Dustin Wenger sent us his new video about this aerial platform called the RB Copter. Everyone’s always intrigued by the ability to fly HDSLRs and get shots that are unusual for film – so here’s another option for you.

bullfilms.com, is the production company that owns the R.B. Copter. It is not available for purchase, just rental and comes with a pilot and a DP (me.) I really just wanted to share this with you because what we’ve been shooting with it is very different from all of the videos we’ve seen on the web. We’ve taken a tool that was used by hobbyists and used for nature video and made it able to track faster action and maintain better stability.

Sample video

the behind-the-scenes:

More background from Dustin

Thanks for taking interest in the R.B. Copter video that I shared. The R.B Copter is a custom built electric powered, 8-rotor flying mount with a remote-controlled 2-axis gimbal that can carry a camera payload up to 8.5 lbs. The advantage it has over traditional RC “pod and boom” type helicopter mounts is that it is much more stable with the 8 rotors, which are in constant communication with each other to maintain stability in the air, and footage looks as though it was shot on a Steadicam. In our demo video, there are only 3 shots that were stabilized in post. Also important is that the R.B. Copter is battery powered, so there’s no issue with emissions that you would have with a gas powered copter.

The R.B. Copter is controlled by a pilot and the camera gimbal is controlled remotely by an operator who is able to watch a wireless video feed on a monitor above his controls. The gimbal pan and tilt is responsive enough to keep up with quick action, as seen in our demo video. That, combined with the ability to move the camera through just about any space imaginable in any way manageable makes the R.B. Copter an extremely versatile tool. It can reach heights of at least 1/2 a mile (we’ve had it up to 2660 feet already) and has a flight radius of 5 miles, though flight time is dictated by battery life and weight. With a Canon T2i, we are getting flight times of over 6 minutes, depending on the maneuvers. This gives us a few takes per flight, which is usually enough for each shot as they are thoroughly planned before take off. Any maneuver you can imagine is likely possible with the R.B. Copter.

(cover photo credit: snap from the video)

One of our sponsors – CamCaddie would like you to win some of their gear and so we’re going to try to help you win it. You told us in the survey from a few weeks ago that you wanted more giveaways, so we’re trying to oblige.

planet5D has been doing some great giveaways and we’ve been looking for different ways to engage our readers and also give attention to the vendors (after all, that’s why they are willing to let us give this stuff away!) and we’ve got a new way to do the giveaway that hopefully meets those objectives.

We know you’re going to love it because not only do you have multiple ways to enter, when you get your friends to click a link, you’ll get 5 entries for each click!

So each entry will give you one shot at winning the first prize and so the more entries you have, the more chances you have to win! And since there’s a big incentive to get your friends to click a link (you get 5 entries for each person who does), then there’s a lot more excitement than the ‘retweet to win’ contest.

Give Away One

winner #1 (1) Scorpion EX Pro Kit & (1) 4” Flashner Kit
winner #2 (1) Tabie Teleprompter mount for the iPad & (1) 8” Flashner Kit

Entering is easy!

You have two choices – enter by connecting with facebook or by entering your name and email. This is the only step you need to do to qualify. Make sure to enter your email correctly if you chose that option, that’s how we’ll contact you if you win.

Earn additional entries for tweeting, sharing and liking CamCaddie. Just follow the steps in the box (you’ll be walked thru each step) and you’ll earn more entries!

Continue to spread the word for the duration of the giveaway, on social networking sites, forums, facebook, twitter, and your blog because you’ll receive one entry for every person who clicks on the links you’ve shared, and five entries if they join the giveaway.

The “punchtab.com url” or “bit.ly link” shown is unique to you. Save it for the full month and use it whenever you want to increase your chances.

You can come back to this page and as long as you haven’t cleared your cookies you should see the number of entries you’ve earned. If it doesn’t come up automatically, re-enter your name and email address.

The Second Giveaway

We’re going to have Daniel McElderry on our planet5D Live show on Feb 27th where we’ll be giving away a second set of prizes! You’ll have to tune in live to be eligible for these. We’ll have more on that show later.

