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Rumor says the DIS doesn't loose any substantial image quality, anybody that can confirm? And does it work with manual lenses?

Definitely doable on Kickstarter. Massive 13,000mha battery is quite small these days, only slightly larger than a 2.5" HDD and smaller than a 3.5" one An HDMI interface chip inside, from GH4 HDMI port... out to XLR, HD-SDI, probably an off the shelf component. I've seen more complex stuff done on Kickstarter. The YAGH was a sales DISASTER though due to dreadful ergonomics and need for external power, however they listened to with regards feedback on that should have had his mouth taped up.

And....perhaps few noticed that, but now focus peaking can be turned always on during video...just set the focus peaking to a custom button and you're done. I tested it only with nx lenses, but I guess the same goes for legacy lenses.

In addition to image stability, I'm happy to announce my unofficial, unplanned drop test was a complete success. Peak design backpack kit was a complete failure though. Dropped the nx1 from 5 feet onto solid granite straight onto the lens and slid 10 more feet down the mountain. It still runs like a champ. The thing is a tank.

Hallo Aaron, Was looking for some G6 profile for Resolve and found this. The author states, Portrait has the most amount of Reds. It´s supporting your find, which I will check out definately! I will be watching out the greyish spots in skintones and not going too flat, keeping color and contrast around 0/-2, like Zak Forsman is doing too- rather flatening the footage in post. So here are the findings about Portrait and other Panny G6 profiles: http://gro.solexiv.de/2014/02/panasonic-g6-color-profiles/

Samsung is really not playing around. Hopefully they add something like S-Log in the next update.

I don't know who you're talking about.

There's a big difference between "real" cameras and the kind of stuff hobbyists and industrial shooters (like me!) use. I shot 4 different projects this week, and two of them were last minute things, so renting on my level is not really viable. I need something to go out the door with without much lead time. Also, for the crap I do, I get paid less than it costs to provide craft services to a real shoot. I need a camera that's cheap and easy. That's my end of the pool. BTW, I shot an actual Super Bowl spot once. With a Canon XH-A1 no less. Actually, it was a CBS media network promo, does that count?

Shot handheld with DIS + OIS; NX 16-50mm S lens. https://vimeo.com/136972283

over time, you develop an ear for this sort of thing. as a trailer editor, it's pretty much mandatory to be a good music editor. rather than relying on some plugin, looking at the waveform can help you make a picture or audio cut (or cuts) to the beat/percussion/etc. personally, i don't need to place markers because the waveform is right there.

Sorry, I'm no engineer. I spent a few years programming USB interfaces to cameras and Arduino controlled robots for panoramas. Athough I think Andrew often expects too much from the camera companies this is one area where I completely agree that Panasonic should have shown up on his doorstep and hired him as a consultant on that device. Or they might have at least asked his opinion on this forum Why they even bothered, or set that price, is beyond me. However, all these companies are obviously struggling to meet market needs. I bought a SmallHD 7 and hoped I could use it to take, and show, stills taken on my A7. Problem #1: The HDMI cable sometimes loses its connection and the SmallHD needs to be reset. HUGE pain. Problem #2: Although the external monitor will flip into portrait mode while shooting, it won't while in play mode. So I can't show what I just shot in portrait mode. They have to look at it cropped. My advice, which is probably a waste of time, is for you and Andrew to come up with the specs you want. Then if Andrew can say 5,000 users will buy it at $x price I think Panasonic might go for it. Having outside engineers do it, just too much work for a limited market. If Andrew can resist humiliating people when they screw up, the bees will come to the honey!!!!

Putting a 4K 10bit recorder in there would be possible as well. Enough room to cool it with a heat sink. Panasonic missed a big opportunity... They came out with a shit brick with wires in it for $2000. It should have been a battery, a recorder, as well as an interface unit, or at the very least an ergonomic interface unit for XLR like what Sony have with their hotshoe thingy. There is a wide open gap in the market for a battery grip recorder which extends battery life, uses single battery for camera and recorder, no extra bulky screen, just use the one on the camera. Shogun battery life, separate battery to worry about, big bulky screen, no thanks.

That would be cool. As long as they keep the great audio connections, I'd be happy.

I just use a DSLR baseplate with rails and lens support. Does the job well enough.

I"m considering buying it. I agree with PannySVHS though. It would be nice to have a battery grip type device that can be hand-held with an additional HDMI and SDI output.

The YAGH has a regular size HDMI port, and there are some interesting converters on eBay that conform to the body of the GH4.

I would buy one for sure. With V Log coming it would be nice to have SDI out. Or hopefully GH5 will have reg sized HDMI port.

I think that I do not ever detach from my Lomo's

Two areas where I didn't expect this camera to be as useful was stills and for my weird hobby of making unboxings/demos of stuff I buy. For stills it's obviously no dslr but for BTS, instagram, family and forWebb reporting I find myself using it constantly. About unboxings and such. It's just a fast workflow with one lens and NDs. The light weight also makes things easier. In the first couple of clips I accidentally had the iso at 3200.

