Nikon D800 goes to Hollywood


Nikon USA issued a press release that the Nikon D800 camera has been used in the shooting of the television series “Wilfred” and “Dexter” by the TV networks FX and Showtime:

Nikon Establishes Hollywood Video Credentials as the D800 Lands Leading Roles

FX and Showtime Networks Cast Multimedia HD-SLR and NIKKOR Glass for Hit Television Series "Wilfred" and "Dexter"

MELVILLE, N.Y. – After introducing the award-winning D800 to critical acclaim earlier this year, Nikon Inc. proudly announces that the multimedia HD-SLR with groundbreaking cinema features has started  to make a name for itself on Hollywood’s A-list.  In addition to landing leading roles in upcoming major motion pictures, the Nikon D800 and NIKKOR optics have also been tapped by major television networks FX and Showtime to help capture their respective hit television series “Wilfred” and “Dexter.”

Setting a new standard for the use of HD-SLRs in professional video production, “Wilfred” is currently the only television series on any major network to shoot exclusively on HD-SLRs. Captivated by the D800’s unique feature set, and a love of Nikon glass, the series’ director and executive producer, Randall Einhorn, immediately recognized the camera’s potential and spearheaded the use of the HD-SLR as its versatility, dynamic range and low-light performance set it apart from those previously employed by the production team. Additionally, director of photography (DP) Jeffrey Jur, ASC, is using the Nikon D800 extensively for “Dexter,” deploying it alongside powerhouse cinema cameras. For the current season, the D800 has served as the C and D bodies on main unit and main camera on second unit.

“This is an exciting time for all of Nikon,” said Sharon Henley, senior manager of marketing, Nikon Inc. “The D800 was built with the needs of these professionals in mind and we are truly humbled by the overwhelmingly positive reception the camera has received.  This is a true testament to the capabilities of this camera and we’re looking forward to learning more about the new and interesting ways it is being used in the field.”

Nikon D800 and “Wilfred”

To depict the state of ethereal consciousness the audience encounters during the comical misadventures of the main characters in “Wilfred,” a unique approach to cinematography was needed.  Director and executive producer, Randall Einhorn, and his crew rose to the challenge with an all HD-SLR workflow, using all NIKKOR lenses and the Nikon D800 exclusively for the second part of the season. “We switched over to the D800 as soon as they became available,” said Einhorn. “We have a lot of footage that has to have a surreal feel. We want a dramatic depth of field that matches the dreamy parallel of the characters’ minds in any given scene. Ultimately this is what drove us to HD-SLRs.”

“As soon as we saw the specs behind the D800 we immediately wanted to get our hands on one,” said Tim Arasheben, camera operator on FX’s “Wilfred.” “After putting it to the test, it was everything and more we thought it would be on set and made the switch right away.”

The Nikon D800 offers filmmakers a number of advantages, and to capitalize on all that the camera had to offer, the crew turned to the Cinoflex Camera System which was developed by T M Camera Solutions, LLC. By developing a custom Nikon adaptor base, the crew was able to utilize the brand new Cinoflex and make the Nikon D800 set ready, ensuring nodal positioning and adherence to industry standard lens height for familiar operation and utilization of all existing accessories.

“Instead of using the HDMI out to record to an off-board recorder, we leveraged the HDMI out to feed clean video images to everyone on set,” added Arasheben. “The Cinoflex Camera System provides a strong anchor point that allowed us to relocate the D800’s HDMI out to the aluminum chassis, where the signal was converted to HD/SDI BNC and inserted directly into the HD/SDI input on the Cinoflex. Using the Cinoflex’s four isolated HD/SDI outputs, we then gave the director, camera assistant, DP and camera operator a view of exactly what was being shot.”

“With the Cinoflex Camera System, using the D800 was just so easy,” added Einhorn. “I may have been hesitant at first about adding a new HD-SLR into the mix, but the Cinoflex made the transition completely seamless and it helped every aspect of our shooting demands on set.”

“Wilfred’s” production team also noted other advantages of the D800 workflow, including the ability for the camera to shoot in 1.5x and 5:4 crop modes for a telephoto boost and enhanced depth and also the uncompressed HDMI output for monitoring or porting to an external recorder. Additionally, the D800’s wide dynamic range for video and still capture combined with a wide ISO range create a winning combination for any production.

