Monday mornings sometimes bring surprises at work. So was the case, when I arrived to learn that I had a job, one hour later. It was called "Build Playground Day," at Collington Square School in northeast Baltimore, in a neighborhood that's been forgotten and neglected. The Baltimore Ravens, along with Kaboom! and volunteers through the community and a host of organizations banded together, building a playground in one day.
Reaching for the Firestore FS-100 external recordable drive to mount to the HVX200 camcorder, I noticed that it faced the other way. Plugging the unit into the charger, I knew the battery hadn't been charged. With the prospect of having to shoot a great amount of footage over 5 hours of construction time, I decided to use the Lumix DMC-TZ1 and it's slightly bigger sibling, the Lumix DMC-TZ3 cameras as my visual arsenal.
Gaining access to the roof of the school, I clamped down a Nikon D2Xs camera outfitted with a Sigma 10-20mm zoom, to get as wide an aspect as possible. Calculating the frame rate of a movie against the time I had to shoot, I figured on setting the camera's interval timer to fire an image every 30 seconds, which yielded about 20 seconds of footage. At several stages, I clamped the small cameras onto different objects, gathering some interesting POV shots! You can't do that with an HVX200.
Starting the camera around 7:30 A.M., I returned to ground level, grabbing 5- to 10- video clips and switching on-the-fly to shoot still images for the web updates and for print publication. By 10 A.M., I started sending still images, then returned to the field to gather more footage. Gathering more still images for a picture package for the web by noon, I finished most of the ground-level recording just in time to return to the roof and take what was shot with the Nikon camera.
The nurse's office became a multimedia center, as I created a Quicktime movie, sent more images and the 20-second time lapse clip, and edited the main package for today's web update. Oh, working on the Macintosh platform is great in my eyes. While I write, Groove Salad cranks out tunes in my headset, while Magic iDVD creates a cool DVD disk of the whole project, for the school, complete with animated menus and a hip audio track.
Showing posts with label time lapse. Show all posts
Showing posts with label time lapse. Show all posts
Tuesday, June 12, 2007
Thursday, December 14, 2006
Nikon D2Xs, HVX200 iMovie Clip: Stars Over Chincoteague
Post references:
Apple iMovie
Panasonic HVX200
Nikon D2Xs
Manfrotto Bogen Magic Arm
Nikkor 17-35mm f/2.8
Refuge Inn of Chincoteague
Because the clips have been severely compressed from high definition, please try viewing in a darkened environment to watch the path of the stars. Thanks!
Stars Over Chincoteague (63 seconds, Google Videos)
I am soooo stoked.
I just "produced" my first project using a combination of time lapse, using (version 3) Apple's iMovie, with some shots I grabbed while on the eastern shore over the weekend on rocket launch that was scrubbed.
Driving down to Chincoteague Island Sunday, my mind swept through with thoughts of how to cover the Minotar rocket that was planned for a pre-dawn launch. Getting to Wallops, VA just as the Sun began setting, out came the HVX200 as I tried grabbing some footage since a rocket launch would only last a couple minutes at best.
Birds flew nearby and I quickly changed my shutter speed on the HVX200 to 1/30th, up one step from 1/15th second, as I had tried letting in more light. The flocks were making their way to bed down for the evening, and I grabbed a short clip of one of the final flocks that passed overhead.
A quick grab of the western horizon, and then a turn of the camera to the dishes within the fenced-in surroundings of Wallops to grab some time lapse footage, set at a frame per second to try gathering some orange-to-blue-to-black of the evening sky. Unfortunately, the camera dropped focus, and what was a nice crisp image of the dishes racked out of focus.
I moved the camera to the illuminated dishes pointing skyward, since they glowed with the sodium vapor lights below. Hoping to get a bite of food and a bit of rest, I packed up the gear, checked in to the Refuge Inn, (I give reference because of the excellent sky views and helpful staff) and became obsessed with finding a room with a view where I could clamp a Nikon D2Xs body and wide angle lens to grab a clear view of the northern sky since I wanted to try shooting some time lapse of the rotation of the ceiling of stars.
