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There's no GammaDR on the NX500 unfortunately so the blacks crush more easily. But I just tried the NX1 LOG profile with my NX500 and it did work pretty well. Might tweak it and do a NX500 guide in future if I can get nice results out of it. A few weeks ago I shot an NX1 vs NX500 comparison but not got round to editing it yet. The NX500 is still amazing bang for buck. By the way you shouldn't dial down the contrast to -8 or -10 in-camera, it kills colour.

Making definitive statements about it being useless for anything is complete hyperbole and a gross overreaction. The hot pixels are in every Sony sensor camera. If you take a long exposure with the lens cap on, push the exposure 5 or 6 stops and lift the shadows all the way and then blow up the image 400% there will be noise. Try the same thing with Canon or and m43 and it won't be any better. You can see the same thing on the A7s and D810 here: http://www.fredmiranda.com/forum/topic/1380165/2 and its also in the A7r files. Capture One easily eliminates all of this with no loss in detail. You can do long exposure noise reduction in cam and it takes a black frame and does the same thing. This does impact people stacking 200 images of star trails as that's not a practical workflow. But for most its a simple fix. Really. All of these declarations are such overreactions. First its the greatest camera ever! Then it overheats shooting non-stop 4k so its junk! Now there's noise in the shadows its useless! Take a step back, the reality is definitely somewhere in the middle. I've seen some pretty damn impressive landscape images from the A7rII and there will be many more. In no way are any of today's cameras holding you back. The A7rII certainly has warts, but I've said it before and I'll say it again - its a powerhouse camera that can replace the A7s/A7r and an external recorder for most - except for those that need lots of continuous 4k recording. But it still adds IBIS, 4k internal, better AF, faster startup time, 42mp (18 in crop mode) more adjustments (like minimum SS with auto ISO, assignable record button) and so on...

I'm not sure why people are getting so defensive about what is a pretty apparent weakness with long exposures on the A7R II. It's to be expected with tons of pixels and poor heat dissipation. Does it render the camera unusable or condemn it to the junk bin? No. But it should be acknowledged and explored. Even if it turns out to be bad processing or poor exposure, we'll at least learn how and why the A7R II files fall apart.

Get it now I have just released a Setup Guide for the Samsung NX1. This guide makes the camera compatible with a range of LUTs so you can more easily apply stylistic moods to 4K footage in post. Along with the LOG conversion workflow, the guide explains the best settings for the NX1 and what you must know before using it for video work. The Samsung NX1 is one of my favourite cameras for video and the 4K image quality is simply the best you can get for the money right now. I have been hard at work on a guide for a while now. This is essentially a 'brain dump' of everything I know about the NX1. It is an all-in-one reference so you no longer have to search forums for the information and the 12 page arguments that goes with it. The LUT and workflow included with the book, I am particularly proud of. This converts footage shot with GammaDR on the NX1 to ultra-flat LOG in post. When used with a transcoding app like EditReady it creates 10bit ProRes with a Canon LOG style gamma curve and saturation. This allows you to then apply a LUT in your NLE such as the excellent DELUTS range from James Miller. The whole process is made easy to understand in the book and the camera becomes so much more fun for colour correction as a result. Introduction and general recommendations Firing up the NX1 for video and about the specFilmmaking Settings Optimal settings for 4K video and slow-moThe NX1 In Post The best way to transcode H.265, convert to LOG and apply a LUTRecommended lenses with character Lenses I recommend fitting to the NX1Get it now

lol first thing i did

I've resisted the urge to upgrade yet again. I did some extensive shooting this weekend and put the RX100IV through its paces along with the A7s. The A7s had the Zeiss 55mm 1.8 and the RX has of course another Zeiss built in. I shot both a lot of 4K and 100 fps with the RX and it never got to warm. I had the same PP on both cameras. S-log2 with detail way down and saturation at +20. A giwaway is of course the DOF on many shots that is the A7s but the clips match very well I think. What do you think? If you love american cars this is for you...

