Hi jonny, yep I sure will upload some links when I get back. Will have a look around for some advice on teles too thanks mate.

best wishes

Jacky

I am no help here, but there are some good wildlife shooters here that may chime in. Or they may not because the thread title doesn't really look like a telephoto discussion. Maybe you could dig up an old one of those—if it has been discussed before the mods sometimes close the thread to tidy up. I'd love to see photos/videos of Ecuador when you get back.

Thanks guys I am getting way more than I am barging for here! Lots of good advice especially from Mike so thanks mate!
Just for an update, so far my decision are D7000 with juicedlink cx231. by the way, does anyone know if the Juicedlink cx231 has headphone output as well as output to SLR 3.5mm?

Mike Gunter said:
I'm not _sure_ that's good advice. Generally it would be, but in the multiple canopy jungle, there will be plenty of protection from wind noise.

If Jacky is on a tripod (and he should be), and there isn't handling noise from the camera, there shouldn't be a reason to use a dead cat, in fact, it could kill the nuisance sounds coming from the jungle that will make the video. Using the Juicedlink box, he can bring the sound to where he wants it perfectly.

Whichever way Jacky wants to go, a dead cat is a good investment over the fullness of time, and he can try it out and use it or not making tests with his gear on the ground.

OTOH, in other areas, where wind noise is huge, Montana where I am, you wouldn't leave home without it.

I am planning to take 2 mics from uni, a really nice shotgun mic I used before (not sure what it is) with XLR, feathery windscreens and shock absorber. I also need a mic to record sounds from surroundings, can you recommend a type of mic that do that best?

They also have rifle mics do you know if they are any good for recording ambient and directional sound from the subject? I am sure uni will have it all and if I am going to get the juicedlink box, I prob won't invest in a mic until I finish uni next year.

For Interviews and such I am planing to use P2 and plug the shotgun straight into it. It is more flexible and faster to setup than SLR in some situations etc.

SZRimaging said:
I would see if there are any requirements from the science crew, like maybe needing 1080i60 to do some higher speed shots.

For what it's worth, I'll be taking a D7000, audio gear, and a couple of helmet cams to Alaska in a couple of years. The trip will be made by motorcycle, so rugged equipment is a must, but I think the D7000 can handle it. It just handled my last motorcycle trip just fine.

Here is some straight from the D7000 video using autofocus, 70-300mm VR lens and a Rode VideoMic. The audio is actually really crisp with little to no hiss.

http://youtu.be/vBdq_JJfDYQ

Hi SZR, thanks for your input. Hi-speed would be ideal, but the best I have got is 720p at 60fps (gopro HD). Others such as P2 and D7000 are only 24fps. But still it would be extremely useful!! Planning to get some hummingbirds in flight in slowmo!

Hmm, not quite motorbike, slower, in fact a lot slower... a mule to be exact! I will be traveling by bus from the airport, and then a 5-6 hours mule ride up to the science lab! Should be ok taking it easy to get as much video as I want lol.

Sorry I am in china atm video sites are blocked, so I couldn't have a look at your vid yet. But from your comment I assume that the sounds are loud and direct from a motorbike race (correct me of I am wrong). Under the forest canopy in the other hand are the complete opposite (guessing as I have never been). So Mike's suggestion with the juicedlink are great to get the best I could when I am there. Not doubt there will be plenty of post-production afterward through.

jonnyapple said:
I agree with Mike about Ecuador. It really is an amazingly beautiful place. Which province are you going to? I spent two years there—half in Guayaquil, 6 mos in Manabí, and 6 mos in northern Los Ríos. It is truly laid back and so lovely. This may not be the most popular thing to say on a tech site, but they are generally much happier than people here in the industrialized world in spite of (or maybe because of) their lack of things.

