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Andrew Reid

Nikon V1 - shooting 4K 60fps raw for $200

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how many GB  sd card do we need for 20min video?

 

It depends on the frame rate. When shooting raw, one frame takes 12 Megabytes. If you shoot with 30 fps, that's 360 MB/sec., thus 21.6 GB per minute. For 20 minutes = 432 Gigabytes, the contents of seven 64 GB cards.

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@cantsin does the V2 still have autogain on the LCD that you cant turn off?

 

the v1 has that making it hard to guess exposure with adapters and manual lenses,... one work around is to switch it into movie mode which has autogain turned off, so you can see the actual exposure.

 

then switch it back and apply the same settings in picture mode.  

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Got my V2 today... Some observations...

 

The good:

  • Full manual control in burst mode
  • Adaptable lenses in burst mode
  • Stores up to 40 frames instead of 30 in burst mode
  • Handling is better
  • Drastically improved write times to the card (around 15 seconds for 40 raw files instead of 1 minute for 30 on the V1)
  • 4.6K vs 3.8K sensor

The bad:

  • It is noisier at high ISOs than the V1
  • Battery is smaller (1450mAh vs 1900mAh)
  • Slow mo only records to 3 seconds, down from 5 seconds on the V1
  • Slow mo quality is not as good - noisier and very slightly softer

I like the camera but it is a real shame the new sensor wasn't kept at 10MP and the slow-mo improved. It is a bit of a backward step for high ISOs and slow-mo, which is a surprise.

 

For bust mode 4K raw it is much better though.

 

Haven't tested HDMI yet, will be interesting to see if that is clean this time. It wasn't on the V1.

 

The auto-gain of the screen is still there and you can't turn off the eye sensor on the EVF. Slightly annoying aspects.

 

Also the manual focus aid only works with CX lenses and even crueler - they take away the exposure meter when you attach a non Nikon CX lens. Fools! You have to use video mode to simulate exposure and take stills in that mode. No problem until you realise it only shoots JPEG in that mode. Pain!

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Yes it does the same but adds nothing new apart from the manual control in burst mode. Video mode and 400fps are the same and they didn't increase the buffer size. Another disturbing trend - yearly follow up models that don't progress the technology.

I'm new here, but as I have both a V1 and a V2 thought I should comment.  The V2 buffers 40 frames vs 30 for the V1.  Number of files is independant of file size.  Max. resolution JPEG + RAW or min JPEG only are the same.  Exposure and focus determined by the first frame.

 

Recent F-mount lenses can be used at 60fps but center point focus only.

 

Full exposure and continuous focus is  possible at up to 15fps on the V2 with native lenses.  There is now an f/1.8 18.5mm (equivalent to 50mm for 35mm) available and an f/1.2 32mm supposed to be coming out next month.

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I'm thinking of getting a V2 to complement my RX100 for the telephoto scenes when travelling light.  One concern I have is about the 30p frame rate in video mode.  I live in a PAL country and my RX100 is 50p.  Would it be a major problem if I intercut the footages?   

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Just finished another video using the burst mode:

vimeo.com/62412527

 

Tried to test the dynamic range limits here. Highlights clipped on a few shots but this is still a very good sensor. If you are coming from the compressed video world as I do, these 11 stops are amazing.

 

Some say the V2 has between 10.5 and 10.8 stops... yes, less than the V1. That's one of the main reasons I didn't get it. The other reason is that I don't have $800 in my pocket right now.

 

We are not talking about its video mode here (I mean, real video mode). It looks damn good to me! I know it doesn't have 24p or 25p, but you could do the convertion in post, or... shoot in 30p, what the hell. Also the rolling shutter artifacts are almost gone! I'm getting a pistol grip and trying to find a good fast c-mount lens and this could be the perfect run and gun device. What do you think?

Javi

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Can confirm all of the above. V2 is so fast at writing images to the card you can do a burst of 4.6K JPEGs and almost immediately do another one straight afterwards.

