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These days working with ML raw is a breeze. Reqired CF cards are much cheaper than a year ago. I have 5d3 and love working with raw. I have bought 2 sandisks 128gb 160mb/s and they NEVER gave me dropped frames. Never unexpected recording stop. NEVER. It is very reliable. 128gb last for about 25min 24/25p 1080p. My workflow now is: -put CF card to the reader - 2 seconds -use an app called MLVFS which "mounts" the files from the card and makes them virtual CDNGs - 128gb take maybe about 30 seconds -open resolve 12 and import files - 30 seconds Color correct, cut, do everything and export - there is NO need for any conversions at all. Thats it. There is some nice app, all-in-one solutions in the making right now - called MLVProducer. On shoot i had 4 CF cards and nextodi 2730 with 2TB HDD onboard. Archiving 128gb takes about 25min. Then i can take HDD out, plug it to the PC via sata cable and work straight from it. Memory is getting cheaper very fast. Instead of investing 2-3 thousands $ into new camera (and cry about 8bit etc) i rather buy 8 new sandisk cards for 1300$ and have 200 minutes available without a need of copying it on set.

I thought I'd make a sticky thread for sharing original camera files direct off the card. Always interesting for people to try the original files without having to look at someone else's grading and compression via Vimeo or YouTube! Let's get a bunch of stuff up here and make a little vault! We have so many cameras between us on these forums. 1D C, Red One, Cinema DNG, C300 II, FS7, we can really build up a nice collection. Here's my initial contribution: XAVC-L from the FS5 in 8bit 4K and 10bit 1080p - http://we.tl/yQO2ZM4HdA Comparison with Cinema DNG raw from the 5D Mark II / Magic Lantern - http://we.tl/HOACsCROeZ Got any Red ONE files Mattias? Also we need to find a better file host than WeTransfer as that only keeps hold of stuff for a couple of weeks and after that we'd have a bunch of dead links. But if you want to share WeTransfer links anyway, please do go ahead until we find a more permanent solution and I will keep a backup of all the files on my drive.

In terms of image? I have an NX1 and think it has some nice characteristics, but the poor highlight roll off and general lack of DR put it below the 1DC. As for Sony, the colours just don't cut it, for me. For overall image and performance as a hybrid, I think the 1DC still reigns supreme.

Do your clients ask for 4k? If not I would go with the C100. It sounds like you're going to love the C100. As regards image, it doesn't do anything particularly badly or particularly well. It's a safe bet. The color is really nice, though, and it makes people look good. Canon is second only to Arri in that respect, and arguably they handle skin tones even better. Very sharp, too. The learning curve is there, but fairly simple (mind your super whites and don't throw them out in post because highlight dynamic range is not super generous, use your waveform monitor, learn the focusing aids) and once you get past the learning curve, operating, even as a lone gun, becomes a transparent experience. Likewise in post, but I find skipping Canon Log entirely–unless you're shooting b cam for an Alexa shoot and really need the flexibility–and using WideDR keeps things really simple as you can forget about LUTs and the weird Canon pseudo-log (necessary for retaining tonality in 8 bit space and nicely executed, but like... annoying to grade compared with Log C) and just play with a low contrast rec709 image until it looks good. A lot of what people look for in hobbyist communities like this one or reduser is the ability to emulate what the pros do on a lower budget... sort of hunting out and mastering a complex workflow for the sake of mastering it or finding a weird hack or alternative. From an editor's perspective, its like using Avid on your short film just to use Avid... But, ironically, a lot of "pros" are after simplicity above all else, only they have more resources to draw on and can hire a great DP and a great colorist and they're picking people rather than gear and software... and wouldn't pick the same gear and software without access to those people–goodness knows I wouldn't want to work with an Alexa unless I had enough people in camera department to support it. Canon's baked in look and pineapple form factor does a lot of that work for you... it's less flexible, it's less fun, but it's reliable and looks great consistently. And if you don't have Company 3-level skill set and two ACs and a loader, well, you can't really afford to use a more convoluted workflow and complex camera unless you have a LOT of time (or very little work)... The C100 is a safe investment. If you want to tell a story or shoot a doc without a big crew but still get a good image it makes that experience way more transparent. That's also why it's unpopular on some online forums... if your hobby is in the intricacies of shooting and grading esoteric formats, a nice AVCHD image that can only take so much abuse in post but only really needs a little bit of abuse in the first place is... Boring. By which I mean, quick and painless. Great for business. Less fun for a hobbyist DP/colorist. (Really fun for a hobbyist director/DP, however, and perfect for pros without huge wallets.) I like the black magic camera if you have a lot of light and are shooting vfx plates because of the resolution and lack of skew. But it has even worse highlight roll off and I find the fixed pattern noise to be highly problematic above 400 ISO. Also rigging it is trickier... the only complaints I hear about C300s and C100s from a rigging perspective are from pro ACs, who are forced to rig the pineapple as though it were an Alexa. As regards rigging, all it needs is a lens (and an LCDVF if you get V1 and not Mk II).

