. In addition, there is a new menu option that can be used to do a full factory reset, and users may expand the menu interface by double-tapping with two fingers in order to make it easier to read.
Canon has come out swinging in terms of video on the EOS-1D X Mark III, calling it the 'greatest movie shooting performance in EOS history.' (Canon has come out swinging in terms of video on the EOS-1D X Mark III.) If you think back to when Canon released the first EOS-1D X, you might recall that the company also introduced a companion model called the EOS-1D C. It was a variant of the EOS-1D X that was focused on video rather than still photography and included improved video capabilities and performance. Because it already has some substantial video skills built-in, the EOS-1D X Mark III thankfully does not require a second, dedicated 'C' model to fulfill its video needs.
Know that the 1D X III has the capability to record 5.5K/60p 12-bit Raw video internally to a CFExpress card. We have a full sample reel coming up later in the review, but for now, know that the 1D X III has this capability. Take into consideration that a 128GB card can only contain around 6 minutes of footage at that resolution before you start shooting.
If you don't have a personal server farm to store all of that Raw video, the 1D X III also shoots cinema 4K at up to 60p in both All-Intra and IPB formats. However, if you want Dual Pixel AF while you're shooting, you'll need to enable a cropped 4K/60p or drop to 30p. Additionally, it shoots a 10-bit 4:2:2 BT video.
The HEVC file format is used to hold the 2020 Canon Log when it is recorded in any of the 4K modes.
The film captured in DCI 4K is oversampled from 5.5K, whereas footage captured in UHD 4K is oversampled from a crop that is somewhat smaller. During our first experiences with the camera, we discovered that the video focus was of very high quality. In either of the video modes, though, you won't be able to make use of the zebra exposure warnings; but, you will have access to focus peaking as well as Canon's manual focus guide.
Because of the rocker switch on the rear plate of the camera and the fact that the camera now remembers distinct exposure settings for still photography and video recording, it is a breeze for hybrid photographers to go back and forth between still photography and video recording.
Cards for the CF Express standard, networking, and flash memory
The 1D X Mark III does not have the mismatched CFast and CF card slots that its predecessor did; instead, it has two slots that are compatible with CFexpress cards. CFexpress cards are very lightning-fast, but much like the rest of the market's current crop of quick storage, they are prohibitively expensive. However, the write rates that they are capable of enable the 5.5K Raw video recording as well as the virtually limitless continuous shooting that the 1D X III is capable of.
Professional customers will be glad to see updated networking choices such as gigabit ethernet. In addition, Canon has integrated GPS and Wi-Fi with Bluetooth for the user's convenience. The availability of simultaneous communications methods is a feature that deserves special attention. This means that you may use an optional external wireless adapter (the Canon WFT-E9) to transfer files to an FTP server. On the other hand, you can utilize the camera's built-in Wi-Fi and the EOS Utility software to control the camera remotely and make adjustments to its settings, for instance.
Consumers of flash will also welcome the new E-TTL exposure choices since they provide users greater control over the desired outcome. These include face priority and a new option to bias an image's exposure towards either the flash output or the scene's ambient illumination, depending on which set the user chooses.
It should not come as a surprise that a lot of Canon's efforts have gone into making the autofocus system even more capable because the EOS-1D X Mark III is likely to be the camera of choice for many of the world's best sports photographers. In fact, it should come as no surprise that the autofocus system is the primary focus of the company's efforts.
The New Pixel grid AF module provides 191 AF points (155 of which are cross-type)
Subject tracking is improved in the viewfinder thanks to a new 400,000-pixel RGB+IR metering sensor that is coupled with new algorithms.
Face and body identification, as well as priority modes, are both supported by machine learning.
Available in live view at up to 20 frames per second is a dual-pixel autofocus system.
Using the open viewfinder
There were speculations going around that the next camera in the 1D series will be a hybrid DSLR/mirrorless model. That might very well be the case, and I'll explain why in a moment. It appears to be a DSLR that has taken a lot of cues from mirrorless cameras in terms of design and functionality.
As a digital single-lens reflex camera from the 1D series, it is most likely to be taken primarily utilizing the optical viewfinder in conjunction with a secondary, specialized phase-detection autofocus sensor. This sensor, in contrast to every other DSLR we've seen in the past, utilizes a grid of pixels rather than a set of line-shaped sensor strips; this gives it the appearance of an image sensor.
Because of this, the autofocus system has more scene information to work with when trying to determine how to offset the stereo pair of images from 'left-looking' and 'right-looking' (or up-and-down looking) AF detectors. This allows the system to determine how far to drive the lens in order to achieve focus more quickly and accurately.
Because of the smaller and denser pixels, the resolution of the focusing system has been effectively increased, which has contributed to the rise in the number of autofocus points from 61 to an amazing 191 points. 155 of these autofocus points are of the cross-type, meaning that they are sensitive to detail in both the horizontal and vertical planes. The enhanced resolution of the grid-type AF detectors not only helps improve focus on low-contrast subjects but also makes it possible to reliably detect even the most minute differences in distance to the subject.
The autofocus points with the highest degree of sensitivity are sensitive all the way down to -4 EV (one stop slower than the Mark II) and all the way up to 21 EV (three stops higher than the previous model). You will still have access to 191 autofocus points even if you add a lens or lens/teleconverter combo that has a maximum aperture of F8 (65 of which remain cross-type).
Taking pictures in live view
When the live view mode is activated on the 1D X III, the camera takes on the appearance of a mirrorless camera. It is possible to shoot at a rate of up to 20 frames per second while maintaining complete autofocus and autoexposure, and the shutter can be entirely mechanical or totally electronic.
This places it in a position where it is nearly comparable to the best sports-shooting mirrorless model that is currently on the market. However, despite Canon's promises of the lowest level of rolling shutter they've yet achieved, Canon has not yet been able to match the fast readout, non-existent levels of rolling shutter, nor banding under artificial light that the Sony a9 has achieved.
When working in live view mode, the autofocus capabilities of the 1D X Mark III's Dual Pixel AF system encompass 90% of the scene's width and 100% of the scene's height. The camera itself will choose any of 525 segments across the screen (compared to 143 on the EOS R), while you have the ability to manually choose any of the camera's 3869 available places.
Autofocus in live view is compatible with lenses that have a maximum aperture of F11, making it possible to use combinations such as an 800mm F5.6 lens in conjunction with a 2x teleconverter. When using an F1.2 lens, the AF utilizing the center point (AF-S) is rated to work down to -6 EV, which most likely translates to a value that is somewhat lower than -4 EV when using an F2.8 lens. This shows that AF performance in low light is comparable to that of shooting with an OVF when using an F2.8 lens, while performance is improved when using faster lenses. Dual Pixel AF, in our testing, has been shown to perform significantly better in environments with low levels of available light.
Learning using machines and following subjects
When it comes to subject tracking, Canon DSLRs have historically been known to lag behind the competition. Subject tracking refers to the capability of the camera to automatically move AF points as required to follow your subject throughout the frame. The Canon EOS-1D X Mark III features a number of substantial upgrades designed to change that.
The most recent versions of Canon's focusing algorithms (which are utilized in both OVF and live view mode) were created utilizing machine learning, which involves 'training' the system to detect subjects by presenting them with millions of photographs. Although the camera cannot learn on its own, the autofocus (AF) mechanism may be trained to recognize specific categories of subjects.
The AF system has been taught to recognize the heads and eyes of human beings
Specifically, the camera is equipped with face and body detection, as well as a "People Priority" option, which allows the user to instruct the camera to prioritize focusing on human subjects over non-human ones.
The company claims that the algorithms were trained using appropriate data sets that took into account the AF system that was being used: optimizing for either the 400,000-pixel resolution of the RGB + IR metering sensor for OVF shooting or the image sensor for live view shooting. More specifically, the AF system has been trained to recognize human heads and eyes.
The Dual Pixel AF in live view has seen considerable improvements, which is encouraging news for Canon's next mirrorless product lines. To comprehend and follow a subject throughout the frame in live view, the 1D X Mark II only employed brightness, color, and face-detection data. However, the 1D X Mark III adds depth-of-field information as well as eye and head identification to better understand and track your subject.
When it comes to distant subjects that are difficult to isolate against their backgrounds using distance information alone, the AF system prioritizes luminance, color, and pattern detection in order to understand your subject. This is because distance information alone does not provide enough information.
AF Configuration
When compared to the 1D X Mark II, the autofocus arrangement of the 1D X has received a simplification. In place of the previous six presets, there are now only four, each of which may be customized to meet the specific needs of your shooting situation. According to Canon, the 'Case 1' mode will handle a wider variety of subjects and subject movement better than the other shooting modes.
