D800 press release

OLPF implementation is a tricky thing, for one, the fact that they decided to come out with 2 versions of this cam shows that it must be aggressive enough to soften the sensor for wide landscape work, also,
I think they had to balance it to be not too aggressive to be still sharp for most lenses and for most scenarios in 1080 mode.

I can see some images from Nikon dslrs where they remove the OLPF and its sharper but moire starts creeping in grills and such.

Also I can learn from the mosaic OLPF I placed in my 5D that its aggressive enough to remove aliasing and moire in almost all situations but some lenses 20mm and wider get problematic.

So looking at a lot of brick wall scenes in the Joyride video, I think the OLPF is useful enough for most but the most densest of patterns.
 
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Good stuff, thanks.

In the future, the D800E with a third party OLPF could be a preferred method for video users.
 
Michael Olsen said:
It's a web video. It's going to have moire. Any originating format will moire when downsampled impefectly.
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You may get aliasing and other artifacts from poor resampling but you won't get colored moire like in that film. If the downscaling is so horrendous then moire would be the least of the videos problems.
 
Loved it. Those bricks on the tunnel and the buildings would give Canon DSLR's a hard time. Sounds like an out of this world stills camera and a fantastic indie Cinema camera. This is going to sell like crazy! Now I'm really curious if Canon is going to unblock the HDMI signal from the 1DX or not...
 
You guys are a little hard, i found this video looks quite promising , and give me a better feeling than the gh2 web video i have seen. In Which moments are you annoyed by moire artifacts?
 
I wish they could also make Canon realized their C300 is overpriced and should be a much better challenger in the market at 10 or 12k $...


SPZ said:
Loved it. Those bricks on the tunnel and the buildings would give Canon DSLR's a hard time. Sounds like an out of this world stills camera and a fantastic indie Cinema camera. This is going to sell like crazy! Now I'm really curious if Canon is going to unblock the HDMI signal from the 1DX or not...
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I could not find one thing to not like about it.


I had very serious doubts about 36mp and video.
Looking at how bad the Sony A77 24mp looks with moire but Nikon seems to be on the track.

Canon... the ball is in you court now.
 
I love the idea of a D800 and the nikon 24-70mm, I don't think I would need anything else if it has a DX video mode. Hmmm exciting times.
 
Hidef1080 said:
Canon... the ball is in you court now.
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they have one more card up their sleeve, -that 5d mkIII better whoop this. ;) or the f-mount-to-eos adapter on my nikon lenses come off. hehe

I can hear a baritone voice over narrating;

... and the Nikon lenses jump for joy as the shackles of the adapter to eos has been removed from around their necks and they can finally go home to their rightful f-mount nikon body! -cue fanfare music.
 
Ah, cool it's just as I was expecting. Looks better than the 5DMKII for me eyes (as it should do being newer), especially in terms of moire and sharpness. Reminds me abit of the Ryan Gosling film Drive (shot on the Alexa)

Bad side to the D800 is there is still colour moire, and there's still a mushy-ness and fake sharpness (squiggly lines and "chunky" look) that doesn't really exist in the GH2 or other properly downsampled video cameras.
 
The moire issue is - as usual - way overblown. Moire might be the biggest non-issue in the camera world - "normal" people could care less. Don't shoot a movie about brick buildings or stripped shirts, and you're golden.

A bigger concern to me is the "video-ish" look of the footage. Some bits looks absolutely cinematic, other bits like pure video (like when he grabs his keys off the night stand)... And that's something not happening b/c of video compression.

On paper, this looks like a great camera. Nikon doesn't exactly have a stellar rep for shooting video, but here's hoping. Certainly having a FF sensor camera that outputs clean 4:2:2 footage is going to appeal to many shooters...

Far as Canon goes, the ball's been in their court for some time now. The 5D Mark II, Canon's flagship camera, the camera that started the whole DSLR "revolution," is now nearly 3 1/2 years old. Many many Canon users have been waiting for well over a year now for the Mark III. Canon's much ballyhooed "revolutionary announcement" of the $16,000 C300 did just about zero for most of those would be Mark III buyers. Ditto that the nearly $7,000 1DX (seriously, no headphone jack?). And obviously, not too many buyers for Canon's new $40,000 cinema lenses. I love canonrumors and all, but the announcement of a new 24-70mm lens for $2,300 (w/ no VC) isn't exactly going to get people desperate for something really new excited.

All the while, Sony's brought out 1/2 a dozen S35 cameras and a bunch of lenses - including the new indie camera of the moment, the FS100. Plenty of AF100 sold and even more GH2s as well. JVC announces 5 new "Falconbird" cameras, including a 4K camera for $5,000.

In other words, between the underwhelming announcements and competition, much of the mojo earned by Canon over the past 3 1/2 years has eroded. I like Canon cameras. I like Canon glass. But I don't like them so much that I'll wait another year for could well be an overpriced and underperforming (for the price) Mark III (or whatever they call it).
 
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this saturday I'm shooting a short about a bunch of soldiers - I'd love the military uniforms not to look like they're made out of flying rainbows - from my previous experience, I know I'll have to decide camera angles and types of shots so as to keep moire in check - whatever camera I upgrade to will have to deliver an image just as lovely as what my current Canon gives me, but without line-skipping artifacts and with a somewhat better codec (in fact, if I don't get that, I probably will just save my money, I don't see the point in upgrading at all) (and no, I won't spend $5K on a camera either)
 
"The moire issue is - as usual - way overblown. Moire might be the biggest non-issue in the camera world - "normal" people could care less. Don't shoot a movie about brick buildings or stripped shirts, and you're golden."

Pretty much my thoughts as well. It's an issue I see occasionally , ​mostly in exterior architectural shots, that can usually be dealt with.

D800 does look pretty darn nice so far. Not enough nicer for me to run out an d sell my MK2, but gives me a lot of hope for what will be on the market in 18 months or so when i am ready to upgrade.
 
I saw the moire, thats not from vimeo.

Moire is a huge issue. It may not be very visible in this particular example but knowing the limits of equipment is the best CYA (cover your ass)
when the clients money and your reputation are on the line. Know thy equipment - its like a holy commandment.
 
jdv said:
The moire issue is - as usual - way overblown. Moire might be the biggest non-issue in the camera world - "normal" people could care less. Don't shoot a movie about brick buildings or stripped shirts, and you're golden.
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Maybe this is true for low to no budget indie filmmakers, but in the professional world, where somebody's money is on the line, it's a very real issue that causes legitimate concern. And while it's easy to say "don't shoot a movie about brick buildings and stripped shirts," I've noticed that those little buggers have an incessant way of cramming themselves into the frame - probably because they're all over the place ;)

The worst part is when you don't notice the moire until checking out dailies after a scene has been shot, even worse after you've moved from the location. I just wrapped a feature with a couple of hacked GH2's (a camera not especially known for it's moire issues), but we have four (very key) scenes in the film where moire nearly ruined the picture. Luckily, two of them I caught on set and was able to modify the framing on one, and we had to change an actor's wardrobe for the other (after already shooting for 20 minutes of unusable footage). The other two shots will have to be cut, cut around, and/or post-massaged to get rid of the artifacts. A re-shoot is absolute worst case scenario, but I don't think it will come to that. Moire can be an expensive mistake, time-consuming to fix, and extremely distracting to a viewer.
 
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