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Hey, Thank you very much Im not sure what settings im currently using, when I get home ill check and post them here =) I underexpose most of my shots, I think thats how you make the NX1 look the best, over exposed shots make it look way too digital and looks quite bad, so its best to under expose and then bring the exposure up in post if needed. Heres a few more, from another project, that show mostly how my footage is underexposed when I start color grading (these were very early shots of the grading also without any sharpen) - http://imgur.com/a/CCBXl - Ill post a few more of these, and how they will end up looking when I get home. =)

Photoshoot Sesion BTS, with GH4 and Optex Anamorphic adapter. Comments are appreciated

Hi everyone, I started running some tests on the new Samsung Firmware 1.2 for the NX1 camera. As a lot of users I was very impatient in testing the new Gamma DR curve, seeing if it would improve the dynamic range of the camera. So far in my first tests I cannot say that I have seen real improvement between Gamma DR vs Standard profile in terms of dynamic range. It is very hard to measure the dynamic range of a camera - especially when you don't have the facility/tests procedures. And I don't. So my tests are definitely not scientific. Furthermore I don't have images to share yet (hoping that will come soon and please feel free to share yours). Now there are 4 settings that can affect the dynamic range in the NX1: - Profile mode (standard, gamma, etc.) - Contrast value (-10, +10) - Master pedestal value (-15, +15) - luminance level (0-255, 16-235) From my early results what I can say is that going to an extreme setting (gamma DR, contrast -10, MP +15) result on losing skin tones and might increase macro blocking in bright areas. I had much better results with almost the same settings, but putting contrast at -5. But you'll also notice that if you take the standard profile and tweak the contrast at -10 you will have comparable results. Also setting the master pedestal at +15 increases the details in the blacks, but you also lose details in the brighter areas (and you might find an actor's face to have some light reflections, and you might lose those details). However it can be useful in situations where you will need a lot of details in the blacks. For instance I had the experience of filming a music video featuring a black actor dressed in a black suit - and very little lighting. This is typically the kind of situations where the master pedestal will come in handy (and good lighting also). I noticed that a lot of people rely on the master pedestal to give this "film look" and personally I don't recommend it. It is often underrated how soft highlights participated in the film look. With a master pedestal at +15 you will lose some of that imho. So these are my findings so far, I know that illustrating with videos would help a lot, but I don't have this kind of time right now so apologies to the community. I will be very interested in learning from your experiences with the new firmware.

I wasn't even being a jerk this time! They found out I was banned before for life. This is my only forum now besides nofilmschool and cinematography.com. Until I get banned here.

EditReady. I think ClipWrap may do it as well. It's cheaper than EditReady, but a lot more basic.

I have an affinity for cheap cameras... Mostly because I am poor, but with them comes a lot of headaches. Before I really understood anything about image quality and color correction and color grading I was ignorantly content with my eos-m and its factory firmware. I used vintage lenses to obtain different "looks." After spending the past 6 months reading this forum, I learned that I had a lot to learn... Still do. With 4k cameras coming into fashion, I decided I wanted one, but I couldn't afford a gh4 or an nx1, so I set my sights on the FZ1000 or the G7. While I patiently waited for the G7 to hit the stores or the FZ1000 to drop a little in price, I found a great deal on the Samsung NX500... $350 for the body. I immediately snatched one up (good thing I did because it went up to 500 bucks the next day) I'm sure some of you remember my failed tests with the camera. I was at a point where I was going to sell it, there was just something wrong with the way it handled color, but the image downsampled to 1080p was too amazing to deny. It has a... Weight to the image that was lacking in the 4K. So, Max I completely understand your 4K to 1080p conclusion. I am still not a fan of the way the camera handles color, but I am sure my skill set is, at least, partially to blame. Now after getting a little more experience with color, and how amazing B&W looks on the NX500, and experimenting with the 3x crop raw on the eos-m, I am confident in selling my a5100, my Q7 and my S100. I don't think I will ever shoot h.264 1080p again. When I am ready for an upgrade, I will probably buy a pocket cam or micro.

Just go to Vimeo and search "Samsung NX1" the first page is filled with impressive footage from the NX1. Heres a few screengrabs of my latest video (still on edit) http://imgur.com/a/rQHhx I think the camera is outstanding in every way, color/resolution/detail is amazing, you can make it as filmic as you want, or just not at all, its quite versatile. I too am eager to have native support H265 on premiere, it will make my job so much easier.

is there an mft to eos-m adapter? could be possible based on flange distance. so a different speedbooster could maybe be adapted to it and more suited for it? less the point of the topic maybe, with regards to price, but just curious

Good Luck to you!! Hopefully in the not too distant future I will be able to say the same. However, for now, my talent level will be keeping me on vimeo with my 1:30 to 3:30 minute videos with unlicensed music.

I'm confused by the question. The 720p is as good RAW as you'd get from a 5D3, it's just 720p, and you need to shoot crop mode to eliminate aliasing/moire. However, it isn't as sharp as 1080p, of any kind (unless that's scaled down to 720p). I'm not sure I'd use it in any situation where you really needed to depend on it, even as a crash-cam, because of the shutter bug. The camera just freezes up sometimes on ML (unless they fixed it; don't think they ever did). You can work around it, doesn't happen often, but again, an issue. If you can get one for $120 I'd get it because they can do so much. Probably the smallest camera you can get with mic in. As Mercer says, the camera with the Fujian CCTV lens ($30) is magical. The c-mount adapter is $10.