For those planning to shoot multiple burst clips with little or no cool-down, you might run into overheating issues.  I just returned from 3 weeks in Thailand. Shooting a combination of stills and normal HD video with a V2 and noticed that the camera was getting quite hot. Had shot 17 short video clips (total 6.5 minutes - well under the 20min max) over a 23 minute period when the camera shut down. It wasn't cooling off very quickly (ambient air about 35C (95F)) so I held a dampened handkerchief against the left (hottest) side and was able to resume shooting after 6 minutes. My wife's V1 also got quite hot but she was shooting stills only and the V1 didn't shut down. We were in the shade at the time. Videos were 1080 30p. I realize it's not really comparable - 6.5 min of video is 390 seconds, so that's a lot of burst mode.  If you're in a hot climate, working in the sun, get the white model :).

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After reading about this Camera on EOSHD I just took delivery of a Nikon V1 (£219 new from the hut).
 
I used Adobe DNG Converter to convert all 30 frames into a sequence of 30 DNG files.  This is shot as Electronic shutter Hi, 30 frames, and I've tried RAW only after RAW +Jpeg.  The mode dial on camera is on the green camera icon, not movies.  Pressing the shutter takes 30 pics then stops.
 
I know CinemaDNG can exist as a sequentially numbered sequence of separate DNG files in a directory.  To prove a directory of such files can be imported into resolve I downloaded the zipped Autumn1 files from http://www.ikonoskop.com/workflow/
and after extracting I loaded the directory into Resolve 9 lite without problem and Resolve shows the correct resolution of 2048x1092-16b and of course looks great.  I notice that Each AND EVERY DNG file is exactly 3,288KB.
 
When I do similar import of my Nikon V1 Converted DNG files into Resolve into the Media Pool, I see a low resolution 256x177-8b file which is very disappointing.  Examining an indiviual NEF from the sequence shows a beautifully detailed image of course.
 
Interestingly when I look at the file size of my Nikon NEF files they are all slightly different sizes but all close to 10,300KB.  After converting using Adobe DNG Converter, Each file is again slightly different size but all are about 11,700KB.  Maybe a clue is in the varying file sizes, but how to convert my NEF files to a consistent DNG sequence? or what could the problem be?
 
Help appreciated!
 
I can't wait to overcome whatever problem I have to get the Nikon output into Resolve!!  I'd like to hear from anyone who is having success in importing V1 RAW clips into Resolve please!
 
Tim

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Here's another Nikon V2 raw mode video of mine: http://vimeo.com/62463817 . This one was shot with an Ernitec 6.5mm c-mount CCTV lens (whose focal length on Nikon cx/1" is equivalent to a 17.5mm lens on a full frame camera).

 

I've also created a Vimeo channel "nikon1raw filmmaking" at vimeo.com/channels/nikon1raw . Would be great if others joined and shared their work.

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After reading about this Camera on EOSHD I just took delivery of a Nikon V1 (£219 new from the hut).

 

I used Adobe DNG Converter to convert all 30 frames into a sequence of 30 DNG files.  This is shot as Electronic shutter Hi, 30 frames, and I've tried RAW only after RAW +Jpeg.  The mode dial on camera is on the green camera icon, not movies.  Pressing the shutter takes 30 pics then stops.

 

I know CinemaDNG can exist as a sequentially numbered sequence of separate DNG files in a directory.  To prove a directory of such files can be imported into resolve I downloaded the zipped Autumn1 files from http://www.ikonoskop.com/workflow/

and after extracting I loaded the directory into Resolve 9 lite without problem and Resolve shows the correct resolution of 2048x1092-16b and of course looks great.  I notice that Each AND EVERY DNG file is exactly 3,288KB.

 

When I do similar import of my Nikon V1 Converted DNG files into Resolve into the Media Pool, I see a low resolution 256x177-8b file which is very disappointing.  Examining an indiviual NEF from the sequence shows a beautifully detailed image of course.