The combination of the 2.2 crop factor in 4k and the Nikon F mount makes for a really uninteresting camera in my opinion. It's like shooting a GH4 with adapted DSLR lenses but no option of a speedbooster. I see it as a pure spec sheet gimmick for marketing. I went from "omg I need it!" to "why would anyone use that?" in the time between the anouncement and people posting the specs.

http://petapixel.com/2016/01/06/kodak-is-bringing-back-the-super-8-as-a-film-camera-with-digital-features/ http://www.newsshooter.com/2016/01/06/kodak-goes-back-to-the-future-and-announces-a-new-super-8-film-camera/ http://www.wsj.com/articles/BL-DGB-44507 http://www.hollywoodreporter.com/behind-screen/ces-jj-abrams-backs-kodak-852128

I second with Mattias decision for a red one mx . I own two of them, and three sony f35 - about to put up a test - f35 vs f3 vs red one mx vs a7s ii The Red One MX, Ebrahim, has a pretty good sensor. I also think of it as 12 stops. But has really good resolution. It also has the best looking skintone out of the bat in daylight than, in my eyes, the Red Dragon sensor. I think Shane Hurlbut did a comparison of how each optical low-pass filter affects skintones. I haven't done tests to see, but I notice that the motion on the red one mx feels better than the Epic MX - also David Fincher agrees with me and Mattias, he said he prefers the look of the Red One MX over the Epic - on his interview for AC about girl with the dragon tattoo. I used the BM4k and wasn't a fan of its highlight roll off - the CION doesn't look that appealing to me. The Red ONE MX is a workhorse. Mine has been going for over 2 years now after going thru some long, intense shoots. In -20 F weather in north Alaska. Also it has less fan noise issues than the Red Epic. It's compression is pretty good - it's clean and sharp and has nice motion. Red Customer support is HORRIBLE! If you break anything, even a SSD reader, they won't do anything but charge you. And reduser - a lot of them including the President are really mean to people on their boards. So they are a mixed bag. I still want to do a red one mx vs alexa mini vs fs7 vs f55 vs ursa 4.6k test vs c300 ii test if I ever have time or money - maybe someone else can do it.

Had a quick play today. It was -17C so I mostly stayed in. Got borred and played with the exposure of the R1. Its really not that heavy when striped down. Did a quick comparison to the BMCC as well. Think the Blackmagic did alright besides the moire on Gunpowders cheek.

More closer to the D500 really. For 4K video the D5 is closer in spec to the NX1 but without the H.265 codec, DCI 4K and long recording times, or mirrorless mount, or EVF, or... I can go on!

Now that I've had over a years use of 4k 8 bit 4:2:0, I find very little benefit to overall image quality compared with true 1080p. Images seem to be getting more and more digital, artificial, brittle. Lacking in soul. Even TV's are set by default to take out the magic with those horrible "True Motion" settings. Point is, what on earth happened to 1080p? The camera companies can't be finished with it yet. 4k is still very much an infant, screaming at customers for market share. Canon and Nikon have the most "pleasing" images, but progress in video features is slow. Oh well. If Nikon had released: - 2.5k compressed raw video and 10 bit ProRes, full readout. - 120fps HD on an 8 second buffer (decent bitrate). - Articulating LCD. - Peaking, zebras, log (standard video stuff) ..... it would be very very very very popular. Probably. Likely. I'd get one.