“ISO performance is an important factor to consider; however, it ultimately comes down to how well a camera can handle the black detail in a scene, something which we feel is commonly overlooked by camera manufactures today,” said Arasheben. “With the D800, we were blown away. The way the D800 handled the black detail was simply incredible and was enormously important to us. Our set has very dissected and specific lighting, and if a camera cannot truly represent the black levels, that’s a problem, especially as considerable resources are then required to correct the footage in post. This is an issue we never had to worry about with the D800.”

The Nikon D800 and “Dexter”

Thanks to the flexibility offered by the D800, the production crew for Showtime’s “Dexter” has been able to seamlessly integrate the camera with their current setup created to meet the challenges of presenting the audience with the stark contrast of scenes ranging from gritty darkness to the bright Miami Sun. Custom rigging using the ARRI Pro series of HD-SLR accessories offers operators a familiar feel when shooting with the D800 and by creating a specific look for the cameras, post production has been able to simply drop footage in with minimal effort - a substantial time savings especially when using multiple cameras on one shoot.

“Our DP and I were sitting in the final color correction for season 7, episode 1 of ”Dexter” and a scene comes up that neither of us remember shooting – it was a scene that our second unit shot with the D800,” said Eric Fletcher, SOC, camera operator. “It was seamless and totally indistinguishable from our main cameras’ first unit footage. It was a night exterior shot at a gas station, with deep blacks and the gas station lights in the frame. The D800 captured the full dynamic range of the scene and it looked amazing. Post production says at this point, they can’t tell the difference when a D800 shot comes up.”

NIKKOR Lenses and the D800 – A True Cinematic Experience

An unmistakable passion for NIKKOR lenses exists throughout the professional video production and filmmaking community. Similar to the devotion exhibited by Nikon still photographers, this community has long been drawn to the unique qualities of these lenses and the indistinguishable look they provide. With the arrival of the Nikon D800, these users can now combine the versatility of the NIKKOR family of lenses with an HD-SLR they were intended for, to unlock their true creative potential and experience the utmost flexibility on set.

“Our industry knows NIKKOR and there is such an appeal with the brand’s older glass,” added Fletcher. “The quality and look is awesome, and for a long time, many have developed custom mounts to be able to use these lenses on non F-mount bodies. When the D800 was announced, I couldn’t have been more thrilled or eager to get it on set as I would finally be able to pair all of my old glass with a DSLR boasting such high-level video performance. As a professional camera operator who happens to be a Nikon still shooter, the D800 is the camera I’ve been waiting a long time for.”

“We have always been a Nikon lens show, even when we had cameras with other mounts,” added Arasheben. “The first time the director and I met about the show, I came with a wide range of NIKKOR glass, including all the classic AI-S lenses. We loved the character of the lenses, their craftsmanship and focus performance. Our assistants can pull focus so accurately with the NIKKOR AI-S glass – it’s amazing.”

Einhorn adds, “The quality and inherent character of the classic NIKKOR glass helps produce a look that’s just so attractive to the viewer’s eye – there’s nothing else like it.”

The Nikon D800 has a compact and lightweight form factor that’s preferable for a production environment, yet is packed with practical and functional features optimized for professional video applications. The D800 is ideal whether the user is a filmmaker on location or in the studio or a documentarian in the field who requires portability and the NIKKOR lens versatility and depth of filed that only a HD-SLR can offer. Offering Nikon’s highest resolution sensor yet, a 36.3-megapixel FX-format (35.9 x 24mm) CMOS, filmmakers have countless options at their fingertips when it comes to shooting. The D800 offers full HD at 30/25/24p and HD 720 at 60/50/30p and records using the H.264/MPEG-4 AVC format. The optimized CMOS sensor reads image data at astoundingly fast rates, which results in less instances of rolling shutter distortion. The high‑resolution sensor also enables incredible low-light video capability with minimal noise. Users are also able to have full manual control of exposure, and can also adjust the camera’s power aperture setting in live view for an accurate representation of the depth of field in a scene.

