Left at default, it's the same, but I never shoot at default.
Here's a comparison between my D200 and D300, each cranked to maximum saturation. Roll mouse over to compare maximum saturation settings. The gray-card (PRESet) settings can accommodate a crazy-wide range of light sources.
There are no scratched-in AF areas to interfere with composition.
The D2Xs is 2004 technology that predates the D200!
Forget the old D2Xs, which sells used for about the same price today.
For the first time in a Nikon we can trim the White Balance for green/magenta as well as for amber/blue.
(Canon has done this for years.) Crazier still, for the first time we can trim the color of the manual gray-card settings.
The D300 appears to have conquered the problem so its highlights take on the same natural shoulder as film.
Look carefully at how the hue of the wall changes from red to yellow as it washes out (ugly), but retains the same hue as it lightens with ADR ON.For the first time I can get neutral colors under HPS (light orange) streetlights and in dim indoor home and restaurant lighting!The PREset manual settings accommodate a color range far greater than the 2,500 - 10,000K Kelvin settings.Just like film, being 1/3 or 2/3 stops over just makes the image lighter, not blowing-out facial highlights to look like old pizza!The weakest point in digital capture, even in Hollywood's 0,000 digital cinema cameras which still can't replace film, has been that colored highlights, like sunsets, foreheads and bright stucco walls, turn into bands of weird colors as they wash out to white.3.) Remarkable ability to tame extreme highlights automatically, presuming you activate ADR in the menus.