Dpreview interview with Nikon: “video is too complicated for our stupid stills shooters”

Posted on October 27, 2016 by David Peterson

Wellllll…. that isn’t exactly what the Nikon spokesperson said, but it is a close enough paraphrasing!

Not only is this offensive to many of their customer base, it is also dumb of Nikon to ignore this growth opportunity for them.

Here is what he said:

“There are two types of high end users [using video]’ explains Kikaota: ‘those who started [their careers] shooting still pictures, but also there are a lot of customers who started with video. In our company we have two types of customer. It’s difficult to make one solution to fit for both of them.’ ..Shooting video with current cameras can often be quite complicated, we suggested. ‘[This] complicated operation is fit for the customer they started shooting from video. On the other hand there are professional [stills] photographers: they are not yet used to using video, their demand is easy operation. So there are two types types of people. It’s a big problem.”

What the hell Nikon!!! This is madness.

In a world in which the market share for dedicated stills cameras is massively declining each & every year, Nikon can not survive by focusing on only 1 or 2 niches, they need a broader platform to support themselves. The video/film world is an obvious & natural next step for them.

As Eric Calabros commented on this interview as well:

We’ve always been wondering why Nikon, that has no Cinema line to protect, literally resists to offer pro video features. and now, in this DPR interview, I can see why. They fear the pro video features confuse their conservative still shooter user base! Really unbelievable! Yea, maybe they’re right, many of their customers have no clue what video is, let alone stuff like log profile, focus peaking, color sampling, codecs, LUTs, grading,… and even if they need to record a short clip they want it to be just Start/Stop operation. But how on earth this can be justifiable excuse to not delivering features serious video shooters are asking for years? Just add a dedicated menu, or charge for Premium Firmware if you wish, whatever. Why it should be a “big problem” for a company that brought the video to the world of DSLR?

What many do not realise is Nikon are ahead of Canon when it comes to DSLRs vor video (if you focus on only comparing their stock DSLR bodies, and ignore Canon’s Cinema line up as they’re not DSLRs), but the gain in switching brands is not really large enough for everyone (it is for some though) to make it worth switching. Because people’s very large investment in lenses (and other brand specific accessories, such as batteries and flashes) makes it a considerable expense (in time & money) to switch brands. Thus people tend to be stick with staying with the same brand even if the improvements are only quite small each time.

As if you’re going to switch away from Canon…. why not just go to Sony or Panasonic instead? That is Nikon’s problem in attracting video shooters away from Canon, they can’t just moderately beat Canon in the video world by little bits (like they have with the D5200, D750, D500, etc). Especially not while they’re stilling lacking a pathway up from DSLRs for video shooters.

Many many many of the thousands upon thousands of Canon DSLR video shooters moved on up to using a Canon C100 (and of course many then moved on up to the C300 after that, and a few even to the C500. Thus the huge Canon DSLR base of video shooters acted as a feeder network into their Cinema range, which in turn then encouraged more people to start out with a Canon DSLR for filming with).

Nikon needs to also bring out a higher end above that is focused on video to complement their video DSLRs (such as the Canon C100/C300 and Sony FS5/FS7 does).

As for their DSLRs, Nikon needs to just have one setting: “Unlock Pro Video Settings”

Default send it shipped out set to “Off”, but then users can switch it to “On” which will enable several more pages and submenus worth of video settings to be viewable. Then when it gets enabled you can have access to all the goodies such as Waveforms, heaps of codec options, LUTs, log profiles, 10bit 422 internal, and more! (is what I dream of!)

But when “Unlock Pro Video Settings” is set to “Off” all that complexity is hidden away, and the user is presented with a simple interface just like Nikon has now for video. This is not a new concept in UI, this is often implemented on many devices already.

Lens Options for 360 Degree Virtual Reality Camera Rigs? And other thoughts on cameras.

Posted on August 2, 2016 by David Peterson

I’m a long way from upgrading my multiple (from six to a dozen cameras at once!) action cameras 360 Degree Virtual Reality Rig (thus I don’t need to worry about interchangeable lens options on this rig), but when I do I am thinking to go with Blackmagic Micro Cinema Camera. Even though high resolution is very important for 360VR.

If you do go with 4K cameras then the Panasonic GH4 is a very popular 4K option (such as these guys using GH4 cameras for 360VR: http://shinichi-works.info/project_gh4.html). Also there is the Sony a7R mk2 / a7S mk2 options (but costs skyrocket, after all you’re not buying just one camera but many!) or Sony A6300 (which has overheating issues, an especially troubling issue if you have six of these operating all cramped up close together to each other! As then they’ll overheat even faster). Also Blackmagic Design has their Micro Studio Camera, but that requires an external 4K recorder, which introduces significant size/power/cost issues. Samsung NX1 is also very much worth a look (& NX500, but in 4K it has a harsh crop factor), but it is a dying system and ever since the NX1 hack came out the secondhand prices of the NX1 have been staying high.