Yes, I have one of the 2 sitting in front of me right now. Haven't shot a single slow motion clip, even though I have a hyper chihuahua and a cat to get the best slow mo shots you have seen! More interested in checking the dynamic range on the picture profiles and how the lens operates. Looking good so far. Throwing them straight onto a decent budget music video next week for some guerrilla narrative stuff. (Performance was shot in FS7 - used 150fps only twice, ha!). URSA Mini? Plenty to be getting on with. It comes when it comes.

I think it looks good. Showing off vintage cars is a genre where you want some deep saturation.

Most people nowadays (including me) use nifty tools like filmconvert or LUTs in combination with tried and tested camera settings, so no worries. Download the filmconvert trial (stand alone or Premiere plug in, if you have access to that), download the different camera settings files (Arri often times gives nice results) and have a go with it, you'll see where the proclaimed "magic" comes from most of the time. There's only few people around who can grade properly without advanced tools and plugins, so don't get frustrated. It's all about money and the right workflows nowadays.

Can you upload a couple od seconds of flat picture and we can all have a go at it? Im no colorist but others here can probably make it shine.

Front focusing attachments are more sensitive to entrance pupil diameter than they are to f/#. So, if it is soft at f/2.8 with an 85mm prime, then it might be just fine at f/1.4 with a 28mm prime since the pupil diameter is actually less for a 28/1.4 than it is for an 85/2.8. So, my question is what focal length(s) give you soft images at sub-f/2.8, and are you able to get sharper results by using a shorter focal length?

I don't feel I'm getting defensive - I just think this forum is quick to jump to the most ridiculous conclusions about products, and completely rule out products based on one, single, unscientific 'test' done by someone who is likely a newbie. That RED Dragon footage I saw that was insanely noisy, had blown-out highlights, crushed dynamic range, terrible skin tones etc. Instead of saying 'wow, how terrible is the RED Dragon, I'm never going to use it, it's a weak camera with terrible colours, and dynamic range and awful low-light ability' - I watched footage from others and did my own tests and came to the conclusion that you can get really beautiful looking images out of the RED Dragon, and that awful footage I saw was simply user error. I've seen 5D stills that are awful. I could have said 'man the 5D is just a terrible camera to use for portraits, obviously.' Of course, we all know that to be untrue - the 5D is a great stills camera. I'm not going to judge it based on a small number of people who aren't photographers, or don't know how to use it or expose their photos. No camera is perfect, and learning more about how they perform in certain situations is always good, and allows you to find strategies to compensate - but let's get some perspective here. And lets do our own tests before jumping to random conclusions. As I've said many times - people here talk at length about how 'awful' the colours from the A7s is. I'm yet to have the same issues. I do have some issues sometimes when skin is under-exposed, but overall I don't get anything like the issues that many seem to have here. By doing my own tests, I've figured out what I can get out of the camera, and how to compensate for other things in order to get great images. I didn't look at posts from people who were only using the camera for the first time and couldn't expose their images properly to base my decision on purchasing it.

Someone please help him out. All these videos are making this camera look bad, surely it isn't this bad? Everything just seems wrong. Not filmic, not realistic, not attractive. But you can tell the range and quality is there, the focus through the trees is cool. Green leaves aren't that color, nowhere near either color. I am really tempted despite this- wonder if the new NX1 product from Andrew is usable and/or relevant for this camera or whether my foggy memory serves me correct in saying there isn't enough control options? I think I read no gamma control somewhere? Are you over exposing and then adding a lut instead of actually manipulating the three colors yourself And underexposing? I may of read somewhere that killing the saturation for the nx500 more than five is bad. I am not sure if I am stating the obvious or you are doing something over my head, please excuse me if it is the latter.

When recording for long, turning the lcd brightness all the way down help ALOT, on my nex 7 i can only get around 4 min in hot sunlight until it overheates. When i have screen all the way down i get 15min

Look at the bright side, it's gonna be a great 'feature' when Christmas comes around.

