The new Canon PowerShot G1 X offers advanced technologies that make this camera behave like it’s much larger than it really is. The compact G1 X is armed with a new 1.5-inch High Sensitivity CMOS sensor, which is larger than a 4/3" sensor, and nearly as big as the APS-C-sized sensors found in professional DSLRs. 
This gives you a light-sensitive area which is nearly 6.3 times larger than the last generation of G-Series digital cameras, and delivers a quality level that’s unheard of in a compact, pocket-friendly camera.
The lens on the G1 X was designed to take full advantage of its oversized 14.3-Megapixel sensor. And a powerful DIGIC 5 Image Processor has been employed to improve noise reduction, allowing this little camera to achieve an ISO up to 12800, ultimately enabling you to photograph in low light with less blur and shorter exposure times. The f/2.8 lens has 4x optical zoom, which utilizes Canon’s UA Lens technology to suppress aberration throughout the zoom range. With a 35mm equivalent focal length of 28-112mm, this lens will capture any scene, from portraiture to landscapes.
Whether you’ve been photographing for years and desire a compact camera that doesn’t compromise on image quality and features, or you’re a beginner who needs an excellent camera that can be used immediately and with which you can grow, the new Canon PowerShot G1 X is a formidable and exciting new option. There’s a lot more to dig into on this camera: full 1080p HD video with a dedicated movie button and stereo sound, an optical viewfinder, a variable-angle 922,000 dot 3-inch LCD screen, 14-bit RAW shooting, HDR, tracking auto focus—and a heck of a lot more.
To really get a taste of the PowerShot G1 X, just keep on reading.
When I was given the chance to take at look at Canon’s latest permutation in the PowerShot lineup—the G1 X—I jumped on it. I immediately went to work, soaking up everything I could about the camera in order to tell you what’s new, what’s improved, and why the 
G1 X is the pinnacle of the PowerShot lineup. I’m happy to report that there’s plenty of excitement to be found in Canon’s latest baby. All the features and enhancements I’ve written about here are exciting on a number of levels—but really, they all go back to what it’s all about, which is making the resulting image better.
One of the first things to note: this camera has heft. Not that it’s heavy, but when I picked it up I could tell I was holding a well-made camera. The feeling is sort of like when you pick up a crystal goblet after holding a simple flint-glass tumbler. The camera’s lines are smooth and elegant, not comically rounded or intentionally futuristic. Basically, it looks the way a camera should and that’s a very good thing, indeed.
I noted that the G1 X now has a 1.5” 14.3Mp CMOS sensor. It’s nearly the same size as an APS-C DSLR sensor and it dwarfs the 10Mp chip in the G12! That is quite a significant bump in performance. Additionally, this sensor is hooked up to Canon’s new DIGIC 5 image processor. Some of this dynamic duo’s highlights: speedier image processing, greater flexibility in difficult lighting, a higher noise floor for better handling of low light/high-ISO scenarios, faster shooting capability and multi-area white balance adjustments. Working in tandem, this sensor/processor combination is the foundation for Canon’s HS System. One additional tech-speak point of interest: the G1 X features 14-bit signal processing, the same as found in an EOS D-SLR. While 12-bit processing is standard fare for most cameras, and it is certainly capable of producing fine images, 14-bit processing does provide an edge that can make a huge difference in the final product. The additional data from those extra 2 bits provides smoother tonal gradations, greater detail in both highlights and shadows, and a more pleasing and natural looking edge-to-edge rendering of every image. With an ISO ceiling of 12800, and all that refined processing behind it, Canon really hit the ball out of the park here!
The LCD appeared to be slightly larger that the one on the G12 as well, so I got out my trusty ruler. This new Vari-Angle LCD measures a sweet 3.0 inches. Now the difference between this and the G12’s 2.8-inch screen might seem trivial, but in practical use it’s a pretty significant change that you have to see for yourself. The screen swivels and rotates, and it also tilts up/down. This means you can pull off hail-Marys or worm's-eye shots with ease, not to mention the inevitable self portrait.
Gaining a huge pixel-count bump, the G1 X’s LCD boasts a whopping 922,000 pixels. Having written such praise, I have to admit that I prefer to use an optical finder. Well, guess what? The G1 X has one! And while I prefer composing through a finder over on an LCD, having both is pretty sweet. Plus, the optical finder zooms in/out along with the lens, so what you see is in fact what you get!
