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Nikon Might Move Their Service Center to Hollywood, What This Could Mean for Filmmakers

07.3.12 @ 10:00AM Tags : , , , , , , ,

We’ve already speculated about the future of Nikon and their plans for a cinema camera, but there is an interesting rumor circulating that Nikon is planning to move their service center in El Segundo, CA once the lease is up in a few months. Why does this matter? Well the word is that they will be moving to a new site right in Hollywood, and this would no doubt be a direct response to the Canon Professional Technology and Support Center. If that does happen, what might it mean for filmmakers, and what does Nikon need to do to compete with Canon, Sony, and Panasonic in the video world?

Nikon Rumors talking about the possible move:

The rumor is that Nikon is planing to end the lease of their 10,242 sq. feet service center in El Segundo and move to Hollywood, California. Their current lease ends September, 2012. The speculation is that Nikon is moving in order to be closer to Hollywood for their future plans to concentrate on video/film making.

If this does happen, there is no question that Nikon sees the value in entering the real cinema market. This might not necessarily be only one expensive large sensor camera like the model I’ve stitched together above, but a range of products specifically designed for video. We’ve already seen Sony do this with their FS100, FS700, and F3, and Panasonic has a strong contender in the AF100. There is undoubtedly an enormous market for large sensor video cameras, and if Nikon wants to enter this market, moving a service center to Hollywood is a giant leap in the right direction.

Nikon is a trusted name is still photography because they’ve built up a reputation by being reliable and producing quality results. Canon has done the same, but when they decided to enter the camera market, they knew they needed some champions to help Hollywood, and to a lesser extent the general filmmaking public, trust that their cinema cameras (the C300, C500, and 1D C) were going to deliver. People like Shane Hurlbut and Vincent Laforet, who already have tremendous reputations in their fields, have worked with Canon to show off the new cinema line and alleviate concerns about performance. If Nikon wants to truly compete in this realm, they will need to do the same.

While Nikon has taken a huge step in the right direction by offering recordable HDMI on both of their higher-end cameras (the D800 and the D4), the quality of their DSLR video has trailed Canon by a generation. Independent filmmakers helped solidify Canon’s presence in the video world, and it is independent filmmakers who could do the same for Nikon. If they want to truly enter the cinema market, they need to offer more DSLR models with clean HDMI. Not only that, but newer models from Nikon cannot have the soft video of the D4. While they might make a huge profit on a $15,000 video camera, it’s the lower end DSLRs that find their way on many independent sets — and if the quality is below that of similar Canon cameras, there isn’t much of an incentive to go Nikon. Canon learned that they could convert many filmmakers once they had the budgets to spend more money on higher end cameras, but they are missing a huge segment (under $10,o00) that I’ve already said Nikon could take advantage of.

Either way, Nikon has to begin creating the perception that their products are as good, if not better than the competition — which includes Sony, Canon, and Panasonic. The new Nikon D3200 is a low end consumer model, and thus does not have clean HDMI — but if Nikon is serious about wooing customers away, they’ve got to start providing that feature on cheaper models. Better yet, if they could create their own MPEG-2 4:2:2 codec like Canon and put it on their DSLRs, it would be a huge incentive to use their cameras over the competition. A RAW video option would certainly help, but it’s not likely we would see that feature on a DSLR — that would probably be saved for a large sensor video camera.

More competition is always good, and the only way to get more affordable large sensor cameras is for competitors like Blackmagic and Nikon to enter the market.

[via Nikon Rumors]


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  • Why doesn’t someone (Nikon seems perfectly positioned) build a small aluminum box with a super35 sensor in it, large enough to put the guts of a Ninja (or whatever ProRes422/DNxHD) recorder in the rear and whatever mount to enable the widest possible lens usage and call it done? I just don’t understand why, if these various companies are making the necessary products, they can’t be combined into one unit. The unit we all want.

    • Better yet, they should just build in ProRes or DNxHD recording, and we don’t have to worry about external recorders.

      • That’s what I meant… put the guts of an external recorder in the box with the sensor.

        • There are plenty of reasons, but I don’t think any of them are good enough for it not to have happened yet. Blackmagic is on their way – they may even have one a year from now. The sensor size isn’t a huge deal to me though – I just want a mount that can be adapted to anything. If Nikon was smart they would put their mirrorless mount on a cinema camera – and you could adapter just about anything to it. I really hope they are paying attention to Sony in that respect.

          • Nikon and Canon are known to be as much lens makers than camera body. In fact they are said to make more on lens that on camera body. So I think that if they enter the large sensor video market they will do everything to keep there lens mount. They must have looked closely at the sale of Canon lens for video use.

            What I hope is that Nikon does not follow Canon, who has profited from the indie/low budget to have a foothold and momentum in the film/large sensor camera market and just left them with no option below $ 15000 to get some proper video camera.

            What I hope they do is to firstly think about there current loyal user base. Many pros are meant to do photo and video now. A proper video camera/ at least apsc size for > 3K with some 200 mbit dnxhd/propres type of codec with the fantastic DR and low-light would one consolidate the investment of its actual user base and would put a strong foothold in the video world.

    • I totally agree! Maybe Black Magic will come out with a Super35mm sized sensor next? Someone has got to sooner or later.

  • This is exciting news. People don’t seem to remember, bu the D90 beat the 5dMkII to market with HD video (by several months if not a half a year). Nikon paved the way for all the money Canon is making off DSLRs right now. Here’s to hoping Nikon can jump back in and push the competition further for all.

    • Nikon may have paved the way for Canon’s eventual 24p, but they had an extremely poor codec and the camera was only capable of 720p – which is why Canon pulled ahead. Nikon has been behind a generation each time since that camera, which is why if they want to succeed they have to be ahead a generation. It’s actually a little surprising that Nikon realized how important 24p was before Canon did.

  • john jeffreys on 07.4.12 @ 3:43AM

    I drive past the canon building on sunset like everyday

  • Dana Smillie on 07.6.12 @ 4:48PM

    I just wish that Nikon would deliver the D800 i pre-ordered in February.

    • Joe Marine on 07.6.12 @ 7:21PM

      Yeah it’s amazing that they are still backordered. They must be having issues with their assembly line because there is no excuse for it to still be out of stock this many months later.