 

Interestingly when I look at the file size of my Nikon NEF files they are all slightly different sizes but all close to 10,300KB.  After converting using Adobe DNG Converter, Each file is again slightly different size but all are about 11,700KB.  Maybe a clue is in the varying file sizes, but how to convert my NEF files to a consistent DNG sequence? or what could the problem be?

 

Help appreciated!

 

I can't wait to overcome whatever problem I have to get the Nikon output into Resolve!!  I'd like to hear from anyone who is having success in importing V1 RAW clips into Resolve please!

 

Tim

 

I'm having the same issues with Resolve. It seems it reads the resolution metadata incorrectly from the DNG file. Maybe it needs to be converted to a more standard resolution like the 4K film Resolve preset of 4096 x 3112.

 

It is still rather odd however as DNG is a resolution independent standard and Resolve should work with it.

 

We need to find a way around this... Or they need to patch the app.

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Looks like we might have to use DPX format or TIFF sequences.

 

From: http://en.wikipedia.org/wiki/CinemaDNG

 

"CinemaDNG is different from the Adobe DNG (Digital Negative) format that is primarily used as a raw image format for still cameras. However, each CinemaDNG image is encoded using that DNG image format. The image stream can then be stored in one of two formats: either as video essence using frame-based wrapping in an MXF file, or as a sequence of DNG image files in a specified file directory. Each clip uses just one of these formats, but the set of clips in a movie may use both."

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This one was shot with an Ernitec 6.5mm c-mount CCTV lens (whose focal length on Nikon cx/1" is equivalent to a 17.5mm lens on a full frame camera).

 

The 6.5mm lens covers the sensor or did you crop-in slightly? Impressive if it covers.

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The 6.5mm lens covers the sensor or did you crop-in slightly? Impressive if it covers.

 

No cropping (except for a few stabilized shots), and the video is at the camera's original 3:2 aspect ratio. The lens covers 1" except for some slight vignetting in the corners.

 

The lens has also been sold under the label "D.O. Industries", but it's not identical with the Pentax/Cosmicar 6.5mm/1.8 c-mount lens (which reportedly also covers 1").

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I'm very excited about this.

 

I have, for a while, been looking for almost ANY interchangeable lens camera that beat the $300 mark. Even used t1i's are still about $400 in my area. 

 

But with this revelation (revolution?) I think I'm sold. 

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I first wanted to say thank you for the Gentleman who first posted his video about this. I went out and bought the camera that weekend. This is just a couple of random clips I stitched together. All shot in Raw. Some at 30fps, some with the cameras interval feature on the Nikon V1. Edited in After Effects. Sadly You tube really kills the quality out of the camera, but you will still get the idea I hope. Enjoy :

 

http://www.youtube.com/watch?v=fUQO42MArBY


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Looks like we might have to use DPX format or TIFF sequences.

 

From: http://en.wikipedia.org/wiki/CinemaDNG

 

"CinemaDNG is different from the Adobe DNG (Digital Negative) format that is primarily used as a raw image format for still cameras. However, each CinemaDNG image is encoded using that DNG image format. The image stream can then be stored in one of two formats: either as video essence using frame-based wrapping in an MXF file, or as a sequence of DNG image files in a specified file directory. Each clip uses just one of these formats, but the set of clips in a movie may use both."

 

The workaround I was able to use: import directly into After effects. I used the basic (Ctrl + I) importer, select first frame of the series (And only first frame)...imports the rest that are in the same folder on your hard drive with it. From there you have access to the Raw controls (exposure etc) without transcoding to DNG or any other format... No conversion was necessary. Repeat for each set you want to import. Create a comp with size desired for your end result and drop the imported clip or clips into the comp. Transform the clip to the comp size (if smaller than clip of raw files). The only other thing you may want to do is separate your clips into different sub folders on your hard drive so you can edit each "group" take / scene individually (White balance per 30 frame shot etc) when you import them into after effects. I hope that helps,

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