For professional and broadcast applications that call for outboard digital recorders or external monitors, users can stream an uncompressed full HD signal directly out of the camera via the HDMI port (8 bit, 4:2:2). This output signal can be ported into a display or digital recording device or routed through a monitor and then to the recording device, eliminating the need for multiple connections. This image can also be simultaneously viewed on both the camera’s LCD and an external monitor, while eliminating on-screen camera status data for streaming purposes.

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  • Jas

    Dexter. Awesome…

    • D800 dead after 4wks

      The camera just died (won’t power on at all) after 5 weeks and just a few hundred shots. Since this was just past the 30 days for an Amazon return, I had to pay the $40 to return the camera to Nikon. After being at Nikon for a week, I’ve not heard anything about when it will be repaired.

      When it worked, the camera took great pictures but I was VERY disappointed to find out that the raw file format requires upgrading to Lightroom 4 and Photoshop CS6 since Nikon changed the file format and Adobe won’t support this with an upgrade. Frankly I don’t want to update my Adobe products (they work great for me as is). I’d rather not spend the $300 to update the software after spending really more than I wanted on a new camera. Now after it died on me just minutes before a photo shoot, my confidence is rather low.

      After using the D700 for several years, I really miss the autofocus M-C-S switch.

      This camera has all pretty much all the features/functionality that I’ve been looking for to upgrade from the D700 and D7000 but so far my experience has been less than positive.

      • D800 Not for me

        The Nikon D800 is for me an upgrade to the D700 and has been a mixed blessing. In general, I like the camera, but it turns out to be very high maintenance.

        – First, the resolution and dynamic range are superb. No DSLR does better.
        – 100% viewfinder coverage is a big advance over the D700
        – USB 3.0 transfer speed is very welcome for shooting tethered
        – Improved controls layout
        – HD video capability is great
        – Dual card slots
        – The high ISO is slightly better than the D700/D3 in spite of the 3x resolution jump

        – Build quality; I have both the “soft left Auto Focus” and the “inconsistent center Auto Focus” issues.
        – Poor Nikon Support; Nikon tech support closed both of my support requests as solved without a resolution or even any sort of comment! This is the worst support experience I’ve ever had for any product.
        – Battery life is really bad. A heavy shooting day will easily burn through three batteries.
        – Poor third party support. For instance, as of this writing, Adobe does not support tethering to Lightroom 4, Camera RAW for D800 NEF isn’t very good and there are no lens correction profiles available. Eye-Fi cards don’t quite work properly.
        – Many CF cards that worked fine with the D700 are not compatible with the D800.
        – Two handed feel isn’t as good as the D700. The thumb ridge on the grip has a lower profile, making the camera a little less secure in the left hand. Grip space for the right hand is almost non-existent.

        I’ve been a Nikon shooter for 40 years. Unless the support somehow improves drastically in a few weeks, this will be the last Nikon product I buy

        • Nikon Zero Quality

          I’ve owned Nikon camera for over 25 years, shoot professionaly, and use also D4 (another review ;~/

          D800 image quality is simply sensational, so why “one star” ??

          the Quality is NOT NIKON. I’M one of those 33% with sensor issues, plus having spent twice 20 minutes searching for the battery lead has got me put off from using this camera.

          Worse than this, Nikon suposidely NPS program sucks. They are asking me to supply warranty covers on a 4 month old products.

          So pissed off with you Nikon. Crap quality , appalling service.

          • Dac

            The three posts above are written by the same person. Ignore.

          • gt

            posting times: 6:46, 6:47, 6:48

            What are the odds that three extremely negative reviews of the D800 posted within 1 minute of each other on a nikon-FAN website?

            Also what are the odds that all three would have the same same grammar?

            Also what are the odds that all three have the same subject?

            Lame. TROLL.

          • Michael

            How much you got from Canon for doing this? XD

          • Iván

            Wow! I just saw a commentary on with the exact same review on the same day. Please send me the TROLL application form for this job.

          • I LUV my D800,

            The constant whining noise you hear about NIKON LACK OF QUALITY, NIKON POOR CUSTOMER SERVICE and why the sky is fall on these poor unfortunates is because they are SHILLS for the “other guy”. SHILLS. Jealous shills at that, because their equipment has been forgotten in the noise. I have had my D800 for two months, taken thousands of images and it is still, and it will continue to be, PICTURE PERFECT. Chew on that, SHILLS!