I think this proves just what a one-off the 1DC has been. Canon and Nikon obviously don't want to make a high-quality 4k DSLR, going by their releases since the 1DC and also Canon's refusal to support that camera in any way with firmware updates or even a proper LUT. Surely they could do better if they tried, but they choose not to. Why? Market segmentation? Internal politics?

Even in NX1 is 1080p mode very much sensitive on ISO/framerate. My experience (I had always smart range ON but I have not make any comparsion how it affect image quality): 1080p60 - maximum usable ISO for me is ISO 400 and everything above is "smeared to hell and blotchy" 1080p120 - maximum for me is ISO 200. Decrease in quality is visible even on A7SII and GH4, still NX1 seems to be best even on ISO 1600 - see here https://www.youtube.com/watch?v=Ek2l3d6hVQ0 4k30p - fine and no problem here - everything is quite as expected. Image become little smeared since ISO 1600 Summary - I use 1080p modes only with fast lenses or in bright light...

Veydras are great. They don't have any funky stuff going with them which does make 'em consistent and have great resolving power. You can now user swap the mount to E-mount too. If you were to go up from that, without the need of fullframe, remember the Sony CineAlta set that has come down in price tremendously (as seen on: http://www.bhphotovideo.com/c/product/906631-REG/sony_scl_pk6_f_cinealta_4k_six_lens.html ). So you'd get a S35 covering set of 6 lenses, 20, 25, 35, 50, 85 and 135mm T2s for 2150 USD/each new. That's some proper glass! Still fairly pricey though, but I've seen 'em go up 2nd hand for 4850 GBP in the UK and 8500 EUR in France. And for that kind of money... that's pretty interesting for proper cinema primes. Personally I'd like to mess around with some C/Y Zeiss next... see what all that's about for myself. I like vintage vibe, but usually I go for the extreme ones which tend to flare and create crazy bokeh, yet aren't really solid go-to lenses to just use for everything. Another interesting idea would be to shoot stuff exclusively on the BMPCC and get the Zenit Optars... http://shop.zenit-foto.ru/kinoob-ektivy . Concerning Nikon Ai-s. The 28mm f/2.8 is a legendary one. Such a beaut.

They always do it on the promotional videos, it's horrible.

Red One MX 4.5K at max compression (=worst possible image ) 24fps ISO800 Nikkor 17-35mm @ f4 24fps http://www.filedropper.com/a165c0190101j8rdc (The focus is ok until she gets bored and lays down) Frame Grabs: Ungraded, Quick Grade,

I normally prefer to use primes, but I am blown away by how good the 12-35 F2.8 is on my GX8. I know that there is software correction involved, but I love the size vs performance and the combined stabilisation is really boosting my photography keeper rate because camera shake is all but eliminated. Like you, Matt, I have a number of AiS primes as well as the fantastic Nikkor 28-70 F2.8. These are all great on the GX8, but it is the 12-35 that stays on there mostly. I also have a GM1 with the 20mm F1.7 that I carry around with me. Its a bit fiddly to use, but it takes surprisingly good photos and 1080 video for such a small camera. For serious video, I am thinking of either a BMPC or BMCC as 10 bit 1080 with high DR is all I need at the moment, and I can use my MFT and Nikkors with it.

Of course they are, raw2CDNG, MLrawviewer, MLVProducer, MLVFS (for mounting MLVs and using "virtual" CDNGs - no need to unpack). I work on a PC and there is everything I need for comfortable work.

For anyone interested in a GH4 (VLOG-L) + Atomos Ninja Assassin combo File Link: http://www.filedropper.com/assassins001s001t013 (1.88 GB) Camera: GH4 (VLOG-L Profile) + Atomos Ninja Assassin Lens: Sigma 18-35 + Metabones Speedbooster XL, F1.8, ISO400 File: Apple ProRes 422 10-bit, 4k (3840x2160), 24fps Frame Grabs Ungraded: Graded (IWLTBAP 9280 LUT):

Total beast, that thing!

