If you have broadcast or major-cable network clients, the standard camera operators' day rate is about $600/day ($1,800/day with a broadcast HD package). Non-linear FCP/Avid editors make about $100/hour.

A conventional 2/3" HD broadcast package costs approximately $150,000-$200,000, including audio and lighting. A DSLR-based HD "video" package can cost as little as the price of the DSLR, plus a few lenses, fluid-head tripod ($1,000-$2,000), follow-focus rig ($600-$1,500), and a handheld rig ($500-$2500). Add a couple of DivaLites ($2,000), and audio ($2,000-$5,000), and you're good to go. If you go on the cheap (e.g., no fancy Lectrosonic wireless mics, etc.), you can put together a very capable DSLR-based video package, with everything above, for under $10K.

Hard facts I am a commercial stills photographer, I was asked by a long term client to do some video work for them. My choice was to say No, and lose the client, or invest in a pro video camera plus all the follow on equipment needed to shoot at a professional levels.

Point 1 When the word VIDEO is applied to buying equipment, it usually cost treble what stills equipment costs

Point 2 Time, most work is done on tripods normally with helpers { Thats Staff who need paying} sound and lighting teams

Point 3 Editing When you can say those immortal words "Thats a Rapp", the real work starts in the editing, Time Time Time

Point 4 Clients seem to think that editing is a five minute job and pay 5 minute rates

Commercially is hard work , you cannot get paid for the time you put into it

Poor return on investment of equipment, unless its very long term, however values of second -hand video gear is low, due to constant technology changing

I have the Tea Shirt

My advice is don't get involved. not if its a commercial proposition and you intend to make a living from it

Hello all,

I need some serious advice as I'm kind of beside myself on this issue. My D7000 seems to generate an excessive amount of noise when filming in low light... at least it seems like it is excessive compared to other test clips I've seen. It only affects video and not still photography.

I'm shooting with the following gear/settings:

Nikkor 35mm
Aperature: F1.8
Shutter: 1/50
ISO: 100
White Balance: Auto

Here's a sample of the issue. Though, what appears on Vimeo does not seem as bad so I've provided a download link to the video as well.

http://vimeo.com/36352967

or you can download the clip via Dropbox (67mb): http://dl.dropbox.com/u/5431419/DSC_9353.MOV

Thanks so much for any advice and suggestions!

Hello all,

I need some serious advice as I'm kind of beside myself on this issue. My D7000 seems to generate an excessive amount of noise when filming in low light... at least it seems like it is excessive compared to other test clips I've seen. It only affects video and not still photography.

I'm shooting with the following gear/settings:

Nikkor 35mm
Aperature: F1.8
Shutter: 1/50
ISO: 100
White Balance: Auto

Here's a sample of the issue. Though, what appears on Vimeo does not seem as bad so I've provided a download link to the video as well.

http://vimeo.com/36352967

or you can download the clip via Dropbox (67mb): http://dl.dropbox.com/u/5431419/DSC_9353.MOV

Thanks so much for any advice and suggestions!

I do hope that NR keeps this topic going for sometime as I believe I will find it invaluable when trying D7000 video although we are thinking of adding an external mike. B&H has a external microphone that they recommend over the Seinheuser MKE 400. That external mike is what we had intended to add to the D7000 and a shoulder bracket with image stabilizer. We do intend to build the shoulder mount unit but info on a cost effective and trim field unit for sale would also be appreciated. I do know the D7000 video is quite a big improvement over my D90 but our D90 will still continue to get used a lot as our work does sometimes put a camera at risk and a D4 is NOT what we plan on purchasing.

Thanks guys!

I like it, Tyler.

The clips I make with my D7000 easily are displaced by my sanyo tv, never have seen the flickering. .Movs I make are usually short, though.

Graphicnatured said:
This was a fun shoot we did with the Nikon D7000 for the Doritos Crash The Super Bowl contest: Sprouting Genius http://bit.ly/uUHfxu

Way to go buddy! Be ready for Z to be in more commercials than you are ready for. Let me know about your next project...be my pleasure to help out anyway I can. Great work once again.

Cheers :)

This was a fun shoot we did with the Nikon D7000 for the Doritos Crash The Super Bowl contest: Sprouting Genius http://bit.ly/uUHfxu

This feature was shot entirely on a D7000:

"16x9 The Bigger Picture - The puck stops here"

http://bit.ly/rPgD6e

via Nikon Canada

Although not a commercial video, I did recently shoot my first film ever for the Salem Film Festival's 72 Hour Challenge. We won Best In Show for the Amateur (ages 25+) category. The film was shot entirely on my D7000. I had some issues with sound and the cleanup caused a few more issues. Other than that, and a few depth of field focus problems, I'm quite pleased with the results. If you'd like to check it out and offer constructive criticism, it would be appreciated. The film is called Places and is on Youtube at http://www.youtube.com/watch?v=3Dm2HuJfRR4

Thanks Mike!
Yeah I am using Zoom H4n with Behringer B2 mic.
I know TASCAM is a great rig but I do lot of stage karaoke shows also which forced me to buy H4n
Regards
Regi

Hi Regi,

Looks great.