The most significant alteration, however, is the addition of a mode labeled "Auto." This analyzes the movement of your subject as well as any other movement in the scene (such as other possible subjects entering and exiting), and it attempts to alter its settings so that they are appropriate for the circumstances.
The AF area modes have now been made substantially consistent between shooting with the OVF and shooting with Live View, with the exception of the "Face+Tracking" option, which is absent when shooting with the OVF.
Structure, operatives, and maneuvering
To say that the EOS-1D X Mark III is instantly recognized (at least to us camera folk) as a member of the 1D series of cameras is an understatement. The camera has the same fundamental structure as its predecessors, which dates back decades. However, there is a plethora of room for improvement, and a few long-standing problems still exist.
The brand-new AF Smart Controller is a very helpful feature that enables you to position your AF region with lightning speed.
Touchscreen capability has been added to the rear display, which is also highly snappy.
CFExpress cards offer blisteringly quick transfer speeds.
The customization choices are good, but we believe that they have room for improvement.
Even though the live view functionality is excellent, you probably won't want to have this camera in front of your face for too long.
Choices for robust connection for professionals and options that are simpler for consumers
Even though it's the same LP-E19 pack, the battery life is improved.
The Canon EOS-1D X Mark III is a huge camera that features an inbuilt vertical handle that houses a battery that is likely capable of jumpstarting your automobile. It has the sensation of a weapon that may be used for self-defense in the house when held in the hand. There is, of course, nothing shocking about all of this information; yet, Canon has a few surprises up its sleeve with this most recent model. First, let's have a more in-depth discussion of the AF Smart Controller that we presented before.
AF Smart Controller
Even though they don't take up much area on the 1D X III, the two AF Smart Controllers are likely the most important change to the camera's handling (at least for the people who are supposed to be using the camera). They function in a manner very similar to that of little touchpads, as you merely need to slide your thumb around on them in order to change the autofocus region being displayed in the viewfinder or in live view mode.
Users of Canon cameras have the option to disable both the vertical and horizontal smart controllers, or they can choose to disable simply the vertical one. You may also modify their sensitivity on a scale that goes from minus two to plus two. Our research has shown that if you reduce the number of autofocus points visible in the viewfinder, you should probably alter the sensitivity of the Smart Controller to compensate.
In live view, the AF Smart Controller is also by far the finest way to manipulate the region that is autofocused on by the camera. You can fine-tune your area using the classic AF joystick (and holding it in one way accelerates the movement a little), and of course, you can also tap the touch-sensitive rear LCD as well (more on that later). But the Smart Controller achieves precisely the ideal blend of speed and precision for us, and once again, you can tune this into your preferences using the sensitivity scale.
Because the AF-ON button doubles as a touchpad, you can adjust the autofocus area even while you're continually focusing
Now, why would you choose to make use of it? It has been developed to provide for a quicker approach to picking our AF area in general, but it is especially helpful for shooters who "back-button focus."
When you do this, you uncouple autofocus from the shutter and utilize only the AF-ON buttons. Because of this, the AF-ON button should be a touchpad so that you may move your AF region around while continually focusing. This is of less significance if you are making use of the camera's tracking modes; nevertheless, for users who prefer focusing on a single point or a zone, this might be a very useful new function.
The electronic touchscreen
We are proud to introduce a full-function touch-sensitive rear LCD for the first time ever on an EOS-1D camera (the previous model had very limited touch functionality). You can manage the focusing in live view, access the menus, double-tap to zoom in playback, swipe to scroll through photographs, and a lot more thanks to its fluidity and responsiveness, which is what you would expect from a Canon product.
Another new feature is the capability to pinch-zoom when in the menus in order to enlarge the text on the screen. People who normally use glasses but aren't now sporting their prescription eyewear could find this useful.
There is no option to utilize the touchscreen as a touchpad for your viewfinder AF point when the camera is held up to your eye, but the smart controller makes this feature completely unnecessary anyhow. It is interesting to note that the options do not include an option to completely deactivate the touchscreen.
Personalization in addition to the existing controls
The 1D X III, like its predecessors in the 1D series, does not have a mode dial. Instead, you must press the 'Mode' button, which is located on the upper left shoulder, and then manually adjust the dials. This control philosophy (which has been honed over quite some time, we should add) carries through to the rest of the camera; from drive mode to metering, white balance to ISO, many shooting parameters are configured by pressing a direct button and manipulating either the front or rear dials. This philosophy has been carried through to the rest of the camera.
The catch here is that, in contrast to many of the other rivals, only a small fraction of the external buttons can be changed, and even those that can have fewer possibilities than you would normally anticipate. (In this article, we went into great detail about the EOS 5D Mark IV; the 1D X III offers more possibilities, but there are still restrictions.) We obviously do not anticipate that each and every user will be influenced by this, but we do not believe that providing consumers with additional options for customization is inherently a negative thing (so long as those options are well-organized).
The depth-of-field (DoF) preview and M-Fn2 buttons, which are located beneath your ring finger and middle finger, respectively, provide the most degree of personalization available of all the buttons. They can provide you with immediate access to a variety of autofocus configurations, lead you straight to the settings for your network, let you establish a new folder on your card, and do a great deal more besides.
You are able to create three AF modes that are entirely distinct from one another by using the shutter button, the AF-ON button, and the Auto Exposure Lock (AEL) button. You are able to define your beginning location, AF case, and whether you want single or continuous autofocus, as well as the area mode you want, by using the AF-ON and AEL buttons.
When you combine this with the settings that you can obtain on the DoF and M-Fn2 buttons, which were just covered, you get a good array of possibilities that allow you to very rapidly adjust to new circumstances as they occur.
Management of live views
We have stated in a previous article that if Canon were to remove the mirror box from this camera and replace it with an electronic viewfinder, you would virtually have a mirrorless sports camera that is on the cutting edge.
If you use the EOS-1D X Mark III in live view, you can unleash outstanding Dual Pixel AF performance as well as 20 frames per second burst speeds with either a mechanical or electronic shutter. However, this is not something that Canon has done (yet). Although those burst speeds do not prevent blackouts in the way that Sony's a9 models are able to, it is still not overly difficult to keep up with the action.
No, what makes utilizing this camera in live view challenging is the weight of the device, as you would have imagined. I was able to utilize the Canon EOS-1D X Mark III quite a bit in live view mode to capture video, in addition, to still images, and it wasn't too difficult to do so with lenses of a reasonable focal length. However, if you want to utilize live view with bigger lenses or lenses with a focal length of 70–200 millimeters or more, you should consider using a monopod or tripod.
Even if you don't require 20 frames per second, you should still think about using live view since this camera's live view focusing system is just more competent than the viewfinder autofocus system, despite all of the enhancements that have been made to the viewfinder autofocus system. It can't be helped. You have pupil detection, as opposed to the OVF's head detection, a much, much larger AF point coverage, and you won't ever have to worry about having to bother about micro-adjusting your lenses.
If anything, the EOS-1D X Mark III is a reasonable sign of what Canon's next EOS R5 will be capable of, which is to say nothing of what a future EOS R1 will be capable of.
Integrated antenna for wireless connections
The Canon EOS-1D X Mark III features Wi-Fi, Bluetooth, and GPS antennae that are incorporated right into the camera. The GPS antenna in particular is likely to come in handy for anybody operating away from the grid. Bluetooth and Wi-Fi make it exceedingly simple to transfer photographs taken with the camera to your phone, where they can then be uploaded to any social network of your choosing.
In everyday use, it performs exactly the same duties as Canon's consumer-oriented cameras. Turn on Bluetooth, launch the Canon Camera Connect app, and choose the 1D X III from the list of available cameras. From that point on, all you have to do to view your photographs is start a Wi-Fi connection by tapping the option that says "pictures on the camera." Other capabilities, such as shooting with a remote live view and adjusting the settings of the camera, are also available from inside the application.
The Canon 1D X III is a professional-grade DSLR that comes equipped with a variety of advanced wireless and file transmission functions. You may save different configurations to 'banks' for easy recall, and you can connect Canon's WFT-E9A wireless transmitter for 5Ghz Wi-Fi to increase the transfer speeds or operate with FTP servers. Both of these features are available to you. You may also hardwire into the camera using gigabit ethernet.
At long last, Canon has introduced the world's first camera capable of simultaneously supporting various network protocols. This means that you could, for example, set up the 1D X III as a remote camera that is set up to auto-transfer files with the WFT-E9A, and then connect to the camera's built-in wireless antenna with your phone to adjust settings even if you do not have physical access to the camera itself. You could also set up the WFT-E9A to transfer files automatically.
Battery and memory cards are both included.