Give Away Two.

winner #1 (1) Scorpion EX Pro Kit & (1) 4” Flashner Kit
winner #2 (1) Tabie Teleprompter mount for the iPad & (1) 8” Flashner Kit
(cover photo credit: snap from the video)

(cover photo credit: snap from CamCaddie)

I confess! I’m a sucker for photos of the Northern Lights – maybe it is because I’ve never been blessed to see this incredible event (at least that’s what I’ve seen it called) – so when I see a Canon EOS 5D Mark II timelapse put together I get a little giddy and have to share it. I’ve been reading about the recent solar flare activity and watching alerts go out on twitter (yes, now they have own alerts!) and there’s a website for predictions too. I live in St. Louis Missouri and the odds of me seeing one here are very slim – so I love seeing videos like this. Hope you do too.

I posted this on planet5D cinema yesterday if you’re interested in rating it!

Aurora 2012

background

Last week I was again in Norway for shooting northern lights. This time I was very lucky, there was a lot of activity on the sky especially on the 24 January. The scenes are from Ravnastua, Skoganvarre and Lakselv. The first two days I had a lot of trouble with frozen Cameras. It was -25°C (-13°F) and after 1-2 hours of shooting the lens was frozen.

I used a Canon 5D MarkII with ML, a 7D and a 550D with ML. All the scenes were shoot with this 3 lenses: Canon EF 24mm f/1.4 L on 5D, Tokina 11-16mm f/2.8 on 7D and my Samyang 8mm/f3.5 on 550D.

The sound I found on the vimeo music store:

Elemental by Pulse Faction

Path of Stars by Jonathan Geer

via Aurora 2012 on Vimeo.

[source: tweet from @timescapes]

Our friend Tony Reale and his team at NextWaveDV have launched a new lighting company – Next Lites – and they’re giving away 3 new lights to celebrate the launch. Have a look at the site and the giveaway

Announcement and video

We’re excited to announce the launch of Next Lites, our new lighting supply company for video and film makers. We have a great selection of LED, fluorescent, tungsten and HMI fixtures with many more in the works. Next Lites will be a big part of NextWaveDV’s future including the funding of our new studio space and the growth of shows like DVTV and Film Scene. Find out more in this short video.

Giveaway

To celebrate the launch, we’ve decided to giveaway three Ceres 312 Bi-color LED lights to three lucky winners.

To enter our Ceres 312 giveaway, follow these steps:

• Follow Next Lites on Twitter
• Like Next Lites on Facebook
• Tweet the following message:

Follow @NextLites via @NextWaveDV and RT for a chance to win a Ceres 312 LED video light. More info: http://bit.ly/nextlitesgiveaway

(cover photo credit: snap from the video)

Ok, I’m helping to support this one because I’m going to be in it! HA! But there’s more than just that, Ollie is a friend of mine and this looks to be a great project.

Ollie sent me this tidbit in his personal appeal to get me to post this

It’s to be entirely shot on the 5DII, and that includes time lapse clips from London, USA and New Zealand…

Virtually Famous

About the project

Ever wondered how that photographer got 50,000 followers? Or if, in fact, there is any benefit to blogging and tweeting and posting and sharing?Our project is an Educational Documentary on Social Media, specifically how Creatives Photographers/Videographers/Musicians use Social Media to build their profile, grow their networks, and whether or not theres any business generated from it.Virtually Famous will interview leading creative people and discuss how they use Social Media as a tool in their businesses.

So far we have interviewed:
Philip Bloom UK
Nino Leitner Vienna

Plans to interview:
Vincent Laforet USA
Tom Lowe @timescapes
Sue Bryce NZ Leading Social Media commentator
Linda Coles from BlueBanana
Mitch Aunger from Planet5D.com

Wishlist of interviewees:
Chase Jarvis USA
Jasmine Star USA
BT USA
Graeme Murray NZ
and MANY MORE!!!

Virtually Famous is being filmed and edited by New Zealand filmmaker and professional photographer Ollie Dale, a Master of Photography with the New Zealand Institute of Professional Photography.

“I wanted to meet these people with tens of thousands of followers and see how they do it, and to find out if Social Media really is worth the effort. From what I’ve seen so far I’m sure many people will look at Social Media in a totally different way.”

Virtually Famous will premier in New Zealand in September 2012, and we need your help to get us there! Pick a pledge, be a part of our project, and save the world… ok, well, our world anyway

REMEMBER!! Kickstarter Funding is ALL OR NOTHING! That means that we have to reach our goal to receive any money at all! Thank you in advance for supporting our first production!

