Andrew Reid

Yes absolutely, they should have stuck it out. Good post. They had NX on the market for about half a decade, trying to do what it took the rest the best part of half a century to achieve.

What do you like best out of the F35 and Red One ed? Well that turned out nicely. To say the least!! You better start hiding your RED ONE otherwise it will be $10k by February What lens was used on the R1... the Nikon 17-35?

It depends on the 4K though doesn't it... On mirrorless cameras it certainly beats all the 1080p internal stuff, even if you don't need the resolution there's more in the file because of the lack of pixel binning. 4:4:4 sampling and 10bit luma in theory when you squash it down from 4K to 1080p, although compression muddies that picture, quite literally XAVC SLOG does fulfil a purpose... file sizes, longer recording, cheaper media. But we need to start having more choice in our codec from the major manufacturers. No reason every mirrorless camera can't have ProRes like a BM Pocket Cinema Camera is there?

Firmware not final he said. Hardware probably is though!

By then even RED will have an affordable cinema camera!!!

What I can't understand is that a whole big feedback chain exists here, it is not just some engineer at Nikon deciding to cripple things! What I think is really wrong is the quality of the feedback. Take for example, a wedding shooter, who has a relationship with Nikon. Is he going to put that relationship on the line by being negative about their cameras and saying with some urgency in a rather blunt manner how they MUST be improved? It's more likely they will put this kind of criticism in the small print at the end of their glowing endorsement of the camera. More likely they will soft-punt it through the door after the gushing praise has entered. More likely they will sweetly soften the criticism and say things like "GREAT camera but hey it's not perfect, MAAAAYBE you could improve the video mode, but no rush!" This is the REAL problem. Take for example the fact the live-view display in video mode has audio meters on the picture and not outside the frame. This is a basic problem, so basic it probably takes two X / Y coordinates in C++ code to change, since Nikon already has room top and bottom of the 16:9 image on the 3:2 LCD display for these audio meters! Yet NOBODY has FORCEFULLY pointed out to Nikon in MEANINGFUL NUMBERS that this is completely SHIT AND WRONG. And for as long as this situation continues, Nikon will continue to lose sales.

In real world shooting situations obviously you would avoid the problem by shooting at the base ISO of whatever image profile you have selected. The whole point of a 'test' is that it shows where the weakness of a camera is most acute and therefore tells us how to avoid it! If you do happen to be shooting at ISO 12,800 in SLOG on the FS5 then the problem will show up on a real world subject just as it would do in the test - the more of a hard edge to the subject and the bigger the contrast difference between the subject and background there is, the more it will be noticeable.

What do you mean by "no lens adapters", that isn't right. Full aperture control on A mount and Nikon lenses too! Widely available premium quality Novoflex and even a great PL mount adapter from Ciecio7. Do you actually mean "no adapters with electronic comms for EF mount lenses"? If so then say so as otherwise people get confused and this is supposed to be a knowledge-base not just a chat board.

Nice. Thought shipping was set for March?

More closer to the D500 really. For 4K video the D5 is closer in spec to the NX1 but without the H.265 codec, DCI 4K and long recording times, or mirrorless mount, or EVF, or... I can go on!

I don't know what margin Samsung made on their cameras and neither do you! Margin certainly factors into a retailer's decision to stock the product that's for sure. The brand loyalty issue is correct though in the sense that most customers are used to trusting certain brands for certain things. Canon would have a hard time selling a smart fridge or smartphone. It's an awareness issue as well. Most people were simply not aware that the NX1 was so good. But what really killed sales was that it was marketed at the wrong people. Of all the mirrorless cameras the NX1 was the one aimed most squarely at Canon and Nikon DSLR users. Had they tried to take mirrorless market share away from Sony, Olympus and Panasonic instead and aimed it squarely at enthusiasts who like lens adapters, peaking and 4K video they would have succeeded admirably. Come on. Do you really think the D5 is aimed at the average person? It's aimed at pros and a small number of cash-rich enthusiasts which demand the absolute best performance.

I think the shadows in LOG are pretty good on the A7S II. They bring up an awful lot in the blacks. Yes they do crush and get noisy eventually. So does the Alexa even.

Source? I think Apple is by far the biggest client of Sony for sensors.

The 1D C has the highest bitrate internal recording and 4:2:2. It has the easiest image to work with, colour wise. The Sony A7S II is a close second. It can match or even exceed the image quality of the 1D C's 4K, with the advantage of much smaller files, but it's 4:2:0 and S-Gamut requires expert colour correction. If you set S-LOG to a different colour mode like Stills or Cinema then it becomes easier to handle in post. The A7S II also has the edge in low light but there's not much in it, even at ISO 12,800. It's only when you go into the little-used territory of 25,600+ that the A7S II pulls ahead more dramatically. Personally I feel both the A7S II and FS5 are a match for the 1D C's image if handled optimally. The 1D C is just more straightforward and has the higher bitrates. Motion blur looks better on the Canon and it's an ALL-I codec too. If you want the best skin tones skip them both. 5D Mark II 14bit raw renders faces superbly with zero effort in post!

Why... Good question!

How does the new Nikon D5 compare to the Canon 1D C flagship for 4K? Read the full article

So not only has he been rehashing the first star wars movie down to every last detail, JJ wants to bring back Super 8 from the 70's. Got any NEW ideas?! And Kodak offloading their superb sensor division was a huge error. Sod 4K... I am all for an analogue look, a proper 2K camera with 13 stops usable dynamic range, but this just seems like a really retrograde way of going about it.

Well I can definitely see the 4K capable Expeed 5 going into a consumer Nikon camera. Whether Sony will let them have the best 4K sensors is another question

F3 and RED ONE MX are mighty heavy beasts though, so will not be right for all situations and all people. If you need a smaller and lighter body, then out of the old cameras the 5D Mark II with Magic Lantern raw shoots by far the nicest looking images. As for me I have to stay on the cutting edge, because I enjoy it.

Have fun I have a second spare 5D2 body if anyone wants to buy it? Plenty of scratches and high shutter count but fully 100% working and shoots ML raw just fine! Can do it for around 700 euros!

Is the poster frame supposed to highlight the poor dynamic range and blown highlights of the D5's 4K video or something? And why can't they get someone good to shoot for them? They're Nikon after all. They must have a good range of talents to call on surely?

No mention of any added video assists or features really, in the current info. It's as if they don't really care! But they do! But they don't show it! Oh... I have no idea what they are thinking to be honest! They really need to dump their entire feedback chain.

That ^

Nice condition. Going to be a serious temptation for someone, good luck with the sale

Unfortunately it looks like a hardware limitation not a firmware thing... the sensor clearly has a 1:1 readout only for 4K and no binning like on the A7R II in full frame for instance. They clearly couldn't do a fast enough full sensor readout at 20MP and downsample it on the image processor to 4K, like most other cameras have been able to do for at least a year now! Probably a cost saving measure, but idiotic for Nikon's bottom line in terms of sales to videographers.