Posts Tagged ‘Nikon’

Videomaker Best of CES 2012 Awards Announced

by Daniel Bruns | January 12th, 2012

CES 2012 is nearly over and if you’re like us, you’ve probably passed the point of information overload even before the annual tech show began. Even so, we’ve decided to help you sort things out by showing you our picks for this year’s Videomaker Best of CES awards. Videomaker’s Best of CES awards were created to help you find products that were especially innovative, affordable, dependable, easy-to-use, and most of all products which empower each of you to make better video. So we’ve scoured the show floor, trekked many miles, and ruined more than one good pair of shoes to find out once and for all which CES products would do just that.

Best of Show: Nikon’s D4 DSLR -

It’s no surprise that our biggest award of the show went to Nikon’s newest DSLR, the D4. With features like an ISO range of 50 to 204,800, 1080p video with an uncompressed HDMI output, and an FX-format (36mm x 23.9mm) sensor, this DSLR has many features that videographers have been wanting in a DSLR for years. An interesting new feature is the camera’s ability to use a new 2.7x Crop mode to zoom into an image on a sensor without losing any of the 1920×1080 quality of the picture. This means that you can easily turn a 35mm lens into a virtual telephoto lens instead. The camera also has on screen audio indicators and a 20 step audio adjustment making this a real force to contend with in the DSLR world.

Best Lighting: Sunpak’s LED Video Lights -

We’ve seen lights like these before but never in such quantities and interesting designs. At CES 2012, Sunpak unveiled 5 LED products ranging from their DSLR67 ring light (that attaches directly to a DSLR lens) all the way up to their LED 96 which sports 96 high-powered LED’s. Best of all, almost all of their lineup runs off of easy-to-find AA batteries and can be attached on any camera’s shoe mount.

Best Microphone: Blue’s Microphone’s Spark Digital -

We’ve been impressed with Blue Microphone’s products ever since we laid eyes (or ears?) on their surround sound microphone the Snowball, but they’ve managed to impress us again with their newest offering at CES, the Spark Digital. The Spark Digital is a cardioid, solid-state condenser microphone that provides two different usage modes at the touch of a button: the Normal mode which is supposed to provide increased low frequency for those times when you need to sound like Don LaFontaine, and a Focus mode which changes the microphone’s frequency response in order to pick up more clarity and detail. The newest part about the Spark Digital is that it offers both USB and iPad connectivity. Better yet, Blue Microphone even thought to include a custom shockmount and pop filter for the microphone so that nothing will stand in the way of capturing the kind of audio you need.

Best Software: Corel’s VideoStudio Pro X4 Editing Software -

When we reviewed Corel’s VideoStudio Pro X4 back in October, we loved how easy it was to bring a project from start to finish. At CES 2012, our minds still haven’t changed. We love how VideoStudio Pro X4 offers great support for beginners by offering the Corel Guide – a useful repository for video training, customer support, and user forums. We also like how the software also offers dual screen support (something most introductory editing software leaves to the pros) and an easy stop motion video creator making VideoStudio Pro X4 a great choice for the Best Software at this year’s CES.

Best Computer: Lenovo’s IdeaPad Y580 Notebook -

Though NAB is where the real workhorses come out to play, we really enjoyed the power and affordability of Lenovo’s IdeaPad Y580. It has JBL speakers, an optional Blu-Ray burner and Intel’s Wireless Display technology. You can also get up to 8 GB of RAM along with a Core i7 processor in this beast to boot. As for the display, the Y580 sports a 1920x1080p  screen and has a 2GB GTX66M card to drive it. Not bad for a laptop that starts at $899.

Best Storage Device: Lacie’s 2big RAID Drive with Thunderbolt -

LaCie never fails to do something big in the world of hard drives and this year was yet again no exception. LaCie introduced a new version of their popular 2big that now has the power of Thunderbolt which gives the drive speeds up to 311 MB/s. The 2big also conveniently adds RAID technology to protect all of your valuable footage and has hot-swappable drives so there’s never any need to reboot the system in order to upgrade or repair the drive.