The LP-E19 is the same battery that is utilized by Canon's 1D X Mark III. This is going to be excellent for professionals, rental homes, and agencies that already have a number of them (they aren't exactly cheap, after all), and with the help of the newest processors in the camera, they travel further than they ever have before: CIPA estimates that the camera is capable of taking 2850 pictures when utilizing the OVF and 610 while using live view.
Keep in mind that you will most likely receive far more than this. You will get more than 30.5 seconds of use out of the battery pack if you shoot at a quiet 20 frames per second while in live view.
Quality of the Image
More usable results can be obtained directly from the camera if the default JPEG settings are improved.
Although it has far less noise at high ISOs than its predecessor, it is still not nearly a match for Nikon's D5 camera.
Improvements have been made across the board to JPEG's noise reduction and conservation of information.
HEIF files
We go into some length previously in the article on the HDR / PQ potential of the EOS-1D X III, but we thought it would be helpful to have a look at what you may anticipate if you wanted to play with it on your own. For instance, let's imagine you wanted to record an event in HEIF so that it could be seen on an HDR television; but, what would happen if you subsequently wanted to view the same image on standard dynamic range (SDR) displays?
As of the time of this writing, you may convert HEIF files to JPEG using either the in-camera or desktop version of Canon's Digital Photo Professional software. You have no influence over the process in any way, shape, or form with either choice, but the end effect is notably distinct from what you would get with a regular JPEG straight from the camera.
Standard JPEG
In-camera conversion of HEIF images to JPEG format
If you want to start shooting in HEIF in preparation for an HDR workflow, you can safely convert the files to JPEG, and even though the converted files will look a little bit different than standard JPEGs, they will still look fine on most SDR displays. If you want to start shooting in HEIF, you can safely convert the files to JPEG.
HDR representation of HEIF file formats
When it comes to recording and displaying high dynamic range situations, however, the most significant advantage of shooting HDR PQ HEIF images is afforded by the use of these files. Although it is difficult to demonstrate on a website using only SDR output, we have utilized a camera to photograph the output of the 1D X III being shown on an HDR display while maintaining the same exposure.
You may get a sense from this of the additional highlight range that the HDR output of the 1D X III provides you with. The increased dynamic range of the output helps to alleviate some of the flat results that necessarily result from trying to cram a large scene dynamic range into the capabilities of an SDR display. These flat results are caused by trying to squeeze a large scene dynamic range into the capabilities of an SDR display (by, for example, darkening highlights and lifting shadows).
To prevent highlights from being overexposed when shooting in HDR HEIF mode, Canon suggests using the Highlight Tone Priority (HTP) setting on your camera.
Because of the limitations of your SDR display, this comparison of the differences between standard dynamic range (SDR) and high dynamic range (HDR) pictures is inevitably restricted.
On an HDR monitor, which is capable of brighter whites and darker blacks, the shadow region would be brighter and able to express more contrast on the screen, while the sky would be brighter still and more distinguishable from the foreground, just as it would be in the real world. This is because HDR monitors are capable of displaying a higher dynamic range.
It is interesting to note that the 'Standard JPEG' versus the 'JPEG converted from HEIF' rollover above has the exact opposite effect: whereas the converted HEIF file demonstrates reduced sky brightness, the slider above demonstrates increased sky brightness while still retaining the hues of the sunset. This is an example of a "JPEG converted from HEIF."
This is because the HEIF files were able to record a greater dynamic range, while the HDR display was able to present that range as brighter brights and deeper shadows respectively.
The EOS-1D X III is the most powerful DSLR camera that we have yet seen in terms of video capabilities.
Video quality is outstanding in all settings
The focus in videos is often quite good.
Internally, the camera is capable of capturing both raw footage as well as C-Log with 4:2:2 10-bit, which increases the camera's flexibility.
Digital picture stabilization is excellent to have
Ergonomics may provide some difficulties.
Video Specifications
Video may be recorded with the 1D X III using the entire width of the sensor in the camera. This 5.5K region may be scanned at up to 60 frames per second and captured in a wide range of output formats and resolutions. The exact dimensions of this region are 5472 by 2886 pixels. The internal Raw capture option, on the other hand, is the one that has received the most attention thus far.
Raw footage is a really significant thing to have. A major portion of the camera's dynamic range is stored in a manner that allows for a great degree of latitude in post-production in the video that may be captured by several cameras. This allows for a great deal of creative freedom in the final product. Despite this, not all of the information that was initially gathered is preserved in this manner.
Raw video, much like Raw stills, gives you access to most of the sensor's original output, if not all of it. This gives you more processing leeway in terms of tone information as well as white balance, due to the fact that the three color channels haven't been fixed in relation to one another.
It is important to keep in mind that autofocus is unavailable in the 60p Raw mode, as well as in any other 60p preset. Because of the extremely high bit rate, you will be able to fit almost six minutes of film at 60 frames per second into a 128 GB card.
If you configure the camera to write Raws to card 1 and MP4 to card slot 2, you will have the ability to concurrently record a DCI 4K MP4 file that may be used as a proxy. The IPB compression technology is used for proxy file storage.
10-bit Log capture
In addition, the 1D X III features a Canon Log mode that is 10-bit. When this is off, the camera captures all of its videos as 8-bit 4:2:0 H.264 files; however, when Canon Log is enabled, the camera changes to 10-bit 4:2:2 recording using the H.265 codec.
Frame Rates:
NTSC (PAL)
Bitrate, Mbps
(All-I/IPB)
(50) Raw 2600 Linear PCM
29.97, 24.00, 23.98
(25.00, 24.00) 1800
(50) All-I or IPB 940 / 230 Linear PCM or AAC
(25.00, 24.00) 470 / 120
DCI Crop
1.34x crop
(50) 940 / 230
(25.00) 470 / 120
(50) 180 / 60
(25.00) 90 / 30
(25.00) IPB Light 12 AAC
Extremely high-speed video.
Depending on whether you have the camera set to record for NTSC or PAL, the 1D X III also has the capability of capturing Full HD footage at either 119p or 100p. The frame rate that you use is determined by which system you have the camera set to record for. This film is rendered at a quarter speed, either 29.97 or 25 frames per second.
Video handling
When taking still images or videos with the 1D X, the exposure settings, including white balance and Picture Style, are kept fully separate from one another. Again, this makes it much simpler to transition between shooting video and still images, and you can do so with the peace of mind that comes with knowing you won't mistakenly take a series of still images with a shutter speed of 1/50 of a second.
The camera is only capable of handling exposure time in terms of the shutter speed, and not the shutter angle.
The camera, on the other hand, can only deal with exposure time in terms of the shutter speed. Instead of being able to specify a shutter angle that is proportional to the frame rate, this implies that you will have to be cautious to modify the shutter speed when going back and forth between frame rates of 60p and lesser frame rates.
"Enable" and "Enhanced" are the names of the two different degrees of digital image stabilization that are available on the 1D X Mark III. These give a growing amount of stability by cropping the frame to a greater and greater degree in order to get the desired effect. The lower crops, as one might anticipate, make it more difficult to accomplish wide-angle framing and have a detrimental effect on the amount of noise that is present in the image.
Video Autofocus
In video mode, the camera provides the same autofocus area modes as it does in the stills mode; however, the AF mode that you choose does not transfer over when switching between the two types of photography.
The responsiveness and sensitivity of the AF system to changes in distance, known as Movie Servo AF track sens., may be customized in the Spot and 1-Point AF area modes of the camera. You can also choose the pace at which the camera forces a change in focus (Movie Servo AF speed). If you want to do a slow (Auto) focus pull by tapping on the screen, you should use the Spot or 1-Point mode instead of any of the other modes since all of the other modes will refocus at the normal pace.
The camera gives you the choice to focus at the standard speed while you are setting up the shot, and then switch to the preset movie autofocus speed once you begin recording.
If you wish to be able to stop and restart the focusing in the middle of a movie, you may program a few of the camera's buttons to operate as a 'Movie Servo AF Pause,' which will allow you to do so. Assigning a button to do the function of "AF Stop" accomplishes essentially the same thing, but requires the button to be kept down.
The performance of autofocus
One of the most trustworthy (and thus, useable) video AF systems that we've come across is Canon's Dual Pixel AF system, which, in essence, enables each and every pixel to contribute to the system's overall AF efforts.
However, the zone focus modes offer more dependability if you're trying to keep a specific subject in focus but can be sure they'll stay in roughly the same place within the frame. Although we found the subject tracking to be fairly reliable in terms of staying on the right subject, we found that the zone focus modes offered more reliability.
The Dual Pixel AF technology that Canon use is one of the most trustworthy and practical video AF systems that we have come across.
If you want to shift focus from one subject to another, the 1-point and spot settings are excellent choices since they allow you to adjust the pace at which the re-focusing occurs as well as the responsiveness of the camera. We were able to get accurate results from this, and there was very little chance that the focus would "hunt" or "overshoot" when we moved it to a different distance, which made it a really helpful tool.