There will be a collection of time lapse movies featured in the film, and if you back our project at the $50 level or higher you will receive a beautiful 8″x12″ timestamped frame from the movie as a photo print, as below:

(cover photo credit: snap from the project)

Good friend of planet5D Mario (inCINErate films) created this hauntingly tough short – so be warned, for some people (parents) this can be hard to watch – but the key is how well we’re pulled into the movie. This story is told so well, I almost turned it off twice… so strong are the emotions in this one so be ware!

Shot on a Canon EOS 5D Mark II and Canon EOS 60D.

The Shot

Mario talks about the little girl

I asked Mario about working with the little girl…

Her parents were great here, they talked to her about it for a few days, and she got excited about the movie. We told her she was a little princess Amy, with a really mean dad, and she was cool with most of it. A few times we stopped where it became obvious that the lines between ‘pretend’ and real got blurry for her, so her parents would talk to her again and let her watch TV for a bit just to relax. Most of the dad’s shouting was filmed without her being there. Some of the crying I just picked up on mic as it naturally happened while I was at their house, from falling or whatnot. And then other bits of her voice we just coached her to speak sadly into the mic, and then it took a bit of audio tweaking to get it to sound right. It’s tough though – I take my hat off to people who make films with kids.

Discussion

WARNING: Because of the message of the film, people have found it emotionally tough to watch, especially parents.

This is a short film entry for a competition, where the brief was to name your film ‘The Shot’, but the interpretation was completely open.

Some entries talked about a shot of a drink, a gun shot, someone who was a good shot at killing/ shooting, someone’s shot at a big chance in life, and some of the entries just consisted of one long continuous take.

My approach, was to have one camera shot that anchored the whole story and that was as much the little girl’s as the audience’s view on her family life, and the downfall of it.

The idea was to touch on a subject that can be very borderline for many people – as there can be an extremely fine line between strict discipline and going too far.

I hope this film makes people think, perhaps about how they treat their kids or how others they might know treat their kids, and to step up and help where things might have gone too far.

Although I directed this film, the Carey family themselves were incredibly talented, and I couldn’t have done it as well without Jessica’s enormous help with her daughter, as I’d never directed children before.

Overall, I’m indebted to Alex and Jessica for their great patience with over-running shoots, when the kids had to go to bed (they have a younger son), and for all the equipment that stood around their house for a few days.

Also as a first for films, the original idea of this shot started with a joke on twitter about how a lot of online films starting having increasingly narrow aspect ratios, to the point where we’ll have a ‘slit under the door’ view on life. So to all the guys I follow on twitter – thanks to your humour and fun poking at all things film!

This was a first for me in terms of a fictional short story film. Few things have taught me more than just planning and doing it.

(cover photo credit: snap from the video)

It’s camera product announcement night… Canon announces 3 new lenses including a new Canon EF 24-70mm f/2.8L II USM Lens! Unfortunately, some had hoped there would be IS included, but sorry, it isn’t.

Canon EF 24-70mm f/2.8L II USM Lens

Announcement

LAKE SUCCESS, N.Y., February 7, 2012 — Canon U.S.A., Inc., a leader in digital imaging solutions, today announced two new versions of its coveted Wide Angle Lenses and a new version of its popular 24-70mm Standard Zoom Lens for professionals and photo enthusiasts. The new EF 24-70mm f/2.8L II USM, EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM lenses use a rear focusing system, high-speed CPU, and a powerful ring-type Ultra Sonic Motor (USM) with optimized AF algorithms for faster auto focusing and sharp images. With large apertures these new lenses deliver beautiful, soft backgrounds for superior image quality.

“Our heritage is our optics with over 70 years of expertise, we look to continually further our promise to our users and deliver the ultimate image quality,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “These new lenses are powerful tools for photographic and video enthusiasts to pair with Canon cameras to help enable and enhance their creative vision.”

Canon EF 24-70mm f/2.8L II USM Lens for Harsh and Rigorous Conditions

Canon continues the tradition of ensuring the Company’s highest quality optical performance in its L-series lenses with the launch of the EF 24-70mm f/2.8L II USM zoom lens. This new version of one of Canon’s most popular lenses utilizes one Super UD lens element and two UD lens elements to help achieve outstanding image quality throughout the full zoom range. The result is significantly reduced chromatic aberration in the outer area at wide-angle, high resolution and contrast in images and crisp clear edges around the subject. The lens coatings have been optimized to ensure exceptional color balance while minimizing ghosting, and reduced spherical aberration. With a circular nine-blade diaphragm, the lens delivers soft backgrounds and incredible bokeh.