By then even RED will have an affordable cinema camera!!!

What do you mean by "no lens adapters", that isn't right. Full aperture control on A mount and Nikon lenses too! Widely available premium quality Novoflex and even a great PL mount adapter from Ciecio7. Do you actually mean "no adapters with electronic comms for EF mount lenses"? If so then say so as otherwise people get confused and this is supposed to be a knowledge-base not just a chat board.

Like most cameras, I don't think we can make a call on this until FLAT files from the camera go out in the wild. On paper the D750 is pretty poor spec wise, but in practice it has a great image that is easily graded. Compare that to the 10-bit 4:2:2 issues on the FS5 codec, and you really can't compare these cams unless you see tests from professionals.

If you sold your a7s because you couldn't use it, it sounds like LOG shouldn't be a feature that really matters to you. I use Sony cameras a lot (a7s, a7sii, FS7), and while I love the possibilities they offer (log, great low-light, tons of features), they can be an absolute pain in the ass to use, whether its due to awful menus, poor ergonomics, short battery life, lack of customization, or whatever other weird Sony thing happens to be getting in the way of shooting. Whenever I use my own gear (GH4 + GX7), I always have a really nice shooting experience. Panasonic cameras and easy and enjoyable to use, and that's a big reason why I haven't invested into any Sony gear. I rent it when I need it. I only own one M43 lens, and that's so I can have a small lens with fast AF when I want to take low-profile stills. Otherwise, with a speedbooster and some moderately fast canon lenses, I'm able to get really good low light performance in most situations. If you use third-party lenses and adapters, then you'll only need to replace the adapters if/when you switch. So yes, I think M43 is definitely worth investing into, but it's certainly not the only option. It sounds like you've already got a grasp on the advantages of other systems. The only way you can learn whats best for you is to try all the options out. Renting is a great way to get a lot of experience with different cameras for relatively cheap.

Or they believe (or their research tells them) that DSLR-for-video is simply too small a market to invest much in. Since the D90 started all this (which seems to have been a case of an engineer saying, "hey, I think we can get the live-view feed to the card"), posters on every video-centric forum decry the stupidity of the two big DSLR makers. But maybe the truth is that investing in R&D and manufacturing that adds more features gives profitability too big a hit. Nikon, for one, must know by now the big-demand features we want. (And keep in mind some of the most-desired Canon features come from Magic Lantern, an open-source third party - not from Canon) (As far as I know, haven't owned a Canon since the D7000 came out). I have to assume that Samsung's failure (if that's indeed what's going on) has just reinforced that idea. Any Nikon engineer pleading to add video features has just been told "look what happened to Samsung". I assume there's a lot of product dev folks in Asia heaving a big sigh of relief about playing catch-up with Samsung. I'd love for someone at CES to see if they could get a clarification from Samsung though. An NX2 could be a lovely thing.

While sensors have some effect on noise performance, the biggest effect on noise is in-camera NR. The C300 II defaults to NR off. Turning it on reduces noise while softening the image a bit. I'm sure Neat Video would work better, however ISO 25600 could work in some situations. Sony has a lot of compute power optimized for NR (the real secret of the A7S/II IMO, not so much the sensor). For ultra low light, the color quality difference between the C300 II and A7S/II won't be as visible; the A7S/II makes more sense. That said, we shot a night scene with the C300 II and one LED light and it worked well- noise, when visible, is filmic (in camera NR off). I need to do more tests with camera settings and Alexa LUTs- it looks like Canon tuned the C300 II to better match ARRI, which is a good thing.

Not to mention that the XQD can support >1000mbps... They could have revolutionized BOTH the photography AND the videography fields by implementing 4K compressed raw at 24p. Even with a crop. But given the 3min limit, that sensor has severe heat problems and I believe they are trying to protect the long term usage of the camera. P.S. My dream D5, other than shooting RAW 4K, had an EVF when the mirror flipped up similar to the hybrid viewfinder of X100T.

