Why am I making a mental compromise? This is how the camera comes. I CAN'T CHANGE IT. Either I find a way to work with it or not. Its that simple. We are supposed to be pro's, either we figure out a way or move on. I choose not to move on.
You can complain until the cows come home but this is the bottom line. You vote with your pocketbook. You don't like the camera, just don't purchase it.
Bitching is pointless and changes nothing at this point.
You sound like John Gray or something. You gotta lighten up. Bitching is fun, and sometimes, it actually accomplishes something. If we hadn't bitched about the four-pin connector, we'd still have that; now at least we have USB-2; (let's just see how long it takes for it to also slip right out of the socket as well). But let's hope it's a micro-improvement over the four-pin. I just wonder how USB-2 is going to deal with these larger 21MP files, once people start shooting at five frames per second, tethered. Hmm. That's a lot of data to cram through a slow pipeline.
Also, you can't "vote with your pocketbook" either, as you imply. At some point, you've got to buy a camera, because if you voted with your pocketbook, you'd never buy any of these cameras. None of them are perfect. So you buy what you buy, and try to get them to improve the next model. Just singing the Happy Canon Campfire Song is not going to get you a better camera. If nobody ever bitched, we'd still be driving AMC Gremlins.
Actually, all of this is a ploy; I'm just trying to build up the hype around the "much better" Phase/Contax solution, and then, come early December, dump them all and buy a couple of IDsIII bodies, and make my life easy again. So play along with me, won't you?
Seriously, the reason that I'm complaining is simply because the Canon is such a great camera, and because it's so much easier to hit "good color" with, than the Phase. At least for me, in the way I shoot. If anyone is shooting very controlled situations; ie ProFotos in a studio, with no balanced window ambient, at F16, the Phase backs blow the Canons out of the water. No doubt. But where I get into trouble is when I start shooting outside, in shady conditions, or less than optimum silked daylight; that's where the Phase starts looking funky, and the Canon would continue to shine brightly, especially if the Canon files are run in DPP. DPP is King, if you're after great color. DPP has the Secret Sauce.
I want my life (and post-production) to be easier, and with Canon it is, and with Phase it's not. Simply, medium format post production is just a bear. So secretly, I really wanted this new Canon to be a Medium Format Killer, so I could get my life back, but so far, I'm not convinced. In the 1ds3, I don't see an Advertising/Studio Camera. I just see a jacked-up, hopped-up Sports Camera. (Who the hell shoots five frames per second in the studio, anyway? Seriously). I'd gladly give them back four frames per second out of those five, in exchange for a solid, fast, dependable way to tether for advertising. And also tethering software that was professional grade, instead of that consumer EOS Utility stuff that they could care less about. Clients have seen the light, and they're not going back. Once you shoot tethered, you're screwed, because they'll always ask for tethered from then on.
Anyway, glad you're making money with your 1ds2. I've made a good bit with mine, too. I'd love nothing more than to have two 1ds3 bodies, three lenses, and just walk on the airplane with nothing more than that. Maybe it'll happen, but maybe it won't. December will be an interesting month.