Thank you very much for your kind words, Cinegain I also picked the Olympus over the Panasonic, because the final quality is slightly better to my eyes. Normally I love my little FD prime collections, but on the gimbal a good zoom is more practical and the second setting (for the Panasonic-Leica 25) come in handy for a lot of shots. Jacopo - the MiniSturdyCam builder - has a GH4 with 12-35 OIS on one of his gimbal and in that way you are 100% free from every imaginable micro-jitter, even at 35mm. For me the stabilization of gimbal itself is more then enough with any non-stabilized lens, but he's so honest that when you contact him to talk about his products, he starts from the little "cons": of course he talks about "perfection", he's a truly passionate maniac about "flying" movements, but the gimbal is super stable, no problem at all. He's a very nice guy and I really appreciated his way to conduct business: I asked his opinion between the bigger SturdyFlight and the cheaper and smaller MiniSturdyFlight, and he recommended me to buy the latter, because he said that with my camera and lenses the MiniSturdyFlight would be perfect. He's very disposable also by Wathsapp and Skype. I hope this gimbal will lasts for some years, because after I tried I cannot stay without anymore, because it speeds up everything: besides the normal steadicam's work you can use it as a crane, as a dolly, as a monopod...

I think a lot of what we think of as the super-8 look is due to 2 big factors - amateur shooters and that most of those films have faded with age. Amateur gives you really blown highlights and jerky motion - and the aged film has reduced saturation but a lot of reds since those dyes last the longest.

Hi EOSHD peoplez! Sadly I have too sell my gear. I got this a few years ago to start my short film, alas some personal disasters kicked off an it held me back, few years on and I'm still fighting these. As there is no need to keep hold of this I will be selling these and are top order, the oct 18 has some specks of dust in the lens and the anamorphic has a slight smear on the lens as well. Nothing to stop you filming. Panasonic gh2 (imported from states, if makes difference) 2x 32gb cards Kowa BELL & Howell 2x anamorphic lens redstan clamps Helios 44M + lens adaptor 50 mm oct 18 oct 18 lens adaptor to gh2 cinema lens hood + filter holder Gini half rig rails cheese plate etc 1x 0.6 soft grad filter example of what was shot I can take better photos when the need arises as I can answer more questions. The gear is hardly used as I still preferring to shoot my photos on film ( I know ). I'd like to sell the lot in one go but if you want to hold off the camera I will knock off some money. Let me know if of interest and I'll confirm all the details. Forewarning I working VFX (translation no time to myself) I'd like to hand this over to someone in London. Regards, Mat

Big sensor, small mount, adapter to bigger mount. The small mount shadows the sensor. It would have to be, big sensor, big mount, adapter to smaller mount. But since the m43 mount already has a very small register distance the solution had to be very creative and very akward.

Haha true story. 6 bucks. If no good, atleast they make interesting coasters! I'd be curious to find out how these would turn out... Not sure whether to believe it, but some of these Zomei 4x4s on eBay cost 49,99 USD (or offers accepted; e.g. #1 , #2 ) and are supposedly made out of Schott glass.

Nice, at the end of the day, if you're in the right places and build the right relationships, you're going to get amazing footage no matter what camera you use. So good luck and have fun! I'll be shooting my first big (well, short at around 30mins) documentary early next year in London and am slowly putting all the gear together so I can be the ultimate one man band.

Nice footage. Far too nice for super8 though

Added an ** to the min focus distance, with corresponding notation to the description for Kowa B&H.

Shall I rename this forum DVXrefugees? Personally, I wear my ban as a badge of honour.

yes.

Here's my model shoot, shot with Kowa 2x + Rangefinder. It's very sharp F4/F5.6. And be prepared for lots of flares! SLR Magic is always going for that Panavision look with blue flares and streaks. It's their lens coating design.

Hi! For interviews (or photography) I always use diffuse light. So having a spot light is better for 2 reasons: Stronger light output (the light's power is focused), so you can even compete with sun light in some cases. And 2nd, it's easier to control, the W (wide) sends light in all directions. I prefer to have control over it. I use mine with a softbox with a grid: http://www.amazon.co.uk/Andoer-Umbrella-Reflector-Honeycomb-Speedlite/dp/B00U8M4P2O/ref=sr_1_5?ie=UTF8&qid=1444990240&sr=8-5&keywords=Andoer+80cm I would avoid the C (color) versions, because they have half the light output, as someone pointed out above. And the included warm color gels work fine. But it all comes down to your workflow. This review helped me out when I bought mine: http://eriknaso.com/2015/01/11/aputure-hr672s-led-video-lights-first-look/ II thought the YN600 didn't have a cast until I got the Aputures. Huge difference!! And worst thing about them... noise, when that fan kicks in, it can ruin a interview.

​ I wouldn't say it is the opposite. And to be able to raise the blacks in post, you need your sensor to be able to actually record those information. I don't think that raising the MP makes you lose DR, but simply it readjusts the DR of the camera to give you more details in the black (and I believe losing details in the highlights). But I don't believe in a magic "log" profile that will suddenly give you 15 stops of DR when your camera can really only output 10. And for me its not relevant how much DR my camera has. It is much more relevant how it treats blown out and black areas (ex. film like). Overall I am very happy with the DR of the NX1. If there is one thing that I wish Samsung could improve, it would be the banding / macro blocking because it is a giveaway of a digital semi pro camera.