My first room was supposed to be 214, but I could hear several women laughing behind the closed door. Not eager to startle them, I returned to the front desk and exchanged the key for room 106, a beautiful room with a view of pine trees. The front desk clerks let me try room 205, but the canopy of an evergreen blocked the view from the room's patio deck. So I walked outside and checked the second floor rooms for their views and wrote the room numbers down. Settling for room 229, out came the gear and batteries, which I started charging. Remembering a recent time lapse experiment with a moonrise, I set my Nikon D2Xs body on a time lapse rate of 45 seconds, and made some test shots to find the correct exposure.
But I still wasn't happy with the view from my deck. While walking through the hotel to check for the locations of the emergency exits, I noticed a sign: "Observation deck. Quiet Zone," next to a door with no keyed doorknob. Opening it revealed a metal spiral starwell to the roof, which had a wooden deck with tables and chairs. Retrieving the camera and a Sigma 10-20mm f/4-5.6 lens, I mounted it to the deck railing with a Manfrotto Bogen Magic Arm, positioning the camera to aim at about a 35 degree angle skyward, just steep enough to see the trees in the lower portion of the frame (for visual reference). Shooting test after test, the final exposure came to 30 seconds at f/4, with the lens zoomed out to 10mm length, and the ISO rating at "HIGH1," which is the same as ISO 1600. The image was shot in normal size and basic setting, which gave plenty of images for a 1-gigabyte card. The rate of time lapse resulted in one frame every 45 seconds, which seemed like a great rate of time lapse, since the stars and Moon creep so slowly across the night sky.
Starting the time lapse session, which would last all night, I piled some lounge chairs and a table behind the clamped camera (like that would stop anyone from stealing a camera) and ran out to grab some Chinese food up the street. Returning with Peking duck and pork egg fu yung (without the onions), I made regular checks of the gear to make certain it was still there, and everything worked.
Somewhere between midnight and 1AM, the camera stopped firing. Such a long process of image-gathering on a cold night can drain a battery, and the rechargeable was DOA. Grabbing another battery from the room, I changed lenses to a Nikkor 17-35mm f/2.8 and aimed the camera just above a rising Moon. Resuming the time lapse process, I retired to bed for about 1-1/2 hours and came back to the set-up, pausing the camera, replacing the battery with a fresh one, and resuming the shoot.
Awake after setting the alarms on the room clock and my cell phone, I packed my gear, got ready for the 5AM meeting at the NASA Visitors Center, and retrieved the camera, which still fired. Driving the 7 miles to the center, I was told the news: the launch had been scrubbed. Uggh. That meant that I could have slept even longer.
Well, the launch didn't fly, but the footage did. I didn't know what to do with the clips until I decided to try editing it together in iMovie. Dragging the files to each window for the upload, and then pulling each scene around gave me a good idea on how to put together this little clip. It doesn't last long, but I gained some knowledge as my ultimate goal is mastering Final Cut Pro. If Final Cut is anywhere near the structure of iMovie, I think I'm good-to-go.
I was a little miffed that iMovie is based on the boring NTSC television format, which is 4X3, or 640X480 pixels. It made me have to crop the footage from both the HVX200 (which shoots in 16X9 and the 35mm digital format, which is 3X2. While looking at the software, adding some fades and transitions, plus some drone-like background and a clip of birds gave it some added life. Try it without sound, and it gets old, quick. Add some audio tone with a suspenseful sound... does it make you want to experience more?
Stars Over Chincoteague (62 seconds, YouTube Videos)
Apple iMovie
Panasonic HVX200
Nikon D2Xs
Manfrotto Bogen Magic Arm
Nikkor 17-35mm f/2.8
Refuge Inn of Chincoteague
Because the clips have been severely compressed from high definition, please try viewing in a darkened environment to watch the path of the stars. Thanks!
Stars Over Chincoteague (63 seconds, Google Videos)
I am soooo stoked.
I just "produced" my first project using a combination of time lapse, using (version 3) Apple's iMovie, with some shots I grabbed while on the eastern shore over the weekend on rocket launch that was scrubbed.