Thus in the end I’d prefer the BlackMagic Micro Cinema Camera (BMMCC), because I’d prefer the dynamic range, bit depth, and color space of the BMMCC. And while the Panasonic GH4 / G7 does a max of 30p @ 4K, you are gaining resolution but giving up frame rate and I’d rather keep it at 60fps (as arguably high frame rates are nearly just as important for Virtual Reality as resolution is. Least you give the viewer motion sickness. And you can get higher resolution by using more cameras!). Presumably the GH5 will give 4K 60fps, but that will probably cost US$2K or more per camera (and you need many multiple ones of them of course for complete 360 degree coverage!), and it hasn’t even been announced yet so who knows.

Though given the likely length of time until I’ll be upgrading, we’ll surely see a Panasonic G7 sale by then which might make that option too cheap to resist vs going with BlackMagic Micro Cinema Cameras.

Anyway, I have still been putting a lot of thought & research this year into the various options for the future, and I decided I’d at last put the metaphorical pen to paper and share a few of my thoughts on this particular aspect of lens choices. We can broadly speaking split it into three groups:

a) native mount (i.e. MFT lens, or E mount lenses if a person was using A6300/A7 series instead), but then this can severely limit a person a couple of years down the track if they change bodies. It would be a lot smoother / cheaper if only the bodies need to be swapped out and not lenses as well. I’d like to have some degree of versatility with this rig.
b) full frame UWA lenses (in Nikon F mount of course, as I’ve explained in other blog posts), but not an option as you can’t then go truly wide if using them on APS-C or smaller bodies. And A7r mk2 / A7s mk2 are the only truly interesting options to consider here for use that are full frame. Maybe with the one exception of the Rokinon 14mm f2.8 lens, which does almost hit the sweet spot for price & focal length even when used on APS-C. Or the Rokinon 12mm F2.8, but then you have to deal with fisheye distortion.
c) APS-C UWA lens, this appears to hit the sweet spot of maximum versatility plus maximum FoV.

APS-C lens options:

Sigma 8-16mm f/4.5-5.6, max FoV but I’d be concerned about the slow f-stop, as then you’d start to be losing one of the key gains of ditching GoPros with their poor lowlight ability.
Tokina 11-16mm f/2.8 (or the newer Tokina 11-20mm f/2.8, but that costs more so no), this is the lens I own myself and is in my eyes the “best” UWA lens for normal filmmaking, but does that mean it is for 360VR too?? Hmm
Rokinon 10mm f/2.8, is lighter/cheaper/wider (all 3 keys points for a 360VR rig) than the Tokina but is a fixed focal length (probably not a disadvantage though at all! As you absolutely don’t want that focal length to change once you’ve set it, thus why people will tape down zoom lenses if using them on a 360VR rig). However the Rokinon 10mm f/2.8 isn’t cheaper than Tokina when you consider the older Tokina models can easily be picked up secondhand, but the Rokinon can’t be so easily found at all secondhand as it is a newer lens.
Rokinon 16mm f/2, the fastest option but by this point at 16mm it is only barely UWA at all.

Outside these options listed, I can’t think of any good UWA lenses, or am I missing something? Everything else that comes to mind seems that they’d all be a worse compromise somewhere in price/FoV/speed/etc than these four that I listed.

Keen to hear in the comments your views on my thought process and each of the options I reached at!

What if Kinefinity’s KineMount became a universal cinema mount?

Posted on April 2, 2016 by David Peterson

Is by any chance KineMount an open mount like say Micro Four Thirds is? I am guessing it is not.

There is a thread over on BMCuser about possible interchangeable mounts for BMD cameras.
http://www.bmcuser.com/showthread.php?16668-Possible-interchangeable-mounts-for-4-6K

Got me thinking that the absolute best result would be if BMD adopted the FZ mount in future cameras. FZ mount is what is used in the Sony F3/F5/F55, which I’ve used and is an absolutely wonderful mount! You can adapt it to anything else, for instance I’ve got a rock solid Nikon F mount on my Sony PMW-F3. So it works, and FZ is an already popular mount used by many.

But Sony will never let BMD use FZ mount. Thus the very nearly almost as good option is to talk with Kinefinity and see if they’d open up KineMount for everybody to use (in many ways KineMount is like Sony FZ mount, and kinda better… as Kinefinity have a focal reducer option! Yay). As if that happened it would be tremendously good news for both companies, and a massive result to help the indy / hobbyist / low / medium budget film industry.