Navigating through the menus, while reading some of the official literature on hand, I found that there’s a wealth of shooting modes that span the steps from fully automatic to fully manual. The G1 X has a brain, and it’s one smart camera too! It can recognize 32 shooting situations and it automatically optimizes the in-camera settings for the highest quality images possible. Being somewhat on the move most of the time, this is a huge bonus. But wait—there’s more! I can still put my foot down and tell the camera what I want it to do, which is another huge plus. Sometimes it's good to blow out a highlight or to bury distractions in a shadow.
You know what else I really like about this brand new powerhouse from Canon? The full-res high-speed burst that delivers 6 fps. Let's not forget that regular continuous shooting is pretty speedy also, at 4 fps. Capturing fast-breaking action with a point-and-shoot? Definitely!
Video. Ah,video. Yes, there’s plenty of video capability to be found in the G1 X also. Most of the time I think in still-image mode, but for those YouTube moments, the G1 X can record Full HD movies in stunning 1080p at 24 fps, or 720p at 30 fps; both with stereo sound. There’s a new, and very conveniently placed, button on the back of the camera—a dedicated movie button that enables you to instantly shoot movies without having to set anything else. Just press to start recording. Brilliant!
Late-breaking news! There’s an electronic wind filter, and you can rack the lens across the entire zoom range when you’re shooting a video! Awesome!
Now, on to the lens: the integral 4x f/2.8 optic starts at the wide end at 28mm (35mm equivalent) and it’ll reach all the way out to a spectacular 112mm (also 35mm equivalent). For me, this is a perfect range; wide enough for dramatic breadth and scope, long enough for intimate portraits or compressing perspective. By incorporating Canon’s UA lens technology, lens aberration is suppressed and image quality is constant across the entire zoom range. Zooming the lens is smooth and predictable; there were no fast spots, or any of that jerky hesitation that drives photographers crazy. Moving from wide to tele went quickly, and the motor hummed effortlessly and without distraction.
For those moments when additional stability is needed, Canon’s newest version of its legendary Optical Image Stabilization—Intelligent IS—saves the day. It analyzes the camera’s movement and it then applies the best shake correction for the situation. There are several modes to select, depending on whether you’re shooting stills or video.
Like its predecessor, the G1 X is also compatible with the range of Speedlite flashes, making every shooting experience one you can tailor to your own needs. You’ll be happy to know that the optical viewfinder, the dual top dials, front dial, diopter adjustment, hot shoe and the myriad shooting modes and photo effects didn’t go anywhere either. With nothing lacking and much gained, the G1 X is definitely a camera that’s an improvement over what was already great! Whether you’re a PowerShot devotee, or new to the series, the G1 X has much to offer you—pro, amateur, or anywhere in-between. So, hats off to Canon, and enjoy all the new technology that's packed into this little beauty.
| Resolution | Effective: 14.3 Megapixel, Actual Pixels: 15.0 Megapixel |
| Sensor | 1.5" CMOS |
| File Formats | Still Images: JPEG, RAW - Movies: MPEG-4 AVC/H.264, MOV - Audio: Linear PCM |
| Max Resolution | 14.3MP: x |
| Aspect Ratio | 1:1, 3:2, 4:3, 4:5, 16:9 |
| Image Stabilization | Optical |
| Lens | EFL: 15.1-60.4mm (35mm equivalent: 28-112mm) Aperture: f/2.8 (W) - 5.8 (T) |
| Zoom | Optical: 4x - Digital: 4x |
| Focus Range | Normal: 1.3' (0.40 m) - Infinity, Normal: 4.3' (1.31 m) - Infinity, Auto: 7.9" (20.07 cm) - Infinity, Auto: 2.8' (0.85 m) - Infinity, Macro: 7.9" (20.07 cm) - 2.3' (0.70 m), Macro: 2.8' (0.85 m) - 5.2' (1.58 m) |
| ISO Sensitivity | Auto, 100-12800 |
| Shutter | 60 - 1/4000 sec |
| Exposure Metering | Center-weighted, Evaluative, Spot |
| Exposure Modes | Modes: AE Lock |
| Compensation: -3EV to +3EV (in 1/3EV steps) | |
| White Balance Modes | Auto, Cloudy, Daylight, Flash, Fluorescent, Fluorescent H, Tungsten, Underwater 2 |
| Self Timer | 10 Seconds, 2 Seconds |
| Built-in Flash | Yes: Auto, Flash On, Off, Slow Sync |
| Effective Flash Range | 1.6 - 23' (0.49 - 7.01 m) |
| External Flash Connection | Hot Shoe |
| Memory Card Type | SD, SDHC, SDXC |