Driving down to Chincoteague Island Sunday, my mind swept through with thoughts of how to cover the Minotar rocket that was planned for a pre-dawn launch. Getting to Wallops, VA just as the Sun began setting, out came the HVX200 as I tried grabbing some footage since a rocket launch would only last a couple minutes at best.
Birds flew nearby and I quickly changed my shutter speed on the HVX200 to 1/30th, up one step from 1/15th second, as I had tried letting in more light. The flocks were making their way to bed down for the evening, and I grabbed a short clip of one of the final flocks that passed overhead.
A quick grab of the western horizon, and then a turn of the camera to the dishes within the fenced-in surroundings of Wallops to grab some time lapse footage, set at a frame per second to try gathering some orange-to-blue-to-black of the evening sky. Unfortunately, the camera dropped focus, and what was a nice crisp image of the dishes racked out of focus.
I moved the camera to the illuminated dishes pointing skyward, since they glowed with the sodium vapor lights below. Hoping to get a bite of food and a bit of rest, I packed up the gear, checked in to the Refuge Inn, (I give reference because of the excellent sky views and helpful staff) and became obsessed with finding a room with a view where I could clamp a Nikon D2Xs body and wide angle lens to grab a clear view of the northern sky since I wanted to try shooting some time lapse of the rotation of the ceiling of stars.
My first room was supposed to be 214, but I could hear several women laughing behind the closed door. Not eager to startle them, I returned to the front desk and exchanged the key for room 106, a beautiful room with a view of pine trees. The front desk clerks let me try room 205, but the canopy of an evergreen blocked the view from the room's patio deck. So I walked outside and checked the second floor rooms for their views and wrote the room numbers down. Settling for room 229, out came the gear and batteries, which I started charging. Remembering a recent time lapse experiment with a moonrise, I set my Nikon D2Xs body on a time lapse rate of 45 seconds, and made some test shots to find the correct exposure.
But I still wasn't happy with the view from my deck. While walking through the hotel to check for the locations of the emergency exits, I noticed a sign: "Observation deck. Quiet Zone," next to a door with no keyed doorknob. Opening it revealed a metal spiral starwell to the roof, which had a wooden deck with tables and chairs. Retrieving the camera and a Sigma 10-20mm f/4-5.6 lens, I mounted it to the deck railing with a Manfrotto Bogen Magic Arm, positioning the camera to aim at about a 35 degree angle skyward, just steep enough to see the trees in the lower portion of the frame (for visual reference). Shooting test after test, the final exposure came to 30 seconds at f/4, with the lens zoomed out to 10mm length, and the ISO rating at "HIGH1," which is the same as ISO 1600. The image was shot in normal size and basic setting, which gave plenty of images for a 1-gigabyte card. The rate of time lapse resulted in one frame every 45 seconds, which seemed like a great rate of time lapse, since the stars and Moon creep so slowly across the night sky.
Starting the time lapse session, which would last all night, I piled some lounge chairs and a table behind the clamped camera (like that would stop anyone from stealing a camera) and ran out to grab some Chinese food up the street. Returning with Peking duck and pork egg fu yung (without the onions), I made regular checks of the gear to make certain it was still there, and everything worked.
Somewhere between midnight and 1AM, the camera stopped firing. Such a long process of image-gathering on a cold night can drain a battery, and the rechargeable was DOA. Grabbing another battery from the room, I changed lenses to a Nikkor 17-35mm f/2.8 and aimed the camera just above a rising Moon. Resuming the time lapse process, I retired to bed for about 1-1/2 hours and came back to the set-up, pausing the camera, replacing the battery with a fresh one, and resuming the shoot.
Awake after setting the alarms on the room clock and my cell phone, I packed my gear, got ready for the 5AM meeting at the NASA Visitors Center, and retrieved the camera, which still fired. Driving the 7 miles to the center, I was told the news: the launch had been scrubbed. Uggh. That meant that I could have slept even longer.
