Nikon Z Series for Timelapse: In Depth Review
Artist
Hey there, my name is Mike Curtis, author of the now defunct HDforIndies.com. If you tracked the early development of the RED camera company, you probably read some of my stuff. I’m a former motion graphics artist/VFX guy, turned technologist, turned timelapse/motion control specialty camera operator. Starting around the time RED launched in 2008, I started getting into timelapse, although somewhat by accident - I bought the first video capable DSLR, the Nikon D90, as a scouting camera with an 18-105mm lens, which matched the cinema lenses I had. I discovered bracketed HDR shooting and processing, and had the thought that “If you can do it to one frame, you can do it to all of them.” and thus began my journey into timelapse. To learn more about my work, visit my truly ancient website.
My SDR version of my reel from a few years ago
My HDR10 version from a few years ago
If you don’t know what HDR10 is, watch the other SDR one!
Nikon Z Camera Systems for Timelapse
I made a flippant post on Facebook a few weeks ago about how I liked my Nikon mirrorless as the best timelapse camera system out there. Now with some time and perspective, more accurately, it is the one I like the most that I’ve worked with and that I know extensively.
A bunch of folks pointed out Nikons aren't unique in a bunch of the abilities I listed. Fair enough. So I want to learn more - tell me what you like about your system - I want to learn stuff. I've been shooting timelapse for over a dozen years, but there's always something new to learn, especially from someone else doing something different from what you do.
In the spirit of trying to find some Truth, I want to hear everyone’s vote as to what they think is the best camera system for timelapse, and WHY.
Here’s what I like about my Nikons, in each category of performance relevant to timelapse, and why. I really like the new, 2nd generation of Nikon Z cameras (Z6 II and Z7 II) because:
Sensor
excellent resolution for the Z7
excellent dynamic range for both
acceptable low light performance for Z7 II, excellent for Z6 II (but not as good as recent Sony sensors, even their latest higher resolution A7R models)
Built-in Intervalometer
built in intervalometer, allowing long exposures (up to 30s), long intervals, and up to 9999 shots in a sequence
built in intervalometer works in conjunction with exposure bracketing (very important for my bracketed HDR workflow), so when I set a 15 second interval, it shoots X# of bracketed shots (such as 5 shots 2 stops apart, for when shooting at the sun), waits 15 seconds, and shoots another bracketed set. It does NOT wait 15 seconds between each individual bracketed exposure. This keeps temporal gaps between bracketed shots in the same set to a minimum. Preferable for that kind of work. You can finesse this as well, with user selectable shooting frame rate, and various shutter shock preventatives
Timelapse Specific Benefits & Features
a biggie - up to f5.6, the aperture DOES NOT MOVE between shots when shooting timelapse, unlike my (and most/all) DSLRs - this eliminates exposure variation flicker and jumpy lens flares due to frame to frame variation in aperture blade position. Normally to meter exposure the aperture resets back to wide open between shots, then closes down to your desired f-stop. It doesn't always go back to the same place, so....flicker.
can shoot timelapse movies directly if you don’t want to deal with post (I never use but a nice feature)
there’s multiple options to reduce shutter shock, including delay modes as well as shutterless shooting (which has its own different issues)
Long Exposure NR - for long exposures, it will do a black balance pass - do a closed shutter exposure of equal duration to the exposure, measure the sensor noise from that black exposure, and subtract that from the original exposure - in the RAW data
enough controls to turn off all the stuff you don't want that introduces variation/flicker frame to frame - dynamic range "optimization" etc - can be turned off for timelapse
The Mount
the wide mount with a short focal flange depth allows for excellent wide angle lenses (loving my new 14-24 f2.8)
the wide mount with a short focal flange depth allows for adapting to pretty much any lens out there, including a wide range of cinema lenses
and of course, a wide range of lenses to choose from, either native or F mount with the FTZ ($50 when purchased with camera, excellent deal)
Card Slots and Recording
CFExpress writes extremely fast, allowing for shorter intervals (and more brackets per interval if need be), way faster than SD. Record it then get out of the way, don't make me wait.
