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The title is sounds a little more provocative that it should. What it boils down to is that I decided to pick up an NX1 and couple Rokinon DS lenses, and we're curious how usable the NX1 is as a 4k B cam for the Dragon. Now I'm not one for test videos, never made one and would rather not, but I am willing to post my experiences and a little footage if they community would be interested in the results. I looked around a bit and didn't see anyone else who'd posted the same info, so if you're interested, go ahead and chime in, and I'll be sure and update the thread. If it only ends up only being a person or two interested, I'm happy to keep it off of the forum and just email individual parties. Lemme know.

I agree that a true global shutter this isn't. However, it could be down to F5 territory (5ms I believe?) in S35 mode. I'm very curious to see what the IQ is like with the full 135 sensor. Sony says it used in sensor binning which (in theory) is better than line skipping. Could have some aliasing but shouldn't have much moire. Personally I'd rather see a 24mp camera with a true global shutter, full 6k readout down sampled to 4k, and faster FPS/focusing but this is quite the camera.

Yeah, they put global shutter in-there, then forgot to mention it in all the marketing blurb. Not really.

Def more along the lines of what I was thinking. The cam and lenses should be in this week, and we'll prob do a quick shoot with the NX1 as a b-cam this weekend. I'll try and get something up shortly after.

Pretty sure things like actors, script, directors, sound, lighting, budget etc do just that. I doubt any average movie goer sits and watches a great s35 film and thinks "not bad, but the format choice was a bit too close to that TV advert I saw". We are already about a decade into cinematic TV.

If you have the results, go ahead and post. This is EOSHD, and I'm sure quite a few here would be interested.

I find those setting the best balance between good skin tones right out of the camera and edit-ability. If you want a flatter image put the contrast at -5 and black level at +15. Don't drop the contrast any further though because the color banding and weird color gradients start appearing if you push it.

Well every other Jimmy post is nonsense and I don't complain!

Someone needs to add internal 10 bit, then we are cooking on gas. My bet is on GH5

http://newcameranews.com/2015/04/01/shocking-nikon-canon-to-end-camera-development/

Very few stills photographers will ever move to Sony unless they seriously sort out their lenses. No matter how much crying the video world does, it will have little impact on Canon's key market. But the elephant still wanders the room... If Canon are this sinking ship, surely so are Nikon? Canon have a 4K DSLR and will doubtless have another, this year. Nikon, who knows?

​And these guys are on a 2 year delay... I think 2015 marks the tolling of the bell.

Ever considered it might actually be too late for Canon to get back into it?

Javier, this is just so cool. It would be a dream project for me, traveling, filming, music. So excited to see it!

​I believe it's because many here have previous positive experiences with Canon cameras. For this reason we would very much like to see them make reasonably priced cameras that we can utilize for serious work. To sum up how I feel about Canon... Disappointed.

The elephant in the room with these articles that lead to the inevitable Canon monologue.... Why not bash Nikon? at least we know why Canon do the things they do, and at least they do release things like the 1DC (Camera of the year!). Sometimes I think they are pressured by Sony to stay a step behind. Anyways.... A7R II looks damn cool, hoping the 5 axis stabilisation is good, that would be the cherry.

​Glad you people like it. I used mostly the rx100 on board mic (surprisingly good) covered with some wind-cut fabric. For the interviews and some other things I used a zoom H1, sometimes with a sony lav mic and sometimes with the default mics.

I bet there is no Global Shutter. They would have highlight it. As for 14 bit, remember that ALL the A7 cameras have "14 bit raw" written on their specs on the Sony website. So the guy on this forum just saw 14 bit and he thinks it is true 14. Truth is 99% chance no global shutter, and 80% chance no real 14 bit raw.

Even with a perfect global shutter the test videos still were pretty weak in highlight handling and moire and macro blocking in the slo mo. I'm not optimistic for this camera. I think by the time the A7S mark II comes, we'll have something better maybe. But I could be wrong. Also you can't knock Canon too much - they have skintones nailed down very nicely. The new Sony S Gamut has a weird magneta shift to highlights and yellow-y skintones. I'm rooting for Canon to return to glory.