I've written elsewhere about this setup, but the zoom H4n is also a nice option, pjacky. It's got phantom power on its XLR inputs, too. Here's a discussion on some other external mic options:
http://nikonrumors.com/forum/topic.php?id=2571

Hi Johnny and thanks for your input. Had a look at H4n, probable great for ambient and a backup device for interview and such. But the cost for me could be a problem as I am already spending thousands on flight and new video gears, as well as now sound equipments. But it is a great suggestion through am I will take that as future reference :)

I am going to a science reserve up in the Andean cloud forest, seems to be a nice place and people I have spoken to on email are nice too.
BTW, as you and Mike have been to forests in Ecuador, do you have any suggestion on which telephoto lens I should bring regarding the light conditions? This is between a 300mm f2.8 or a 500mm f4. A 1.7x teleconverter will be coming with me and I am eager to get some footage/photo of birds behaviour etc. Do they come close to human at all? Even though I am edging towards the 500mm, but if the light is too low it would be no point for the extra reach if I can't even get a decent shutter speed. Can you give me a brief description of the condition out there please? Many thanks in advance.

Best wishes

Jacky

Mike, I think I was the one not being clear (or maybe I should say not elaborating). I was thinking he could record 4 channels on the field recorder, and output the monitor signal with a 3.5mm cable to the camera to keep that on chip with the video stream (saves you from synching later as you pointed out). That way if there was an exceptional clip he could always synchronize (and remix?) in post processing.

Mike Gunter said:
Hi,

I'm not _sure_ that's good advice. Generally it would be, but in the multiple canopy jungle, there will be plenty of protection from wind noise.

If Jacky is on a tripod (and he should be), and there isn't handling noise from the camera, there shouldn't be a reason to use a dead cat, in fact, it could kill the nuisance sounds coming from the jungle that will make the video. Using the Juicedlink box, he can bring the sound to where he wants it perfectly.

Whichever way Jacky wants to go, a dead cat is a good investment over the fullness of time, and he can try it out and use it or not making tests with his gear on the ground.

OTOH, in other areas, where wind noise is huge, Montana where I am, you wouldn't leave home without it.

My best,

Mike

I work out on ski hills and golf courses, so they are essential to me. That said, you are correct, depending on the exact situation, it may not be needed. If, for instance, he shoots in the canopy (which I didn't think of) during the day, but does some interviews out side of it in the evening, they could pay dividends. Or, eliminating the ambient from the shotgun while capturing ambient with a second device would allow a bit more mixing in post and could make all the difference in the world. Needless to say, I would buy and pack them, but make the call on when to use them in the field.

SZRimaging said:

And to the OP, make sure you have dead cats (windscreens) for your mics. That is the quickest/easiest way to improve your audio in outdoor conditions. They can easily make the difference between horrible and usable.

Hi,

I'm not _sure_ that's good advice. Generally it would be, but in the multiple canopy jungle, there will be plenty of protection from wind noise.

If Jacky is on a tripod (and he should be), and there isn't handling noise from the camera, there shouldn't be a reason to use a dead cat, in fact, it could kill the nuisance sounds coming from the jungle that will make the video. Using the Juicedlink box, he can bring the sound to where he wants it perfectly.

Whichever way Jacky wants to go, a dead cat is a good investment over the fullness of time, and he can try it out and use it or not making tests with his gear on the ground.

OTOH, in other areas, where wind noise is huge, Montana where I am, you wouldn't leave home without it.

My best,

Mike

dormant said:
Simoncelli on a Ducati - I would watch that if it was filmed with an out-of-focus webcam!

Would be interesting. Although, I am not a huge fan of his. I think Spies has more talent, and both will have a hard time ever catching Lorenzo, Pedrosa and Stoner. Not sure on Rossi, he is starting to look a bit rusty, but that might just be the fault of the Ducati. Stoner is really the only person who can ride those current Ducatis.

Mike Gunter said:
Hi SZRimaging,

Your video looks and sounds fine!

I'm guessing that the original poster would have brought up any frame rate requirements.