| Video Recording | Yes |
| Audio Recording | With Video |
| Viewfinder Type | Optical |
| Screen | 3.02" LCD (922000 pixels) |
| Connectivity | AV Output, HDMI C (Mini), USB 2.0 |
| Operating/Storage Temperature | Operating - 32 to 104 °F (0 to 40 °C), Humidity: 10 - 90% |
| Battery | NB-10L Rechargeable Lithium-Ion Battery Pack |
| AC Power Adapter | CA-PS700 (Optional) |
| Dimensions (WxHxD) | 4.6 x 3.2 x 2.5" / 116.84 x 81.28 x 63.50 mm |
| Weight | 17.3 oz / 0.49 kg |
Comments
No. I am quite familiar with the 24 fps vs 30 fps debate. I am not trying to create video with some old nostalgic Hollywood film look. TVs and computer screens in the US all have refresh rates that are a multiple of 30. So if you record at 24 fps and plan on playing back on a TV or Computer in the US it gets converted to 30 FPS. Most good TVs today will interpolate to 120 FPS to smooth motion. You should keep in mind that it took Canon over a year before they bent and gave into the 24 fps crowd and added support for 24 FPS in the 5D MII. I guess you are calling the engineers at Canon amateurs? I am sure they are befuddled by this group of people that enjoys listening to old 12” vinyl records and pretending they are Hollywood film crews shooting video at 24 FPS. The preferred HD format for sports is 720P @ 60 FPS, this high frame rate is required if you want sharp frames and smooth looking video. You are an arrogant fool for making the post you did without even understanding what I am using the video for.
Oh, and also the canon engineers were known to have put in video as a side note in the 5D.. They never expected it to blow up as big as it did! Previous to that, pretty much all their P&S cams they had would shoot a standard 30 frames :)
I agree that is probably a hardware limit of the camera and they wanted to be able to advertise it as supporting full HD so they took a shortcut with the 24 fps as Nikon has always done with their DSLRs. I would be surprised if the Canon engineers put video in the 5D MII as a side note. Before the camera was released Canon had 2 mini films made by high end Hollywood producers to showcase its video capabilities. Canon clearly knew the video capabilities of the camera, at the price point and size of the camera was a game changer and they pushed it hard. Below is the URL to one of the films:
http://www.youtube.com/watch?v=a1Rq2KzoTSg
Actually Vincent Laforet is not a hign end hollywood producer, prior to Reverie he was known for his photojournalism work with the NY Times and other print outlets. Canon commissioned him in 2008 to shoot the video to highlight the fact that you DONT have to be a movie director to come up with a product that is very filmlike. As a pioneer of the HDSLR revolution, since creating Reverie, Laforet has shifted his focus more to the film side of the business.
Sorry. I stand corrected, I read the background on the videos way back when they were made. Maybe all the "High-end Hollywood producers” turned Canon down because the camera didn’t initially support 24 fps J. My point still stands that video on the 5D MII was not some afterthought that was thrown in and hired professional videographers to showcase it.
You know, I shouldn't have used the term afterthought. It was definitely something they intended to put in, but they just never expected it to blow up to the amazingness that it did. I can't remember if it was Vincent piece, or some piece by Philip Bloom, but I remember reading that the engineer that designed the chip (or something to that extent) actually cried at how amazing the piece was that was produced on it :) You're right.. Video was definitely an intended factor of the 5D Mk II, but I don't believe they anticipated the desire for 24p. They were probably just following suite with most of their camcorders in the past that did 30.
Sorry. I stand corrected, I read the background on the videos way back when they were made. Maybe all the "High-end Hollywood producers” turned Canon down because the camera didn’t initially support 24 fps :). My point still stands that video on the 5D MII was not some afterthought that was thrown in and hired professional videographers to showcase it prior to its release.
I'm willing to bet it won't do higher framerates due to tech limitations (hell, not many pro video cameras that I know of can even do 60p at a full 1080!)... It'd still require a fair bit of horsepower to encode 720p60, which I'm willing to bet the G1X processor might not be able to handle.
