Nikon D750 Review
The D750's video feature is to all intents and purposes identical to that found on the higher-end D810.
The D750 can record Full HD video at a variety of frame rates: 60p, 50p, 30p, 25p, and 24p (it can do 720/60p/50p as well). You can choose from FX or DX (1.5x) crop modes, as you can with stills. There are two quality settings available, appropriately named normal and high, which have bit rates of approximately 22 and 38 Mbps, respectively.
You have essentially three exposure modes available in movie mode: Program mode, Aperture Priority and Manual modes. When set to P or S on the mode dial, the camera will automatically control aperture, shutter speed and ISO. In A mode you gain manual control over aperture, with shutter and ISO still both controlled by the camera. Finally in M mode you can set aperture, shutter speed and decide whether you want to control ISO or leave it to the camera. Any time the camera is in Auto ISO mode, you retain access to exposure compensation, so you can decide the output brightness. The camera also inherits the Power Aperture feature, that allows you to dedicate two function buttons to smoothing open and close the aperture during movie recording. This produces a much more pleasant effect than turning the control dial, which makes the aperture jump loudly between 1/3EV steps - and is a huge advantage over more basic Nikon models that provide no aperture control in video.
The power aperture feature allows for smooth transitions while you change the F-number (which is something many Nikon DSLRs cannot do at all). Zebra pattern is also available, but Nikon is yet to produce a DSLR with focus peaking.
The D750 has a microphone and headphone port, and you can adjust the microphone sensitivity and frequency response of the audio being recorded. The choices for frequency response are wide-range (the default) and vocal range.
One of the 'big deals' on the D750 is its 'flat' Picture Control, a feature which has been showing up on more and more interchangeable lens cameras. Video recorded with this control appears dull and washed out, which lays a good foundation for adjusting color and tone in post-processing. It captures a wider dynamic range than the other modes, which makes this video useful as 'raw material'. This Picture Control, along with the other six, can be fine-tuned in 1/4-step increments and saved as custom controls. You can also create them on your computer and transfer them over to the camera.
This high-end DSLR can also output 8-bit uncompressed 4:2:2 video over its mini-HDMI port. The D750's LCD can be used for live video monitoring while you're doing so.
Flat Picture Control
|This edited video shows a time-lapse taken with the flat Picture Control before and after mild color grading. 720p, 41 secs, 29.9MB. Click here to download original file|
The time-lapse video shown above was taken with the Flat Picture Control (PC) and, as its name suggests, has very low contrast. That said, for high contrast scenes such as the one shot in this timelapse, 'Flat' can often look more natural compared to the clipped whites or completely black foregrounds that 'Standard' Picture Control might show. In such scenes, Flat PC packs a lot of scene dynamic range into the final video (or JPEG still). This gives you the freedom to selectively grade or process the footage later, which might not have been possible if, say, tones had been pushed down to very dark values or even clipped to black.
For the video shown above, we've performed some basic color grading in Final Cut Pro X, bringing down the shadows (-11%) and midtones (-17%), and bringing up the highlights (+42%). This makes the scene look more natural by giving it a bit more pop (albeit at the cost of clipped tones around the setting sun in this case). You can read more about how the Flat Picture Control affects dynamic range later on our JPEG DR page.
This time-lapse feature can record at any resolution. You simply select the interval and total shooting time and the camera does the rest. A feature called Exposure Smoothing aims to limit the camera to small exposure changes between shots, to prevent the dramatic shot-to-shot changes that can result in flickering video when the images are combined. This feature also appears to make some attempt to blend between these brightness changes, again to reduce flicker in the final video. Exposure Smoothing really helped smooth the nearly 8 EV exposure change that occurred over the course of this timelapse (camera was set to Aperture Priority mode, with Highlight Weighted Metering).