I do Adobe software training for the Cold Weather Training Region located at Ft Greeley, where temps below -50˚ Fahrenheit are not uncommon. The video and stills are shot from a warm up tent. Hopefully, you'll have better weather. ;-)

My best,

Mike

Thanks. I'll be heading up at the tail end of July/early August in 2013. It's a group of around 6, I think. Although we may have a support Jeep or two also. Should be fun!

As for the video looks fine, not bad considering it was handheld, no rig. I had just gotten the Mic a few days before, so the trip to Indy for MotoGP was it's Trial run. Other than big size, I am really impressed.

And to the OP, make sure you have dead cats (windscreens) for your mics. That is the quickest/easiest way to improve your audio in outdoor conditions. They can easily make the difference between horrible and usable.

Hi SZRimaging,

Your video looks and sounds fine!

I'm guessing that the original poster would have brought up any frame rate requirements.

I do Adobe software training for the Cold Weather Training Region located at Ft Greeley, where temps below -50˚ Fahrenheit are not uncommon. The video and stills are shot from a warm up tent. Hopefully, you'll have better weather. ;-)

My best,

Mike

SZRimaging said:
Here is some straight from the D7000 video using autofocus, 70-300mm VR lens and a Rode VideoMic. The audio is actually really crisp with little to no hiss.

Simoncelli on a Ducati - I would watch that if it was filmed with an out-of-focus webcam!

I would see if there are any requirements from the science crew, like maybe needing 1080i60 to do some higher speed shots.

For what it's worth, I'll be taking a D7000, audio gear, and a couple of helmet cams to Alaska in a couple of years. The trip will be made by motorcycle, so rugged equipment is a must, but I think the D7000 can handle it. It just handled my last motorcycle trip just fine.

Here is some straight from the D7000 video using autofocus, 70-300mm VR lens and a Rode VideoMic. The audio is actually really crisp with little to no hiss.

http://youtu.be/vBdq_JJfDYQ

jonnyapple said:

I've written elsewhere about this setup, but the zoom H4n is also a nice option, pjacky. It's got phantom power on its XLR inputs, too. Here's a discussion on some other external mic options:
http://nikonrumors.com/forum/topic.php?id=2571

Hi Johnny,

I've made a mess with my recommendations here.

Ordinarily, I capture with a device and mix in post, but in Jacky's case this is not what I recommend. In a remote and extreme circumstance like he's going to, I would want everything on the chip the first time so he doesn't have a lot to juggle. Less media to carry, to file, to transport, to log, requiring a smaller crew, and finally, a smaller demand to manage in post. Far easier to get it on the single chip than worry with it in post.

The "XLR to 3.5mm" Juicedlink adapter box offers a preamp to clean up the sound and remove hiss. It's a terrific add on for any audiophile and works with any professional-level microphone. I highly recommend it for any of the video cameras (DSLRs or camcorders that have 3.5mm mic inputs).

Should camera work be limited to limited 'scenes' separate audio capture might well be better served by another device and mixing in post.

I would certainly take my TASCAMs and get some NAT for sweetening sound, too. If Voice Over is going to be done during some of the doc, or if interviews are done outside, in a layered format, e.g., started outside, continued with visuals over VO, a third audio track of NAT could be added on VO and Visuals as long as all tracks don't distort.

My best,

Mike

I agree with Mike about Ecuador. It really is an amazingly beautiful place. Which province are you going to? I spent two years there—half in Guayaquil, 6 mos in Manabí, and 6 mos in northern Los Ríos. It is truly laid back and so lovely. This may not be the most popular thing to say on a tech site, but they are generally much happier than people here in the industrialized world in spite of (or maybe because of) their lack of things.

I've written elsewhere about this setup, but the zoom H4n is also a nice option, pjacky. It's got phantom power on its XLR inputs, too. Here's a discussion on some other external mic options:
http://nikonrumors.com/forum/topic.php?id=2571

Hi all,

@Jacky: Hey mate: To make sure we're on the same page, my recommendation is to use the Juicedlink box with a XLR cord into the box to the camera - not to record and sync it in post. You'd have more options to use more microphones and get much better sound.

