I bought one too. I had the opportunity to try the D5500 against the D7100, and D7200. Canon Competition, and came away with this camera the D5500 as my choice. Mostly for the video. 1080p is what I shoot in and my workflow would support. Not in a super hurry for 4K quite yet since most of my friends have 1080p tech, as do I. The thing that so impressed me was the balance, low weight, excellent touch screen interface, and solid image quality. I want the flat profile to take advantage of the D5500's wide dynamic range. I may get the D500 some day, or the D7200, but so far, I am not really in a hurry to do so.
Yea I'm a bit confused on this as well. I watched the video you mention. At about the 3:09 mark she shows the external monitor she is using via the HDMI port and clearly states you can't get rid of the camera information overlays so its pointless to record the signal. The thing is I watched a video by a youtuber named Jared Polin, he does a video using the HDMI output and he clearly states that the HDMI output can be clean if you want, he even shows the Atomos ninja he is using. At the 37:30 mark is where he says you can use an external recorder. So I just don't know who is accurate on this @.@... =a4ZxEHJ-V00
Hi DPR team,Where is the live view AF test for d5500 (similar to ones included in a6000, 70d and rebels). Does d5500 sensor capable of hybrid or duel pixel AF like some of the competitor offerings (Sony and Canon) or is it still old sensor. How much time does it take to acquire focus in live view. Is there any improvement compared previous model which users where slow contrast focusing. Are there any specific lens which are good at video AF.
The Movie Quality setting determines how much compression is applied to the video file, which in turn affects the bit rate, or how much data is used to represent 1 second of video, measured in Mbps (megabits per second). You get just two choices: High and Normal. The High setting results in a higher bit rate, which means better quality and larger files. Normal produces a lower bit rate and smaller files.
High and Normal Quality options are still offered and clip length limits remain the same as the D5500. High Quality at 1080p60/50 clips are limited to 10 minutes and lower frames rates or resolutions are limited to 20 minutes. In Normal Quality, 1080p60/50 is limited to 20 minutes, and the other modes are limited to 29 minutes and 59 seconds.
Comments on Video FunctionsThe Nikon D5600 offers standard video capabilities. It records Full HD videos (1920x1080 pixels) with high frame rates up to 60 frames per second (fps). In addition, it can record in Blu-ray-compatible mode with 24 fps. The D5600 can record videos in PAL or NTSC mode. In PAL mode it offers 25 and 50 fps. The video clips are recorded as Apple QuickTime files. These MOV files are used as a container format because the internal video recording format is H.264.
Comments on Video QualityThe Nikon D5600 produced standard video results. The resolution chart was reproduced with 744 of 1,080 lines per picture height. Even though it is only an average result, videos produced by the D5600 have a little over-sharpened look. The sharpness filtering on hard contrast lines is very intense; Imatest gave a clipping warning on the resulting chart, which means that contrast lines are exaggerated and can show double contours.
Each video clip is limited to a maximum 20 minute segment or 4GB worth of data (whichever occurs first). The information below shows the overall recording capabilities based on a movie frame size of 19201080, along with the bit rate set to High Quality:
Today, designing a video coding standard for both mobile and consumer devices is primarily aimed at achieving the highest coding efficiency possible. This translates into an ability to encode ordecode video at the lowest possible bitrate while maintaining a defined level of video quality.
Several studies have compared the coding efficiency of the H.265 Main Profile (MP) to similar profiles from several existing video standards in use today, including H.264, MPEG-4 AVC, H.263, and H.262. These comparisons usually involve video encoding done for a range of application use-cases (live entertainment, video conferencing, films, etc.) and different bitrates corresponding to certain video test sequences. So far, HEVC has been shown to deliver superior bitrate reductions based on both objective (PSNR, SSIM, etc.) and subjective evaluations, making it ideal for delivering high quality video at low bitrates.
One of the more interesting debates at the moment is around GPU compute-based HEVC software transcoding. These solutions are a reasonable first step towards implementing some relevant use cases for existing platforms that do not have dedicated hardware; HEVC at 1080p is one of a few examples. However, hardware video trans coding brings significant advantages and features (10-bit color, YCbCr 4:4:4 resolutions, etc.) so ultimately most platforms will include hardware video codecs.
More recently, Google released the royalty-free VP9 format, aiming to reduce the bitrate by half compared to VP8 while having the same video quality. For many mobile devices, initial support for VP9 will largely be based on software solutions before specialized video hardware will become available.
For those only interested in stills photography, the video quality will be largely irrelevant. For others, video performance may be the primary reason they are considering buying a DSLR in the first place. If video is important to you, be sure to look for a camera capable of shooting full HD 1080p video, and preferably at higher frame rates of 60 fps or more. Also, check that the camera has a stereo mic socket and a mini-jack output for monitoring audio as you record.
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