In demand by architectural, corporate, adventure and professional photographers of nearly every discipline, the EF 24-70mm f/2.8L II USM lens combines amazing image quality with enhanced durability. Highly resistant to dust and water, the new lens has enhanced durability and weather sealing. The lens also features a zoom lock lever to secure the zoom position for safe transport, and fluorine coatings on the front and rear glass surfaces to reduce smears and fingerprints, making it an ideal lens regardless of the conditions.

The EF 24-70mm f/2.8L II USM lens is expected to be available in April for an approximate retail price of $2,299.00.

Canon Standard Prime Lenses with Optical Image Stabilizer:
EF 24mm f/2.8 IS USM & EF 28mm f/2.8 IS USM

Empowering landscape and wide-angle photographers with improved optical performance, Canon has upgraded both its EF 24mm and EF 28mm lenses with Image Stabilization technology and Ultrasonic Motor-powered auto focus. Both lenses feature Canon’s Optical Image Stabilizer technology providing up to four shutter speed stops of correction. With the Optical Image Stabilizer turned on, photographers can capture sharp wide-angle images in low-light settings reducing the need for a flash or a tripod. New aspherical lens elements improve the peripheral image quality and a seven-blade circular diaphragm delivers beautiful, soft backgrounds. The silent and smooth operation of each lens makes them ideal choices for shooting video as well. The EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM lenses each have a minimum focusing distances of 0.20m and 0.23m, respectively.

The EF 24mm f/2.8 IS USM lens is expected to be available in June for an approximate retail price of $849.99, while the EF 28mm f/2.8 IS USM lens is expected to be available in June for an approximate retail price of $799.99.

About Canon U.S.A., Inc.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With more than $45 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks fourth overall in patent holdings in the U.S. in 2010† and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

(cover photo credit: snap from Canon)

This just in from NikonRumors, Nikon has announced the 36.3mp HDSLR the Nikon D800! It appears to be priced at $3999 $2999 – putting it between the Canon EOS 5D Mark II and the Canon EOS-1D X if you’re comparing to Canon.

update 4: Videos added

update 3: the Nikon D800E is included in the PR The major difference is that it does NOT have the anti-aliasing filter (for people who don’t worry so much about moire but want a sharper image) for an additional $300 – list is $3299.

update 2: Additional news stories:

• Nikon D800 Hands-on Preview (DPReview)
• The Nikon D800: Less than meets the eye
• 36.3MP Full-Frame Nikon D800 DSLR Makes Official Debut (Exclusive Photos)

Update 1 – got the wrong price – $2999! – and added official Nikon PR Now doesn’t that say something since this is only $500 more than the original list price of the Canon EOS 5D Mark II

Highlights

• 36.3 mp – huge image sizes!
• 4 fps, or up to 6 fps with DX mode with the optional battery pack MB-D12 battery
• D800 uses the new standard USB 3.0 for fast transfer
• ISO 100-6400, expandable to 50 (Lo-1) and 25600 (Hi-2)
• exclusive image processing engine Nikon’s EXPEED 3
• HDR function
• Full HD 1080 and HD 720 30/24p to 60p
• record video in H.264 / MPEG-4 AVC up to 29:59 minutes per clip
• uncompressed HD signal directly off the camera for an HDMI output (8 bit, 4:2:2)
• clean HDMI out
• viewed simultaneously on the LCD screen and an external display
• headphone jack

Nikon D800 from Nikon Rumors

Full PR

Full pr comes from Nikon

The New Nikon D800 Offers Unrivaled Resolution and Features Designed for a Variety of Demanding Professional Photographic and Multimedia Disciplines, Videographers and Filmmakers

MELVILLE, N.Y. (Feb 6, 2012) – Today, imaging leader Nikon Inc. announced the highly anticipated D800 HD-SLR, engineered to provide extreme resolution, astounding image quality and valuable video features optimized for professional still and multimedia photographers and videographers. A camera with an unmatched balance of accuracy, functionality and image quality, the Nikon D800 realizes innovations such as a high resolution 36.3-megapixel FX-format CMOS sensor, a 91,000-pixel RGB Matrix Metering System, Advanced Scene Recognition System and many other intuitive features designed to create the preeminent device for the most demanding photo and video applications.