Remember, sound is still 80% of video. ;-)

In the menu in the D7000, set the audio to the camera as manual.

With the Juicedlink, you can level your sound on the chip and not have to sync it in post (something I'm strongly advising against in your case with a mulitude of clips over a period of time in a remote location - it's just something that I think is a very bad idea - put all assets synchronized on the clip rather than do it in post - your life will be much more simple). Secondly, and equally important, the Juicedlink(s) I recommend you get are either the CX231 or the CX431. Both of these have pre-amps and phantom power and offer discreetly manageable 2 or 4 xlr inputs (CX231) or 4 xlr inputs (CX431), so that you could take the UNI's mics and some of your newly acquired mics with you for mixing at the Juicelink's preamps for some knockout sound at the source.

I started to post a link to their site, but they do post links to other camera sites, needless to say if you type in juicedlink dot com you'll get there.

If your heart is set on the Rode read their PDF on Rode's application with the Juicedlink on page 10. It refers to some specifics on 3.5mm hookups on balanced/unbalanced XLRs.

http://www.juicedlink.com/downloaddata/CX_Manual_EN.pdf

You can use any microphone to include the Rode, although most Rodes are 3.5mm connected - one of the reasons they are the darlings of the indie crowd and the video mini-plug groupies.

Be sure to study page 10 of that PDF.

What's important in unbalanced inputs to balanced inputs is wiring, you'll want to get that right. You can use the Rode with the Juicelinked box and alone on the D7000, but make sure the adapters are right.

I have 3 AT shotguns 2 EV wired microphones, both wired, for interviews, which were given to me by Electro Voice. All the mics require phantom power, something that the Juicedlinks I'm suggesting will provide. I thought they would be a PITA with cords and all, but really, once talent is in place, they are a breeze, and there is zero distortion, the sound is just perfect.

My point is that with an array of microphones and a Juicedlink, you can shoot nature, capture NAT sound, do a series of interviews, and later can do group interviews, even voice overs to put over the day's shoot to add in post later back in the studio back home.

P2 is, of course, a media. I have a Panasonic HVX200 camera which uses it. There are other cameras that have interchangeable lens. Any of the interchangeable lenses have mounts that can use Nikon lens, but again, that can get expensive and tiresome.

I've been to Quito to Los Banos and Guayaquil and Otavalo and Zamora. It's a lovely place. You should have a great time.

At the end of this, you might just borrow what you have from the university for this project and buy the Juciedlink for this project. (Its their dime, see if you like their mics.) ;-0

Don't buy when you can borrow or rent judiciously. ;-)

@ Cary and R&R On D7000, I got the D90 for the video and frankly, the video sucked, but it was probably the best DX camera I've ever had at that time.

After a few burps, the D7000 video is pretty good. And you can adjust it manually in camera in Manual or A mode, just not very elegantly, I can't speak to the Canon or the Panasonic GH series or any other still camera that shoots video. My guess is that they all have faults in their settings when shooting video. A lot of video cameras have faults, too.

Proving how weatherproof a camera is something I would hate to do. I've had cameras in a monsoon - dripping wet - and they came out alright, this was pre-digital - it might as well been pre-historic, but the same truth holds up - one drop of moisture in the wrong place destroys a camera. You have to do all you can you help prevent that from happening.

I would take everything Nikon to Nikon for cleaning and inspection (and I sure it will cost), and ask for some sealing advice. They might be able to put some extra lube on the possible problem areas.

If Jacky takes a few Ziplock™ and stays inside when it's really pouring, he should be okay.