You should go off the Tyrrell's, you're shaking like mad! I think the DIS is an interesting feature and quite admirable, I doubt there's any major company that would have added something like this gratis. It seems to work best with longer focal lenghts. And it just came out, so there's probably a few tweaks to be made.

Some tests I just did with the Samsung DIS:

Dbounce, if a newer camera comes from samsung it will be the lower end nx50. For the successor of nx1 you'll have to wait 1.5-2 years imo.

The greatest visual director of his generation.

Andrew, I purchased the GH4 log converter and all I can say is that it is great. I'm using it in final cut pro x and just dropping the converter in as a out, and then the canon log lut. I just started using it with film convert as well, again it works great. This was by far worth the money, I would have paid more. Thanks again.

For attaching the anamorphic to the taking lens, I recommend using the original redstan anamorphic clamp, more specifically the one in this picture: http://www.redstan.com/image/cache/data/_1050976-1000x1000.JPG I use this and it is a perfect snug fit for the B&H's silver ring with no play. If you decide to order this, make sure he understands that this is the one you want, as I've seen he has uploaded pictures of a different model for this item on the website.

'Famous' 28mm (Super 35 film format) is around 39mm (35mm or FF equivalent FoV - appr. 1.4 crop factor). Films are shot in a Super 35 format (24.89mm x 18.66mm) and then converted, e.g.: Academy 35 film (21.95mm x 16mm). Link: https://en.wikipedia.org/wiki/Super_35

I'd like to see a less extreme test. If this helps with moderate focal lengths, it could be a huge boon for vintage lens users.

It looks pretty good to me in this clip. All the scenes were shot at the long end of the 50-200. The first part is just OIS and then OIS plus DIS. Not perfect but much better than just the OIS of the 50-200. https://vimeo.com/136934126

I am glad you like it. There is a simple formula: horizontal FOV = 2 * atan(0.5 * sensor width / focal length) But there are plenty of online calculators like this one: http://www.tawbaware.com/maxlyons/calc.htm Here are some on FF: 20mm --> 84deg 28mm --> 65deg 35mm --> 54deg 50mm --> 40deg 85mm --> 24deg

If you can't detect a beat (or rhythm) in a song, it probably means: -The song is poorly written OR -The song is atmospheric,experimental,etc and shouldn't be edited to a beat OR/AND -You should practice more at detecting rhythm, as it's one of the most fundamental tools of editing

No, this is the small one. The 28 2 is huge, there is also a rollei version, a pentax version (andrew has one I believe) and probably a few more. this one was shot with the pentax one https://vimeo.com/7028401

1. It is amazing. Massively reduces jitters and rs. And I see no degradation. There is a slight crop, indicating the camera is still sampling from almost the whole sensor even with DIS to get UHD video. 2. Yes, works with any lens. There are videos using DIS with manual lenses, and it works fine. Now, there is a penalty that I have seen: If the subject is moving, say in the wind, the DIS algorithm will try to keep the subject in place. Effectively, if the subject (say, a flower), is moving up and down the clip makes it look like the camera is following the flower movements! But other than that, the Samsung DIS seems as good as IBIS, maybe better for video. This feature was an utter surprise, and a real breakthrough.

If Sony really wants to solve all these color complaints, here's what they do. Start including S-LOG 3 instead of S-LOG 2 and SGamut3.cine instead of SGamut. Boom. Problem solved. Apply the R709 Type A LUT in Resolve and get damn close to Alexa colors. http://www.dvinfo.net/article/acquisition/sonyxdcam/sony_sgamut_vs_sgamut3.html https://vimeo.com/96696423

Wow. Just when I thought Samsung had finally slowed down on the feature-adding updates, they come out of nowhere with DIS. Unexpected to say the least. Results look fairly promising

I've seen Olympus' IBIS to beat Sony (but no 4K, no 8K), Samsung's AF to beat Sony (but again, something to not offer: 8K for large prints in this case). The whole point IMO is the fact no camera is better than the other but, that camera is better than the other for your needs. My whole beef, actually.