Be great if Kinefinity and BMD could talk together with each other to create a universal mount system which can go onto dominate the film industry in the future. As no longer would consumers have to choose between buying a Canon EF mount model or the PL version (such as happens with the C300, BMPC4K, URSA, and URSA Mini), they can have both!

It would fit very well with BMD’s corporate philosophy of have having an open system rather than a closed ecosystem you’re forced to buy into over and over again (hello RED!).

Like Tim Siddons from Blackmagic Design said 17 minutes into this interview:

So BMD appears to support open systems (such as using SSDs or CFast cards) rather than vendor lock in (like RED does!!). And this would obviously benefit Kinefinity in increasing their awareness, thus it appears to be in everybody’s best interests to make KineMount an open mount.

KineMount already has adapters read to go, and even a focal reducer! (which doesn’t even exist at all for Sony FZ mount. Being able to gain a stop of light with the KineEnhancer, and shoot effectively with a “full frame” camera, certainly helps make KineMount even more attractive over Sony FZ mount) So Blackmagic Design wouldn’t need to make adapters if they don’t want to (plus others, such as AJA and Sony already leave making adapters up to 3rd parties to do that).

I *love* that Blackmagic Design provides lots of camera choice (BMCC is available in *three* different mounts! PL/MFT/EF), but it would be so much better if the buyer didn’t have to choose and could just do all of it with the one camera!

And it means less inventory costs for BMD and the camera stores (because they’ll only need to carry one type of each camera model, & not up to 3 versions of it!), and less design costs for BMD (probably, as doesn’t need to be done 3x over for each camera version).

Obviously to make KineMount a universal mount they’d need to drop the Kinefinity branding (otherwise other brands will find it hard to join in behind it), instead of calling it KineMount perhaps just simply call it “K mount” (although that usually refers to Pentax’s DSLR mount, so “CK Mount” maybe for “Cinema K mount”??).

If this open standard is well documented then you open the door to 3rd parties quickly making active adapters like:

EF Speedbosters
EF with built-in Vari-ND
EF with electronic Vari-ND
EF-Mount active adapters

Plus all the usual “dumb” adapters that enable using vintage photo lenses like Canon FD, Minolta SR-mount, etc…

What a dream world this would be to live in!! With so many choices and possibilities.

Hopefully if these two companies unite on a common open standard then you’d see other smaller manufacturers like Apertus & AJA follow suit with KineMount on their future cameras. And if a big player like Nikon or JVC entered the large sensor cinema market then there would be a universal mount they could consider adapting!

JVC for instance would have no other option, unless they chose EF *or* PL (or created their own sub mount from scratch!). JVC does already have the GY-LS300 with a Micro Four Thirds mount which is kinda a “universal mount”, but the JVC GY-LS300 camera is not aimed at the high end, and Micro Four Thirds with adapters is not rock solid like Sony FZ or KineMount are.

And while Nikon could use their Nikon F mount if they ever entered the cinema market, this would cripple their sales as it wouldn’t be PL for the higher end (unless they make two models like the Canon C300… again, forcing the consumer to choose between the two, rather than giving them flexibility) and at the indy / low budget level many people have unfortunately gone with Canon EF lenses instead and would feel resistance to changing mount to Nikon. But this way Nikon could offer a Nikon F mount cinema camera (with a KineMount underneath) with a PL adapter, which then additionally gives people the freedom of choice to use Canon EF lenses with a 3rd Party adapter or any other lenses their heart so desires.

Hope Kinefinity and Blackmagic Design read this and start talking together about making a joint open standard for cinema camera mounts!

Look at how quickly Canon EF mount become popular and an almost “standard” with many low / mid range cinema cameras! (such as Varicam LT / Arri Alexa Mini / BMPC4K / BMCC EF / URSA / URSA Mini / Axiom / etc ). If a rock solid sub mount for cinema usage, such as KineMount, was set up as an open standard and adopted by a few manufacturers then I think it won’t take many years at all before it gets to the common usage level.

Nikon D7200 is announced, kinda disappointing for videographers.

Posted on March 2, 2015 by David Peterson

Today the Nikon D7200 got announced. As a filmmaker with the very good Nikon D5200 (it is as good as the stock Canon 5Dmk3 for filming with), and looking to upgrade my main camera this year, I had some slim hope that perhaps the D7200 might be it.

Unfortunately it is such a terribly disappointing release (though hardly hugely surprising, but after Nikon’s recent better than expected cameras with the D5300 and D750 I had higher hopes!).

