Leaderboard

Don't take advice.

Any moment now...

99% of the time i take the advice and then do the opposite

OK, I can't figure out whether to take your advice and not take your advice or not take your advice and take your advice!

I don't know if this was in earlier firmware versions too, but if you remove the battery some settings are getting lost in 1.30. I noticed it with gamma setting: if you set your gamma as DR and customize it (e.g., set sharpness to -10), then after your remove/add battery the setting remains in DR but the customization goes away (in this case sharpness gets reset to 0). So till we get a fix, watch out when replacing battery. If you guys notice any other setting getting reset, please post here.

FYI: I did some comparisons between the 16-50 S and my dumb-adapted EF-S mount Sigma 18-35 f1.8 on the NX1. Sharpness, resolution, and color rendering were noticeably superior on the Sigma, which also had better build quality and zoom ring action. I returned the 16-50 S and am currently using a manual focus-only setup until Sigma or another solid 3rd party (hopefully) begins to make autofocus lenses for NX. I upgraded from Canon as well- there have been lots of tricky little workflow things to solve in making the transition.

If he got a girlfriend we are fucked! ;-DD

I strongly advice against that.

We should keep on promoting those links and those topics in order to inform samsung engineer. We have to be patient, I really believe in Samsung support... I wrote to samsung support and I had this answer today: Dear Mr. bonnet, Thank you for your email. Hello this is Sehar, a member of the Samsung Online Support Team, and I will be more than happy to respond to your email today. We have received your enquiry and it's currently under investigation, we'll be in touch as soon as possible. Your patience and understanding are highly appreciated. Kind regards, Sehar M. Customer Service Representative Samsung Electronics (UK) Ltd UK: 0330 726 7864 EIRE: 0818 717 100 W: www.samsung.com/uk/support

I think he's just went to to walk the Earth. You know, like Caine in Kung Fu. Walk from place to place, meet people, get into adventures.

It's not fixed, I'm using that version. It clearly shows that who tested it is not interested in the video part since its a pretty important feature for someone who shoots manual.

