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May 14th, Hogan on lens choice for the D800


West of Santa Monica, US
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"RE: May 14th, Hogan on lens choice for the D800"

Robman3 Registered since 12th Apr 2010
Fri 18-May-12 07:32 PM

Hi Steve,

I'm tethered to the D3S, and the D7K, so the 24-70 and 70-200 go where I do even at dead weight tote values. I'm my own Sherpa, even in Death Valley and factor in the pack mule aspects of dueling tripods, and pounds of lens and cameras.

Like Perrone, if there is a D4S (24 mp) I might buy one at that point, having released the D4 being held at my local retailer.

The reasons were that the D800, uses the 4.2.2 output for video, and the stop differences between the D3s and D4 plus 12+ MP's to 18+ MP's simply didn't seem so far apart as to warrant spending another 6K for a low light body.

I shoot without a flash, inside venues usually at auto ISO HI-07 and the sometimes used 12,500 ASA (ISO) on the D3S still reigns against the 6400 ISO bodies with the MK3 and D4 as notable exceptions, but as noted, not that much an improvement.

The fact that the D3s is so close to the D4, is indicative with it's now legacy status.

Budgeting, once that's done I'll pick up the D800, which is half paid for and waiting.

If it has issues, or perhaps simply because there seems to be wringing of hands from some very disappointed users, and that I live about 15 miles from the west coast Nikon facility, I'll drop it off as a caution.

I have an older f/1.8 85AF lens, and the f/1.4 50G, and primes at 24/50/55/105/135 but the ability to refocus quickly is interesting, certainly to be explored at some point.

The video from Phil Bloom, seems well thought out with moire being noted and some shadow noise, also endemic to the D-7000 but prudent workflow is to always drop the B and P frames, transcode into CineForm the I frames only, then proceed to edit and eventually use Media Encoder (I'm CS5.5 PP-PP, on the way to CS6 PP-PP upgrade) for restated coding before down scaling back to DVD (SD) or lesser resolutions.

There was some early Nikon-speak from an engineer or VP during NAB about how the new bodies employ either the B or P frames so that will be something to test, transcoding the IBP versus just the I to see if some magic has occurred. My DP pal, who is waiting for me to have the D800 so he can "touch" it, maintains the industry standard I frame transcode regardless.

The sharpness of the Nikon tweaked Sony sensor, surpasses the MK3 and D4 in video which will be my main camera for video use, at least in normal stage lighting at 400 ISO and up. Somehow, I think cramming 2 MP's (batched from 36MP's) onto the crop/video frame, does make a difference, just my take anyway.

Also, there are patches for picture controls on the D7K which likely will migrate to the D800/D4 allowing improved dark to light detail and highlight buffer, as mentioned over in the video forum somewhere. (Tassenflat etc.)

Last but not least, Dark Energy, http://darkenergyforadobe.com/
has a plug in now for After Effects, that (apparently) essentially sequesters the noise in h.264, and allows it to be supplanted with various filmic nuances, IE. grain from motion picture formula to make actual use of what before was more than a nuisance.

So yes, long answer, I'm thrilled to see Bloom's test drive, it verifies my purchase decision to step up video.

Thanks for chiming in.


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A general, generic topic May 14th, Hogan on lens choice for the D800 [View all] , Robman3 , Thu 17-May-12 05:50 PM
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