For your NAT sound, are you using an independent audio rig? I prefer a TASCAM rig, but just asking.

My best,

Mike

my latest work, hope u all like it.... :)
http://www.youtube.com/watch?v=6KwBt8qCtKg&feature=feedu

Hi all, regarding the flickering advice below, what can I do in imovie to get rid of the flickering/artifacts? Your help is much appreciated!

"I'm in FCP now. I've found that the native D7000 .MOV clip won't play properly in the FCP timeline without first transcoding to ProRes 422 in Apple Compressor (maybe my drives are too slow). I just batch-converted all of my D7000 .MOV files in Compressor, then imported the resulting ProRes 422 .MOVs into FCP. I set the Easy Setup to "HD;" "23.98;" and "Custom Setup." Now, the clip plays on the FCP timeline without stuttering. Export your sequence out of FCP into a QuickTIme movie, and the resulting .MOV clip plays perfectly from the desktop, with no motion-related artifacts."

I use d7000 for all my commercial shoots in India, New Delhi. This film was done with available light source except food footage which I did with 2 Umbrella lights 90 watts each. Lenses used 24-70 Sigma HSM 2.8, 18-55 VR & 18 -105 vr kit lens.

http://youtu.be/j2lIpjLuGz0

We shot this commercial with a Nikon D7000 (the outside shots) and a Canon 7D for the studio shots.

http://www.youtube.com/user/GunTalkTV#p/u/58/ixmur2jXFjM

I bought the D7000 for use on a television series, and it's done a great job. I'm watching to see what Nikon does with the next body featuring video. Since I can use Nikon glass on a Canon body, that's an option if Nikon doesn't ramp up the video significantly. I've been shooting Nikon professionally since 1971.

Thanks@jonny

If video was the primary mission, the 7D might get the nod, or the 5DmkII as it's a great still cam too. Since still is the mission, and I am waiting the replacements for the D300s and the D700, the D7000 gets the nod in the interim.

patrickdowns said:
I am glad to read here that @studio460 has the D7000, when surely if the 7D or 5DmkII were that superior, he would have gone that route, and surely he will be doing video FAR superior in quality by design than I ever will or could. That seems to be an endorsement of the D7000 for all the video I might need, and the D400 and D800 or whatever they will be will no doubt be even better.

I think studio's choice might have been more about the legacy Nikon lenses that he owns and you mention that you do, too. I don't think he'd argue that Nikon has Canon beaten in the video department. Have fun with your D7000 and welcome to the forum. I'm sure you'll love it.

Yes, they make a huge difference if you're shooting handheld.

Wow! What a phenomenal thread...props to all, esp to @studio460 for his technical explanations. I don't know what I don't know, but you've convinced me that I don't want to do DSLR or any video at the level required to be commercially viable. Too much gear and learning curve!

I am just getting a D7000 and some lenses, primarily for stills. I used Nikon for many years in the newspaper business, we switched to Canon (@ LA Times) which upset me, but I still have some great prime Nikkor glass left over. AI-S lenses like 35/1.4 and 24/f2, 20/3.5, macro, 105/2.5 etc., and I am glad I kept them...will be fun to play with for video (and for stills too, and when I get an FX body... hurry up with the D800 and D400, Nikon!).

I have agonized over Canon vs Nikon for a few weeks, as I know the 5D MkII is great for still and video both, better than the D7000 it seems according to what I read here. But then, I come back to the fact that I don't plan to do anything more than "play" with video on the dSLR. Shooting wildlife or sports, shooting some moving pitchers. Kid, macro etc. Fun stuff. At the LA Times, their videographers aren't using DSLR for their news video...they are using $10k video cameras by Sony or Canon. The shallow DoF that people love for feature work doesn't work too well for much of the docu stuff they shoot. And when you are a one man band, pretending to shoot feature work or wide-open, and do sound, lighting etc...good luck with that!

I am glad to read here that @studio460 has the D7000, when surely if the 7D or 5DmkII were that superior, he would have gone that route, and surely he will be doing video FAR superior in quality by design than I ever will or could. That seems to be an endorsement of the D7000 for all the video I might need, and the D400 and D800 or whatever they will be will no doubt be even better.

For me, I prefer the Nikon glass, and have the legacy prime lenses I want to use. In addition, the pro friends I have who have switched back from Canon to Nikon are SO happy they did. So I think I have made the right choice on the D7000 (for now) and coming back to Nikon. I am glad Samy's Camera is sold out of all their Canon 7D and 5D bodies today when finalizing my order, or I might have waffled and made a snap decision I would regret, and gone over to Canon. not that they don't make great stuff, but stills are what I do and plan to prioritize on in the future, and their flash lighting system and performance is better, and the glass is so good. Numerous friends told me "If I didn't have so much tied up in Canon, I'd switch...)

Do the VR lenses help at all with stabilization?

Like Studio mentioned above, 1/50s (1/48, actually, but that's not possible) is the standard shutter speed for cinema. It will look more natural than a really fast shutter speed. Video needs good stabilization no matter the shutter speed.

Thanks - I paid more attention to the shutter speed and ISO settings last night and watched on old tube TV with the supplied AV out cable and looked much better

Thanks for the input