Best Support: iOmount’s iOstand and iOmini -

iOmount is a brand new company at CES, but that doesn’t mean it’s any less eligible for the Best of CES award. No, if you have a product as innovative as they do, there’s no way we would be able to keep from talking about it. iOmount stood out for its innovative mounting idea for iPad and iPod-like devices. Their mounting device allows a free and unobstructed rotation of any device using a ferro-magnetic sphere and a specially engineered magnetic carrier. In laymen’s terms, this means you can mount your iPad easily to the stand just by placing snapping it into place and then rotate your iPad without the need for holsters or locks. In addition, iOmount plans on releasing an articulating arm so that you can have your iPad or iPhone over your bed while you read a book or text message hands-free.

Best Bag: Tiffen’s Domke RuggedWear Camera Bags -

Tiffen has been a leader in optical filters for years but camera bags? You bet. At this year’s CES, Tiffen released a new line of Domke RuggedWear camera bags meant for almost any situation you might find yourself in. Each Domke bag is made of weather-tough and durable cotton canvas along with a strap made of durable cotton webbing and a steel snap hook so they’re built to last. They were also designed from the ground up to be easy to carry and easy to clean which we always love to hear.

Best Accessory: GoPro’s WiFi BacPac -

Though GoPro announced the WiFi BacPac earlier in the year, Videomaker had yet to see what this unit could really do – until now. GoPro’s WiFi BacPac gives GoPro’s popular Hero and Hero2 cameras the ability to transmit live video streams to a smart device such a a tablet, smartphone, or computer while at the same time being able to control a bevy of video options as well. As a result of using WiFi, this remote can travel over an incredibly long distance without losing signal – something that any videographer capturing a sporting event will love.

Best Camcorder: JVC’s GY-HMQ10 4K Camcorder -

JVC has seemed to hit the ground running this year by announcing a new 4K camcorder at CES 2012 and we were impressed. The camcorder can record at a resolution of 3,840 x 2,160 pixels using its Falconbird processor and 1/2 inch sensor, can record to SD cards, and has 2 phantom powered XLR ports. Though it has a fixed lens for now, we’ve heard rumors of an interchangeable lens concept coming soon – but that’s our little secret.

Spotlight Award: Panasonic’s 4K x 2K monitor concept -

This is a product that we’ve been waiting for a long time to get: a 20 inch field monitor that packs a 4K x 2K resolution. That means shooters everywhere will be able to see the full glory of their 4K footage from cameras like RED’s Epic or JVC’s newest Gy-HMQ10. Though there’s no price information on this big boy yet, we’re excited about it’s potential.

Spotlight Award: Sony’s Handycam HDR-PJ760V Camcorder/Projector -

It’s funny how close camcorder companies are to blurring the line between professional and consumer camcorders. Sony has done just that by releasing their newest camcorder and projector the HDR-PJ760V. The camcorder comes with 96 GB of internal storage space, an incredible 24.5 MP still image capture option, image stabilization, and of all things a high contrast projector said to be twice as bright as Sony’s offering last year. This means not only will you be able to capture your family’s memories to share with them when they get older, you can also easily show them what you got anywhere you are.

Spotlight Award: Buffalo’s AirStation WZR-1750H Router -

Buffalo’s always been one of the first companies to embrace new technology and industry trends so it came as no surprise that they released an 802.11ac dual band router at CES 2012. We were specifically impressed by the AirStation’s wireless speed which Buffalo claimed could hit 1300 Mbps, approximately three times faster than 802.11n. What’s amazing is that just a few short years ago, standard Ethernet cable used to have a hard time getting speeds up to 1300 Mbps and now wireless routers are doing it in spades. Not to be left out, the router will also have a 2.4 GHz 3×3 802.11n radio inside so that it can be backward compatible with the 802.11a/b/g/and n standards.