I used it the other day to get some pick up shots for a music video. Shot in Slog.... It's the same old story you will hear over and over. Very yellow, kind of ill-looking Homer Simpson skintones, lots of tweaking required but achievable. HOWEVER - mess with the Slog profile (lots of resources online) and Slog becomes something quite beautiful. Still, grading after is key. Filmconvert, Impulz and the like are your friend. Everything is cool with this little guy. Battery life isn't the best, peaking could be better - but hey - it's a great tool in the bag. Highly recommended.

http://www.rogerdeakins.com/forum2/viewtopic.php?f=6&t=1580 http://www.rogerdeakins.com/forum2/viewtopic.php?f=1&t=2505 http://www.cinematography.com/index.php?showtopic=21447 http://reduser.net/forum/archive/index.php/t-2061.html My personal favorites are: 35-40mm equiv--wide shots and steadicam 70-75mm equiv--medium close-ups and general use 135-150mm equiv--intense close-ups, shallow focus/macro, and compressed perspective shots I find the really wide angles hard to use effectively, distractingly dramatic with their perspective, and unpleasant on people shots. Generally, I use my 75mm (25mm SLR Magic on the BMPCC) the most, because my movies are heavy on acting and dialogue. But that's just me. If that last thread taught me anything, it's that there's many different ways to shoot, and all can produce cinematic results. Malick loves his wides. Deakins stays between 28 and 50 for everything. Ridley Scott shoots everything crazy long. Park Chan-Wook shot everything with normal lenses on Sympathy for Mr. Vengeance but used nothing but wides and teles for Oldboy. As long as you choose your focal lengths with tact and intention, there's no wrong answers--only different preferences.

35-50mm is around what the human eye sees in real life. I think that is why exotic lens choices like 28, 16, 60, etc. seem surreal and thus more cinematic. At least that's what I gathered from the article by Noam Kroll.

while raw video could even be possible for the mighty hw of the nx1, I have much lower requests that could be implemented in...less than a day, in the firmware. Perhaps they are simply too busy to read the mails of suggestion we sent.

1D C keeps an astounding amount of colour information in the 500Mbit/s MJPEGs. The weird thing compressed 8bit footage should not have that amount of colour information in it. And of course it is 4:2:2 but I never see the same advantage on other cameras when switching from 4:2:0 to 4:2:2 over HDMI. So either those other cameras are lying to us and simply wrapping 4:2:0 colour in a 4:2:2 ProRes file or the 1D C is doing something else that the specs don't hint at. Fact is, 8bit 4:2:2 internal on the 1D C just looks WAY better than ALL my other cameras doing the same 8bit 4:2:2 over HDMI, hell it has better colour than the GH4 doing 10bit over HDMI. You know when I shot with the 1D C and NX1 side by side, the NX1 ended up having a crazy amount of green and less info in the reds, yellows and blues... If you look at the way 4:2:0 vs 4:2:2 colour sampling works, far more red and blue is thrown out in 4:2:0 but the green is kept... Source: http://www.creativeplanetnetwork.com/news/news-articles/dv101-411-444-422-and-420-understanding-digital-cameras-and-color-dissemination/423608 But if that really had such a dramatic effect on the image and didn't just pixilate the edges of red highlights (the most visible 4:2:0 artefact I always see), why don't the reds and blues come back with a vengeance when switching to the 4:2:2 HDMI output? HUH?! From a Canon white paper on XF100... Sampling at 4:2:2 takes advantage of limitations in the human visual system to avoid transmission of unnecessary colour information. The human eye is more sensitive to black and white detail than colour. The 4:2:2 ratio refers to the ratio between black and white and colour. 4:2:2 sampling is especially useful where advanced video processing, such as compositing and colour correction, is required. Both models in the XF100-series capture twice the colour detail of camcorders which use 4:2:0 sampling, and combined with Canon’s powerful DIGIC DV III processor and CMOS sensor, offer unrivalled image quality for camcorders in this category.

Man, does EVERYTHING have to be some sort of damn algorithm these days? This is the arts (supposedly). Just do it for yourself. If you can't find rhythm in an edit, I don't know how you're ever going to be a successful editor. So say I, grumpy old man. Now get off my lawn.

I didn't watch Coreys tut, but I know one thing: You never cut precisely to the beat if you want the greatest emotional impact. You cut to the rhythm, and you do it intuitively. Don't believe me? Watch any good music video and tell me how many edits are precisely on the beat!

Hey video and film lovers, Messed around with an Input Lut for flatening the footage before grading. More messing aroung with curves and color wheels. Don´t know, if it would have done better without the Input LUT? Footage is lowlight. Rest of the info in the video. It´s G6 all -2 on Natural. Quiet happy, though I recognize the obvious flaws, not the less obvious ones though:) If I can be happy with my G6 for low light footage and a somehow filmic Gestalt, then GH4 should do easily. 10bit, killer! By the way, why doesn´t anyone put out a YAGH like device, little smaller with big internal battery?

Thanks my friend, appreciated. : )

the Penatx 110 lenses are superb - very cinematic in their look - I've written alot of posts about them on this forum over the years - I also add small washers onto the back of the lenses to stop them down (using blutack) this works a treat and also get a set of ND filters for them ....you can get them to fit these tiny lenses then you can shoot ourside full wide open at f2.8 - it doesnt get any more cinematic than that if you tried!! Also stick some nylon fishing wire in the adaptor vertically behind the lens and you can turn them into anamorphic style lenses with ;loads of blue horizontal streak flare !!