Well, the launch didn't fly, but the footage did. I didn't know what to do with the clips until I decided to try editing it together in iMovie. Dragging the files to each window for the upload, and then pulling each scene around gave me a good idea on how to put together this little clip. It doesn't last long, but I gained some knowledge as my ultimate goal is mastering Final Cut Pro. If Final Cut is anywhere near the structure of iMovie, I think I'm good-to-go.
I was a little miffed that iMovie is based on the boring NTSC television format, which is 4X3, or 640X480 pixels. It made me have to crop the footage from both the HVX200 (which shoots in 16X9 and the 35mm digital format, which is 3X2. While looking at the software, adding some fades and transitions, plus some drone-like background and a clip of birds gave it some added life. Try it without sound, and it gets old, quick. Add some audio tone with a suspenseful sound... does it make you want to experience more?
Stars Over Chincoteague (62 seconds, YouTube Videos)
Tuesday, December 12, 2006
Quick Review: Nikon D2Xs
Independent Review References:
Nikon D2Xs
Panasonic AG-HVX200
Sigma 10-20mm f 4-5.6
Nikon D2Hs (preview)
Nikon D2H
Canon EOS 30D
Nikon D200
I'm sure you'll be inundated with the images taken during the daytime of all the fine low-ISO, high-color quality images of this camera. But I'm simply going to add just a little tweak, which is about low-light situations, and color-tweaking your camera.
Speed? What Speed?
The Nikon D2Xs can be your primary camera if you feel confident shooting at a reduced frame rate. With the setting in full frame mode, you aren't going to set any speed records in frame rates. After using the D2H for several years, I would have figured the D2Xs was going to be somewhere near the same frame rate of about 7 frames/second, what with better technology, stiff competition from other camera manufacturers and all. But this body isn't meant to fire off in rapid succession; that's what the D2Hs is for (I'll end up writing something about that one in a future post).
The D2Xs can bang out some pretty good files at a decent fps rate, with the high speed crop set to the ON position. Plus, you get the benefit of a tighter image size than with the crop removed. I was shooting with a 300mm 2.8 lens with the subject at the 50 yard line, and I felt like I was using a 400mm or perhaps longer lens while camped out at behind the end zone. The fps rate was much slower than the sports-minded D2H, but I quickly adjusted my shooting tactics. But you'll be shooting nothing but blue crab and turtle races if you want to keep up with your subject, sitting on the motor with the high speed crop off. I couldn't figure what was going wrong when my first job was shooting high school football. One minute, the running back is full frame; the next frame, it seems like he's knee up; the following image, and he's waist-up, coming at me full speed.
You should tweak your settings immediately. These Nikons are set to fire right out of the box, at point and shoot settings, so if you're clueless in Seattle, try just popping in a fresh battery, slipping on a Nikon AF lens, frame some subjects, and fire away. But you really want to set it yourself, right? The user settings seem much easier to manage than the Panasonic HVX200 camcorder, because of the thumb button settings, and a really cool cheat sheet with a "?" mark revealing whenever further explanation is stored within the menu. Panasonic (and any camera manufacturer that doesn't provide this vital feature in their high-end hardware) needs to rip a page out of this manual and follow suit, unless it's patented. If you don't understand the option in the menu that you sit on, and that question mark has popped up, just push and hold the corresponding button on the camera back and viola, an explanation about what the options mean.
Boring Color Tweaks
Rock taken at sRGB Version I.
Rock taken at sRGB Version II.
Rock taken at sRGB Version III.
Unpacking the new body from its box, the settings were pretty similar to the ones in the D2H. Setting the sensitivity down to ISO 100, I started shooting images of a boulder, in afternoon sunlight. But the images didn't have any pop in saturation. Keeping the settings on low contrast with the light setting on cloudy, a little experiment with the Adobe settings was done to grab similar images under different color profiles (yes, there's a "?" for that as well). For my tastes, I didn't care for the sRGB and kept the camera on Adobe, in color mode III. Do I understand the color profiles, other than what the camera tells me? Definitely, not. But I liked the saturation better with my current settings. Your tastes may differ.
Under the Stars
Stars at moonrise, untoned image, directly from camera, 30 seconds at ISO 1600 (or HIGH1).