My best,

Mike

CaryTheLabelGuy said:

Regarding the D300s being a better still camera than the D7K is also a farce. The D300s does NOT have faster AF, quite the opposite. The D7K has a newer, between AF system not to mention much better metering(the RGB meter has twice the resolution). The D7K handily beats the D300s in just about every area. The only thing the D300s would win is larger buffer and slightly better handling body. With a fast SD card, the D7K is actually pretty damn fast and clears the buffer really fast. It doesn't really limit my shooting at all.

Relax, I own the D7000, and for the most part I agree with what you're saying.

I was just making a point that if wildlife/fast action was an important consideration on the OP's trip, then the D300s MIGHT be a good choice. I was torn between the two and went with the D7000 for most of the reasons you've stated. If I were to do more action/sports, I probably would have gone w/ the D300s - I've tried it out and I do think the AF is a touch faster in certain situations. (but the AF on the D7000 is amazing) The buffer on the D7000 is one of the only weak points, but is sort of a non-issue if you shoot medium size in jpg.

Video wise - the lack of aperture control in live view, the limited audio level control and 24/fps in 1080p mean Nikon needs to do some homework. It shoots great video, but most would agree that Canon has better controls.

I think it's important to have all the info and perspective one can get when considering mission-critical gear, would you not agree?

R8R said:
Depends. Video wise, step up. Still image wise, it's apples/oranges as the D700 is FF.

Even with the D300s, if you are shooting action stills, it's a much better choice over the D7000. Faster AF and you don't slam into the buffer after 10-20 frames.

With all due respect, there is a lot of misinformation going on here. The D7000 outperforms several FF bodies(like the Canon 5DMKII). The only advantage the 5DII has over the D7K is shallower DoF and slightly higher resolution. Beyond that, the D7K has better SnR, DR and much better metering, AF and better/more durable body. Now on to the D7000 vs. D700; the D7K trumps the D700 in Dynamic Range and almost matches it in Signal-to-noise ratio, while beating it in resolution and has amazing 1080p 24fps video. Of course the D700 has better DoF, because it's FF, but I don't see that as a real issue. The D7K has great DoF with a fast prime and is razor sharp. I have shot extensively with both bodies and @ ISO-6400 you can hardly tell them apart, other than the fact the the D7K has better DR at high ISO, while the D700 is very slightly sharper at high ISO's.

Regarding the D300s being a better still camera than the D7K is also a farce. The D300s does NOT have faster AF, quite the opposite. The D7K has a newer, between AF system not to mention much better metering(the RGB meter has twice the resolution). The D7K handily beats the D300s in just about every area. The only thing the D300s would win is larger buffer and slightly better handling body. With a fast SD card, the D7K is actually pretty damn fast and clears the buffer really fast. It doesn't really limit my shooting at all.

Now, with that out of the way, let's get back to helping the OP with his actual issue.

I believe the D7K is the best DSLR choice currently for the situation at hand. The other option would be a dedicated video camera, like Mike Gunter already mentioned. I will say this, the D7K is the best current choice for video with regards to 1080p 24fps. It beats the Canon HDSLR in just about every catagory other than moire(less of a real issue) and shallower DoF. This says a lot about the misnomer that Nikon is behind the times in video. All DSLR cameras are very limited in comparison of dedicated video rigs. Until we get 4:2:2 it will remain this way. Have a look at Zacuto's recent camera shoot-out. With a fast prime(like the 35mm 1.8G), DoF on a D7K is really good.

While the D7K isnt "waterproof", it is very durable and capable of taking a ton of abuse. BTW, no pro DSLR is "waterproof", but rather "water resistant". The D7K falls into this catagory.

Thanks for the comments everyone, very useful indeed!

Just to make it a bit more clear to everyone, I am a student working on my 3rd year uni project, fortunate enough to get some contacts here and there to work aboard in Dec. I am going to a remote cloud forest in Ecuador, around 1000m up from sea level. Humidity shouldn't be as bad, but for 3 months prob a different story. There is a science lab there so not too much of a problem on electric etc.

