D5200 Anyone got it ???

It's the wide-angle video which is out of focus, the others are fine
except, the camera movement seems kind of weird; it may be because of shooting handheld at 200mm with an APS-C sensor, but maybe it is because of a VC system that's tuned for stills and creates this still-bump-still-bump-still-bump-still thing when shooting video
 
The "mud" on the footage shown here looks absolutely nothing like the original "mud" on the unhacked GH1. Nothing at all. This "mud" looks like many have said, the result of hand held with slow shutter speed, with long lens in addition to terrible lighting for video. Most likely with the camera on "auto" setting.
 
I was never thinking that the D5200 was gonna be perfect. There are ALWAYS tradeoffs. You can't expect perfection from budget products. However, what I do like is high level detail, good low light, good dynamic range and some latitude in regard to editing in an NLE. So on those counts the D5200 is scoring very high.

It's still going to take more test shots to really get the full picture about the D5200. Think about how long it took to really get the full idea about 5D or GH2? There still improving those cameras up to this day.
 
PAVP said:
I was never thinking that the D5200 was gonna be perfect. There are ALWAYS tradeoffs. You can't expect perfection from budget products. However, what I do like is high level detail, good low light, good dynamic range and some latitude in regard to editing in an NLE. So on those counts the D5200 is scoring very high.

It's still going to take more test shots to really get the full picture about the D5200. Think about how long it took to really get the full idea about 5D or GH2? There still improving those cameras up to this day.
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There are less and less tradeoffs as time moves on, thank goodness!
 
squig said:
The codec can't handle the judder. It's like the GH2 before the hack. Was it a 1/50 shutter?

View attachment 66934
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I agree, this looks nothing like the codec falling apart to me either. Take a look at the boat shots with water; they're holding up very well and take grading particularly well. I'm not sure how sharp this thing is (my guess 800+) but the thing holds an image solidly.
 
PAVP said:
I was never thinking that the D5200 was gonna be perfect. There are ALWAYS tradeoffs. You can't expect perfection from budget products. However, what I do like is high level detail, good low light, good dynamic range and some latitude in regard to editing in an NLE. So on those counts the D5200 is scoring very high.

It's still going to take more test shots to really get the full picture about the D5200. Think about how long it took to really get the full idea about 5D or GH2? There still improving those cameras up to this day.
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I think if you want to stay with 24 mbps AVCHD, then the 5200 is winner. But if you want a better codec, either for grading or editing purposes, then the GH3 is real contender, b/c the price difference between the two is less than the cost of external recorder + media... considerably less than one that can remove the pulldown.
 
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More and more, because of the C100 particularly, I'm feeling the AVCHD codec is less the problem than the best-practice implementation of writing to it. Yes higher rates should be better (I use flow motion and driftwood's sedna a on our GH2s), but the new cameras are showing just how much can be done with a lowly 24mbps.
 
I was hoping to post some more footage from my D5200 today, but when I was out shooting this morning it suddenly locked up with the message: 'Error. Press shutter release button again' on the LCD. Which I've tried to do with no success/change. I had the same issue last night whilst recording in Live View, but it quickly cleared after dropping out the battery and i wasn't sure if it was the borderline speed of my SD card (class 6). So today I popped in a class 10 in and went out shooting again.

Everything was fine for about 30 mins of recording when suddenly the same issue happened again. Whatever I do now (ie whatever button is pressed) the same message remains on the screen even which the power button is switched to off. Once you drop out the battery the LCD obviously goes blank but when you reinsert the battery, even after 2 mins, you get exactly the same message again once you power up the camera. When I took the lens off the camera body I can see the mirror is locked is in the up position inside and the sensor is exposed. This isn't surprising really since it happened whilst in Live View and it hasn't reset itself since.

I purchased the camera from Panamoz in Hong Kong just under 2 weeks ago, so I guess I now need to get on to them to get it sorted. Fortunately they have a very good reputation around photo forums and on Review Centre, so I'm not expecting any problems particularly since I opted for their replacement guarantee.

AnywayI know this is off topic but thought I'd post it just in case this is an inherent issue that starts to show itself as more folks use the d5200 in Live View mode.

Heres a video showing the problem: http://youtu.be/NelNLlzqp5I
 
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Would anyone know if non-Ai lenses will work on the D5200? From what I'm reading on various sites the answer is probably yes, but can anyone confirm? I have several of these Nikkors and a number of Soviet lenses (some of them are ideal as to the mount, as they are M42-Nikon switchable) that I like a lot, which makes the 5200 bandwagon even more attractive.
 
not AI lenses do work, however, there is no exposure metering scale shown this way,
(really miss histogram on this great cam)
I mean for serious work you'd work with your light meter, but who does, shooting some event videos, where lighting changes all the time..
Ivor C, sorry to hear your problems, hope it's better now..
 
argo said:
Would anyone know if non-Ai lenses will work on the D5200?
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Both non-AI and AI-S manual focus Nikon lenses are incompatible with the D5200's light metering system. In general, you need an F-Mount lens with a "CPU chip" which communicates with the camera in a similar way as EOS lenses on a Canon. The CPU chip makes both AF-D and AF-S lenses compatible with the D5200, but only AF-S lenses will autofocus.
 
