The Nikon D800 CMOS FX-Format Digital Camera boasts a resolution of 36.3 MP. This is the type of resolution that, on a bright day, would allow you to see a bee buzzing around a rose petal and give you the ability to not only have bee in perfect focus, but also the rose and the early morning dew drops if you are shooting at that hour.
Let’s face it, a body that delivers a 36.3MP FX-format (35.9 by 24 mm) image through a CMOS sensor is the camera body to beat in “horsepower” race that seems to be taking place in the Digital Single Lens Reflex (dSLR) camera market today. Indeed, a just a few weeks ago, we were remarking on the Nikon model that delivered better than 24 MP and now they have jumped what seems to be a whole generation of camera technology to present a body that delivers a 36.3 MP image, something that was truly unheard of as recently as a year ago, unless you were talking about some very high-end cameras that were made for digital filmmakers who needed to shoot what might be considered the proverbial “gnat’s eyeball” at 30,000 feet.
The D800 is not only a camera that delivers 1080- high-definition broadcast quality video, it does so with mininized rolling shutter and you have the ability to watch simultaneous live output on external monitors and record uncompressed HDMI video. This is the type of performance that moviemakers expect when they are shooting scenes.
Imagine having a camera about the same size as any other standard dSLR is would mean that body harnesses for steadycam shots could become smaller while the same camera would be nowhere as intrusive into everyday life.
The D800 also offers multi-area Full high-definition digital-moving video recording mode as well as comprehensive high-fidelity audio recording and playback control.
It is true that this is not as small as a standard dSLR at 57.5 by 32.3 by 48.4 but think of this. This is all in a unit that weighs about four pounds.
In truth, this is — at least now — really made for the video industry where you need cameras that can handle multiple stereo inputs and output, as well as provide you with peak-reading audio meter displays. It also allows you DX crop mode so that it can use and maximize the wide body of Nikkor lenses that area available (some of the best optics around that feature reduced chroma, optical reflectivity and more). And, the D-800 still deliver 1080p resolution hour after hour of shooting.
Interestingly, the D-800 features an optical low-pass filter in front of its sensors. This filter offers a slight blur that helps to reduced false coloration and other aberrations when you shoot repetitive color imagery.
The D-800 not only cranks out JPEG and TIFF imagery, but it will also turn out RAW or NEF imagery so that video editors can take advantage of it. This is the type of camera that is ideal for not only studio photography, but also commercial photography under a wide range of conditions. It allows the photographers to select and use the lenses they want to use but also to Capture NX2 software for flexibility.
The D-800 is Nikon’s top-of-the-line and we think you can see why. Professional videographers will be using this and its successors for many years to come.
Roberto Sedycias works as an IT consultant for ecommUS
Hi friends, This is Jayprakash Panwar from Uttarakhand. I am uploading my video profile, where you will see some of my preliminary work had done in Uttarakhand. At present I am in Australia, doing my master in “Digital Film Art” from the Australian National University (ANU). In few days I will upload more work of digital film making. I would love to have your comments. Please contact me at —firstname.lastname@example.org Cheers, JP Bhai
Question by kasashimk: Digital vs film filmmaking?
For the industry professionals, what is the difference you see between recording on digital versus film filmmaking? Why haven’t cameras like RED been adopted more widely and why do many productions choose to record on film? Digital filmmaking is cheaper, has comparable quality and unlike film, you can re-watch the footage you just shot rather than having to wait for dailies to be developed and sent back. Thoughts?
Answer by holodecker
Actually digital filmmaking is taking hold, but the resistance was partly due to the color response of video vs. film, as well as a general reluctance to change. Oddly, the goal has been to replicate the “conventions” of filmmaking, For instance, 24 frames per second does not necessarily produce the best looking image, but it does produce what we have come to expect in a cinematic experience. So first, digital technology had to completely and thoroughly replicate the “film look” and then afterwards it can go beyond. Now as producers find it more cost effective, and film makers like James Cameron find it creatively freeing, the pace of the change to digital will speed up.
Know better? Leave your own answer in the comments!
Workshop was Friday, June 24, 2011 Hosted by James F. Robinson, writer-director for Zap pictures.
Video Rating: 0 / 5