          • ecidi

            Suposidely???? Anybody that cannot spell “supposedly” right cannot be a Nikon Shooter!

        • Markus Arike

          And your experiences with the D800 is relevant to the article how? Honestly, why people think all others are interested in the tiniest details of their camera buying sagas is beyond me.

      • George

        I have one and is perfect! I don’t understand what you did with your camera…. The D800 is amazing camera for video and photography…!!!!

      • ericnl

        @D800 dead after 4wks:
        okay, your camera dying after a couple of weeks does really suck, but like with any mechanical instrument, things can break, that’s why you have warranty.

        your second point is more a complaint about Amazon: but that’s what you get for shopping with a giant instead of with your local camera shop: you will miss out on the service provided. you can’t blame Nikon for you shopping at Amazon.

        your third point is more a complaint about Adobe: if you want the newest of the newest (D800), you might expect to have the newest of the newest technology built in. Lightroom 3 has been released 2,5 years ago and Lightroom 4 has been out for half a year. it is kind of logical that LR3 doesn’t support the newer technologies any more.

        and your fourth point is a complaint about your own lack of adaptability. the D800 offers all the M, C and S modes. and more. an upgrade of a system does not only mean more mega pixels and a better sensor. it also means more functions, so new ways of accessing those functions.
        there is still a button on the front to switch from manual to auto focus, and then you have the top dial to switch between all the awesome autofocus modes. if you can’t adapt to that, then maybe you should stay away from new technology and keep driving your ’84 Ford Focus around.

        it really does suck that your camera broke down, although I’m guessing that Nikon is fixing it for free? (after you get it to them on your own account)

        • scurvy hesh

          That guy is a troll. Look at those three posts. They are all right after each other seem to be written by the same person. Why anyone would take the time to write such things about such an amazing camera is beyond me.

    • Andrew

      The Canon Mark II or III is the way to go if you want slightly blurry movies. Canon is still very aggressive when it comes to reducing noise and ends up smearing the picture. It reminds me of the days of VHS tape players where you could hardly read the small writing that scrolls down your television screen giving the credits. The writing was just too blurry, extremely fuzzy. With the D800, you get cleaner and sharper movies. Its 36 MP image sensor is an Indie movie buffs dream for shooting movies with incredible detail and sharper pictures.

      • Michael

        D800 is good in stills, no doubt, but in videos, low resolution cameras still prevail. Unless they perform pixel binning for video (which they are not, surprisingly, 5D2/3 is, but not really the full fledged pixel binning), D800 has no chance in terms of noise.

        Even if you’re talking bout dynamic range, D800 might not win. Unless there’s a RAW format for D800, it doesn’t really matter.

        Don’t be mistaken, I own a D5100, don’t think I’m a Canon fan.

        • Ok

          Gee, you sound so authoritative. I definitely -might- listen to your awesome advice about noise and dynamic range, and shit like that.

        • Eric Fletcher SOC

          Well, that’s your opinion. We tested the camera before we committed to using it and it doesn’t have noise issues like you claim. You can record raw or h.264 and we choose h.264. As for dynamic range? 12+ stops is plenty

          • Reilly Diefenbach

            Thanks, Eric. Pretty amazing that I’ll have the same picture quality as a major production for the price of a D800!

  • George

    This is a good step for nikon in cinematography world…..!

  • Fish Guy

    So – this gives “exit – stage left” a whole new meaning! Can you imagine the director’s cues? O.K. everyone – now take a step to the right to get in focus~

    • Marc

      If they step right, I assume they would step out
      of the picture:-)

    • Mahan

      heh, funny! but do you really think they use camera’s auto focus for this kind of production?!!!

      • Eric Fletcher SOC

        No We don’t, we use manual focus via the Arri Pro DSLR rigs

        • WTW

          Thanks for posting here, Eric. I saw the Nikon D800 rig on the Cinoflex at Cinegear and was intrigued. Good to hear it’s worked out well.