Whether shooting high fashion, weddings or multimedia content, Nikon’s highest resolution sensor to date, a groundbreaking new 36.3-megapixel (7360 x 4912 resolution) FX-format CMOS sensor, affords flexibility and astonishing image quality to satisfy a myriad of client requests. The Nikon D800 incorporates the latest 91,000-pixel 3D Color Matrix Metering III and the Advanced Scene Recognition System, coupled with an improved 51-point AF system for images with amazing sharpness, color and clarity. With its compact, lightweight D-SLR form factor and extensive video feature set, the D800 allows photographers to transition to multimedia to create an immersive story. Professional videographers will appreciate practical features that go beyond NIKKOR lens compatibility and Full HD 1080p video, such as full manual control, uncompressed HDMI output, and incredible low-light video capability. With this innovative combination of features, the D800 celebrates resourcefulness and a dedication to the flawless execution of an epic creative vision. All of this is driven by Nikon’s latest EXPEED 3™ image processing engine, providing the necessary processing power to fuel amazing images with faithful color, a wide dynamic range and extreme resolution.

“Whatever the project, visionaries need a tool that is going to help them stay on-time and on-task. The Nikon D800 re-imagines what is possible from this level of D-SLR, to address the needs of an emerging and ever changing market; this is the camera that is going to bridge the gap for the most demanding imaging professionals, and provide never before seen levels of SLR image and video quality,” said Bo Kajiwara, director of marketing, Nikon Inc. “The D800 is the right tool for today’s creative image makers, affording photographers, filmmakers and videographers a versatile option for capturing the ultimate in still image quality or full HD content, with maximum control.”

Extreme Image Quality
The new Nikon developed 36.3-megapixel FX-format (35.9 x 24mm) CMOS sensor realizes Nikon’s highest resolution yet, and is ideal for demanding applications such as weddings, studio portraiture and landscape, where there is no compromise to exceptional high fidelity and dynamic range. Nikon’s first priority is amazing image quality above all else, and resolution of this magnitude affords photographers the ability to portray even the smallest details, such as a strand of hair, with stunning sharpness or crop liberally with confidence. Photographers also shoot with the assurance of NIKKOR lens compatibility, because only a manufacturer with decades of optical excellence can provide the glass to resolve this kind of extreme resolution.

For shooting with minimal noise in a variety of lighting conditions, the D800 features a wide native ISO range of 100-6400, expandable to 50 (Lo-1)-25,600 (Hi-2). Nikon engineers have created innovative ways to manipulate light transmission to the sensor’s photodiodes, giving users the ability to shoot with confidence in challenging lighting conditions. Internal sensor design, an enhanced optical low pass filter (OLPF) and 14 bit A/D conversion with a high signal to noise ratio all contribute to a sensor capable of excellent low light ability despite the extreme resolution. Every aspect of this new FX-format sensor is engineered to deliver amazing low noise images through the ISO range and help create astounding tonal gradation and true colors, whether shooting JPEG or RAW. Images are further routed through a 16-bit image processing pipeline, for maximum performance. To further enhance versatility, users are also able to shoot in additional modes and aspect ratios such as 5:4 to easily frame for printed portraits or a 1.2X crop for a slight telephoto edge. For even more versatility, photographers can also take advantage of Nikon DX-format lenses for more lens options and enhanced focal range (1.5X), while still retaining sharpness and details at a high 15.4-megapixel (4800×3200) resolution.

Contributing to the camera’s rapid performance and amazing image quality is Nikon’s new EXPEED 3 image processing engine that helps professionals create images and HD video with amazing resolution, color and dynamic range. From image processing to transfer, the new engine is capable of processing massive amounts of data, exacting optimal color, rich tonality and minimized noise throughout the frame. Despite the immense data, the new EXPEED 3 also contributes to energy efficiency, affording the ability to shoot longer.

The D800 also features the Advanced Scene Recognition System with the 91,000-pixel 3D Color Matrix Meter III to provide unrivaled metering in even the most challenging of lighting conditions. At the system’s core is a newly designed RGB sensor that meticulously analyzes each scene, recognizes factors such as color and brightness with unprecedented precision and then compares all the data using Nikon’s exclusive 30,000 image database. Additionally, this new sensor now has the ability to detect human faces with startling accuracy, even when shooting through the optical viewfinder. This unique feature is coupled with detailed scene analysis for more accurate autofocus (AF), Auto exposure (AE), i-TTL flash control and even enhanced subject tracking. The Color Matrix Meter also emphasizes priority on exposure of the detected faces, allowing for correct exposure even when the subject is backlit. Even in the most difficult exposures the D800 excels, such as maintaining brightness on a bride’s face while retaining the dynamic range to accentuate the intricate details of a wedding dress beside a black tuxedo.