The camera's focus tracking mode also works quite well, remaining steadfastly attached to the topic it is following. This mode will especially track faces if you have chosen to concentrate on them as your objective. However, due to the size of the camera, it is not always simple to tap the screen in order to select a subject, and as was previously said, you do not have any control over how quickly or slowly the focus reacts.
Auto ISO
You are able to record movies using Auto ISO with the 1D X III, even when manually adjusting the exposure settings. You are unable to set a minimum shutter speed threshold for it to maintain; however, you can specify the highest ISO setting that it should use, and you can use the exposure compensation scale that is displayed on-screen to adjust the level of brightness that the camera is attempting to keep consistent.
The adjustments to the brightness that are made by Auto ISO are made quickly and smoothly, without any discernible lag or stepping.
Canon Log
If you activate the Canon Log function, the camera will immediately transition to the 10-bit H.265 mode, as was previously described. As is customary for Log modes, the camera makes use of a flatter gamma curve that is intended to incorporate a more dynamic range. This allows the camera to distribute the available data values more evenly between the stops of light that are captured, thereby increasing the amount of latitude that is available for color grading.
In Log mode, increasing the base ISO to 400 allows for a reduction in the metered exposure, which results in an increase in the available dynamic range. Lower ISO values are possible, however, these are extension settings that clip the highlights early, which in turn reduces the overall dynamic range that is preserved in the file.
You have a selection of color matrices available to you when shooting in Canon Log mode. The 'Cinema EOS Original' matrix is set as the default, and it produces colors that are identical to those produced by the EOS-1D C. However, you also have the option of selecting 'Neutral,' which is intended to produce an accurate color response. Which one you pick is going to be determined by the color grading procedure you have in mind.
Using the 'Characteristics' menu option, you may additionally alter the amount of sharpness, saturation, and hue shifts for each individual color channel. Finally, if the 'Color Matrix' setting is changed to Neutral, you will be given the opportunity to select whether the camera will produce an HDMI signal using the REC 709 colorspace or the broader HDRTV REC 2020 colorspace. This option is available only when the 'Color Matrix' setting is changed to Neutral.
The rolling shutter values for most of the camera's video modes are at around 15 milliseconds, which is a terrific result and will eliminate the need to worry about rolling shutter in all except the most severe situations. It is interesting to note that the camera produces figures that are somewhat less spectacular in full-width 24 and 30p settings, which increases the likelihood of skewed verticals.
Large SLR
Other resolutions
4368 x 2912, 3648 x 2432, 2736 x 1824
Image ratio w:h
Sensor photo detectors
Full frame (36 x 24 mm)
Digic X
sRGB, Adobe RGB
Color filter array
Primary color filter
Auto, 100-102400 (expands to 50-819200)
Boosted ISO (minimum)
Boosted ISO (maximum)
Custom white balance
Yes (5 slots)
Uncompressed format
JPEG (Exif v2.31)HEIF (10-bit)Raw / C-Raw (CR3)
Optics & Focus
Contrast Detect (sensor)Phase DetectMulti-areaCenterSelective single-pointTrackingSingleContinuousTouchFace DetectionLive View
Manual focus
Number of focus points
Number of cross-type focus points
Focal length multiplier
Screen / viewfinder
Articulated LCD
Screen dots
Live view
Optical (pentaprism)
Viewfinder coverage
Viewfinder magnification
Minimum shutter speed
Maximum shutter speed
ProgramAperture priorityShutter priorityManual
Built-in flash
External flash
Flash X sync speed
Drive modes
SingleHigh-speedContinuousLow-speedSilent singleSilent high-speed continuousSilent low-speed continuous
Continuous drive
20.0 fps
Metering modes
MultiCenter-weightedSpotSpot AF-areaPartial
±5 (at 1/3 EV, 1/2 EV steps)
WB Bracketing
Videography features
MPEG-4, H.264, H.265
Dual CFexpress type B
USB 3.2 Gen 2 (10 GBit/sec)
Yes (HDMI mini)
Microphone port
Headphone port
Yes (Wired, wireless, smartphone)
Environmentally sealed
Battery description
LP-E19 lithium-ion battery & dual charger
Weight (inc. batteries)
1440 g (3.17 lb / 50.79 oz)
158 x 168 x 83 mm (6.22 x 6.61 x 3.27″)
Orientation sensor
Timelapse recording
Overall conclusion
The Canon EOS-1D X Mark III has a place of honor among the very greatest single-lens reflex cameras ever produced. It's quick, it's tough, and it delivers some of the highest-quality images we've ever seen produced by a Canon camera (limited resolution notwithstanding, since speed is the name of the game here).
An experienced professional might pick up a regular EOS-1D and get right to work with minimum hassle, but doing so would mean losing out on some essential advances that Canon has added in this workhorse sports photographer. Canon has included a lot of new features in this camera.
The AF "smart controller" is not a gimmick, and the new autofocus technology provides better performance than it ever has before while still being simpler to operate. The incorporation of HDR image capture utilizing the HEIF format offers some kind of protection against the foreseeable future (though you may need to upgrade your monitor to really get a feel for it). The fact that the camera may be connected to several devices or services in parallel will make previously unavailable options available to both experienced photographers and novices alike.
There is absolutely no better DSLR on the market today that is capable of capturing video. The Canon EOS-1D X Mark III is a large and heavy camera, but if it's internal Raw and 10-bit 4:2:2 C-Log capture, accurate and easy-to-use autofocus while recording, and the ease of switching from stills to video (the camera remembers your settings for each separately) are enough to convince you that it should be your next hybrid camera, then you shouldn't let its size and weight discourage you from purchasing it.
When it comes to subject tracking through the viewfinder, we find that competitors such as Sony's a9-series and Nikon's D5 both have an advantage over this camera. This is the case despite the fact that the focusing mechanism is quite capable (we received a Nikon D6 too recently to include it in our side-by-side testing for this review).
The EOS-1D X III, on the other hand, is superior in live view; during our testing of its focusing capabilities, it successfully followed the subject's head, despite the fact that the subject's face was concealed. And because of the nature of the market area that it competes in, it is not going to be the first choice for photographers who capture landscapes or studio scenes and simply want more megapixels. However, when compared to its immediate competitors, it offers superior image quality in the vast majority of scenarios.
The EOS-1D X III will continue to fulfill users' needs for many years to come while providing a glimpse of what the mirrorless future may store
It is simple to take pleasure in using a camera such as this one, and it is difficult to foresee anyone actually using it to its utmost potential; one might argue that the EOS-1D X Mark III is meant to never limit anyone. It is a camera that allows you to "grab the shot" in practically any circumstance, while at the same time staying out of your way as you take images.
It's possible that some people may complain and say things like "DSLRs are dinosaurs" and other such things, but the reality of the matter is that many professionals and organizations might not be ready (or able) to move to mirrorless cameras just yet. When they push the live view button, the EOS-1D X III will provide them with more than enough satisfaction for many years to come while also allowing them to get a glimpse of what the mirrorless future has in store for them.
Canon EOS 1D X Mark III Price
Both the JPEG and Raw formats boast excellent image quality.
The outdated JPEG file format may easily be replaced with HEIF HDR files because of their superior capabilities.
The most impressive Canon autofocus to date
The best video quality and feature set in its class
Very low levels of background noise and a wide dynamic range.
Need Improvement
The viewfinder's subject tracking can't compete with the finest of its competitors.
The complexity of menus is growing, and they may benefit from increased structure.
The variety of customizable choices might be increased.
Electronic shutter has a diminishing effect on dynamic range.
Live view is required for the best autofocus topic tracking, which is quite problematic.
Ergonomics & handling
Metering & focus accuracy
Low light / high ISO performance
Viewfinder / screen rating
Movie / video mode
Canon's EOS-1D X Mark III is now the camera to beat in its class. It churns out fantastic photos right out of the camera, boasts class-leading dynamic range, and makes for a formidable video camera. Its autofocus subject tracking is, if not head-and-shoulders above its counterparts, comparable with the finest on the market. If you need a tough camera that can keep up with just about everything you aim it at, then look no further.
