Bart / Doug,
I have a 1DMkIII for the next couple of days, let me know what you need, imagewise, and I may be able to oblige.
BTW, I also have a gretag colorchecker and a few IT8 targets.
Thanks for the offer John, I hope it won't take too much of your time but this is what would help:
1. Black/read noise frames (2 Raws for each ISO incl. L and H, additional sRaws would be helpful). These are 1/8000s shots without lens (body cap on) and viewfinder closed. Camera noise reduction should be switched off. They would preferably be taken at approx. 4 second intervals (to eliminate potential card writing and LCD noise sources). Two Raws are needed per ISO for subtraction to facilitate systematic (e.g. hot/dead pixel) noise reduction.
2. A sequence of 1/3rd stop increasing exposure
pairs (the pairs are needed to eliminate the influence of systematic noise, e.g. dust and uneven lighting), at each ISO but ISO L, 100, 800 for starters would already be useful to reach conclusions (based on those, a higher ISO could be selected for
unity gain level performance). The subject should be slightly OOF shots of a uniformly lit surface (to suppress surface structure influence). I use a piece of opaline glass in front of the lens to get super diffuse lighting, but if you don't have that a flat structureless surface will suffice.
I'd suggest starting by determining an average exposure level as indicated by the camera meter or an incident lightmeter. Then, with the viewfinder closed, use Manual f/5.6 exposure +2EV and up to probably +5EV (to make sure all channels fully saturate) by varying the exposure time. The f/5.6 will minimize lens vignetting, and the 1/3rd stop sequence will allow to accurately determine the ADC's analog gain, and the sensel's saturation level (for Dynamic Range evaluation). When your subject is of neutral color, then the LCD clipping indicator may give guidance for how far you need to go with the sequence before total saturation occurs (maybe +4EV is already enough).
3. It would answer a few questions if e.g. the ISO 800 black frame and 1/3rd stop exposure sequence is also executed with the
highlight tone priority activated, but at exactly the same manual exposure as without that function.
4. A simple shot of the ColorChecker. This would help the evaluation in IRIS to determine the Bayer CFA pattern order. A shot allowing to create a gamut evaluation requires a much more accurately lit setup than needed for the CFA determination, but I wouldn't object if you could manage it.
I know from experience that it takes some time to do the shooting (and a
lot more time to do the number crunching afterwards), so starting with an ISO 800 sequence (with and without highlight tone priority) would already be a significant addition to the earlier black frame noise sequence made available by Steve Saunders and put into charts by Peter Ruevski. However, black frames
and exposure frames taken with the same camera, at the same (temperature) conditions, and in image pairs, is preferable for a more scientific analysis method.
We'll have to find a way then to (temporarily) host the Raw files to share them, but getting the shots is the first concern.
Don't hesitate to PM me if you have specific questions regarding the shooting procedure. Maybe John Sheehy and Doug Kerr or others have additional 'requirements', but I didn't want to burden you with too much test shooting so I restricted my request to the essentials. A nice shot at various ISOs of a blue sky will help in getting a better feel for subtle gradient transitions, but it is hard to standardize such a setup for individual comparison between different cameras.
Cheers,
Bart