Advanced new automatic systems make it even easier to capture amazing images. The camera features a new enhanced auto white balance system that more accurately recognizes both natural and artificial light sources, and also gives the user the option to retain the warmth of ambient lighting. Users can expand dynamic range with in-camera High Dynamic Range (HDR) image capture, and enjoy the benefits of Nikon’s Active D-lighting for balanced exposure. Another new feature is direct access to Nikon’s Picture Control presets via a dedicated button on the back of the body to tweak photo and video parameters on the fly, such as sharpness, hue and saturation.

True Cinematic Experience
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. 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 field that only a HD-SLR can offer. Filmmakers have the choice of various resolutions and frame rates, including Full HD 1080 at 30/24p and HD 720 at 60/30p. By utilizing the B-Frame data compression method, users can record H.264/MPEG-4 AVC format video with unmatched integrity for up to 29:59 minutes per clip (normal quality). This format produces higher quality video data without increasing file size for a more efficient workflow. The optimized CMOS sensor reads image data at astoundingly fast rates, which results in less instances of rolling shutter distortion. The sensor also enables incredible low-light video capability with minimal noise, letting filmmakers capture footage where previously impossible or expensive and complex lighting would otherwise be necessary. 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. Whether shooting for depth of field in FX-format mode, or looking for the extra 1.5X telephoto benefits of DX mode, the high resolution sensor of the D800 allows videographers to retain full 1080p HD resolution no matter which mode they choose to best suit the scene. Users are also able to easily compose and check critical HD focus through the 921,000-dot, 3.2-inch LCD monitor with reinforced glass, automatic monitor brightness control, and wide viewing angle.

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. The D800 also includes features concentrated on audio quality, such as a dedicated headphone jack for accurate monitoring of audio levels while recording. Audio output levels can be adjusted with 30 steps for precise audio adjustment and monitoring. The D800 offers high-fidelity audio recording control with audio levels that can be set and monitored on the camera’s LCD screen. A microphone connected via the stereo mic jack can also be adjusted with up to 20 steps of sensitivity for accurate sound reproduction. What’s more, recording can be set to be activated through the shutter button, opening a world of remote applications through the 10-pin accessory terminal.

Wield Speed and Performance with Astonishing Accuracy
Whether shooting the runway or fast moving wildlife, the enhanced 51-point AF system of the D800 delivers blazing fast AF with tack-sharp results. Nikon has enhanced the Multi-Cam 3500-FX AF sensor module and algorithms to significantly improve low light acquisition, for precise focus to an impressive -2 exposure value (EV). The focus system utilizes 15 cross-type AF sensors for enhanced accuracy, and the system also places an emphasis on the human face, working in conjunction with the Advanced Scene Recognition System to provide accurate face detection even through the optical viewfinder. The camera also utilizes nine cross-type sensors that are fully functional when using compatible NIKKOR lenses and teleconverters with an aperture value up to f/8, which is a great advantage to those who need extreme telephoto focal lengths (single cross type sensor active with TC20E III). For maximum versatility in all shooting situations, whether photographing portraits or static subjects, users are also able to select multiple AF modes, including normal, wide area, face tracking and subject tracking to best suit the scene.

The D800 delivers upon a professional’s need for maximum speed when it counts. The camera is ready to shoot in 0.12 seconds, and is ready to capture with super-fast AF and response speed. To photograph action in a burst, the camera shoots up to 4 frames per second (fps) in FX mode at full resolution, or up to a speedy 6 fps in DX mode using the optional MB-D12 Battery Pack and compatible battery. Further enhancing the speed of the camera and overall workflow, the D800 utilizes the new USB 3.0 standard for ultra fast transfer speeds.

Construction and Operability
The body of the D800 is designed to offer a compact form factor and a lightweight body for the utmost versatility. The chassis is constructed of magnesium alloy for maximum durability, and is sealed and gasketed for resistance to dirt and moisture. Users are able to easily compose through the bright optical viewfinder, which offers 100% frame coverage. For storage, the D800 has dual card slots for CF and SD cards, and offers users the ability to record backup, overflow, RAW/JPEG separation, and the additional option of shooting stills to one and video to the other. For high speed recording and transfer, data can be recorded to recent UDMA-7 and SDXC / UHS-1 cards. The shutter has been tested to withstand approximately 200,000 cycles, and the camera also employs sensor cleaning. The D800 also features a built-in flash and is compatible with Nikon’s acclaimed Creative Lighting System, including a built-in Commander mode for controlling wireless Speedlights.