All SLR kits are mine but not the Panasonic vid cam, thats uni's. The lens is detachable for cleaning etc, but not too sure if there are any additional lens for the cam. All I know is that I couldn't find a adaptor for nikon lenses. btw, its a Panasonic P2 cam. All kits will be wiped down every night and storing with plenty of cilica gel.

My knowledge for video production are fair to good, would be improved by the time I go away as workshops are all in placed in the next few months. There are countless kits I can get out of uni but breaking it = insurance = £800 excess!!! With that I would rather get my only kit and insure it myself!

Mike Gunter said:
As for audio, there are two options. In a controlled environment, I would capture using a separate audio device and sync up in post - that's what I do now - for the most part. In your case, I would actually recommend a XLR box like Juicedlink, with preamps that you can input a nice microphone with pre-amplification (with standard XLR inputs to the box 'in' and mini jack cable to the camera's input) so you don't have to 'fiddle' with making a synchronization mark in the field. That would get to be a bother over time.

If one's doing 6 clip spots, well that's one thing, but if you have dozens and dozens of NAT sound clips in nature, that's quite another. Syncing that up in post would be a nightmare. Buy the Juicedlink box and good microphone and get it right on the chip.

Microphones are plentiful, a lot depends upon your budget and what you intend to use them for. 'Wildlife' encompasses a lot, but are you also doing interviews? Any voice? Is it all shotgun? At Audio Technica's site there is a great premier on microphones that is a good read.

Separated audio sounds good mike and will look into that, maybe worrying a little already about baggage allowance haha... what is your preference on Rode video condenser mic? Also I am looking into Juicedlink, seems like just what I need! Uni have shotguns etc so seems brilliant. Is it a massive different between a Juicedlink with 3.5mm Rode mic and Juicedlink with XLR shotgun? It just that if I buy a juicedlink with rode mic I can keep for future use, but if I get a juicedlink XLR, it cost much more and i will be using a shotgun that is borrowed from uni. The rode mic setup seems to be much more portable too. So for D7000 shooting wildlife, which juicedlink setup would you advice? thanks in advance.

btw, I have made vids with combination of D300s and P2, it was ok for my first but planning to do much better with time and practice! http://www.youtube.com/watch?v=eEjK2H92GAo

Just wanted more then downloaded background sound/music for my project to be fair. There will be interviews, voice with shotgun on P2. Budget wise, not made of $$ as I have spent plenty of them on flight and kits, but I would rather get half decent stuff in terms of quality and durability etc. As the same as almost every photographer, failure is not accepted (not for 3nd year project especially!) and I want to make the most of it.
I have also looked into Sony nex-vg10, all seems ok but not sure on water resistance. IMHO I would rather use SLR, not only for vid but also for backup. I prefer to go on shoots with 2 bodies, one tele one macro/ wide. I can use uni P2 for now and if I am really getting one when I leave, I prefer to save up for a higher end model. Takes time I agree, but then again I still have plenty lol.

R8R said:
Depends. Video wise, step up. Still image wise, it's apples/oranges as the D700 is FF.

Even with the D300s, if you are shooting action stills, it's a much better choice over the D7000. Faster AF and you don't slam into the buffer after 10-20 frames.

D700 is great! I have had it since it came out and planning to keep it for another few years even with no vid. One thing tho, IMO in wildlife photography, unless you can get really close to subjects. In most situation I prefer cropped sensor for the extra 1.5x factor, getting 500mm in the first place is for reach, a big different here with the extra 1.5x tbh. O and with the resolution of D7000, cropping is less limited too. D7000 seems to tick most boxes now but... where is the AF-ON button as that is what I use on all my SLRs!
Getting a gopro I think, looks really good for UW video etc. :)

jerl said:
I highly recommend against changing systems so late into the game, with a big (and expensive) upcoming trip so soon. Learning a new system, even after getting all of the lenses and accessories, in order to get in all the right habits (things like knowing which way to turn the knobs to increase exposure or knowing where the flash controls are) and to know the limitations of your equipment fully takes some time to get used to. Thus, in my opinion (and take that for what you will since I don't go on big trips like this), there's a couple of options:

Another option is the D3s, if you can find one in time. Best high ISO image quality out of anything you could get, but is a bit lacking in video modes. It will give you the best build quality out of all the options. I assuming that money is not too much of a concern, if you are already spending thousands of dollars on a trip, and taking thousands of dollars of equipment with you.