dual card slots allows for hot swap - the slower SD slot can handle recording, even from buffer, while the CFExpress (or XQD) is swapped out - allows for open ended recording times
CFExpress comes in really big card sizes, allowing for long shoots without bump risking card swaps, and for once the newer format is cheaper than the older (big CFExpress are cheaper than big XQD)
settings can be changed while shooting - lets you walk exposure, ISO, or aperture as needed during a day/night transition, for instance
Plenty of RAW CODECS & Picture Profiles
LOTS of codec choices:
12 or 14 bit (somewhere below ISO 1000 and up, 14 bit doesn’t offer any real advantage) - can choose 12 bit to save space/decrease write times for shorter intervals/fit in more brackets
lossless or lossy compressed codecs in addition to the basic lossless - allows for optimizing card space (and eventual drive space)
I usually shoot bracketed 12 bit lossless compressed - I get all the dynamic range I want, with lossless quality, and some space savings with compression - this is an ideal set of tradeoffs (for me)
Camera profiles - the Flat profiles yields maximum dynamic range (better than Neutral did in prior models), doesn’t clip black/white points of your RAW data so you have full control. Try changing off the default in Lightroom and you’ll be surprised how much dynamic range that recovers - for any camera
No star eating compression or similar issues - never had it
External Power Source
The Z6 II and Z7 II can use USB-C power bricks for main power, and the internal battery works as failover power while you switch. Can power indefinitely with enough USB-C bricks or other USB-C power source
Things I Wish The Nikon System Did or Did Better
I wish it had dual CFExpress/XQD slots
I wish it would allow changes in the final 3 seconds before shooting with intervalometer, or at least make that a user changeable setting. When shooting with the intervalometer, in the final 3 seconds the screens go dark and no user input is recognized. When shooting tightly spaced intervals, this is a pain point
I wish the screen folded further/in more directions
I consider this a prosumer body - it doesn’t have a 3 pin connector for pro accessories, it doesn’t have settings banks (it doesn’t have a good system for memorizing a group of settings). Compare this camera to the D850, D500, or D4/5/6 and you’ll see what I mean. I wish it had a complete Nikon high end feature set. Maybe next camera.
I wish it allowed for longer exposures than 30 seconds in the intervalometer (that’s the limit on the D850/Z7, I don’t know if longer on Z6 II yet, I haven’t received mine)
All the timings are based on multiples of two seconds - 2/4/8/16/32/64 - so 15 seconds is really 16, 30 is 32, 60 is 64, etc. - either call it what it is, or record it as it says. I can live with this, but it is an annoyance
Better exposure tracking for day/night and night/day transitions - supposedly better but I haven’t tested because it wasn’t usable in the past
I wish it had a “pro style” grip - to me that means the original battery stays in place, and a larger, pro sized battery can go in the grip, allowing for hot swaps of the big one with the internal as failover power during the swap
Final Word
Those are my thoughts on the system I know best. This isn't me saying "Nikon's THE best!" - simply what I know and like about this system, but I'd like to know more about the pros and cons of Sony, Canon, etc for timelapse.
I've owned over a dozen Nikons over the past dozen or so years, and just sold my D750 and ordered a Z6 II. I'm expecting excellent and improved low light performance over the D750, which I felt was a really nice timelapse camera. I wish the SD slots were something faster, I wish the grip allowed for a big battery and hot battery swaps, but overall I felt 24MP made for an excellent UHD image without too much processing time, and was a great deal for a full frame timelapse camera with good low light performance. I'm expecting/hoping the Z6 II will be a great solution with very few compromises, and when I want to make 8K content, well, I've still got my Z7 as well. (and D850 and D810 and D7000 as a BTS/flash drone driver). I believe that if you're going to the trouble of being out there, you might as well get some coverage at different focal lengths.
I also believe that if you’re going to the trouble of traveling to a great location, if you’re going to shoot the sunset, you might as well shoot starspins, and then you might as well shoot the sunrise. So I’ll typically scout a location the day before or the morning of, set up cameras in the afternoon with plenty of extra time. Far, far better to twiddle your thumbs and read a book waiting for record time to start then have to rush as the good light is going and not be ready. So I’ll set up, shoot through the night into mid-morning the next day, then tear down and go back to the motel. I’ll start cards downloading and go to sleep. Then get up, eat, clean lenses, recharge batteries both literal and figurative, and get ready to do it all again.
I also believe I’ve had enough practice, I only want to shoot if it is going to be something awesome and worthy of being on a reel. So, go somewhere. If it is pricey, camp out or find a nearby alternative. Around Moab you have Arches and Canyonlands, both amazing places to shoot, but Moab motels are $200/night last I checked. So I stay 50 miles away in Monticello, which has a couple of cheapie $50/night motels. Considering my other option is camping, anything with walls, power, AC and heat is an improvement. Don’t be picky as long as it is safe for you and your gear. Look around on a map to see what’s drivable.
There’s lots to shoot around LA, but there’s good stuff in Utah one long day’s drive away. So is the Grand Canyon. So be willing to put in some time for this pursuit. While I’ve done some combo family or S.O. travel with a timelapse trip, that is a severe compromise. As with any photographic pursuit, it is often helpful to have big, long, uninterrupted chunks of time to wander, look, frame, change your mind, wander some more until you find framing you like. I think this would be nearly impossible with a grumpy young child. (Or a grumpy S.O. - make sure they’d understand how you’d want to be spending your time!)
I had the pleasure of shooting on an SL several years ago - I loved that it had a built in intervalometer, I loved that it went down to ISO 50, I loved that it could do 20 minute or more long exposures. But it couldn't bracket AND timelapse at the same time, it only had an SD slot, and only shot uncompressed DNG files (biiiiiiiig). I also loved that 24-90 zoom - sharpest zoom I've ever shot on (and at what - $6500 or more at the time? It damn well better be!).
I haven't shot timelapse on a Sony since the first gen A7R series was new, it has been well over a decade since I shot timelapse on a Canon. Never shot on Panasonic, but the new S1R sounds interesting. What awesome stuff does your camera system do that mine doesn't, let me know all that I'm not even aware of in the comments!
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