Mastering Multimedia by
Being a Nikon shooter in a multimedia world has some disadvantages. In 2008, Nikon launched the D90, which was the first DSLR with the ability to shoot video as well as stills. The camera was rife with limitations. Without an audio mic jack, you could not use an external microphone to gather quality sound. The Motion JPEG codec the D90 recorded in was a nightmare for Final Cut Pro to deal with. My newspaper bought two of these cameras on release. I played around with one, shrugged my shoulders, and went back to my Sony XDCAM EX1.
Then the shockwave hit a short time later when Canon released the 5D Mk II. With its full-frame sensor, 1920 x 1280p resolution and, hallelujah, a mic jack, photojournalists who resisted shooting video, were now intrigued. Shooters like Vincent LaForet have since built their careers promoting filmmaking with the 5D Mk II. Whole ecosystems of accessories to outfit the camera have blossomed. So what happened to Nikon’s response? Did their engineers shrug their shoulders like I did and move on to only service the consumer market? Over time, Nikon has added video capabilities to many of their cameras, but none have been able to meet or exceed the specifications of the Canon 5D Mk II.
During the last several years, I have sat on the sidelines, preferring to use my traditional video camera. I kept telling myself that I would jump in when Nikon launched its 5D killer. I’m still waiting. Last year, I talked my editor into buying me the Nikon D3s. This amazing camera is unfortunately saddled with the same video 720 x 1280p resolution and Motion JPEG codec of the D90 and the Nikon D300s.
I have stewed as the newspaper photojournalism world embraced the entire Canon line with its superior video capabilities. Last year, Brian Immel and I founded Finding the Frame, a video critique website for multimedia storytellers. read more...