Look at the D750, the best full frame DSLR on the market for filming! If the D7x0 can, so can a D7x00!

I had really hoped Nikon would carry on the good work it had done in catching up with video performance but making their top of the line DX camera (i.e. Super 35mm, the standard in filmmaking) being another step forward for filmmaking from their D750.

They made a token gesture that they care about filmmakers, with the release of their Nikon ME-W1 wireless microphone. But there are already better alternatives to that on the market, a Nikon branded one doesn’t really change anything.
The D7200 has a lack of higher than 60fps (and even then, the 60fps crops down 1.3x from APS-C), no 4K, no focus peaking, no adjustable screen (I prefer the D5300 screen, but even a D750 screen would be hugely helpful), just to list a few things it could’ve done but didn’t.

Of course photographers will respond with “but it is a photography camera”, as if that makes my complaints irrelevant. Ignoring that developments such as adjustable screens benefits photographers too. And improved processing power in the camera for 4K will be useful for photography functions too. And more sales to videographers means greater economies of scales for the manufacturer, and cheaper cameras for the photographer to buy.

Looks like I’m back to deciding between the Samsung NX1, Panasonic GH4, or Sony A7s. But I’m in no rush, can wait for price drops or a better option to come along….. (Sony A7000? Sony NX500? Panasonic G7? Exciting times). Currently am heavily leaning towards the GH4, but I think once H.265 gets supported by a major NLE then the Samsung NX1 could be that camera (lacks the utterly extreme and over the top low light capabilities of the A7s, and lacks 24p with UHD, and lacks a focal reducer option like the GH4. Plus a few other minor things, but otherwise those are relatively minor quibbles).

The Nikon press release:

Nikon’s New DX-Format D7200 DSLR Will Help Passionate Photographers Conquer Their Next Challenge with Incredible Speed and Image Quality

The Nikon D7200 is a Lightweight yet Powerful Option for Enthusiasts Eager to Create, Capture and Share Incredible Images and HD Video

MELVILLE, NY – Today, Nikon Inc. introduced the Nikon D7200, a powerful DX-format DSLR built for enthusiasts ready to conquer the next challenge in their photographic journey. Featuring a 24.2-megapixel CMOS sensor with no optical low-pass filter (OLPF) and the EXPEED 4 image processing system, the D7200 is capable of incredibly fast performance and capturing phenomenally detailed, sharp images and HD video. Nikon’s newest lightweight DSLR also adds increased buffer capacity compared to the D7100, includes new Picture Controls and offers the experience of Nikon Snapbridge, whereby users seamlessly shoot and share stunning photos from the camera to a compatible smartphone or tablet via built-in Wi-Fi®(1) and Near Field Communication (NFC(2)). Additionally, Nikon introduced the new ME-W1 wireless microphone, a simple solution to DSLR videographers’ wireless sound needs, as well as the new View NX-i imaging software.

“Those passionate about photography are constantly looking for the next challenge and Nikon is committed to providing the tools necessary to take that passion to the next level,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “The new DX-format Nikon D7200 offers the next level of performance for the enthusiast photographer that wants to creatively capture exceptional images and HD video that can be easily shared with friends and family.”

Incredible Image Quality
Nikon’s newest DSLR features a powerful 24.2-megapixel DX-format CMOS sensor with no OLPF capable of producing stunning images and maximum sharpness in nearly any shooting scenario. Combined with the new EXPEED 4 Image Processing engine, the Nikon D7200 renders sharp images and HD video with wide dynamic range, with the added benefit of extremely precise autofocus and metering. Whether on assignment or photographing the next family gathering, the D7200 is the ideal tool to capture important moments with incredible quality. For when available light is scarce, the camera also features a wide ISO range from 100-25,600 to help minimize noise in low-light situations. As always, the Nikon D7200 maintains compatibility with the legendary line of NIKKOR lenses and DSLR accessories which adds even more reach and versatility to any photographer’s kit.

Powerful Performance for Serious Photographers
Enthusiast photographers need a DSLR that can keep up with their passions. The Nikon D7200 sports a host of features designed to provide the power and precision needed to take on the next photographic challenge. Courtesy of EXPEED 4, the D7200 features 30% faster image processing than its predecessor, the Nikon D7100, and provides an increased buffer capacity that now allows the camera to shoot 18 consecutive RAW 14-bit lossless compressed images, 27 12-bit compressed shots or 100 JPEG frames. Additionally, this powerful DX-format DSLR offers users the versatility to shoot at 6 frames-per-second (fps) continuously or up to 7 fps in 1.3x crop mode, a popular shooting mode for both sports and wildlife photographers.