Canon EOS 1D X Mark II Review – Camera that was revolutionary for its day
Canon EOS 40D Review – DSLR designed for enthusiasts and semi-pros
Canon's EOS-1D X Mark III is now the camera to beat in its class. It churns out fantastic photos right out of the camera, boasts class-leading dynamic range, and makes for a formidable video camera. Its autofocus subject tracking is, if not head-and-shoulders above its counterparts, comparable with the finest on the market. If you need a tough camera that can keep up with just about everything you aim it at, then look no further.Canon EOS 1D X Mark III Review -A large and quick single-lens reflex camera for working professionals


Teaching Keats's "Ode on a Grecian Urn"
Who is Keats? What is a Grecian urn? What is an ode? These questions are common ones in my classroom. I teach Keats's poetry as part of a third-year, twelve-week survey course on English Romantic Literature in the School of English, Film, and Theatre at Victoria University of Wellington, New Zealand, in the context of a three-year BA programme. Two hours per week are devoted to lectures to the whole group of students (53 in 2002); in addition there is a weekly one-hour tutorial, a discussion session in groups of about fifteen. Three lectures and one tutorial are assigned to Keats. Our textbook is Duncan Wu's Romanticism (second edition; Blackwell).
My students' ignorance of Keats and nineteenth-century British literature in general has nothing to do with lack of brains or motivation. In order to fulfil their English major requirement our students take two "pre-twentieth century courses", a very modest requirement which leaves them, at the end of their degree, likely to be just as familiar with New Zealand, Australian, South African literature as with so-called canonical English literature.1 "Ode on a Grecian Urn" is generally not taught in secondary school, and at university one can easily major in English without having come across any of Keats's poetry. No wonder then that, while we as university teachers and researchers think of Keats's poetry as canonical, burdened with jaded conservatism, the students, who have consciously taken this course as a choice among many, are not burdened with such thoughts at all. For most of them, the encounter with Keats's poetry is an exciting discovery—a new planet swimming into their ken—as opposed to imposition of an outdated canon.
The fact that we still think of Keats as a canonical author, an inevitable, and, in fashionably theoretical terms, unwelcome, jaded presence in our curriculum may have something to do with the separation between research and teaching which has become part of our profession. The theoretical debate, and its research outcomes, about the problematic nature of the canon was originally based on a particular curriculum of so-called masterpieces, and the pedagogical, largely New Critical approach, associated with it. For funding and prestige purposes universities in the US, the UK, and the richer nations of the Commonwealth in general, have been moving towards an apartheid system of lavishly paid, tenured full-time research stars and underpaid, non-tenured adjunct instructors. Tenure and promotion are, despite lip service to excellence in teaching, largely research based, but research about pedagogical issues has become increasingly divorced from any actual classroom practice. It is, ironically, possible for a research professor to write about the theoretical context of pedagogical approaches to "Ode on a Grecian Urn" without actually having to deal with the poem in the classroom on any regular basis. The main challenge for me as a tenured university researcher and teacher is to establish and maintain a teaching-research nexus, a dynamic connection between two aspects of my job, namely the exploration of and communication about beautiful and stimulating Romantic texts. This process is an exchange between the students and me, and any ideas or approaches which I may hope to convey cannot be divorced from the responses and the contributions of the students. Bearing the importance of a common meeting ground in mind, I have decided that the tutorial is to be devoted to the close reading of a poem, that it should be in other words an opportunity for the students to encounter the poem itself (as opposed to critical writings about the poem).
The only difference between research and teaching is audience and the knowledge or skills we expect our audience to have. In scholarly articles I write for a community of peers who have a longstanding familiarity with the period and its texts. In the classroom no assumptions about specific prior or common knowledge of the materials can be made, but the students do bring with them a range of living experiences which influence their reading. Most remarkably, for the majority of them the fact that Keats was writing when he was roughly their age strikes a crucial chord, and this perceived sense of contemporariness makes their study of Keats different from their perception of, for instance, Wordsworth and Coleridge, the two other major authors in the course. Keats's youth and tragically early death conspire with the immediacy of his letters (so many of which emphasize empathy, discovery, passionate intensity and the inevitable vulnerability which accompanies it) to attract students who are in the first stages of independent adulthood themselves. In "Ode on a Grecian Urn" the passionate intellectual curiosity of the speaker appeals to the students. The reality that most of my students "fall for" Keats, almost instantly like and admire him, is a tremendous advantage. With Keats, more than with any of the other poets in the course (with the exception perhaps of John Clare), the students are fascinated by the combination of his personal and poetical qualities. As a teacher I make the most of my students' partiality for Keats by organizing my lectures and tutorials around the possible grounds for this fondness. The quality which makes Keats most appealing to my students is his openness to experience and its bafflements, his delight in articulating the dynamics of trial and error in exploration and discovery, in encounters with texts, nature, people, and artefacts such as Grecian urns. What makes Keats specifically attractive to students who are about twenty years old (or who remember what it was like to be twenty years old) is the ardour of the pursuer as we find him or her portrayed in letters and poems.2 At the same time, what makes Keats particularly admirable to young adults is his moral intelligence, his striving for unselfish friendship and love, and his acknowledgment of a complex picture which cannot be fully comprehended or contained: "Things cannot to the will / Be settled, but they tease us out of thought" ("Dear Reynolds, as last night I lay in bed", ll. 76-77) (181). In particular, in the classroom I address the same issue which informs my own research about Keats: his ability to express the necessity to give form to, to substantiate desire into a passion which lasts beyond the moment by focusing on the dynamics and the energy of encounters.
I teach "Ode on a Grecian Urn" in a context which emphasizes Keats's poetics of encounter and the passionate intensity which characterizes these encounters. "Form" figures prominently, particularly so for "Ode on a Grecian Urn," a poem about an artefact (a formal structure about a formal structure). In a questionnaire conducted in the first trimester of 2002 I asked my 53 ENGL 311 students to comment on what they found most helpful and most enjoyable in their study of "Ode on a Grecian Urn." Many students commented on how they enjoyed formal analysis in a discussion-style tutorial ("coming to terms with the actual structure, building blocks of the poem"). The "thing itself", the poem, is their preferred starting point in discussion (as opposed to an article about the poem), in very much the same fashion that the urn is in front (mentally or physically) of the speaker of the poem. One student commented on how this approach gives them all something "to sink their teeth into" and how it gives them "a sense of ownership." In practical terms our tutorial about "Ode on a Grecian Urn" takes initially the form of a discussion about the plot of the poem (who is speaking? how does this speaker address the urn? what does the speaker want? what does the speaker "see" on the urn? how do we find out about this?), an approach which I was introduced to in graduate school at the University of Illinois at Urbana-Champaign in the Romantic seminars of Jack Stillinger and the Professional Seminar on teaching literature of Nina Baym. First of all, the advantage of this approach is that straightforward, supposedly "fact" focused questions trigger discussion of more complex, ambivalent questions. For instance, as we worked our way through the poem it became obvious that the initial address, the initial substantiation of the urn, goes through a process of transformation. From addressing the urn in problematic human terms (unravished bride, fosterchild, sylvan historian), the speaker ends up acknowledging the urn as an artificial, but stimulating presence to human eyes ("a friend to man"). The initial encounter, a very one sided tribute from the speaker to the urn in the opening lines, has been turned into an affirmation of a dynamic in which beauty and truth need to be couched in an interpretive act of the beholder. Secondly, the "plot" approach also ensures that we do not take any of the ingredients of the poem for granted. The idea of a "Grecian urn", for instance, is not necessarily familiar to the students; overheads and illustrations are brought in (based on those in Ian Jack's Keats and the Mirror of Art) to give an idea of the kinds of materials which may have inspired Keats.
The initial anthropomorphic "loneliness" of the urn is replaced at the end of the poem by an affirmation of its formal features (shape, attitude, brede of marble men and maidens, silent form, cold pastoral). The speaker's recognition of the urn's form substantiates its meaning of beauty and truth for those who view it. The fictional little town, the urn's original home, is a representation of a possible living context from which the urn has been lifted. The importance of context for the Grecian urn and the problem of substantiating it within formal constraints can be extended to Keats's larger cultural context. This is where the lectures are useful: Keats's literary and cultural context, his reading and thinking are directly related to the poems.
The first lecture is devoted to a number of points, all of which clarify Keats's context and which illustrate the differences from, primarily, Wordsworth's and Coleridge's poetics. Keats's friendships with Leigh Hunt and Benjamin Robert Haydon introduced him to The Examiner and The Annals of the Fine Arts, in which "Ode on a Grecian Urn" was first published. The political connotations of The Examiner and the larger cultural context of The Annals are briefly considered By considering some of the major letters (truth of the imagination, human life as mansion of many apartments, poetical character and chameleon poet, negative capability) and sonnets ("Chapman's Homer", "When I have fears", "On sitting down to read King Lear"), I stress the importance of reading and formally articulating a response to reading in Keats's work. Reading Homer through the lens of an Elizabethan, re-reading Shakespeare, reading the sky for new planets all affirm the importance of exploration and discovery which is channelled in a poetical form. Those processes often take the form of a greeting, a salutation which incorporates a sense of astonishment and confirmation at the same time. Before moving on to the odes we spend some time on "The Eve of St Agnes" and "La Belle Dame Sans Merci." Both poems are read primarily for their portrayal of sexually charged encounters which do not conform to fairy tale scenarios despite the formal markers of romance. Both poems also portray problems which the main characters face when attempting to substantiate their desire into tangible reality. "Isabella" and "Lamia" would also be good choices here. The possibly tragic vision implicit in these poems is counterbalanced by the intensity of characters or speakers to substantiate their desires into actual encounters which accommodate these desires. Isabella's fervent digging, Lamia's painful transformation, Madeline's loss of control over her ritual all suggest the breakdown, or the transcendence, of boundaries of embarrassment or social decorum (which is also what we witness on the urn to some extent). Because of time constraints I usually leave out "Lamia" and the Hyperions altogether in favor of focusing on the odes as a group in the second lecture.