Totally agree with you here Jerl, changing systems is really the last option tbh. Plus, no offend but most people I met with canon gears are a little snobie....
Hmm here we come the D3s, I used it a few times and absolutely adore it! It is simply the best on everything, speed, IQ, ISO, shutter noise gives me goose bums.... but prob sh*t all the animal away lol. Anyway, having a D700 I am happy with, can't justify on spending that amount on a D3s, for vid I could go out there and get a D7000 with all the sound, light and support system and prob have money left over. Or I could just get a half decent Canon/ Panasonic production camcorder and prob a D7000 too!

For now everyone's advice seems to point to the D7000, external mic/ recording device. I have got a decent gitzo with heavy duty fluid head so should do the job. Anymore comments are welcome tho, I prob won't make a decision until early Oct anyway. Cheers Guys!!

Best wishes

Jacky

R8R said:
Depends. Video wise, step up. Still image wise, it's apples/oranges as the D700 is FF.

Even with the D300s, if you are shooting action stills, it's a much better choice over the D7000. Faster AF and you don't slam into the buffer after 10-20 frames.

Hi,

To be clear, the D7000 is mentioned only in reference to video capture. Furthermore, video in Nikon-world only got interesting (IMHO) with the D7000. Looking at D90 and D300 video is, well, not so good.

I'm not sure that I'd go so far as to claim that it blows every other DSLR away, but it's pretty good.

Shooting motion is hard. Getting it right is even harder. ;-)

There is a lot to say about just getting a Sony Nex-VG10 (or the newer VG20) and an adapter for the Nikon lenses. It would do the trick and be a lot cheaper in the long run. One would have to manually set the iris and focus, monitor the results, but hey, we're rather used to that, and the results would be every bit as good as the D7000 or any DSLR if not better. It would have better anti-aliasing and since it has an interchangeable mount 'family', you can find an assortment of mounts/lenses for it. It's an APS-C sensor.

Light in weight and small in size, it would be easier to pack and carry. Likely, it's what I'd ultimately recommend on thinking about it.

Would it hold up in the Amazon? Don't know. I spent a few months there, and it's not a particularly friendly place, but then, I don't know exactly what Jacky is going into. If he's hiking into a jungle without any support for weeks at a time, he'll have trouble just keeping batteries charged up, much less keeping things dry.

My best,

Mike

CaryTheLabelGuy said:
It's a step up, because he needs to document with video footage. The D7000 gives him that ability while allowing D700-like image quality, not-to-mention more resolution.

Depends. Video wise, step up. Still image wise, it's apples/oranges as the D700 is FF.

Even with the D300s, if you are shooting action stills, it's a much better choice over the D7000. Faster AF and you don't slam into the buffer after 10-20 frames.

NikoDoby said:
Despite that video the D7000 is NOT waterproof!

Oh, I fully agree. That vid is kind of an extreme example imho.

Point is, most enthusiast shooters baby their gear, where as most of it can take quite a beating.

Even many of the "low-end" DSLRs are made from polycarbonate (tough stuff!) and have at least dust sealing in place. They can shed moisture fairly well too. (the weak spot being the lens)

I've walked around with the D7000 in the rain and it did fine. I just wiped it off every few minutes. It (and many DSLRs) can take a little drizzle now and then. If you are shooting in a constant deluge, I would look into weather protection. (like the covers that sports shooters use). That goes for any camera on the market. Given enough time, water will find a way in.

Coincidentally, there is a good article about this that just posted to dpreview.com

Willis said:
I don't think a d7000 would be a step up from the D700 unless you really need the megapixels. More of a lateral move if anything.