Using my settings on high contrast (altho I usually stick with low contrast for wider tonal range), I banged off some test images of some stars that impressed me while camped out in Chincoteague, VA. Putting a Sigma 10-20mm f/ 4-5.6 (a terrific piece of glass!) on the body, I ramped up the setting to ISO HIGH1, which is 1600 equivalent. Why don't they just call it 1600? Adding to that midnight clear night, 30 seconds of exposure, and high speed crop off, to take full advantage of the 10mm size, which has a lens magnification already in place with Nikons. Adding NR (noise reduction) only adds more write time which is a feature I turned back off, since that would lead to battery drain.
Detail at 100%. The largest images are on my Flickr site.
Taking the camera to its limits (remember trying to shoot ANYTHING with a Nikon D1 series at night? If I have any images stored, I'll add them), I also pulled the file size back to small size and basic setting. And I was pretty darned impressed with what I saw, after being used to the loads of noise in previous Nikons (D2H, D2 and D1 series).
Taken in the high-noise days with a D1H at ISO 800 where Lori Piestewa grew up in Tuba City, 2003.
I really wonder if adding NR will help or hurt in the long run. There are post-processing programs of all types out there. Simply dive into your camera's settings and try each one. And do one thing before changing your settings: make an audio recording of what you've done. Whatever is necessary, make sure to add that audio clip. The EXIF data that is like a thumb print of a picture file didn't have the ISO setting that I had used for the sequence I shot with the Sigma.
Firmware Upgrades, Old and New
Nikon has already released the ver. 2.00 D2Hs firmware upgrade, which add some options. It also has a firmware upgrade for the D2X, and people are whispering that the firmware brings the D2X to closely resemble the D2Xs! But if you choose to upgrade, you're on your own. I won't take responsibility if you screw it up. From what Jeff shared, it's worth adding the new firmware upgrades, and they are simple enough for both the Macintosh (you can tether the camera or drag/drop the file into an SD card, as long as it's recognized by the camera). As for Windows/Microsoft? I can't share any observations, since I'm Macintosh.
Nikon's website was simple enough with the information. You'd better keep your doggone camera on during the process, or you might have something like a paperweight, if the process is interrupted. I already did my D2Hs body, and there were 2 files, firmware A and firmware B, which took a couple minutes. Being a fidgeter with a camera in my hands, I was tempted to play with the buttons, but realized the danger and set it down, picking up a remote instead. Matter of fact, I have to download the D2Xs firmware, which is only about 1 megabyte.
Initial Thoughts
With the greater ISO range, bigger file size, and less noise, I'd say that I'm pretty happy with the D2Xs. It's still one loud camera, which makes it impossible to be ignored in a quiet room, unless the subject's way in their own world. And forget about catching the gremlins or Santa Claus; either one will bolt when hearing the clunk of the shutter. As I learn the camera's assets and limitations, I'll keep posting here. If I can find a way to make it a stand-alone section, I'll do that. The fact that there's an option for some double exposures is nice as well. Bring the film camera functions back into the digital age. It's just not nearly as fun doing it in Photoshop than doing it in-camera. Keep your eyes peeled for the D2H (I just got one, and will review that soon, as well) and other consumer-grade cameras (I keep hearing lots about the Nikon D200 and the Canon EOS 30D) that write very nice files with manageable quality in extreme conditions.
Get yourself some larger cards. Unless you'll be shooting a single frame of a rocket launch, you'll see how quickly a now-old 512 MB card can fill up with the camera settings on high file size and quality, let alone trying to shoot in RAW or TIFF. Try that in a 256 or 512 MB card, and your once-formidable CF card becomes tinky winky. If your card size isn't ready for the camera, set it temporarily until you get at least a 1GB, and perhaps a 2GB or larger card. That way, you can take advantage of the best image quality, instead of scaling it back, which then starts defeating the point of getting such a camera, in the first place.