Thanks Oleg and Lpowell. I've now checked the manual, where it's stated that AI and AI-modified are okay but non-AI are not. Several other sources agree with Oleg's statement that non-AI will fit.

Regarding moire, the manual states that it "may occur" during use, for which a low-pass filter is fitted to "prevent" it, although you may "notice" it in your photographs. Seems like Nikon is acknowledging that moire will occur.
 
argo said:
I've now checked the manual, where it's stated that AI and AI-modified are okay but non-AI are not. Several other sources agree with Oleg's statement that non-AI will fit.
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When Nikon describes AI-S lenses as "compatible", they mean only that these lenses can be used in Manual exposure mode with no light metering or manual focus confirmation. Vintage lenses lack the CPU chip that the D5200 relies on for proper light metering. Old lenses can be mounted, but you'll have no way of monitoring exposure settings or viewfinder focus. The D5200 has neither a live histogram nor any kind of focus peaking, but does have LCD magnification in Live View mode.
 
Thanks for the link!

Do I understand correctly that the HDMI output can be set to 1080P w/o a pulldown?

"The D5200 can output a full 1080p (non-interlaced) signal."


And that there would be more rolling shutter in any external recording of the HDMI signal?

"Oddly the rolling shutter skew is worse on the LCD and HDMI output than in the final recording, where I measured it as being around 4-5 degrees more severe than on the GH3, in 25p mode."
 
BobbyMurcerFan said:
"Oddly the rolling shutter skew is worse on the LCD and HDMI output than in the final recording, "
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Very peculiar if true. If that's the case, then can one really consider the HDMI output to be "clean" if it has temporal artifacts that are not present in the internally recorded footage?
 
Yeah if the rolling shutter is even worse recording externally then external recording is a no go for me.

I'm curious about this baking in a crushed look option. The noise in the shadows disappears when I crush the blacks in post so I'll have to do a test to see which option gives the most DR.

There's been mixed reports on whether a progressive signal can be recorded but if there's more skew then I wouldn't do it even though I'd love to be able to record straight to prores. I'm hoping Nikon have tweaked the D7100 a bit to reduce the skew.

On its own the D5200 doesn't quite cut it for me, I need 1080p 60p so I'll have to get a GH3 or FS100 too but so far the D5200 looks like it has some A cam potential.
 
Wesley Byram said:
Very peculiar if true. If that's the case, then can one really consider the HDMI output to be "clean" if it has temporal artifacts that are not present in the internally recorded footage?
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Clean just means it is free of on-screen graphics, text and icons.

"Good" is another matter. I don't see much of an image quality difference with the HDMI on the D5200, and it is true to form pretty much since all my other cameras even the FS100 see barely any improvement via HDMI either. How do we tell if the output is uncompressed? I think there's a larger difference between the GH2 out of the box and hacked than there is between internal 24Mbit and uncompressed HDMI on the Nikon D800 and Sony FS100. So I find it strange. If it is uncompressed, shouldn't the IQ difference be a lot bigger?

I'm on a quest to find out if I am getting 4:2:2 uncompressed out of the D5200 so any help much appreciated. Nikon haven't released any technical info on the type of output.

On subject of GH3 poor showing in this test, much of that can be put down to the fact it is rather noisy in low light and the D5200 is closer to the 5D Mark III. In daylight I'm confident the GH3 would look far better.
 
Andrew can you shine some more light on the skew over HDMI?

It's not uncompressed of-course unless you choose that option on the hyperdeck, mostly it's prores 422HQ which introduces some artifacts. On most well exposed no crazy movement shots there's very little difference but external uncompressed recording should show some macroblock improvements in the shadows and no fast movement mud. Large blocks of pink have always been a good artifact indicator with the 5D.

So is the AVCHD behaving more like an FS100 than a nex-5n?
 
I think we're still in the early days of this years crop of new cameras. There are bound to be new discoveries about how to get the most out of each of these cameras as we move along and more people actually own and test them. It's very exciting that Nikon as finally been making some of the more impressive cameras lately. It has started to become clear what Canon has to offer from their DSLR's and Cinema lines. The Panasonic GH line is also somewhat clearer tho there is still more to squeeze out of the GH3 with a possible hack. Sony has been a bit of a letdown on the SLT and Mirrorless Video cams with the exception of the high end. The A99 and VG line wasn't what I had hoped they would be. Nikon tho has been more aggressive and I think hit closer to the mark with the D5200. I was high on the D800/D600 even with the Aliasing and Moire issues, but the D5200 is a very happy surprise.
 
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