Autumn Leaves Creative Style -3 Contrast, 0 Saturation, -3 Sharpness Canon EF 24-105mm f/4 Rokinon 14mm T3.1 Cine Metabones EF-E Adapter mkIV Edited in FCP X

I can clarify how I do it just for the heck of it. On 5D Click ISO, Scroll to new iso, Click iso. On xc10 Double click fn, Scroll to new iso (using the same fn stick), Double click Menu. So on both cameras you can change the iso using one finger that always sits close to the two controls needed. Loupe doesn't get in the way either.

Compared to the 5dmkii it's the same amount of buttons and actions to change the iso. And its much easier than on a bmpcc or D16 type of camera so no biggy imo.

When is someone going to film Ubik??

Some frames from a Dynamic Range Test against the 5Dmkii shooting Raw and the Blackmagic 4K also in Raw. Same aperture and same correction. Adjusted contrast to the waveform and lifted the mids 0.3. All exposed to the right a hair under zebra. So no, not scientific at all. Mostly just a guide for myself. Sun is just about to set. 5D BMPC4K XC10 Also here is a XC10 frame in one of the standard picture settings during sundown. No corrections done.

Thank you for drawing it to our attention.

Yes but the zoom barrel is very wonky so image jumps about...so not artistic

Second video is much nicer. Wow. That is one hell of a clean 1080p image going on. Wonder why Canon themselves talked it down?! Clearly they want us to buy the Cinema EOS cameras for video, don't they. Even to the point of them claiming their flagship DSLR has moire... when actually it looks to do far better full frame internal 1080p than the 1D X, 1D C, GH4 and 5D Mark III put together.

Just got the camera and yes all those tweaks are in there

It just used the Fine Detail picture style I was using for stills, so basically had a USM ("Un-Sharp Mask", which sharpens the image) applied to it. I was only interested in moire/aliasing so didn't bother with anything else (well, sensible shutter speed). If you actually wanted to shoot movies with it you'd use a different profile... This one is hand-held and with the Neutral Picture Style (91MB, untweaked Picture Style - so can be better, note my total video shooting with the camera is these moire tests)... https://vimeo.com/136118235 (Oh and remember the video shown on Vimeo is 720p and you need to download the 1080p version.) It still completely destroys my GH3 and GH4 for moire/aliasing when shooting 1080p... please note this was my entire point. I am very impressed over this single item though. Bonus points for anyone else shooting this scene with their camera-of-choice!!! BTW here's the maximum amount of stuff you can have super-imposed on the screen. You can turn much of it off, pretty much item by item. The settings are as per the video except it had a different picture style - Fine Detail here - and it was shot at f10, which you can probably see was needed from the histograms... (You can also optionally clean the screen, I recommend Spontex micro-fibre cloths.)

Sweet! I thought that was the case & by chance i have a version that is 2k - going to try this ASAP. Cheers Hans

This is interesting. I will try a few wider lenses with the RangeFinder and see how it goes. I briefly tried the FM. Wasn't impressed. The Retilux looks better than I expected from Zak's test that's for sure! The Zeiss 80mm F1.8 Jena DDR was backed onto the Speed Booster XL for this shoot.

Those aren't dead pixels. They are hot pixels. Enable the long exposure NR in the menus dude!! Why do you think almost every camera on the market has that option? And who the hell underexposes at 15 seconds by nearly 4 stops?? A mad person that's who! To say it is a no-go for landscape due to this... is nuts. It is a bad test because it has no relation to reality. People do not go around exposing their garden for 15 seconds, then finding they are lacking 4 stops of light. "No go for landscape". How about we align the tests with the real world. Expose for 15 seconds, turn on long-exposure noise reduction, let the NR also happen on default levels in the raw developer, results will be fine. That is not what I call a 'no-go' for landscape photography. Also what other 42MP full frame camera are you going to use, which does a sharp shot handheld at 1/4 with a F1.2 lens and usable ISO 6400 when exposed correctly? That is not what I call a "no go for landscape", even low light landscape. And one more thing to conclude the rant... What version of camera raw are you using? For example, Adobe haven't released support for the A7R II yet, so it could be a raw developer issue vs the other cameras which have established raw support.