I'd assume the codec used would be similar to their previous G and S line cameras, being a more compressed codec than their 5D/7D and such, thus requiring a bit more oomph out of the processor chip. It probably just couldn't handle it except at much lower res :-/ 1080p24 means less frames for it to have to compress, and makes the load lighter for the cam, thus a happier processor :)
Boy are you not a bowl of sunshine! Looks like anybody that is asking a question not up to your standards is about to have their head haded to them.
This is my first time here. I am not sure if I want to be lamblasted for asking a sub par question worthy of your high self esteem. Good luck with keeping readership with an attitude like this around. Thanks for the information.
not defending anyone here but the poster didn't say he perferred 30fps over 24fps...I would have thought that offering 24/30/ and 48 or 60 would be standard on a camera of this level.....my old Casio can do variable frame rates although at different resolutions.
Actually you want to shoot at 24 fps vs 30fps.
24fps is the industry standard. Professionals in Hollywood who use the Canon 5D MarkII to shoot TV shows, movies, etc. are using 24fps.
Can you use the same underwater housing as the G10?
Canon had been good about providing housings for the G series cameras, so we'll likely see one at some point. Considering the G cameras are consistently rated at the top of the advanced point and shoot segment, this new camera should follow the trend. The big sensor and high ISO should play very well under the waves.
Seems highly unlikely that the G1X will fit the G10 housing. The G11 and G12 don't even fit the G10 housing. The G1X also looks to have a pop-up flash (since one is not visible, but is indicated in the camera specs). If this is the case, then a new housing will be required to make room for the flash, even if everything else was the same.
Since the lens is similar to the G10 (both 28mm equivalent) I do hope they keep the same shape for the lens protrusion. At least, accessories like a wide-angle dome might work with the new housing.
Try Ikelite for Canon underwater housings. here's the G11/G12 (which I own and it's awesome):
http://www.ikelite.com/web_two/can_g12.html
They'll certainly have a housing out for the G1X soon.
No, you cannot. According to Canon's website, the Waterproof Case WP-DC44 is the only waterproof case by Canon designed for the Canon Powershot G1X. The Waterproof Case WP-DC28 will only work with the Canon Powershot G10, and is not compatible with any other Canon Powershot cameras.
What about audio? Built in Mic? EXTERNAL Mic jack?
It's a point and shoot, period. This camera touts some pretty impressive features and I would never complain about it's lack of audio connectivity. The line has to be drawn somewhere.
The Canon Powershot G1X does have a built-in microphone located behind the built-in flash and behind the mode dial that records stereo sound; however, the camera does not have an external microphone input.
As a 30 year video professional I lament the lack of an external mic jack AND a headphone jack, I feel you really need both.
I don't want to be 'that guy', but I find I have to say this to plenty of folks i work with about the 5D/7D/60D/etc... its primary purpose is as a stills cam... You can't expect pro video features in a camera that's not primarily made for video. Sure, there are some that do it (like one or two of Nikon's), but again, that's not what these are made for.
Exactly!
i agree, it's hogwash. The marketing guys are quick to tout 1080p and all the other video features, even a windscreen "feature", but they neglect the basic ability to monitor the sound as you shoot and to augment the on-board mic restrictions. Having this in my bag as a backup second or third angle shooting option would be huge. It'll be therein the next release tho... they'll need new viedo features to promote and these should be easy to impliment.
That's hogwash. You put pro audio on this puppy and it would explode with sales. I only wish my 5d and 7d had better audio connects. Especially for those local commercials and Internet industrial pro gigs.
With my 60D I use the ZOOM H4N digital Audio recorder for the sound recording. For pro filming its a must. I start my scenes by clapping 3 times and then syncing the audio recording from the camera to the ZOOM H4N track in Premiere or whatever you are using. I then delete the original soundtrack. Done!!
Agreed. This is a professional approach.
Do you know if you can turn on the internal ND filters when shooting video? On the G12 you can't--the ND can only be manually activated in still mode. Thanks.
Unfortunately, as the camera has just been announced today and we had limited time to work with the camera, we do not currently have all the necessary information,
We will post them as soon as we get more info.
I anxiously look forward to additional information, particularly the "bootup" time and the time from pressing the shutter button to the image being captured.
Neither seems to be on your or Canon's spec sheets, and the latter is the most critical figure of all for a camera. The tool isn't of much use if it takes a second from the point where you decide the photo hsould be taken and it finally happens.
Of course, with the DIGIC V there is no excuse for it to take too long, but we shall see.