​Why are we fucked? We are not his girlfriend

The film industry is constantly changing – we all know that. But the thing that doesn’t change – the PA life – and it mostly stinks. Underpaid, overworked, abused mentally and physically. Almost as timeless as filmmaking itself. Production Assistants. They are the low people on the totem pole – the entry job into filmmaking. You don’t need a resume. Just get recommended by a friend and have a smile and please be on time. PAs do many things. Some are assistants to the director or producer, or the production manager, or the first assistant director. They can do equipment runs, drive a van on nonunion shoots, do coffee runs, cable wraps, assist departments, do crowd control, lock down streets, get releases, just about everything. They aren’t protected by any union and at the end of the day, they usually make minimum wage, which is sad to me because they do this on shoots where everyone else is usually paid well. In New York they make about $100 to $200 a day on a commercial shoot. Sometimes up to $300 a day. But they work on average 14 hours a shoot day. They get there 1hr to 1.5 hours before “call time” and stay till the end – including wrapping out, and many times driving home the crew. So that’s around $7.14 a day which is lower than minimum wage in NYC which is $8.75 an hour in 2015. I was a PA on set for about six months and in post production for about two years. I did a bunch of stuff. Drove a van. Picked up gear. Picked up coffee. Got yelled at about getting a bad walkie talkie – and by a DP who called me “Ed Wood and a pain in the ass” and gaffers and grips (never wrap cable unless you ask them first) – but overall I had it pretty easy. Being a post production PA is a lot easier – it’s a controlled environment. Not as potentially chaotic as being on set. I’ve heard a lot of horror stories. The worse happened this year – I heard of a PA who died driving – don’t know if it was after a long shoot day or after the job wrapped. I have heard stories of a PA delivering the stools of a producer to fed ex – his feces, packing them up and mailing them off. And just the usual stuff – getting berated by assistant directors, directors, and producers. Not getting paid after the job. And of course just working very long hours and no overtime. There are a lot of stories if you ask around – but the thing is for me, I wish someone would look out for them. Take Mad Max – Fury Road – $145 million dollar Hollywood production – and the PAs made $60 a day. Link here. Why is this? Why do people think PAs deserve to work long hours and get paid below minimum wage? I think it’s because “that’s the way it is” – they just go with the flow. Also most PAs are starting out – they aren’t going to complain and organize because they don’t want to be seen as being a “bad sport” – they want to start their career in film. But the thing is, someone then has to say something about this. And many people have. And now, why not, I’ll go for it. Here’s things I think could improve the production assistant’s way of life. 1. Make sure PAs are paid for overtime work. There is no reason they aren’t. They aren’t the “producer” – and even producers should get paid overtime. Why shouldn’t everyone get paid for the hours they put in? If you don’t want to charge for overtime, fine, but if you do charge for overtime, you should be paid. I know the justification is that the pick up and drop off days are usually half days at full pay – but still, why not just do overtime and negotiate a rate for the pick up and post day that’s the same. Legally all people need to be paid for overtime in the USA – so why can the film industry get away with this? 2. Make a group or website that sets a standard for PA rates. This could be any website – or blog. I say, and why not, the PA day rate on a commercial should be $200-300 a day for a 10 hour day. Overtime at 10-12 at time and a half. After 12 double time. Turnaround time 12 hours or minimum. Just like the standard is for everyone union member unless you want to do on a 12 hour day then double time after that. Why not? Why not give PAs a living wage as they “climb the ladder” – what is really the harm in that? If they have more money, they can give back more to the economy and other things. Pay their rent. Not have to live three hours away or move away. 3. Put PAs into departments – like camera PA, lighting PA, production PA, etc etc. Have it more specialized – makes them more productive and know what to do. I think a lot of time on set, PAs can receive no marching orders. And I’ve worked with PAs who work so much better when they are under the command of a smaller department. 4. Today’s PA is tomorrow’s Boss. So why not treat them well. They may soon be hiring you for the next gig. The film industry sets a high standard of decency and fairness. We DPs are part of a community of sharing information and helping others – we are storytellers – we help get people’s messages across to so many. We are a very nice profession – full of really amazing, caring, lovely people. I love my co-workers so much. So many of them make me laugh. So why not look back at the ones starting out try to help them? I love when people are happy and positive on my sets – when people want to learn and don’t feel like they are being taken advantage of. The energy of every crew member really helps. At the same time, a bad apple hurts the collective energy. So let you help me. There is nothing better on any set, than at the end of the day, when you feel like you and your co-workers help create something beautiful or meaningful, and all did it together – where everything comes together. I want everyone to feel that pride – everyone – the craft service person, the security guard, the medic, the PA.

they've done studies, you know. 60% of the time, this advice works every time!

I started out as an unpaid intern. I would have killed for $100 a day. If you ask me, that's the real problem. Exploitation of unpaid labor.

never in a million years will a distributor let something like "it's not 4K" stop them from distributing a movie they think they can make money on.

For some reason the embed stopped working. I'll repost the video, in case anyone is curious about this cheapo, but very cool little lens. Once again, sorry for the finger in the shot... The lens is just so tiny.

Watch your language or your going to be the subject of Ed's upcoming documentary.

I'm pretty sure its just that he hates everyone here

You just need to have a bit of patience and shop around a bit for a used ones. I see 11-16mm mkI's going for anywhere between $300-400, usually right in the middle around $350. So not really double unless you buy it new. Definitely worth the price of admission to get a 2.8 constant lens. For the tokina 11-16 you'll need a Nikon G adapter. These allow you to change the aperture. The one adapter you linked to does not have this and would be unable to change teh aperture on the tokina.

​Yes, just go with the original Tokina 11-16mm for Nikon F mount and get rid of your other UWA.