The odes stage encounters between speakers and concepts (Psyche, nightingale, urn, autumn, melancholy) in which the speaker needs to accommodate or substantiate the addressed abstraction or form. For "Ode on a Grecian Urn" I emphasize how difficult it is to attribute meaning to something which has been taken out of its original context. Problems of context are a major issue for museums, and for the students it comes as quite surprise that public access to works of art, by way of the museum, was a relatively new experience in Keats's time. As James Heffernan pointed out, Keats's ode on the urn "was made possible by the collections of classical vases and marbles Keats saw at the British Museum, founded in 1753, which acquired the vases in 1772 and the marbles (from Lord Elgin) in 1816, just three years before Keats wrote his ode" (93). The frustration of fragmentation, of isolation, is also part of the debate surrounding the then recently acquired Parthenon marbles by Lord Elgin, as their originality was championed by Benjamin Robert Haydon in the pages of The Annals of the Fine Arts. And for the middle class consumer, the taste for Grecian urns was also catered for by the tremendously popular Wedgwood pottery. In the lectures I try to illustrate that there was indeed a cultural context for Keats's poems to originate in.
The focus on context, both in tutorials and lectures, emphasizes that banal generalities such as "beauty" and "truth" can only be substantiated by the interpretive act of the beholder. The fragmentation which befell the Parthenon Marbles after having been removed from their context is also applicable to the urn in the poem, which has been lifted out of its original context into a world of artifice, the museum pedestal or the engraving. When I saw the Parthenon Marbles in the British Museum in April 2002, I was impressed by the video set-up in an adjacent room which illustrated the position of the marbles on the original building. The evocation of the sacrificial ritual and the little town in stanza four of "Ode on a Grecian Urn" serves a similar purpose of creative reconstruction. For Keats, "Truth" is always the "truth of the imagination," the positive construction of a desired vision, and the resultant "Beauty" is the enduring form in which this vision has been cast. What we achieve in the classroom or in the lecture theatre is a creative, dynamic reconstruction of the contexts in which Keats's poetry took shape.
1 For more information about English majoring requirements at Victoria University of Wellington, New Zealand, see <http://www.vuw.ac.nz/seft/>. I am grateful to the 2001 and 2002 ENGL 311 students for their enthusiasm, their advice and ideas.
2 See the letter to Bailey: "every mental pursuit takes its reality and worth from the ardour of the pursuer" (73).
Keats, John. Complete Poems. Ed. Jack Stillinger. Cambridge, Mass.: The Belknap Press of Harvard UP, 1982.
---. Letters of John Keats: A selection. Ed. Robert Gittings. Oxford: OUP, 1990.
Heffernan, James A. Museum of Words: The Poetics of Ekphrasis from Homer to Ashberry. Chicago: U of Chicago P, 1993.


Hey all, I have seen a few discussions talking about tablets but most of them evolve in to conversations about laptops.
I am looking to work with my models (fairly small but detailed, anywhere from 100-5000 objects). I don't deal with rendering at all, mostly just looking to build or edit models.
I have done some research regarding tablets. I know that Sketchup will not work off an Android platform, only Windows. That being said, there are a ton of tablets out there. I was curious if anyone uses a tablet or if there are any recommendations.
Obviously price is a big factor here, but I am wondering if any of these are more convenient than the other. (I am not a frequent tablet user so I am not that experienced).
Any and all insight or help is greatly appreciated.
What are your thoughts regarding a keyboard and mouse?
Whatever you do, make sure to test SketchUp on the tablet before you buy it. I tried SketchUp on a Surface Pro in Best Buy (the guys there were super helpful about letting me install it on their demo Surface Pro), and the high resolution screen made some SketchUp elements so tiny that my eyes watered. Even the endpoints and lines shrink down to nothing.
I'm sure SketchUp will eventually fix the high-resolution shrinkage issue, but for now, it actually helps to find a screen that doesn't have a very high resolution.
It's a challenge nowadays to find a low-res screen with a really good processor and sufficient RAM, though.
I know that Sketchup will not work off an Android platform, only Windows.
Actually my.SketchUp is in beta and can run in a web browser on any platform.
I was curious if anyone uses a tablet or if there are any recommendations.
Some people do, for limted sitework.
But neither desktop SketchUp, nor my.SketchUp currently have touch interfaces. So, you likely need to use a pen or stylus. Also a popup virtual keyboard would be needed to enter values into the Measurements (VCB) box, or attaching a keyboard.
I have seen a few discussions talking about tablets but most of them evolve in to conversations about laptops.
Because the market trend is away from tablets, and toward "detachables".
Indicates that iOS and Apple's share of the market is declining.
Indicates detachables like MS Surface are taking over the market.
What 2-in-1 Tablets are best for SketchUp?
the high resolution screen made some SketchUp elements so tiny that my eyes watered. Even the endpoints and lines shrink down to nothing.
When was this? Because SketchUp team has somewhat improved this issue with 2016 version. - Including vector toolbar icons and others.
I say somewhat, because it is still a bit more difficult to land the courser on the endpoint.
I often use SketchUp on my Surface Pro 4.
It was after 2016 was released. 2016 did make a lot of it better, with the icons, but not for everything. I teach SketchUp, so I can't have near-invisible endpoints, it doesn't show well on projector screens. And the "In Model" icon? I think I recall it's just a tiny speck on really high-res screens, although I haven't looked in awhile.
would have a look at the Lenovo ThinkPad Yoga 12 and HP EliteBook Revolve 810 G2 too.
@sketch3d_de Those are more on the expensive side, although it would be nice, price is still a huge factor.
@DanRathbun I apologize for not being as clear as I should have been in the beginning. Although I said tablet, I meant 2-in-1s, ideally a keyboard and a stylus or mouse if possible which is why I am leaning towards the Windows side of things opposed to the iPad.
Any other tablet users aside from @josephkim626 with the Surface Pro 4?
Just to be clear though. My Surface Pro 4 is just my machine on the go. I don't necessarily do much "work" on it.
I have two other machines (Desktops) where I do the work.
Those are more on the expensive side, although it would be nice, price is still a huge factor.
Do you think the Intel® HD Graphics 520 would be able to handle sketchup? The other specifications are significantly better than most 2-in-1s in this price range.
integrated graphics solutions are targeted at low power consumption in connection with office/video/internet applications and therefore slow by design. Additionally, the OpenGL support of drivers provided is obviously not optimized for 3D modelers and may show flaws in this area (screen/print artefacts, crashes).
You can avoid the latter by disabling the OGL support of SketchUp at "… > Preferences > OpenGL…" which requires the CPU to calculate the screen/print ouptput but avoids the issues mentioned above.
As already mentioned above, for showing your (non high-poly-count) models to your clients a convertible should work, at least with the SU OGL option disabled.
In general, even with a 64-bit version of Windows use the 32-bit version of SU which is in general more compatible with the 32-bit OGL stack of video drivers.
Thank you! I appreciate gaining the extra knowledge.
I definitely want to find/pick the ideal machine before going ahead and just buying something that wouldn't work.
quite frankly any architect worth their salt should have one of these or [cough Ipad Pro].
both work fine for smaller models and are very easy to use with a pen.
These are really great. I ve a samsung tab S3 and and was trying my hand on web.sketchup.com. unfortunately this is not working on my tab web browser. do I need to change some setting to work on my browser? pls do advise. thnx.
if you buy a laptop , please make sure the graphics has at least 6GB RAM ( such as GTX 1060) , try to get a decent spec CPU with that as well, together with adequate RAM (16GB should be fine for most use cases, more if you can afford it) and a SSD (but I guess that part is a given seeing that it is a SurfaceBook) with plenty of space.
I think you need to be using the stylus with another input device.
I use a stylus in work and at home with SketchUp on a XP-Pen Artist 12 pen display monitor tablet , I only got them last month but has been pretty easy to get the hang of.