I never know if Zach is a parody poster or actually insane. Both of these things are better than being a boring, miserable sod. I rent from Procam, ITV Provision, Media Dog, Panny Hire... whoever has what i need. Got 2 RX10 II's coming today and a bunch of other stuff, so that will keep me busy for a while!

To quote myself, the tracking data now says it's out for delivery in my area. The cards haven't come yet though so will have to hustle on getting a card sorted when they arrives today.

The LOG LUT was actually developed in Resolve so of course, it works there too. The point of a LUT is that it works everywhere! Yes - set input LUT as GammaDR 2 LOG, then output LUT of your choice. The 16-50 S has an AF/MF switch on the barrel doesn't it... so that is why! Nice lens. A LUT is not just a flat curve it has far more data than that in it. Not had any banding issues with it. Can't speak for AviSynth, but it is unlikely to develop footage in the professional way a colourist app like Resolve does, which is how I created the LUT. Great, awesome to hear people are finding it useful. Yes that's correct for Premiere. You can even use Film Convert with it rather than an output LUT. You set the input LUT to GammaDR2LOG. Then apply Film Convert to same clip. Select A7S and SLOG2 +1 profile, seems a good fit. Then tweak contrast & saturation to your preference.

Looks ace man! - I've found that if you feed Vimeo an upscale resolution of 2560x1440 or equiv, the re-compress down to 1080 by Vimeo seems to be less harsh. I think it tricks Vimeo's encoder into upping the bit rate quality, as it 'detects' that the source is higher than full HD - when in reality it is not, simply upscaled. Worth doing a clip test and see if it works for you...it works great from my past experiments.

you can download this video from Vimeo, the ungraded, flat image is there.

Sure thang.

you saw this, yes? zach: you need to find a way to get your data off your cards and back them up asap in triplicate on set when you get a shot that works, on set, that memory card is like a f------ piece of gold. you need to back that sumbitch up; not just so that you can reuse your storage, thats an added benefit. you need the security of knowing that your precious shots arent going to disappear at the literal push of a button also, i was not being sarcastic about stone cold steve austin; i love wrestling. and, to answer my own question, i think that, yes, austin will return at wrestlemania 32, its his last best opportunity. that and hes lost about 35lbs recently

Thanks Beny! Realized I can just drop the file into LUT Utility through System preferences. Anyways, the LUT works fantastic! In combination with the Alexa LUT, it makes for some natural and pleasing colors! It's been a pain getting consistent good colors out of the LX100, but this definitely helps a lot!

Holy shit, dat glasses gurl. I'm all for more porn in mainstream media!

5Dsr (converted in about 30 mins so you'd have to download it now, 153MB): https://vimeo.com/136023032 GH3 one really just plucked at semi-random (I just looked in two GH3 dirs with 50 moire/aliasing test videos between them, I have more dirs): https://vimeo.com/136023791 Note I'm not a Plus/Pro member so will also show at 720p, hence you'll need to download it (115MB). The GH4 looks a lot like the GH3. Except in 4k which is nice. These weren't really intended for public consumption or I'd have done them a lot better (although the quality would probably still drop off after the first 20 or so...). Looking at them there is so much that would make the 5Dsr one a better test, but looking at the other two videos I shot as well it still walks all over the GHx cameras in this single area. This was just the handiest one to upload.

yes with everything set to infinity, the Rectilux will focus closer. but both can focus very close if you adjust the scope and taking lens to something other than infinity.

@liamlumiere Totally understand you for not wanting the hassle of ML raw. Not sure if you can change the aspect ratio with H264 - I think you can't. Maybe the Samsung NX500 is an option. No 4:3 mode, but plenty of resolution, so no big deal when you have to crop a lot. Framing is still difficult, but you could tape some guide lines on the screen...