Spotlight Award: Tiffen DFX v3

If you’ve ever had to try to fix an image after it’s already been edited into your video project, you know how painstaking it can be. Tiffen has come along to help you make that better with it’s DFX video and editing effects suite. Tiffen DFX is a plug-in filter that in many ways mimics the screw-on glass lens filters that professional photographers use, but it’s like having a filter on steroids.

Version 3 has added even more filters for optical effects along with interface improvements and host support. The digital filters are made to simulate Tiffen’s glass filters – and you don’t have to try to find one that fits your lens… nor are you stuck with the effect that a screw-on lens might produce.  The effects are easy to apply, fun to use, and can take your videos from good to outstanding in a very professional way, which is why we gave Tiffen the Videomaker Spotlight Award for CES 2012.  Read more about the Tiffen “Videomaker Spotlight” award.

Spotlight Award: Satarii’s Swivl

Asking someone to snap a photo can be a stretch, asking them to do camera movements is crazy unless you plan to hire a camera person. The Swivl is your answer in such times. By using a marker, the Swivl keeps you or your subject in a user-defined frame and has the capacity to record audio via an iPhone app. The 360 degrees panning capability is paired with a 25 degree vertical axis to capture a lot of action. The base and marker take AA and AAA batteries respectively, which provide for about four or ten hours of recording depending on whether you opted for the wall charger or the battery life of your pocket camera.

The Swivl is prepped to ship during the first quarter of 2012 and has been an innovative project for us to see from prototype to product, so we are glad to give it a Spotlight Award for the International CES 2012.


Nikon D4 DSLR Announced – Just in Time for CES 2012

by Jennifer O'Rourke | January 6th, 2012

CES 2012 is just days away, but news of products we’ll be seeing and hopefully reviewing are beginning to leak.

Today’s biggest announcement is the Nikon D4,  a full-frame digital SLR – and it carries a huge pedigree behind it. The predecessor to the D3 this camera has a few interesting body changes, including a bevy of controls along its side, instead of on top, for easier access. As video shooters begin using cameras originally designed for still shooting, this is an added plus.

The D4 has a plethora of ports added to its larger body form, including mic and headphone jacks, mini-USB and HDMI.  Nikon’s D4 can link multi cameras wirelessly or via Ethernet ports. Read the rest of this entry »

Videomaker Interviews Black Swan Cinematographer Matthew Libatique on HDSLRs

by Daniel Bruns | July 25th, 2011

As the title suggests, the kind people at Nikon gave Videomaker a chance to speak with Matthew Libatique, the cinematographer for the award winning movies Black Swan and Iron Man, on the pros and cons of an HDSLR workflow. Matthew recently finished filming an entire commercial for Nikon using their newest D5100, so we figured he’d have an interesting insight into how much of a difference using an HDSLR makes over using his typical uber-expensive film gear.

Of course one of the first questions you have to ask someone who is used to having the best equipment that cinema has to offer, is why on earth they would use a camera like the D5100. Obviously, Nikon wanted to prove the camera’s ability to be used by Hollywood-grade cinematographers, but that still doesn’t explain why someone like Matthew Libatique would go through the headache of having to build an entirely new workflow just to prove filming with the 5100 could be done. “Well, I’ve always been a fan of Nikon,” Matt told us. “My father was a die-hard Nikon guy and so I grew up loving their products.” Then he quickly added, “I also accepted the project before I knew it would be on an HDSLR.” Though this explains a lot, the fact that Matt successfully made a professional commercial with an HDSLR camera does say a lot about how the industry has been changing.