          Some “stupid questions” for you: The Nikon AI-S lenses are all different diameters, and have very different focusing rates, some with moveable barrels as you focus, etc. What lenses are you using, and how do you keep them consistent enough, and with slow enough focusing rates, to use a remote follow-focus? What adapters are you using for the geared focusing rings on the lenses? Are you using more-or-less standard ratios on the follow-focus? Thanks again. — Thomas

  • Dave.

    I do like the video from my D800. But agree with others. The service is absoullty awful, focus is crap. And they will get crappy reviews as long as they keep refusing to answer their phones, and taking care of people that buy this gear.

  • 5DIII>D800

    I’m sorry, but being a Nikon guy I would have to say that if you are going to shoot videos with a DSLR, you’re better off with Canon. The only thing that the D800 has over the 5DIII is dynamic range. For almost everything else besides still photography the 5DIII video features win.

    It sucks really, you would have figured that Nikon would put something out there to compete a little bit harder in the video department. But nonetheless, these are DSLR cameras and are primarily used for photographs.

    • baked bananas

      No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean hdmi out on the 5dmk 3No clean No clean hdmi out on the 5dmk 3 out No clean hdmi out on the 5dmk 3 the 5dmk 3No clean hdmi out on the 5dmk 3

      Thats the other THING the d800 has over the 5dmk 3.
      Have you been paying attention?
      Did you read the article at the top of the page?
      Since you’re a Nikon fan i’ll be easy on you. Stop dipping mayonnaise, finish your fruit rollups, drink your juice box and get out of the corner.Read this whole page staring with the top Yellow Words NIKON RUMORS and get back at me.

      • elph

        I have the D800 and what he said is somewhat true. I’ve compared both cameras and though I love my D800, its fact that MIII is superior in *video*, in terms of photos, D800 owns.
        Problem is, even if its sharp, there’s too much AA, I notice it in shingles/bricks (face it, there’s buildings in our society), and even in people’s eyebrows on close-ups, its definitely noticeable to the good observer. I also wouldn’t mind having the better ISO video performance too. The photo ISO is pretty awesome though.
        Ah well, I’m sticking with my D800 as I love it.

        • You will get rid of most of the AA issues without losing sharpness if you get one of the mosaic engineering drop-in filters when shooting video:

          When Philip Bloom made his 5D Mk3 vs Nikon D800 vs D4 video review he also tested an early test version of this filter on the D800 and it did wonders to moire and AA issues. The final production filter should be even better.

          • Rob

            I think both those posts (Elph,etc) are from the same troll at the start of comments. Same language. They all claim to own both a D800 and a MKIII and that the D800 is no good for video amongst other “issues”.

    • Andrew


      It appears that all of the Canon trolls are camping out at Nikon Rumors today.

      I am not surprised. The news that the D800 is beginning to make inroads in Hollywood and the slow sales of the Canon Mark III is causing concerns in the Canon camp. Suddenly all of the Canon fanboys are claiming to own the Nikon D800 camera and are all having problems with it. We can script a new “Bollywood” movie for these fanboys called… Liars, Liars, Liars, and More Liars!

      The movies shot from the Mark III are just too soft and blurry; and when compared to the D800 becomes totally unacceptable. It reminds me of the days of standard definition television. Now with high definition (HD) TV and Blu-ray movies, suddenly standard definition TV is no longer desired. The D800 makes the Mark III less desirable unless someone is invested in a lot of Canon lens. But for someone that wants the very best, all of the lens in the world will not keep them in the Canon camp!

      The awesome detail and sharpness produced by the D800 will no doubt cause it to become the preferred HD DSLR camera among cinematographers.

      • Dandansoy

        5diii in beach camera now only 2799.00 and on sale everywhere. What does it imply?
        Number 40 on amazon digital camera sales while D800 is top 10.
        Canon trolls, you lose already $700 in a month. Don’t worry, it will keep going down.

    • Eric Fletcher SOC

      Well I disagree. Right now the D800 looks better and handles better than the canon’s

    • Nikon Defender

      Sorry all, but he has very valid points here.

      When all those D800 vs. 5D Mk III reviews came out, I VEHEMENTLY defended the D800 against the horribly unscientific reviews these folks were throwing out.

      The problem is, I lost, and so did Nikon.

      The D800 kicks the crud out of the 5D Mk III in two video areas: resolution and dynamic range. Also the added benefit of direct HDMI out has appeal to some users.