There are two main downsides to using the D750's timelapse feature. Firstly, the images are heavily compressed, which is occasionally visible in the final footage. The second thing is that the camera saves only the video and none of the original images. It would've been nice if you could save the Raw frames as well, although you can do this using the built-in intervalometer feature, at the cost of having to build the timelapse yourself. Serious timelapse folks will probably spring for this option, assembling a movie from the Raw frames, which ultimately gives you more control over compression/quality and allows for white balance fine-tuning that's not possible using the built-in feature.
Based on the test scene above, the D750 performs well in terms of video quality. It captures a lot of, which you can see in highlighted text. It's sharper than the , in part down to greater sharpening, but it's still not going to hold a candle to the , though, which performs full-sensor readout and intelligently anti-aliases the video before downsizing to 1080p - which leads to great detail, but little of the aliasing evident in the D750 video. Note that with the D750, there is unusual red moiré around the scene. This seems to go away at ISO 400 and above, likely as a result of ramped up chroma noise-reduction in-camera.
This first sample (which is taken on a floating dock, hence the shake) shows the smoothness that comes along with 60p video. Both video and audio quality are satisfying, and colors have just the right amount of 'pop'.
|1920x1080 @ 60p, 36Mbps, 19 sec, 82.5 MB Click here to download original file|
In this lower-light sample you can see that the D750 handled the mixed lighting of the scene well. The camera has built-in stereo mics and the separation is good considering how close they are. We did have to crank the mic levels way down and, even then, you may want to turn down your speakers.
|1920x1080 @ 60p, 22Mbps, 13 sec, 65.5 MB Click here to download original file|
This clip is actually b-roll footage taken during the filming of our Real-world Test of the D750 at the Museum of Flight here in Seattle. It's not the most exciting video, but you can see how the camera performs at ISO 1000. This video was shot using the 'flat' picture profile.
|1920x1080 @ 24p, 36Mbps, 34 sec, 94.8 MB Click here to download original file|
While not quite as dramatic as the sunset time-lapse above, here's another example of this feature that starts and ends very quickly. In case you're wondering why there's movement in this scene (which was taken on a tripod), it's because it was recorded on a floating pier.
|Time-lapse video, 1920x1080 @ 60p, 45Mbps, 2 sec, 5.9 MB Click here to download original file|
|Top Gun-2783 by vbuhay|
from Action Film Titles
|Circle in Square by RJD13|
from Square (Rectangle) and Circle
On paper, the Sony a7 III is a tempting option for photographers who've been considering a switch to full-frame mirrorless. But how does its image quality stack up? We compare it to the Mark II and a few of its other peers.
Erez Marom shares the details behind this beautiful aurora photograph, captured on Haukland Beach in the Lofoten Islands, Arctic Norway, on a moonless evening.
Google Lens uses artificial intelligence and 'computer vision' to identify and provide information about businesses, landmarks and other objects using your phone's camera. And now it's available for iPhone users, too.
The company posted a record quarterly revenue of $2.08 billion for the first quarter of the 2018 fiscal year. That represents incredibly healthy year-over-year growth of 24 percent.
In the job posting, the Times' describes this role as "one of the most important and high-profile jobs in visual journalism." If you're looking for a high profile job in photojournalism, you could do a lot worse than being Photo Director at The Gray Lady.
According to a recent report out of South Korea, Samsung is increasing production of its ISOCELL image sensors in a bid towards market leadership for image sensors. To reach this goal, Samsung will have to dethrone current market leader Sony... no small task.
In this video, large format photographer Ben Horne shows off the incredible resolving power of 8x10 slide film by pixel peeping a massive 709.6-megapixel drum scan of one of his landscape shots. And you thought 100MP medium format was big...
Photographer Wendy Teal tells the heart-breaking story of a wedding she shot at a hospital on just 24-hours notice. The mother of the bride had been given one week to live, and Wendy responded to the couple's desperate social media plea for someone to capture their special day.
This tiny little plug-and-play VR/AR camera for Android phones uses a pair of greater-than-180° FOV fisheye lenses to offer both 360° video/photo capture and 360° livestreaming at 1440p resolution.
Syrp has announced the Magic Carpet Pro: a slider that offers filmmakers an 'infinitely extendable' range thanks to built-in track levers that let you connect lengths of track without the use of tools.
