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I don't think that either, but their compacts or bridges were always very consumer oriented. Not really for the enthusiasts or prosumers. They tried with the Nikon Coolpix A, I guess in an attempt to mimic the Sony RX1 and Sigma DP Merrill or something, but pretty sure that never took off the way they'd hoped. Now they seem to want to take the Panasonic LX100 and Sony RX100 concepts and run away with it. Just... it seems their compact lines and DSLRs lines operate rather independent, 'cause non of the compacts really have that distinct Nikon vibe to me (in terms of 'All of that'). I mean, I'll keep an open mind, these look and sound rather serious, don't get me wrong, but I would keep in the back of my head that these might not live up to their raised expectations...

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It is because they priced the Coolpix A waaaaay too high when it was first released!

Though its close out pricing made me *VERY* tempted to buy one! As it is basically a D7000 paired with a nice prime lens. But I don't want one quite that wide :-/ If they'd gone with the Fujifilm X100 series FoV then I'd be a happy chappy (disappointed the X70 is wider than the X100, I'll likely skip the X70 too unless it goes for some crazy low sale prices).

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11 hours ago, dahlfors said:

What you are talking about is post-processing, which isn't directly related to the encoding / bitrate, but rather a separate entity.

But yes, it might very well be that there is baked in sharpening that you can't get rid of.

I hope Nikon has been sane enough to add configuration possibilities to disable such post processing, since the cameras are set to compete with LX100, RX100 and other Sony high end compact offerings which provide such features. I also hope they are sane enough to add 24p in the final firmware, since the competition has that. Also, it doesn't make much sense for Nikon to cripple their high end compacts due to product segmentation; I don't really think these products compete with D3xx/D5xx.

You forget that these are consumer cameras, not production cameras.

I imagine that virtually no one who buys these cameras shoot 24p. All 24p footage looks crappy on computer monitors because of frame mismatches, which is where most of the stuff shot on these cameras will be viewed. Somehow I doubt that any features or productions are going to be shot on cameras of this level, unless it is the type where you give a high school kid a camera to go and film their lives for a day.

Likewise, the only editing most users will do with footage is to stich clips together. That is about it. So any correction or softness professionals might like will be a non-existent consideration for the engineers who built the cameras.

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Guest Ebrahim Saadawi

I think he means the DL 24-500 bridge. Direct RX10II/FZ1000 competitor.

I am still sticking to the 24-85mm preorder, but the 4K samples look hideously oversharpened, punchy and ugly. I hope it offers the same lovely Standard/Neutral PP on the D5300/500 otherwise it will have to go... 

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