      The problem came with moire and noise reduction. The D800 (and the D4) didn’t handle these straight out of the camera like Canon did. Canon simply smears over the detail to reduce the noise and something else to eliminate moire. I tried to get these reviewers to address this issue, but they ignored the request. I told them that it is likely that some menu setting of the D800 can increase noise reduction to match the Canon, but none bothered to try it.

      The end result was at least 3 high profile video comparisons of the D800 vs. the 5D MK III where the Canon was claimed the victor simply because the immediate result with no tweaking “looked better”.

      It’s not actually better, but 99% of people making and reading the reviews thought that Canon just looked better. At the end of the day, you just cannot argue against personal opinion.

      Nikon really needs to up their game with video, they have all the best hardware, but they haven’t mastered the art of massaging it to the point where the majority of people find it appealing. They could do this with firmware updates I believe (even to handle the moire I think). In my opinion they should have been on top of these video reviews and worked to address these “problems” with an early firmware update.

      I believe at this point the court of public opinion has adjourned and the verdict was handed down with Canon the winner, this time. Let’s hope Nikon pays attention to the feedback on these reviews and provides potential customers with what they want instead of just putting out something and hoping for the best.

      Good luck Nikon, I know you can do it.

    • Markus Arike

      For video, the only thing the 5D3 lacks that the D800 has is a sharp, high resolution image (the 5D3 is pretty soft, truth be told) and clean HDMI-out. Nice try though.

  • Mike

    Wow. Whole lotta piss in the cornflakes today boys.

    Nikon is not responsible for Adobe making their software compatible. Two different companies, many choices out there for decoding RAW. ACDSee is excellent. PhaseOne is too.

    What does that say about you that you will spend $3000 on a camera but bitch about $79 (upgrade price too btw) software?

    I do shoots regularly where I am approaching 1000 shutter clicks and still have at least 30% battery remaining. I suspect video would use more. But I generally have no complaints about the battery. Again, $3000 camera, batteries are $80. Man up.

    Sorry your camera died. I suppose in all things electronic there are bound to be a few lemons.

    • Foolishcfo

      And don’t forget the battery issue isn’t a Nikon issue, it’s a Japanese government issue. Legislators screw everything up.

  • alvix

    mmh…how much did they pay for this ? ahah… 😀

  • Marc

    There is still the adobe dmg converter 6.7?
    (for Mac)

  • D800E_is_finall_here

    For those who want AF during video, and still want a bigger than camcorder sensor , the Panasonic GH2/GH3 is the best bet. Only If NEX have more lenses ……

  • peteee363

    with everybody complaining about nikon service. remember, this is not a japanese model, also, with new technology, there is a learning process, for the shooters, and the manufacturer. so waiting for about a year for something so complex is always a good idea. the first owners get the lemons with bugs of most new products. also another reason to wait, is the price starts to drop. i am hoping to get a d800 before the year is up.

  • Finally an end to the Canon video mafia.

    • Cool website, Ron. Usability is simply genius on an iPad.

      • WordPress has a special iPad theme which I opted for. I am glad to hear it works well.

  • Maji

    Please delete these trollish posts.

    Thank you.

    • Fishnose


    • Black Dynamite

      Amen my righteous brother.

  • MarkR

    I’d like to see what the D800 could do with my favorite show, Person Of Interest.

    Or maybe some more beautiful scenery in Hawaii Five-O

  • Banksie

    Although the reality is that whatever hardware is used on production is pretty irrelevant to you and me. There are normally several companies involved in a single production and the equipment is all leased. There are over 68 rental houses just in LA alone. Even the major studios (what’s left of them) no longer have their own in-house equipment or maintenance services. Everything is contracted these days. People use whatever works and what is available at any given instance and in all sorts of productions.

    They decided to rent the Nikons. The camera operator was already familiar with them. It worked for what they wanted. Next time they’ll probably use something else depending on their needs. In the meantime Nikon USA exploited it for their marketing. It’s the same song and dance no matter who the manufacturer might be: Canon, Nikon, Arri, Sony, Panavision (which is exclusively a camera leasing company), etc..