As anyone who has shot on an HDSLR knows, getting a nice picture is no picnic. Matthew Libatique was no stranger to this on his shoot for Nikon. He mentioned that some of the biggest challenges he had when shooting on HDSLRs was how it handled motion and trying to get around moire. “I had to work around the fact that you can’t have certain patterns in the video or move the camera too fast,” he said. Also, he mentioned how it was tough to trust external monitors on the camera, “Exposure is definitely a big challenge. Without color bars, I stuck to referencing the monitor on the camera for exposure since I could never be sure about the external monitor.” Most importantly, he also found that due to the compression that HDSLRs are forced to put on the video there was, as he put it, “A lack of tonality in the image,” – something he rarely has to deal with when using high-end camcorders.

At the same time, there were many things about the camera that Matt really liked. “With these cameras you have a more cinematic depth of field,” he said. “I also like how if I get inspired, the camera is small and light enough that I can just go out and shoot.” Like many of us are already doing, Matt also mentioned how he plans to use HDSLRs for some short films and for capturing his daily life.

Of course, we couldn’t leave without asking Matt about his opinion the future of HDSLRs. “I think HDSLRs will see an advance in the way you hold them, will have more resolution, more ports, and definitely less compression. Right now the biggest issue is really processing.” Though we believe the body may take a while to change (except for an articulating screens), Matt makes a good point in hinting that HDSLRs need to improve on their compression. Who knows, with Hollywood-level cinematographers giving HDSLR companies suggestions on how to improve their cameras, we may see a lot of these issues go away in the future paving a way for cinematographers around the world to get a superb quality video at a great price.

Nikon Releases D7000

by Derek Sine | September 20th, 2010

Nikon recently released the D7000, Nikon’s answer to Canon’s release of the new 60D. The D7000 offers manual exposure control and continuous auto focus while shooting full 1080p HD video at 24fps. The D7000 is by far Nikon’s best video capable DSLR on the market today and packs a powerful punch. Chase Jarvis got his hands on an early version of the D7000 and has posted up a video, you can see it below. We can’t wait to get our hands on one for review to see how it compares to Canon’s 60D – we will keep you posted with all the latest.

NIKON Announces D3100

by Derek Sine | August 20th, 2010

Nikon recently announced the availability of the new D3100. The 14.2-megapixel D3100 is the world’s first HDSLR to introduce full time auto focus (AF) in Live View and D-Movie mode to effortlessly achieve the critical focus needed when shooting Full HD 1080p video. With the Nikon D3100 Users can record cinematic 24p video clips, or shoot at 24 or 30 frames-per-second at 720p, ideal for sharing online. By incorporating interchangeable NIKKOR lenses, users are able to create a variety of photography effects to video such as isolating subjects with a shallow depth of field, and recording in low light conditions.

The D3100 is the first HDSLR to implement full time AF for D-Movie video shooting and while in Live View mode. Using contrast based AF, the D3100 automatically focuses on subjects when Live View is activated to aid shooting when using the LCD. The D3100 camera also uses Face Detection technology to lock focus on up to 35 human faces, a feat not even accomplished with consumer camcorders. To further simplify movie shooting, Live View is activated at a single flick of a dedicated switch, and HD video recording is achieved by a simple press of a button.

Sharing and editing video clips is also easier, as the D3100 records movies in the versatile H.264 AVCHD codec (.mov file). While playing movies back in the camera, users are able to edit recorded videos by clipping footage from the beginning or end of a movie. High Definition movies and stills can be shared with family and friends on an HD television via HDMI output. Additionally, the D3100 is compatible with the new SDXC memory card format to store large amounts of photo and video data so users can shoot multiple scenes without interruption.