Andrew are You sure about 14 bit lossless raw???? Sony doesn't tell anything about it.

Nice!!! They seem like the perfect combo for either the D16 or the BMPCC. I loved the shots with the 10mm and the flowers... The flares were awesome.

I've personally found the best way to test a cameras ability to cut with other model types is as follows: Human subject, well lit, talking or turning towards/away from key light shot simultaneously on A and B camera. Place B camera where it would be placed for coverage - i.e not right next to A camera. conform images to match as much in the grade as possible. cut simultaneously shot footage into a sequence that approximates what an editing pace would be for a dialogue scene. switch lighting conditions to test image latitude and repeat process. Ideally switching cameras to alternating angles. This is always what it boils down to IMHO, not comparing apples to oranges with chart test or ISO noise stress tests. The human face is the best camera test chart known to man, especially when lit in dynamic ways. its about how feasible it is to get a matched pair (or close enough) out of A&B cameras in the grade.

I'd love to see them. I like all styles of tests too, the really controlled chart type ones and the off the cuff general footage ones. Whatever you got, always neat to see.

Very well, where are they? Now you've mentioned, just waitin' for... E. :-)

to Ebrahim...read your excellent article on the very overused "filmic,cinematic" term. The irony is that the quality of footage coming out of sub $1000 cameras today is astonishing and if we fetishize them less and use them more, the low budget film maker is now in a place unimaginable 10 years ago...a beautifully written and thoughtful essay....Thank you!

Quick review of my Zeiss Tevidons. Not as cheap as my cheapest Zeiss Glass but still affordable compared to modern glass.

Hi Ebrahim. Agree with wither mercer, but just to have fun, I'll argue you're not over-thinking it enough Is an image a collection of perfect data points? If each pixel recorded the color and saturation perfectly do you end up with a perfect image? I'll argue that the answer is 'no' because no matter how well a pixel records data there is space between each pixel that does NOT record data. A digital image is really black canvas populated with color dots that never touch each other. What this means is that if you image a field of tall grass there will be parts of the small grass blades that, when their light makes its way through the optics, fall on dead space on the sensor. This is true, AFAIK, with every sensor made and it doesn't matter how high the resolution 1K or 4K. Obviously, the higher the resolution, the less noticeable this problem. If a blade of grass "breaks apart" so to speak, between the pixels of your 4K image, downscaling cannot create "data" information that isn't there. Just like when your image processing system (camera or post) must deal with it (aliasing) with the original image, the downscaler must deal with it when combining the larger set of pixels into a smaller. The chief difference between all these algorithms, AFAIK, is how many pixels around the hypothetical center pixel the software looks at to determine the best value (though much of it is subjective, some will like one algo, others, another). Take the blade of grass. If the algo only look at the pixels above, it would never see the disconnect between the pixel to the left. An algo that looks at 16 pixels, say, to calculate 1 pixel, can often do it better than 4 pixels because it can "see" more of the image and make a good decision about what to create. The more pixels the algo looks at, the better, in my experience. Though, like Mercer says, this isn't a problem that yields significant improvement in most footage. So my answer to your question is that running your footage through the most sophisticated algorithm before you edit in your NLE should deliver the best results. Most likely, the NLE will be sluggish if running it real time (which is why you would process it before). For example, Amaze is a great debayering algorithm, but I doubt most PCs can use it rendering RAW in real time. Hope this makes sense!

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Are you using Premiere? I've done this in FCPX with "optical flow" (same as Twixtor). I may be reading your post wrong, but do you need to tell your NLE to actually conform the footage after dropping the 50p into the 25p timeline? You have to do this in FCPX, otherwise it just converts the 50p to 25p and it plays at normal speed. That's not what you want. So, conform first so that your footage plays at half speed, and then add Twixtor and slow it by a further 50% (i.e. interpolate every other frame). That should work. Otherwise I'm missing something. The description on this video explains how I did it in FCPX, albeit with 60p conformed to 24p so the %'s will be different to yours ...