At CP+ we sat down with executives from several major manufacturers. Among them was Kenji Tanaka, of Sony, who talked to us about the a7 III as well as its plans to attract more pro shooters – without ignoring APS-C and entry-level customers.
How do you shoot macro photography on an 18x24cm large format wet plate camera? You 'connect' two large format cameras together! That's how wet plate photographer Markus Hofstaetter did it, and you can read about the whole process in this article.
The Fujifilm X-H1 is a top-of-the-range 24MP mirrorless camera with in-body stabilization and the company's most advanced array of video capabilities. We've tested the X-T2's big brother extensively to see how it performs.
Motorsports photojournalist Jamey Price recently flew to Canada with Lamborghini for the car company's Winter Accademia 2018, where clients get to drive the latest Lamborghini supercars on snow and ice. Yes... it is exactly as awesome as it sounds.
For the Pixel 2 smartphone's Motion Photos feature, Google built on its existing Motion Stills technology by adding advanced stabilization that combines software and hardware capabilities to optimize trimming and stabilization.
This "high-capacity advanced spider tripod" system can handle a maximum load of 65kg / 143lbs thanks to its reinforced design and 8-layered carbon fiber legs.
Photographer William Briscoe captured the beautiful two-for-one timelapse just outside Fairbanks, Alaska on January 31st, braving -31°F (-35°C) temperatures to get the shot.
"After his camera was stolen from his room in the orphanage, he switched to an iPhone for his photography, reasoning that the image quality of a big, heavy camera was less important than the freedom of a cell phone. 'Quality? Screw it, I’d sketch things with a pencil if I could draw,' he wrote in a blog post."
Chinese manufacturer Vivo has announced some AI-powered Super HDR tech to compete with Google's HDR+ system. Both systems combine multiple images to create a final shot with more dynamic range and less noise, but Super HDR claims to do so more intelligently.
The YouTube channel JerryRigEverything recently tore down (or rather, tore apart...) the new Samsung Galaxy S9, giving us the closest look at yet at the new smartphone's camera hardware.
The Leica l Model A, dating from between 1926 and 1927, comes with a card signed by Earhart herself. Unfortunately, this is the only 'proof' that the camera really did belong to her.
The Rokinon AF 35mm F2.8 FE is a budget-friendly option for users of Sony's a7-series that are looking to get into the 35mm focal length.
The 'semantic image segmentation model' categorizes every pixel in an image and assigns it a label, such as “road”, “sky”, “person” or “dog.” And now, Google has released its latest version as open source, making it available to any developers whose apps could benefit from the tech.
Huawai is teasing the upcoming P20 smartphone's low-light and zoom capabilities in a couple of tongue-in-cheek teaser videos on YouTube.
Fuji's latest firmware update for the GFX 50S adds two new features: a focus stacking mode, and a 35mm format mode that takes 30.5MP photos using the center portion of the camera's medium format sensor.
The crash has raised serious questions about 'startling safety gaps' in the doors-off photo tour industry. After a brief safety video, passengers are strapped in with heavy-duty harnesses and given only a knife to cut themselves loose in case of emergency.
For the first time in five years, Adobe is raising the price of some Creative Cloud subscription packages. The good news for photographers: The $10/month CC Photography plan that includes Photoshop CC, Lightroom CC, and Lightroom Classic CC will stay the same.
In a statement, Canon CEO Fujio Mitarai said the company will "go on the offensive" in mirrorless cameras, aiming to clinch 50% of the entire interchangeable-lens camera market.
In this month's 'Race Issue,' National Geographic asked historian John Edwin Mason—who specializes in the history of photography and the history of Africa—to investigate the iconic magazine's coverage of people of color around the world.
We spoke with Sony's Senior General Manager of the Digital Imaging Business Group, Kenji Tanaka, at CP+, and he told us that in his opinion, Canon and Nikon will join Sony in the full-frame mirrorless market by next year's CP+ show.