The D3100 D-SLR camera outfit, including the kit AF-S NIKKOR 18-55mm f/3.5-5.6G VR image stabilization lens, is scheduled to be available at Nikon Authorized dealers beginning in mid September 2010, at an estimated selling price of $700

Seeing RED: ARRI, Panasonic and Sony Join the 35mm Camcorder Fray

by Daniel Bruns | April 20th, 2010

AlexaThis is a very exciting time for videographers, cinematographers, and filmmakers alike. With the introduction of video DSLR cameras by Canon and Nikon in the past few years, along with RED’s announcement of their high resolution digital still motion picture cameras, traditional camcorder manufacturers have no doubt been feeling some real pressure to rethink their approach to filmmaking. With their announcements, Canon, Nikon, and RED proved that prosumers were looking for more than just a new recording medium, they were looking for the flexibility of super high resolution images and the beauty of interchangeable lenses. Not to be undone however, ARRI, Panasonic, and Sony have come back in full force with their exciting new high resolution camcorders.

At this year’s National Association of Broadcasters show, or NAB, ARRI surprised everyone by announcing the specs on a new camcorder named the Alexa. This camcorder, with its 3072 x 1728 resolution, was the first indication that traditional camcorder companies were finally listening to the prosumer world. It wasn’t hard to figure out that there was a high demand for such a product. All over the blogosphere, there were people literally begging Panasonic, Sony, and JVC to put their DSLR technology inside of a traditional camcorder body. With the superior depth of field and image quality, DSLR camcorders were the natural progression camcorder companies all around the world. Videomaker first realized this when we received both the Canon 7D and 1D Mark IV for review a month back. As soon as we turned these cameras on and saw the images they produced, it was obvious that filmmaking had reached a whole new level. It even took our productions up a notch when we used them for our weekly vidcasts. Read the rest of this entry »

PMA 2010 Recap

by Derek Sine | March 1st, 2010


Desert

CES was set on 3D, Macworld was all about iPod and iPhone accessories and PMA (The Photo Marketing Association Event) with what little video on hand; the primary focus seemed to be on waterproof and generally overall rugged cameras. It looked as if every major exhibit had a little demonstration area with camcorders submerged underwater and various camcorders sprinkled around in miniature desert landscapes.

Underwater_display

It was very apparent both industries are merging and the lines between Videography and Photography are beginning to blur. Products once marketed strictly to Videographers are now being marketed towards Photographers. Although there was talk about video and stills coming together in one platform, rough, rugged cameras were the talk of the town.

Similar to Apple pulling out of Macworld, Canon was a no show this year at PMA which was quite a surprise. Hopefully this does not become a consistent trend at these events because it is definitely contributing to dwindling event attendance. Eliott Peck, Canon USA’s Vice President and General Manager stated, “We find that product life cycles are moving so much faster and that product introductions are happening in such shorter time frame that we needed to be much more agile and we find that trade shows are very locked into specific times which somewhat limits what we want to do”.

For more on PMA check out the forum for additional coverage!

Making Videos with DSLR’s

by jburkhart | March 26th, 2009

5dmkiiDigital still cameras have had rudimentary video capabilities for some time. However recent advances in high end models such as the Panasonic Lumix DMC-GH1k, Nikon D90, and the Canon 5d mark II have made the idea of creating high-quality video content on a still camera a reality.

For the first time in it’s history Videomaker will review a still camera (Canon 5D mkII) in it’s pages, and we will add the Digital Single Lens Reflex (DSLR) as a new category of camcorder henceforth. As you would expect, the focus on the review will be on the video capabilities of the camera, with a brief overview of its still photo functions.

We will focus on using the DSLR in real world shooting conditions, in terms of capacity battery life, audio capabilities and other practical tests. The footage that we’ve seen so far is very impressive, but there are some real limitations to capturing video with DSLR’s at this stage.

In broad strokes, some of the advantages of the DSLR video format are:

  • Full Frame 35mm Sensors create a shallower Depth of Field
  • High quality and relatively inexpensive lenses
  • Integral “film look”

Some of the disadvantages are:

  • Limited record times
  • Poor audio capability
  • Limited video controls
  • Lens zoom and focus not designed for motion pictures, only stills

While still very much in their infancy, I expect that DSLR’s will make great strides in the near future in terms of video capabilities, and will be viable digital cinema cameras after a few versions.