The trick is using the pen on the tablet , However the pen has two buttons built in and also 6 on screen buttons and 1 touch bar you can program per application. So it's pretty easy to add in features such as delete, undo and other tools. I also have programmed gestures on the tablet (two finger swipe left for undo etc).
more details : https://www.xp-pen.com/goods/show/id/380.html .


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redpajama_set_name: RedPajamaGithub


text:
Maga News 2020
Bernie Sanders Takes The Lead In Iowa Just Weeks Before Caucus
January 13, 2020 | by James G. Dalton
All of those Bernie Sanders' meme groups on Facebook are going to have something to celebrate over the weekend. Because according to the latest batch of polls, their candidate has retaken the lead in Iowa.
Per the latest Des Moines Register/CNN poll released on Friday, Sanders frog-leaped over his top rivals to secure the No. 1 spot, up from a No. 3 finish back in November.
The poll is widely seen as the most accurate and authoritative predictor of who will win the Iowa caucus, according to the Hill.
Though it's probably just a coincidence, Sanders latest bump in the polls follows an endorsement from model/actress Emily Ratajkowski, best known for being Hollywood's most visible proponent of 'empowered' feminism (so long as it doesn't come between her and booking another job).
"Bernie is extremely genuine. He's consistent. He's powerful, not because of who he is as one person, but because of the way he invigorates people and excites them, and brings together this movement." –@emrata pic.twitter.com/ZTD8jjHHCI
— Bernie Sanders (@BernieSanders) January 9, 2020
Meanwhile, since the mainstream press simply can't tolerate the notion of Bernie Sanders nominee, Time Magazine has conveniently published the cover for this week's edition. Unsurprisingly, it's a hagiography of Nancy Pelosi.
But Dems weren't the only ones upset by the poll results. Others speculated that a Trump vs. Sanders matchup in the fall would make them question whether America is still indeed worth saving.
If the two presidential nominees are Trump and Sanders – if that truly reflects what the two main parties stand for – then I honestly have to start asking the troubling question whether this country still has much of a future.
I believe it does, btw. But I might be wrong.
— Patrick Chovanec (@prchovanec) January 11, 2020
Because four years of either … I just can't imagine. It pains me to think of being around for it.
Unsurprisingly, Sanders' big advance in the polls has translated over to online betting markets, where he has moved firmly back into second place, behind only Joe Biden.
RealClearPolitics' poll aggregator has Sanders in second place behind Biden nationally.
Sanders picked up 20% of support in the Iowa poll (up 5 percentage points from late last year), giving him a plurality, though not by much. Rival Senator Elizabeth Warren placed second with 17%, followed by former South Bend, Indiana, Mayor Pete Buttigieg in third with 16% (a drop of 9 percentage points from the previous poll by the same group).
Joe Biden, meanwhile, came in fourth with just 15%.
Iowa caucusgoers will cast their votes on Feb. 3 for the first-in-the-nation contest.
To be sure, the Iowa caucuses have a reputation for being difficult to forecast. But setting its esoteric system aside (a system that requires caucusgoers to show up on-location in the dead of winter and argue about who is the best candidate in a gymnasium full of strangers), only 40% of respondents said they are sure of their choice, which leaves a wide margin of undecided voters who could still sway the results in the coming weeks.
And there's still the question of Sanders' fragile health in the wake of a heart attack that gave many of his supporters reason to reconsider whether he is truly the right candidate to lead the country.
via zerohedge
Joseph Corson
Who cares about that Commie crackpot! He's a Traitor to the Nation and always has been! Trump/Pence 2020!
Chief Justice Roberts Roped Into Battle Over Impeachment Witnesses
AOC: Why Weren't There Many Armed Cops at Richmond Rally?
2020 Women's March Peters Out After Women Discover Trump's Not Destroying Their Lives
This Politically-Incorrect Democrat Joke Has People on Both Sides of the Aisle Upset
Why Adam Schiff Is Too Biased To Manage Trump's Impeachment Trial
FOFY286 on This Politically-Incorrect Democrat Joke Has People on Both Sides of the Aisle Upset
FOFY286 on AOC: Why Weren't There Many Armed Cops at Richmond Rally?
dennis on AOC: Why Weren't There Many Armed Cops at Richmond Rally?
FOFY286 on The Climate Change Scam Brutally Exposed by a Single Meme
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The Cabinet Of Dr Caligari 1920
The Cabinet of Dr. Caligari (German: Das Cabinet des Dr. Caligari) is a 1920 silent film directed by Robert Wiene from a screenplay by Hans Janowitz and Carl Mayer. It is one of the most influential of German Expressionist films.
The film was a favourite of Malc. The film is being shown as part of the festival in Liverpool to celebrate Lowry's centenary later this year. Lowry could have been first first exposed to the film during his forays to the Century Cinema in Liverpool but he could have also seen the film in Germany on his visit in 1928.
We can gauge the importance of The Cabinet Of Dr Caligari and other German Expressionist films to Lowry when he voiced to Clemens ten Holder in a 1951 letter, that he would be very happy to have his novel Under the Volcano made in German in the style of the great Expressionist movies such as Caligari.
The deranged Dr. Caligari and his faithful sleepwalking Cesare are connected to a series of murders in a German mountain village, Holstenwall. Caligari presents an example of a motion picture "frame story" in which most of the plot is presented as a "flashback", as told by Francis.
The narrator, Francis, and his friend Alan visit a carnival in the village where they see Dr. Caligari and the somnambulist Cesare, whom the doctor is displaying as an attraction. Caligari brags that Cesare can answer any question he is asked. When Alan asks Cesare how long he has to live, Cesare tells Alan that he will die before dawn tomorrow – a prophecy which is fulfilled.
Francis, along with his girlfriend Jane, investigate Caligari and Cesare, which eventually results in Cesare kidnapping Jane. Caligari orders Cesare to kill Jane, but the hypnotized slave refuses after her beauty captivates him. He carries Jane out of her house, leading the townsfolk on a lengthy chase. Cesare falls to his death during the pursuit, and the townsfolk discover that Caligari had created a dummy to distract Francis.
Francis discovers that "Caligari" is actually the director of the local insane asylum, and, with the help of his colleagues, discovers that he is obsessed with the story of a Dr. Caligari, who, in 1703, in northern Italy used a somnambulist to murder people as a traveling act. After being confronted with the dead Cesare, Caligari reveals his mania and is imprisoned in his asylum.
A "twist ending" reveals that Francis' flashback is actually his fantasy: he, Jane and Cesare are all inmates of the insane asylum, and the man he says is Caligari is his asylum doctor, who, after this revelation of the source of his patient's delusion, says that now he will be able to cure Francis.
Here is a highly quality clip which I have recently come across and is a better print than the whole movie clip on Internet Archive:
While researching this post, I came across a very interesting 2005 project which involved a re-make of the film which is described in the 2 videos below and sounds fascinating. I am yet to see the finished product.
You can watch a copy of the 1920 film below:
Posted by Keeping Soul Alive at 13:43
Labels: German Expressionism, Lowry's Cinema, Robert Wiene, The Cabinet Of Dr Caligari
Liverpool Echo Review of Under The Volcano Exhibit...
Brian O'Toole's Cartoons
Ray Lowry Untitled (Under The Volcano)
Cisco Jimenez's Peddler
Edward Burra's Skeleton Party
Jorge Martinez Garcia's Espiritus Del Mezcal
Pete Flower's Skulls and Flowers
Cian Quayle's Film & Photographs in Under The Volc...
Julian Cooper's Under The Volcano Series
Adrian Henri's Day Of The Dead
Paul Rooney's film Bellevue
Ross Birrell and David Harding's Cuernavaca: A Jou...
Under The Volcano; An Exhibition for Malcolm Lowry...
Under the Volcano author Malcolm Lowry is globally...
Malcolm Lowry: From the Mersey to the World Book L...
Under The Volcano: Exhibition For Malcolm Lowry 19...
Malcolm Lowry from the Mersey to the World
Malcolm Lowry Festival Liverpool 25/9/09 to 22/11/...
Richard 11
D.W. Griffith's Broken Blossoms 1919
D W Griffith's Intolerance 1916
Scampered Like Children Past The Hall Line Shed
Love In The Sand Dunes of Wallasey 1927
Gershwin's Rhapsody In Blue
Bessie Smith Shipwreck Blues
The California Ramblers Dromedary Columbia 1925
The Only, Only One For Me
Robert Louis Stevenson The Wrecker
Malcolm Lowry In Eastbourne Summer 1925
Savoy Orpheans
Malc Beats The Dog On Caldy Hill
Malc Could Have Been A Bartender in Belize


South Korean President Moon Jae-in undertook a four-day visit to India in early July, keen to improve bilateral economic and business ties between Seoul and New Delhi.
