No matter how hard Sony and other mirror-less systems try to kill the Mirrored SLR camera, it seems Nikon and Canon refuse to go down for the count. The latest Nikon D850 is a camera that is better in every respect to it’s predecessor but now treads in the rarified air of hyper resolution sensors that do up to 9fps at full 45.7 Megapixels with the added battery grip.
Of note for us is the inclusion of a full HD 1080p 120fps mode which matches that on the Canon 1DX Mark II and the excellent quality Sony a9 mirror-less cameras. There are no real samples of the D850 in slow motion aside from compressed preview videos that seem to show some aliasing in the mode. As to a crop we will have to wait and see but in 4k mode the camera is able to extract the image from the full sensor with no field of view crop which is the holy grail for large resolution sensors.
In a new column written by Dann Gire of the Daily Herald, Slow Motion is questioned as a passing moment in film history where it is overused and loses power and effect over time. We agree that some movies rely so heavily in slow motion effects that it becomes a primary role in the movie. Movies such as Sherlock Holmes and 300 1&2 take it above the regular mundane level and truly makes art out of the technique.
We feel that with the democratization of slow motion devices in consumer pockets with phones and now professional high-speed cameras are dropping in value while improving performance. We expect the slow motion trend of screen time will not diminish but increase for years to come as gear is now flooding the market with high frame rates.
The Nikon DL was really the only strong contender in the pro-sumer compact camera line from Nikon to offer fast frame rates if it had shipped. The only other remotely considerable high speed option by the company is the Nikon 1 series in their V and J options which haven’t been updated in a while.
The cancellation of the Nikon DL series was due mainly to technical issues with the image processor which made the company miss the June 2016 target ship date & second, a restructuring effort after the company reported a net loss of ¥831 Million Yen or 7.3 Million US Dollars . This is no small predicament as the company had reported in the same time frame last year a net profit of ¥18.71 billion Yen or $165 Million USD.
It is no secret that GoPro had a pretty bad 2016 in terms of sales performance and the Karma Gate battery off incident. The company is loosing money but still shows signs of life. In the 4th quarter of 2016 GoPro was profitable on a non-GAAP basis with income of $42 million. With the stock closing price today of $8.90, a far cry from the nearly $90 it was worth in October 2014, there needs to be a change of epic proportions if the company is expected to remain viable.
There are threats from new technologies like AR, VR and Snapchat Glasses among others that threaten to impede the company going forward. How can a camera company evolve overnight to survive in such a market. We believe the answer is by innovating it’s way out of the whirlpool that it finds itself in.
Nikon has delivered a shockwave for affordable slow motion with the three new Nikon DL Cameras announced yesterday. At first glance it seems a refresh of previous cameras with a 1″ sensor module but actually these are a completely new breed.
For starters the cameras offered are basically the same bare bones electronics with the difference being in a specific focal length for the fixed lens assembly. The cameras are presented in a DL18-50mm for the wide angle shooters, DL24-500mm for the sports and nature crowd who need the reach and DL24-85mm for portraits and general photography with a Super Macro mode.
With 4k TVs, projectors and computer displays entering the marketplace in droves it is only a matter of time until 4k finds it’s way into the super slow motion realm for TV, Cinema and scientific analysis.
There is a strong argument for the increased resolution when it comes to capturing at 4k in any frame rate. It gives freedom to crop or punch in for a Full HD shot and or stabilize footage with crop leeway on the borders without trashing a shot. It is also crisp in a way that can only be described as looking through a window; which is a funny analogy because when Full HD came out in the early 2000s that was used often to sell TVs and the new experience. Now we are told the real window is 4k and your perfectly functional 1080p 240Hz tv is next to useless. This is of course hardly a realistic view or currently installed TV technology.
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