Nikon unveils Nikon 1 EVIL cameras

Nikon finally entered the small-form-factor interchangeable lens camera (sometimes called EVIL) market with a new system, called Nikon 1. The first two members of the Nikon 1 family are the J1 and V1. Both models use a new 1" 10MP CX sensor developed by Nikon (hence the "Nikon 1" name). Both the size and the resolution of the sensor are substantially smaller than the sensors used by Panasonic and Olympus in their Micro Four-Thirds cameras, or by Sony in its NEX-series cameras. The smaller sensor gives the Nikon cameras a larger crop factor (2.7x) than its competition (for example, a 100mm lens on a Nikon 1 camera would be comparable to 270mm.)

The J1 is the entry-level model in the Nikon 1 line. It has an electronic shutter that limits sync speed to 1/60th of a second, but that operates at up to 1/16,000th of a second. It's got a 73-point autofocus system that switches between phase- and contrast-detection to get the best focus under current lighting conditions, and a 3", 460,000 pixel resolution LCD. Its burst rate with adaptive autofocus is 10 fps, and a blazing 60 fps when focus is locked. In video mode, it can record at 1080i60 and 1080p30. It's got lower-resolution slo-mo modes at 400 and 1,200 fps, as well as a somewhat confusing Motion Snapshot mode that records brief clips at 1080p60 but plays them back at 1080p24 for a slow-motion effect. The J1 will ship in the U.S. on October 20th with a 10-30mm lens for $649.95.

The V1 is the "enthusiast" Nikon 1 model. It's positioned by Nikon as the world's smallest camera with both an .47', 1.44MP resolution electronic viewfinder and interchangeable lenses. It has both an electronic and mechanical shutter; the electronic shutter is the same as in the J1, and the mechanical shutter supports sync speeds of up to 1/250th of a second and can operate up to 1/4000th of a second. The V1 also has connections for stereo microphones and a "multi-accessory" port for attaching a speedlight or GPS module. Other than these features, the V1 is functionally identical to the J1. The V1 will also ship in the U.S. on October 20th with a 10-30mm lens for $899.95.

Nikon also announced a range of lenses for the Nikon 1 cameras: The 10-30mm zoom included with the two new cameras, a 30-110mm f3.5/5.6 zoom lens, a 10-100mm f4.5/5.6 power zoom for movies, and a 10mm f2.8 pancake lens. Nikon will also offer the FT-1 F-mount adapter for using conventional Nikkor lenses with Nikon 1 cameras. Prices and availability have not yet been announced.

I have to admit that I'm underwhelmed by the Nikon 1 cameras and lenses, based at least on their specifications. The 1" CX sensor is both substantially smaller and lower-resolution than either the Micro Four-Thirds or APS-C sensors. Nikon compensates to a degree with the camera's hybrid autofocus system and very fast burst rate (up to 60 fps with focus locked), but I doubt that's going to be enough to save these cameras. Nikon says that it's pursuing consumers who want better cameras than point & shoot models, and who want interchangeable lenses without the complexity of DSLRs. The problem is that the new Nikon models don't appear to be significantly smaller, cheaper or easier to use than competitive cameras that take better pictures and are more flexible (although the new hybrid autofocus system is a significant advance). In addition, the big plus of the Nikon 1s, their fast burst rate, is of most use in applications such as sports photography, where image quality is a paramount consideration.

Nikon's new lenses are also fairly slow, especially the power zoom, which negates some of the cameras' depth-of-field advantages. On paper, at least, there's not much about the Nikons that would cause anyone other than a devoted Nikon customer to buy them, rather than buying a Sony, Panasonic or Olympus model.

