Once I realized the D800E would not enthrall every video scene with moiré I decided to explore it further. The first clips looked very promising, however, focus was on shallow depth of field and skin. When shooting stills, moiré and anti aliasing concerns across discussion forums are overblown topics. Of course it can occur and could be problematic. Especially when shooting fabrics, roof tiles, metal grids, more after the break
any subject with repeat patters can potentially trigger it. Fixing it in post can be frustrating or even impossible. The best solution? Catch it on the spot and correct it. Not a problem when shooting in the studio, as long as you have an attentive assistant who knows what to look for. It is much easier to get rid of moiré patterns by changing the camera and lighting angles then fixing it in post.
However, when shooting video with DSLR’s things get more complicated. Due to the down scaling process, chances for moire patterns and false colors increase dramatically. AA filters are optimized for still shooting, not low resolution video. Against all odds, this plays out favorably when looking at the video files from the D800E. Footage from the D800 and D800E appear to be indistinguishable.
I wish I still owned the Canon 5D mark II to include in this comparison, I am pretty sure it wouldn’t do any better then the Nikon D800E.
All three cameras are capable of producing great results as long as you keep their weak points in mind and work around it:
The clear winner for me is the Canon 5D mark III. Despite the overall softness right out of the camera (fixable in post to a certain degree), there are no aliasing and moire problems, records at a very descent variable bit-rate of 91megabits/sec in All-I mode and if that’s not enough, the 5D3 is also king after dark.
Taking Silver: The Nikon D800 and D800E produce much sharper files straight out of the camera (sharpening set to zero as on the 5D3), record at only 24mbps internally utilizing B frame compression (which seems to boost quality despite the low bitrate) and unlike the 5D3, allow us to record clean uncompressed 4:2:2 video via HDMI out using external recorders like the Ninja 2 (Canon’s internal bit-rate surpasses broadcast standard AVC Intra50-there really isn’t a need for an external recorder). however, we have to be a bit more careful when choosing our subjects to avoid potential moire and aliasing problems with the D800/E. We get to choose between FX (full frame) and DX (1.5x crop) mode for video, which is quite convenient, especially when shooting with primes. Low light performance is very impressive but not as good as with the 5D3.
And Bronze: The Nex-7 does a respectable job shooting video (we can almost get three Nex-7 bodies for the price of one D800E or 5D3), especially in good light and at 1080/24p at 24mbps, great dynamic range and flat profile with contrast turned all the way down, make it very gradable, it is also the only camera in this comparison to shoot 1080/60p, although at a low bit-rate of 28mpbs, slowing it down to 50% would result in an ultra low bit rate of 14mbps. Not bad if you are shooting your dog chasing squirrels, for anything more serious requiring slow motion I would reach for the Sony FS100 or, drool, the FS700.
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