It's a step up, because he needs to document with video footage. The D7000 gives him that ability while allowing D700-like image quality, not-to-mention more resolution.

I don't think a d7000 would be a step up from the D700 unless you really need the megapixels. More of a lateral move if anything.

Hi all,

Good advice from everyone. My D7000 does video well, and the chances of a Danything coming in on time to go to South America by December is remote.

Your lens kit should work for most things and if need be an addition DX wide angle shouldn't be heinous to add to the D7000.

You don't mention which of the Panasonic cameras you have, but if the lenses are interchangeable, my guess is that there's an adapter available for Nikon lenses, although the sensor size of the camera might make the lens use unacceptable for your application due to focal length.

I'm curious as to where you are going. I've had assignments in Central and South America - everywhere Spanish is spoken - with the Armed Forces as part of my former job, as well as Brazil. I doubt that the equipment will fair badly in the rain forest (if that's where you are going), if you take reasonable precautions. I would certainly protect it as well as you can.

As for audio, there are two options. In a controlled environment, I would capture using a separate audio device and sync up in post - that's what I do now - for the most part. In your case, I would actually recommend a XLR box like Juicedlink, with preamps that you can input a nice microphone with pre-amplification (with standard XLR inputs to the box 'in' and mini jack cable to the camera's input) so you don't have to 'fiddle' with making a synchronization mark in the field. That would get to be a bother over time.

If one's doing 6 clip spots, well that's one thing, but if you have dozens and dozens of NAT sound clips in nature, that's quite another. Syncing that up in post would be a nightmare. Buy the Juicedlink box and good microphone and get it right on the chip.

Microphones are plentiful, a lot depends upon your budget and what you intend to use them for. 'Wildlife' encompasses a lot, but are you also doing interviews? Any voice? Is it all shotgun? At Audio Technica's site there is a great premier on microphones that is a good read.

My best,

Mike

Despite that video the D7000 is NOT waterproof! That video doesn't show what happens once that water has time to seep into non-sealed areas. If you are worried about the D7000 not having strong enough seals then you will be very disappointed in the canon 5D because it has less of them. Even if Nikon announces a new DSLR with the features you want, there will be a long waiting list to get one. You probably won't be able to get one before your trip.

Changing the title of this thread. There are enough "what should I buy" threads.

The D7000 is pretty much built just as good as a D300s, especially when you use the MB-D11 grip(both our D7k's are permanently fitted with MB-D11s), as it's Magnesium Alloy as well and strengthens the bottom plate significantly, making the D7000 as durable as the D300s. It's weather sealing is on-par with the D300s as well. Given the fact that the D7K has the best APS-C sensor on the market and is capable of taking the best 1080p 24fps video on the market as well as having the best Dynamic Range and Signal-to-noise ratio of any APS-C body, not to mention most FF bodies. We own 2 D7000's and couldn't live without them. The Signal-to-noise ratio of the D7K is almost exactly the same as the D700 but actually beats the D700 in Dynamic Range. I've shot with the D3s, D700(same sensor as the D3) and the D7K. I'm very fond of the D7K. It's a remarkable body, at any price. Obviously, nothing beats the D3s for durability and low-light abilities, but the video is lacking(not in quality, but options). If you only need 720p 24fps, D3s is perfect.

TaoTeJared said:
I'm just thinking on the rain and humid climate that maybe a fully weather sealed Video cam may be better than trying to find another DSLR. Flip side is in that climate maybe a D7000 may be your best bet for both video and back-up cam.

Personally I would take a pocket water proof cam for those times where you don't want to risk destroying a camera when you may have 60days left with little way to get a replacement.

If it were me, and Nikon was the only option due to prior system investment, I would take a D7000 with maybe D5100 as backup body, plus a small camcorder, (Panasonic makes some nice little waterprof HD models) plus maybe a GoPro for good measure.