Sony: Getting its act together (at least with cameras and camcorders)

I've pointed out over the last several years the many times that Panasonic has eaten Sony's lunch in the camcorder and camera businesses:

• Panasonic's P2 and SD memory cards were the start of the solid-state, file-based camcorder revolution, while Sony's XDCAM optical disc has largely been a dead-end format.
• Panasonic and Olympus pioneered the big-sensor, small-camera interchangeable lens format with Micro Four-Thirds, while it took Sony several years to get on board with its NEX series of cameras.
• Panasonic and Canon introduced professional-level video to their DSLRs several years ago, while Sony's A77, just released a few weeks ago, is the company's first DSLR with professional-level video.
• It took Sony more than a year to respond to Panasonic's AF100 Micro Four-Thirds-based camcorder, with the F3 and FS100.

Finally, Sony is back in the game in a big way, in three different product lines:

• The new A77 DSLR is a first-rate still camera that can compete with Canon and Panasonic on video as well. It has a 24 megapixel sensor, a 2.4 megapixel OLED electronic viewfinder that's actually much higher resolution than its 920,000 pixel pull-out LCD display, and a 12 fps burst rate. It can record video at 1080p60 (1080p50 in Europe) using AVCHD 2.0 (Panasonic refers to it as AVCHD Progressive), which supports a maximum bit rate of 28mbps, versus 24mbps for previous AVCHD implementations. It also supports live autofocus in video mode. U.S. body-only pruce is $1,399.
• The NEX-7 is Sony's new top-of-the-line EVIL (electronic viewfinder, interchangeable lens) camera that competes with Micro Four-Thirds models. It has the same sensor and OLED electronic viewfinder as the A77, in a pocket-sized package. It also records video at 1080p60 using AVCHD 2.0, with the same live autofocus as the A77. Expected U.S. body-only price will be $1,199.
• The NEX-5n replaces the former top-of-the-line NEX-5 EVIL camera. It uses a 16.1 megapixel sensor and doesn't come with an electronic viewfinder; the optional FDA-EV1S viewfinder, which is connected to the top of the camera, has the same OLED display as the NEX-7 and A77. It records video at 1080p60/50 using AVCHD 2.0, and has live autofocus. U.S. body-only price is $699.
• The LA-EA2 adapter allows Alpha-mount lenses to be used with the NEX-series E mount. The adapter supports autofocus on the Alpha lenses. The LA-EA2 is almost as big as the NEX cameras themselves, and it costs $399, but it could be valuable for those NEX-family camera users who want to use Alpha lenses without losing autofocus capabilities.
• The F3 is Sony's lowest-cost digital cinematography camcorder. It uses a Super 35 Exmor CMOS sensor and PL mount for supporting film lenses. It records in 4:2:2 1080p59.94/50, and optionally in 4:4:4 1080p59.94/50, on SxS media. Its U.S. list price is $16,800 without lens.
• Sony's NEX-FS100 is Sony's answer to Panasonic's AF100, with a unique, squared-off form factor and top-mounted electronic viewfinder. It uses the same E-mount lenses as Sony's NEX-family of still cameras, and comes with an 18-200mm zoom lens. The FS100 uses the same Super 35 Exmor sensor as the F3. Like the new NEX cameras, it records video at 1080p60/50 using AVCHD 2.0. The FS100 records on SDHC/SDXC and Sony Memory stick cards, and the optional HXR-FM128 records onto 128GB of flash memory. U.S. list price with lens is $6,550.

For all of Sony's new competitiveness, the company still sometimes makes questionable decisions about product features. For example, the FS100 has dual XLR audio inputs, but only outputs video via HDMI rather than HD-SDI. HDMI connections, which don't lock, are notorious for becoming disconnected at the worst possible time. By comparison, the less-expensive Panasonic AF100 has both HDMI and HD-SDI outputs. Also, the AF100 has built-in neutral density filters, but the FS100 doesn't.

Also, Sony believes that, as a matter of principle, its products are worth more than the competition, even if they're objectively no better. Going back to the FS100-AF100 comparison, Sony's FS100 is about $1,000 more than Panasonic's AF100, even though the AF100 arguably has more professional features than the FS100.

Even given those caveats, however, Sony has clearly gotten back into the game with both still cameras and camcorders. It's good to see the company competing for business instead of resting on its laurels.