MAKING MOVIES
The D5 is a bit of a contradiction when it comes to its video recording capabilities. It can’t compete with the EOS-1D X Mark II here because the Canon is also specifically designed to be a prolevel video camera as it replaces the EOS-1D C, so it’s equipped accordingly. The D5 has a number of pro-level video features, but inexplicably lacks others, a couple of them quite basic such as a focus peaking display.
Importantly, the D5 records 4K video, but in the UHD resolution of 3840x2260 pixels rather than the pro-preferred Cinema 4K res of 4096x2160 pixels as on the -1D X II, and at 25 or 24 fps only versus the Canon’s 50, 25 or 24 fps (PAL standard, progressive scan). The clip length with 4K shooting has been extended to the full 29 minutes and 59 seconds that’s allowable under European taxation laws (relating to video cameras). Additionally, the recent firmware upgrade Version 1.10 allows for the automatic creation of a new file at 4.0 GB (for up to eight files).
The D5’s UHD image quality is superb with very low noise characteristics up to ISO 6400, and 4K clips can be recorded simultaneously to a memory card and an external device via the HDMI terminal which is handy for creating back-ups. The built-in stereo microphones are adjustable for level (over a useful range too) and there’s a choice of two frequency response settings called ‘Wide Range’ and ‘Vocal Range’. There’s also a low-cut filter for dealing with wind noise. Both a stereo audio input and an output are provided.
The recent firmware upgrade also delivers another videoorientated feature, namely electronic image stabilisation (i.e. by shifting the image area on the sensor) which is available for both Full HD and 4K recording. This provides three-axis correction (up/ down, left/right and rotational) and can be combined with the optical image stabilisation in VR-equipped Nikkor lenses.
Carried over from the D4S is the very handy ‘Power Aperture’ function which enables smooth, stepless adjustment of the lens iris. Any of the ‘PASM’ exposure control modes can be used and the ‘Picture Control’ presets, including obviously the new Flat option which is specifically designed for video recording. Continuous autofocusing is also available when shooting with the options of face-detection, subject tracking or normal/wide area modes, but in practice it’s pretty sluggish and there isn’t a true touch-focus facility…you can only move the focusing zone this way, not actually focus.
So, a bit of a mixed bag and you get the sense that even Nikon isn’t convinced that videographers will opt for the D5 over other more-able D-SLRs in its line-up, including the ‘APS-C’ D500. The D5 records 4K UHD video at close to a ‘DX’ format crop anyway.
The Canon EOS-1D X II is a far superior package here should you want to use a high-end D-SLR for shooting video, but there are also many better-equipped mirrorless cameras, starting with Sony’s A7S II.