D800E – Maximum Resolution Unleashed
In addition to the D800, Nikon will also be releasing a supplementary model for those professionals who demand even higher resolution and D-SLR versatility; the D800E. This model treads in medium format territory for studio work or landscape photography when there is no exception to only the highest fidelity and sharpness. This unique alternative model will effectively enhance the resolution characteristics of the 36.3-megapixel CMOS sensor by cancelling the anti-aliasing properties of the OLPF inside the camera. By doing this, light is delivered directly to the photodiodes, yielding an image resulting from the raw light gathering properties of the camera. A color moiré correction tool will also be available within Capture NX2 to enhance the D800E photographer’s workflow.

Price and Availability
The Nikon D800 will be available in late March for the suggested retail price of $2999.95.* The D800E version will be available in mid April 2012 for a suggested retail price of $3,299.95.* For more information about these models, NIKKOR lenses and other D-SLR cameras please visit http://www.nikonusa.com.

Nikon D800 from NikonRumors

(cover photo credit: snap from the NikonRumors site)

Gravity is a popular subject today on planet5D – we just published “Gravity” on the planet5D Cinema – and suddenly found another “Gravity” HDSLR movie that has a very fun attitude about it – “GRAVITY // UN RÊVE DE DEMAIN” by Filip Piskorzynski. It is very popular too! It has over 445k views on Vimeo in the 25+ days it has been online. Shot on a Canon EOS 5D Mark II

Gravity // UN RÊVE DE DEMAIN

Video Description

a young woman wakes up to find that she has become weightless, and floats through life until gravity inevitably catches up with her.

Une jeune femme se réveille dans un rêve de demain. Elle vole dans la nature. Jusqu’à être aspirée par un monde où règne la gravité. Où on l’oblige à mettre les pieds sur terre. Les gens qui l’entourent se ressemblent tous…

Music : “Tasty City”
by Rone
myspace.com/rone0
infine-music.com/news/198/rone-announce-so-so-so-special-gift

the film was shot in 2011.
we started the project spontaneously in february in burkina faso and two shots from there even survived over the process. we continued to shoot additional scenes at the north sea cost without still knowing all of the story we would be telling at the end. then in hamburg we shot most of the scenes and finished it in brussels in july.

all in all i would say:
round about 7 days of shooting.
lots of nice shots we didn’t put in the final editing
shot on canon eos 5d mkII with older nikon prime lenses.
35mm 1.4 // 50mm 1.2 // 85mm 1.4 // 105mm 1.8
all pics are manually shot single photos in sraw2 format.

thx for all the support! )

via GRAVITY // UN RÊVE DE DEMAIN on Vimeo.

[source: tweet]
(cover photo credit: snap from the video)

For those of you looking to learn something about timelapse there are more and more resources going up on the web, but you’ll want to visit Daniel Freytag’s blog where he has this guest post from Phil Arntz about how he made an awesome ‘nighttime’ timelapse. Phil shot this timelapse on a Canon Rebel T2i/550D!

Snip from Phil’s article

“Nightscapes” is a piece i dedicated to my friends and family. The reason for this is, that our family really started to love London, but we are not sure, how long we will stay! Very uncertain times at the moment, so this is a great memory for what we have/had in London. I also dedicated this to my friends, because i go to a german school in london, thus meaning that many people only stay here for a year or two and I want them to treasure the London memories too!

Shooting Nightscapes was an experience, which changed my views on city-life. I have never experienced London, like I did when shooting the movie over the last months. The city comes alive at night, but it’s not all sparkly at night. There are many parts which should be avoided and you really see some strange things too!

more snips

Shooting the movie required an awful lot of dedication, sleepless nights and warm clothes. The main problem I had was, the cold. Even though it might not seem to cold in the UK, at around 0 degrees, it really starts to get to you when you are waiting an hour for your timelapse to finish on Millenium Bridge in high winds! I have met new people, made new connections and friends and overall, it was an experience, I am happy to have had!

I urge you to get all the details on Phil’s post: “Nightscapes” – A Look into creating a timelapse film on a minimal budget @ Freytag Film.

(cover photo credit: snap from the video)