But again, see where this is heading? The CD burn for storing files is way obsolete. Remember, CD's have now been used since the early 1980's. Their capacity was fine for the early computers. Just as we've outlived them, we're outliving the usefulness of CD data storage. At this stage, you'll start filling up 4.4GB DVD data disks, if you're shooting high resolution NEF and TIFF files, or if you're shooting several jobs in one day. So a nearby option may still be to start considering a now-expensive high-capacity disk burner and disks (BlueRay, HD DVD), or at the very least, a double-layer DVD burner. The 9GB disks are still pretty expensive, and their use will be temporary, since high definition media will be available for the masses when people start capturing video on HDTV cameras.
Nikon D2Xs
Panasonic AG-HVX200
Sigma 10-20mm f 4-5.6
Nikon D2Hs (preview)
Nikon D2H
Canon EOS 30D
Nikon D200
I'm sure you'll be inundated with the images taken during the daytime of all the fine low-ISO, high-color quality images of this camera. But I'm simply going to add just a little tweak, which is about low-light situations, and color-tweaking your camera.
Speed? What Speed?
The Nikon D2Xs can be your primary camera if you feel confident shooting at a reduced frame rate. With the setting in full frame mode, you aren't going to set any speed records in frame rates. After using the D2H for several years, I would have figured the D2Xs was going to be somewhere near the same frame rate of about 7 frames/second, what with better technology, stiff competition from other camera manufacturers and all. But this body isn't meant to fire off in rapid succession; that's what the D2Hs is for (I'll end up writing something about that one in a future post).
The D2Xs can bang out some pretty good files at a decent fps rate, with the high speed crop set to the ON position. Plus, you get the benefit of a tighter image size than with the crop removed. I was shooting with a 300mm 2.8 lens with the subject at the 50 yard line, and I felt like I was using a 400mm or perhaps longer lens while camped out at behind the end zone. The fps rate was much slower than the sports-minded D2H, but I quickly adjusted my shooting tactics. But you'll be shooting nothing but blue crab and turtle races if you want to keep up with your subject, sitting on the motor with the high speed crop off. I couldn't figure what was going wrong when my first job was shooting high school football. One minute, the running back is full frame; the next frame, it seems like he's knee up; the following image, and he's waist-up, coming at me full speed.
You should tweak your settings immediately. These Nikons are set to fire right out of the box, at point and shoot settings, so if you're clueless in Seattle, try just popping in a fresh battery, slipping on a Nikon AF lens, frame some subjects, and fire away. But you really want to set it yourself, right? The user settings seem much easier to manage than the Panasonic HVX200 camcorder, because of the thumb button settings, and a really cool cheat sheet with a "?" mark revealing whenever further explanation is stored within the menu. Panasonic (and any camera manufacturer that doesn't provide this vital feature in their high-end hardware) needs to rip a page out of this manual and follow suit, unless it's patented. If you don't understand the option in the menu that you sit on, and that question mark has popped up, just push and hold the corresponding button on the camera back and viola, an explanation about what the options mean.
Boring Color Tweaks
Rock taken at sRGB Version I.
Rock taken at sRGB Version II.
Rock taken at sRGB Version III.
Unpacking the new body from its box, the settings were pretty similar to the ones in the D2H. Setting the sensitivity down to ISO 100, I started shooting images of a boulder, in afternoon sunlight. But the images didn't have any pop in saturation. Keeping the settings on low contrast with the light setting on cloudy, a little experiment with the Adobe settings was done to grab similar images under different color profiles (yes, there's a "?" for that as well). For my tastes, I didn't care for the sRGB and kept the camera on Adobe, in color mode III. Do I understand the color profiles, other than what the camera tells me? Definitely, not. But I liked the saturation better with my current settings. Your tastes may differ.
Under the Stars
Stars at moonrise, untoned image, directly from camera, 30 seconds at ISO 1600 (or HIGH1).
Using my settings on high contrast (altho I usually stick with low contrast for wider tonal range), I banged off some test images of some stars that impressed me while camped out in Chincoteague, VA. Putting a Sigma 10-20mm f/ 4-5.6 (a terrific piece of glass!) on the body, I ramped up the setting to ISO HIGH1, which is 1600 equivalent. Why don't they just call it 1600? Adding to that midnight clear night, 30 seconds of exposure, and high speed crop off, to take full advantage of the 10mm size, which has a lens magnification already in place with Nikons. Adding NR (noise reduction) only adds more write time which is a feature I turned back off, since that would lead to battery drain.