  • Pro Camera

    The D800 makes extremely sharp movies. Canon needs to catch up to Nikon now.

    Canon should remove the AA filter and release a new 5D Mark IIIE as soon as possible.

    These are my two cents.

  • Nathan

    I agree with the directors that NIKKOR AIS lenses are constructed well. Aluminum barrel with real aperture rings, smooth manual focus, depth of field scales, consistent colors and contrast from lens to lens. Better than the G lenses that are made of plastic, focus ring that has no stops and no aperture ring or depth of field scale. Such a pity.

  • PR

    I bought the D800, and found out it had a left auto focus point problem.
    Had to send it in for repair, and that’s a bummer.
    But, shit happends!
    I love my D800, it produces incredible shots!
    It is the best camera I have ever tried, and I can’t wait to get it back, and start shooting again.
    The details in the files are just stunning!!!
    Never thought I would like the video mode.
    But, now I am thinking about learning more about DSLR video as well.
    Man, I love this camera….as much as you can love a thing……well, you know what I mean 😉

  • Mike Cassidy

    Is that why they cancelled Wilfred? Ugh… What a focus nightmare… Just use real cameras and lenses like they used to instead trying to be hip and trendy.

    • Eric Fletcher SOC

      It’s not cancelled

      • BigEater

        When should we start watching for the Nikon episodes? When will they begin airing? Please keep us updated.

        • Eric Fletcher SOC

          Wilfred? I think Next week. Dexter starts 9/30 and had plenty of D800 shots in each episode

  • Chad B

    That’s great! I’ve been using the d7000 for my commercial purposes for some time now and it has done an awesome job despite what the Canon boys may think (not that there havent been great video images produced with many manufactures camera bodies). I’ve been waiting for the d600 video specs but this posting may just reaffirm my interest in just going with the D800. It would be interesting however to view the raw video and compare to the post-processed color graded images.

  • Racer X

    Since Wilfred used a Canon 7D from the beginning, it’s not much of a stretch switching to a Nikon DSLR–or that special. The real test will be if anybody notices a difference.

  • I am trying to do a live broadcast as well… I want to use my D800 to be the camera for a live show via skype. I have a Canopus ADVC-HD50 capturing device, HDMI in, Firewire out. It works well with my sony camcorders and my old Canopus ADVC-55 (analog), but somehow, I couldn’t make the live video out from my DSLR to any equipment. I tried the TV, still nothing, I tried changing the cables, still nothing. My MBP15 detects the capture device, but no picture, just black and all black. I don’t know if I am missing something or if my settings are incorrect. I tried taking out the SD and CF cards too… but nothing worked. Don’t tell me I have a bad D800 unit. Help please!!!

  • I wonder why They did not pick the D800E for filming… and on the other hand is this the death point of still photography in DSLRs’ community???
    what will be the other movie cameras go? Junk ???
    As the film is got dumped which was millions MP in hi rez…. now useless as it is getting very expensive to use and handle.

    • Eric Fletcher SOC

      The ack of AA filter on the D800e makes it unsuitably for video work

      The HD-DSLR is not the death Nell for film based production, it’s cameras like the Arri Alexa and budgets that are killing film

  • Brad Lipson

    As the director of photography of Wilfred and the person who works closely with Director Randall Einhorn on the show, I was a bit surprised to see all these articles popping up on the internet with Tim Arasheben discussing the look and lighting of the show, ISO and camera performance pertaining to the look. But my email inbox is continually inundated with emails from DP friends and colleagues and many other industry people asking why this is, so I thought I should look at these articles and respond.

    I’m not sure how it is that our C camera operator and camera gear supplier is the one being interviewed as he is not the one in the hot seat on a daily basis, meeting production deadlines, making creative and technical lighting decisions, going to production on an daily basis to make lighting, grip and camera equipment and man power decisions that will work with the budget to get the job done and basically running the set along with Randall. It is clear from the above article Tim is about promoting his Cinoflex without really giving credit to the person that has to do all of the above on an ongoing basis. But just for the record, Tim has no idea what my shooting ratios are, and the specific decisions that I make with my gaffer Tom Pugh and key grip Kevin Ball each and every day on the set that create the “very dissected and specific lighting” that he refers to in the article above.

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