Specifically for the discussion of the A-mount DSLR range
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That's the same 30fps that I am told will not be needed because the industry standard is 24fps
DSLRs will have to catch up with consumer HDTV digicams and based on the Nikon's specs, there's already a distance to go. What the DSLR movie mode will do is allow a subtlety of tone and focus transitions completely absent in small sensor videos. But a dedicated HDTV videocam taking Alpha lenses is a far more likely Sony scenario - it already exists at the top end of their range, all they need is a lower priced model to sell to Alpha system owners.
Well I wish that if they want to experiment with putting some sort of half baked video in a DSLR "still" camera they'd do it with one of their bridge models instead, like get a H50 put in an APS-C sized sensor, bolt an A-mount on the front and see if they can get that running properly first, who knows it might turn out so good they'll forget about the DSLR video thingy.
Realistically...I think we are going too get video whether we want it or not, but I don't think we should accept any compomises with the DSLR's primary function, that is, being a "still" camera.
Greg
How big of a problem is it that the D90 keeps a constant exposure setting throughout a video recording? Is this out of some wisdom? Is it too difficult to make dynamic exposure settings in video for a consumer-grade DSLR? Is this a half-baked feature or are they just leaving room for improvement in later/better models? David, your thoughts?
Sony already has large stakes in 24p HD video equipment. Do you think this will be a great roadblock to seeing these features on future Sony DSLRs? I'm sure Sony would rather sell me both a DSLR and a vdieo camera, if I was so inclined.
Sorry if I wounded you pride, Sonolta, directing that question to DK, but thank you for answering it just the same.
What the D90 can't do is autofocus during video takes. The exposure mode must be limited, as it would be physically impossible to have exposures longer than 1/24th of a second, but auto exposure during filming is a no-no (shadows change brightness - as bad as autofocus shifts). I have shot and produced enough 16mm film (I never really took to video) to know that constant lighting conditions are desirable during any take (which is why Hollywood is where it is - and why Elstree never really competed - and why BBC lighting cameramen like my old friend John Henshall, who lit the original Spitting Image and many other well-known programmes, are some of the best around - lousy UK light!).
I was taught that 18fps was the slowest frame rate at which the human eye did not see a visible flicker (which made 16fps movies visibly flickery). Anything slower, and the flicker is visible. Anything slightly faster is desirable and 24p/24 frames is in the safe zone. The benefit of 30p/30fps or any other faster speed is that you can stretch time slightly to match music sync or extend non-motion-critical sections. The real benefits kick in with Sony's 60-300fps technology, which allows smooth slow motion effects and motion analysis.
I'm told that the biggest market is for photographing golf swings but I don't believe that. The driving market behind all this stuff is porn and always will be - just like Polaroid!