Detail at 100%. The largest images are on my Flickr site.
Taking the camera to its limits (remember trying to shoot ANYTHING with a Nikon D1 series at night? If I have any images stored, I'll add them), I also pulled the file size back to small size and basic setting. And I was pretty darned impressed with what I saw, after being used to the loads of noise in previous Nikons (D2H, D2 and D1 series).
Taken in the high-noise days with a D1H at ISO 800 where Lori Piestewa grew up in Tuba City, 2003.
I really wonder if adding NR will help or hurt in the long run. There are post-processing programs of all types out there. Simply dive into your camera's settings and try each one. And do one thing before changing your settings: make an audio recording of what you've done. Whatever is necessary, make sure to add that audio clip. The EXIF data that is like a thumb print of a picture file didn't have the ISO setting that I had used for the sequence I shot with the Sigma.
Firmware Upgrades, Old and New
Nikon has already released the ver. 2.00 D2Hs firmware upgrade, which add some options. It also has a firmware upgrade for the D2X, and people are whispering that the firmware brings the D2X to closely resemble the D2Xs! But if you choose to upgrade, you're on your own. I won't take responsibility if you screw it up. From what Jeff shared, it's worth adding the new firmware upgrades, and they are simple enough for both the Macintosh (you can tether the camera or drag/drop the file into an SD card, as long as it's recognized by the camera). As for Windows/Microsoft? I can't share any observations, since I'm Macintosh.
Nikon's website was simple enough with the information. You'd better keep your doggone camera on during the process, or you might have something like a paperweight, if the process is interrupted. I already did my D2Hs body, and there were 2 files, firmware A and firmware B, which took a couple minutes. Being a fidgeter with a camera in my hands, I was tempted to play with the buttons, but realized the danger and set it down, picking up a remote instead. Matter of fact, I have to download the D2Xs firmware, which is only about 1 megabyte.
Initial Thoughts
With the greater ISO range, bigger file size, and less noise, I'd say that I'm pretty happy with the D2Xs. It's still one loud camera, which makes it impossible to be ignored in a quiet room, unless the subject's way in their own world. And forget about catching the gremlins or Santa Claus; either one will bolt when hearing the clunk of the shutter. As I learn the camera's assets and limitations, I'll keep posting here. If I can find a way to make it a stand-alone section, I'll do that. The fact that there's an option for some double exposures is nice as well. Bring the film camera functions back into the digital age. It's just not nearly as fun doing it in Photoshop than doing it in-camera. Keep your eyes peeled for the D2H (I just got one, and will review that soon, as well) and other consumer-grade cameras (I keep hearing lots about the Nikon D200 and the Canon EOS 30D) that write very nice files with manageable quality in extreme conditions.
Get yourself some larger cards. Unless you'll be shooting a single frame of a rocket launch, you'll see how quickly a now-old 512 MB card can fill up with the camera settings on high file size and quality, let alone trying to shoot in RAW or TIFF. Try that in a 256 or 512 MB card, and your once-formidable CF card becomes tinky winky. If your card size isn't ready for the camera, set it temporarily until you get at least a 1GB, and perhaps a 2GB or larger card. That way, you can take advantage of the best image quality, instead of scaling it back, which then starts defeating the point of getting such a camera, in the first place.
But again, see where this is heading? The CD burn for storing files is way obsolete. Remember, CD's have now been used since the early 1980's. Their capacity was fine for the early computers. Just as we've outlived them, we're outliving the usefulness of CD data storage. At this stage, you'll start filling up 4.4GB DVD data disks, if you're shooting high resolution NEF and TIFF files, or if you're shooting several jobs in one day. So a nearby option may still be to start considering a now-expensive high-capacity disk burner and disks (BlueRay, HD DVD), or at the very least, a double-layer DVD burner. The 9GB disks are still pretty expensive, and their use will be temporary, since high definition media will be available for the masses when people start capturing video on HDTV cameras.
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