@Julian @Hans Punk Thanks guys for your input. To be honest, after taking a trip over to the ML forums, it reminded me of when I I frequented there when I had a 7D and later 5D3 and to be honest, getting into that workflow again filled me with dread. Do you know if they offer the native h264 codec plus the 4:3 aspect ratio for something like the 50d/550d? If so I'd pick one up just to get used to shooting this way with anamorphic. I can't really bring along a 50d to a shoot and have to explain the complexities of alternative softwares to a client. Done it before and they weren't very impressed no matter how impressive it actually is. I'm really looking for a mirrorless camera that has this feature implemented so hoping that Sony or Samsung or whoever will offer it. There just doesn't seem to be a lot out there at this price point.

I don't think price is an issue for what you get with the URSA Mini. Some people are complaining about the price and forget that you get a 4.6k sensor, high frame rates, 15 stops DR, internal raw, ProRes codecs, strong ergonomic body, large 1080p screen, 1080p OLED viewfinder and other things. (all above and beyond in features to other systems in this price range). Then consider the Mini doesn't use proprietary media and accessories. Invest into RED or the F55 and you are stuck with the £££$$$€€€€ spent on those items, like REDMags and SxS cards. That's a worthy benefit too. Also consider the full version of Resolve 12 you get for free, which does have some significant benefits over the free downloaded version. Blackmagic have nothing on the history and reliability of Canon, Sony, Panasonic. But to achieve what they have done in just 3 years is fantastic for this industry.

Good honest review Andrew - thanks. looking forward to part 2. Interested to know if the heat issue could be mitigated by swapping batteries or using an external power source.

I'm using LX100 since its release (almost a year): - it's super easy to take a shot: image stabilization, autofocus before recording, zoom (from quite wide to first portrait fov) - few seconds to move/reframe and start recording. - low-light performance is good: (almost 4/3 sensor + F1.8 on wide end) it is like "what you see is what you can get" - no night vision, but human vision. - when setting sharpness and noise reduction all the way down (-5) the noise (when visible) looks quite filmic. If you also don't move the camera handheld and know hot to frame a shot it looks nice (not videoish) - dynamic range is ok most of the time, but there are situations when it's too low (and you have to use tricks to save a shot - overexpose, soften highlight in post ...). - perfect details - good battery - grading is very limited. I do often can't get the colors/look I want. Especially difficult when people are close (skintones). Don't have much experience with bmpcc, but I would say: - you will have better shots with lx100 in: wide scenes with lot of things in frame, panoramas; 'artificial' things - like buildings, cars, instruments; places where you don't have time to set up the camera (just take it out and record); - you will have better shots with bpmcc in: organic scenes - people, nature; when you need extreme dynamic range. - in low-light it's equal I think: it would be really hard with bpmcc to get better than lx100 with wide fov 1.8 (24-28mm equivalent) - it not only have bright lens, but can use (quite clean and with filmic grain) high ISO, especially when downsizing to fullHD. In summary: lx100 is super easy (so also fun) to use and get stunning results in 'artificial' and wide scenes BUT is very limited in grading (especialy 'organic' scenes like people) and getting filmic colors - you get OK colors, but not the mood you want (It is really a big problem).

This is at a T/2.8 on a GH4 using a Kowa Bell & Howell with the Rectilux, followed by the SLR Magic Rangefinder. For each, I am seated as close as focus would allow. Forgive the sloppy alignment issues, I rushed this. Must get back to writing so i actually have a movie to use this stuff for... also, if you're wondering which one looks more like the Kowa on it's own, it's the Rectilux. The Rangefinder adds warmth, blue flares/haze. Preference for either is left up to individual taste, I suppose.

I found i had the Vanilla 44 Hack file on my computer still. Here you go. HACK Vanilla44.zip

​He probably wasn't talking about the lens converter but the h.265 --> h.264 converter?