Photographers in need of a versatile, powerful yet lightweight DX-format DSLR need look no further than the Nikon D7200. When shooting fleeting moments or fast action, photographers will appreciate the camera’s pro-caliber 51-point autofocus array powered by a new Advanced Multi-CAM 3500II DX high-density system. The AF points cover a wide DX-format area, and nearly the entire frame using 1.3x crop mode. Even in low-light, the D7200 utilizes 15 cross-type sensors to achieve incredible focus on moving subjects, while the center point works down to f/8, making it great for use with compatible teleconverters. The Nikon D7200 also features a 2,016 RGB metering sensor alongside Nikon’s Scene Recognition System to help achieve the perfect exposure and focus in a variety of shooting scenarios.

Create, Capture and Share with Incredible Versatility
The Nikon D7200 is the first Nikon DSLR to feature both built-in Wi-Fi®(1) and NFC(2) that allow for seamless connectivity and sharing via compatible smart devices. Via NFC, users can simply touch their device to the camera for easy connectivity, while built-in Wi-Fi also allows the user to utilize their smartphone for simple playback and sharing, as well as a remote shutter and monitor.

In addition to robust performance and incredible image quality, the D7200 also sports a feature set designed to foster creativity in any level of photographer. Nikon’s newest DX-format DSLR features the next generation of Picture Controls, now including Flat and Clarity settings, to help users craft each individual image to their intended expression. These controls have been expanded for use in Live View, while artistic effects can be applied to both stills and video in real time, offering the user the ultimate in creative control. Ergonomically designed and ready to endure the elements, the Nikon D7200 features a durable yet lightweight magnesium alloy body and is ready to tackle the next photographic challenge. Users can also take advantage of a 3.2-inch ultra high-resolution (1,229k dot) LCD monitor and a low-power consumption organic EL (OLED) display element in the optical viewfinder that improves visibility when shooting.

Impressive Video Capabilities
The Nikon D7200 inherits many of the high-end video capabilities of Nikon’s latest full frame DSLRs, the Nikon D810 and Nikon D750. Ready to capture top-quality HD video at a moment’s notice, users can take advantage of a robust video feature set that allows videographers to record uncompressed and compressed Full HD 1080 footage at 30/25/24p and 1080 at 60/50p in 1.3x Crop Mode. Additionally, Auto ISO sensitivity is now available in manual mode, helping create smooth exposure transitions without changing shutter speed or aperture, while “zebra stripes” highlight display is available to confirm exposure. Video controls are available through a dedicated movie menu for quick access, while aspiring videographers can also utilize a built-in stereo microphone with 20 step adjustments to record smooth DSLR audio. The D7200 is also the first Nikon DX-format DSLR to feature a built-in Time Lapse Mode with exposure smoothing, making capturing a beautiful sunset time-lapse easier than ever.

ME-W1: A Simple Solution to Wireless Sound in DSLR Video
Nikon has also introduced a versatile new wireless lavalier microphone for Nikon users, the ME-W1, capable of capturing crisp and detailed audio wirelessly. Weather resistant and powered by two AAA batteries, users can wirelessly record audio in mono or stereo (when connected to the ME-1 stereo microphone) from up to 50m (164 ft.) away. Great for bloggers, aspiring videographers or even professionals, the ME-W1 makes recording audio for DSLR video simple, without sacrificing quality sound.

View NX-i: New, Innovative Software for Photographers
For photographers that wish to take control of their images after capture, Nikon also announces new View NX-i browsing software that allows for more intuitive control of images than ever before. View NX-i allows users to browse RAW files adjusted by Capture NX-D software and provides the easy upload of images to social networks.

Price and Availability
The Nikon D7200 will be available in early April 2015 either body only or kitted with the AF-S DX NIKKOR 18-140mm f/3.5-5.6G ED VR for suggested retail prices (SRP) of $1,199.95* and $1,699.95*, respectively. The ME-W1 wireless microphone will be available in March 2015 for $249.95* SRP, while Nikon’s View NX-i software will be available on March 17, 2015 as a free download. For more information about the Nikon D7200 and other Nikon cameras and products, please visit www.nikonusa.com.

Nikon Snapbridge
Nikon Snapbridge describes the experience of quickly and easily sending photos wirelessly from your Wi-Fi®(1) enabled Nikon DSLR, Nikon 1 or COOLPIX camera to a compatible smartphone or tablet. Share your great photos on the go, even in remote locations or even use a smartphone or tablet to control your camera. See what the camera sees and take pictures—great for selfies and group photos that actually include you!