High on the visiting leader's agenda was renewing South Korean interest in Prime Minister Narendra Modi's flagship Make in India campaign.
Moon and Modi were both present as Samsung, the South Korean multinational conglomerate, used the visit to launch its largest global mobile factory in Delhi's National Capital Region.
After formal talks, the focus was on finding ways to ease bilateral investment challenges, deepen economic ties, and upgrade the current Comprehensive Economic Partnership Agreement (CEPA).
India and South Korea also aim to increase trade and investment to USD 50 billion by 2030 – from the current USD 20 billion.
MoUs were signed to boost bilateral trade and investment and promote cooperation across a wide spectrum – artificial intelligence, biotechnology, railways, culture, and tourism, among others.
Overall, the MoUs reflect the complementary foreign policy agendas of India and South Korea – Modi's 'Act East' and Moon's 'New Southern Policy'.
The New Southern Policy focuses on economic cooperation and building a prosperous and people-centric community of peace in the South Asian region.
India's Act East policy encourages further economic engagement, reinvigorating cultural and tourism relations, and developing new strategic partnerships with countries in the Indo-Pacific region.
Both the policies converge in their directives, which will reinforce trade and investment ties through CEPA – the bilateral trade agreement in force since 2009.
Modi and Moon have urged business communities in both countries to take advantage of the complementary requirements of the two economies and enhance the benefits available under CEPA.
The two countries signed a joint statement on July 10 upgrading negotiations under CEPA, with early harvest offers made for 35 items.
In addition, yoga and taekwondo instructors were included in the list of professionals under the Sporting and Other Recreational Services category. This means Indians can now open yoga institutes in South Korea and Koreans can open taekwondo institutes in India under the Early Harvest Package (EHP).
South Korea also agreed to eliminate tariffs over a period of time on 17 Indian products – seven fish items, beer, jams and jellies, mango, corn, and maize, among others. In particular, South Korea will reduce the import tariff on shrimps from 20 percent to zero upfront for 15,000 tons; India's total marine exports currently stands at 2,400 tons.
India will, in turn, reduce/eliminate import tariffs for 11 items, including fish fillets and marine base oil.
With regards to the movement of professionals, the EHP increases the visa duration for information communication technology (ICT) employees to three years from one year.
These changes will move some way in correcting the trade balance between the two countries – South Korea enjoyed a trade surplus of USD 12 billion in 2017-18.
South Korea has a stronghold in the global electronics market, also reflected in its trade with India. Electronics and electrical equipment dominated Indian imports from South Korea in 2017 – accounting for US$3.09 billion (Rs 211.7 billion).
India, on the other hand, exports raw goods, such as aluminum, iron and steel, organic chemicals, as well as machinery.
South Korea's business environment, much like India's, depends largely on major family run mega-conglomerates or 'chaebols'. Samsung, Hyundai, and LG are a few that have already made large investments in India. Indian firms in South Korea mostly belong to the IT services and consultancy category.
Several manufacturing sectors benefit from strong bilateral ties between India and South Korea – from automobiles and engineering to consumer goods.
India's competitive labor market and Make in India policy provides South Korean companies with the impetus to invest in manufacturing here.
Further, the newly set up Korea-India Future Vision Strategy Group will identify areas of high-end technological components to boost trade and investments between the two countries.
This focus on investing and knowledge exchange in developing leapfrog technologies will open up business opportunities across several rapidly expanding sectors, including biotechnology, cyber security, healthcare, and energy.
Around 150 Korean companies from the automotive, heavy industry, food processing, and textiles sectors have shown interest in setting up in India in the coming years.
The Indian government's Korea Plus initiative is largely responsible for this.
Under this initiative, a Korea desk has been set up within the government and acts as the first point of reference for Korean companies interested in market access to India.
They assist in end-to-end services such as public relations, market or project research, and provide business intelligence services to Korean companies investing in India.
India's electronics manufacturing sector is growing at 17 percent CAGR; it is expected to cross USD 228 billion (Rs 15.6 trillion) in turnover by 2020.
The electronics manufacturing services (EMS) segment has also seen rapid growth over the past few years, doubling from US$500 million (Rs 34.25 billion) in 2013 to US$1 billion (Rs 68.5 billion) in 2015. Both sectors are a stronghold for Korean manufacturers.
With the Make in India policy offering incentives for foreign companies manufacturing in India and a push to increase the number of electric vehicles on Indian roads – Korean investors will find a large market in India for a wide range of products from lithium batteries to electronic components to IoT in the coming years.
India's infrastructure industry is also growing at a fast pace, with foreign investor interest keen on roads, transmission and telecommunications, and renewable energy sectors.
Currently the foreign investment landscape in this area is dominated by global pension funds, large private equity (PE) players, and long-term capital investors as well as investments from the UAE and Japan.
China, Thailand, and Malaysia are other countries bullish on India's infrastructure market – identifying marquee projects and Indian manufacturing equipment, power, and construction companies for investment.
As India hurries to upgrade its infrastructure to match the standards of advanced economies and regional rivals, South Korean firms with long-standing experience in the sector will stand to benefit.


text:
Q: Eval only emitting on training begin and training end on CloudML Using the code below - eval only runs twice (begin and end) when training on CloudML.   I would expect this eval at least every 10 seconds.
If I run the same code locally this behaves as expected.
eval_spec = tf.estimator.EvalSpec(
                   input_fn = read_dataset('{}/test*'.format(OUTPUT_GCS), mode = tf.estimator.ModeKeys.EVAL),
                   steps = 5,
                   start_delay_secs = 2,
                   throttle_secs = 10,
                   exporters = exporter)
My batch size is 64 and --scale-tier=BASIC.

A: I figured this out. When running in CloudML the underlying checkpoint config is overridden differently than when running locally say in Datalab.
Setting:
 my_checkpointing_config = tf.estimator.RunConfig(save_checkpoints_secs = 1*60,  keep_checkpoint_max = 3)
On your estimator's congfig property fixes the problem.
Ironically, the docs state this as such, but in two different sections:
1)throttle_secs: Int. Do not re-evaluate unless the last evaluation was started at least this many seconds ago. Of course, evaluation does not occur if no new checkpoints are available, hence, this is the minimum (link).
2)By default, the Estimator saves checkpoints in the model_dir according to the following schedule (link):
Writes a checkpoint every 10 minutes (600 seconds).
Writes a checkpoint when the train method starts (first iteration) and completes (final iteration).
Retains only the 5 most recent checkpoints in the directory.
This is relative to the default settings of the execution environment.

redpajama_set_name: RedPajamaStackExchange


text:
Home » Featured Smart Car Tech News Transportation
China search giant Baidu is looking into making its own electric cars
Nickie Louise Posted On December 15, 2020
A little over two years ago, we wrote about Baidu after the China search giant teamed up with U.S. automaker Ford to collaborate on a two-year joint autonomous vehicle test project to develop and test self-driving vehicles on designated roads in Beijing by the end of this year, and possibly other Chinese cities. The joint project was part of Ford's plan to further advance and promote autonomous vehicle technologies, supporting the company's vision of designing "smart vehicles for a smart world.
Whatever happened to their partnership, it is now clear that Baidu has a plan of its own. After spending years developing autonomous driving technology, Baidu reportedly held talks with Chinese carmakers about making its own electric vehicles, according to an exclusive report from Reuters, citing three people with knowledge of the matter.
It now appears that Baidu is taking a note from Google playbook. In addition to its dominance in the search space, Baidu also develops autonomous driving technology and internet connectivity infrastructure. The search giant is now considering contract manufacturing or creating a majority-owned venture with automakers, one of the people told Reuters. Baidu is now the latest in a list of tech giants including Tencent, Amazon, and Alphabet all working on autonomous driving in the race to develop smart cars.
The initiative would be a step up from internet peers such as Tencent Holdings Ltd, Amazon.com Inc, and Alphabet Inc, which have also developed auto-related technology or invested in smart-car startups, Reuters said.
Baidu has held preliminary talks – without reaching any decisions – with automakers including Zhejiang Geely Holding Group Co Ltd, Guangzhou Automobile Group Co Ltd (GAC) and China FAW Group Corp Ltd's Hongqi, on a possible venture, the people said.
Founded in 2000 by Eric Xu and Robin Li, Baidu is the largest Chinese language Internet search provider and search engine that enables individuals to obtain information and find what they need. Baidu offers functional online search, Tieba community search, industry-based vertical search, mp3 search, portal channels, and instant messaging services. Its products include Baidu Webpage, Baidu Video, Baidu Map, hao123.com, BaiduPedia, Baidu Input, Baidu Toolbar, TTPlayer, Iqiyi, and Sky Software.
Productivity app ClickUp raises $100M in Series B funding to replace other workplace apps across an organization