This is odd, or maybe I didn't quite understand the theory. I have just bought an A7SII (I used to have a Nikon D5300&D5200) so I thought all my DX glass would render useless. Well, using a dumb adapter (K&F Nikon G to Nex) I attached the classic paperweight (18-55 VRII) and even though in 18 I did have lots of crop and vignetting, down to 55 the image looks like this: (the attached picture of the lens) After doing that, I tried my beloved 35 1.8 (nikkor, DX format) and the result was quite good too: (Bobblehead picture) The camera is set to FF mode (no cropping, no nothing) Is this normal? Cheers.

Not sure if joking :|

I will say the Chinon Bellami is a nice looking camera, but not good enough for 1000 bucks. If it was selling for 250, then I would probably have one. Thanks for the link, it cleared up the audio question. Of course, I'm not sure why they are using crystal synch... I get retro, but do I really want to have a nagra to get some audio? I really think it would have been a better idea to develop a hybrid digital/analog camera. Throw in an SD card and a Super 8 cassette and give me the best of both worlds... Or one or the other. Whatever, it's still a cool novelty and if they get the price down in their second run... As they are claiming they will... I might grab one.

Sit back a few years, then you get a camera that's usually 50% off the first price and has no more bugs. You can leap frog from older camera to older camera. You can right now use the Sony F3 and own it for $4k or so used, and then when you are ready, switch to a F5 or F55 or FS7 when it comes down in price. With the savings, invest in lighting, glass, and tripod, and camera movement. Find your niche - are you good at lighting? Composition? Movement. Invest in that. The Red One MX still has probably 90% of what you need vs a Red Dragon or Weapon or bla bla bla. Do tests. Sorry Andrew about the FS5 issues. But you get what you pay for.

4k in 8bit 4:2:0 h.264 while the competition had that nearly 2 years ago? By the time we'll get a Nikon DSLR with non-cropped 4k to internal 8bit 4:2:0 h.264 I wouldn't be surprised if the competition would all have external 10bit like the GH4 already has or at least way better codecs and/or higher bit rates internal. If Sony would make the HDMI out 10bit they would kill the S-LOG problems with banding and have a crazy thing. To be honest I don't think Nikon will even try to compete for the video enthusiasts in the next years. Even the new cameras seem to only have zebra in regards to exposure/focus tools.

And you dont have to whait for years either. G7 is already half price brand new. NX1 half price used. Same thing with lenses, lights etc. Go used.

Hue... Very stupid choice BTW No natural colors anymore... no sense at all

Your FDs and your Nikkors should be plenty sharp enough. I just sold off my set of FD lenses because I didn't love them, but I didn't have the L glass you have. I found they favored green and I don't like the way my Samsung handles green.

So a 1:1 center crop of the D500's 20.9 MP image to get a UHD frame results in a total crop factor of how much? My back of the envelope says 2.2 ish?

I have no idea why they would perform differently (the filters). You canalways rent a modern lens and see if you need that kind of sharpness.

Not sure if you've read Andrew's post about 7d raw: http://www.eoshd.com/2013/08/raw-video-on-the-canon-7d-super-35mm-raw-for-under-1000/ The 7D really needs the Mosaic filter to help reduce aliasing. With the filter it's a great camera for raw since it takes CF. Edit: All this 5D2/forgotten camera excitement got me looking on craigslist. I found a wedding photographer selling her used 5D2 body for $500. ~140k actuations and some scratches on the screen. Talked her down to $480, just met up and bought it. Maybe you should consider selling your 7D and getting a used 5D2 since prices are getting very low. The deal I just got is extremely lucky but I see another on craigslist for $700. Now I can finally do some 5D2 vs 5D3 raw comparison tests of my own. I can post the results if people are interested.

Yep They are such bozos!! How come the Samsung NX1 can do a perfect 4K image from a 28MP Super 35mm sensor with no crop but Nikon... NIKON for heavens sake!! CANNOT!!

I remember having an argument a few years ago late in a bar about how film would never be suplanted by digital. I said: just look at Once Upon a Time in Anatolia if you don't believe me. The next day I checked and discovered it was shot on the F35.

Inspire 1 Pro and RAW models just announced: http://www.dji.com/product/inspire-1-pro-and-raw New propellers and motors (and color)

The vimeo description says Minolta MC Rokkor PG 50mm f1.4 and the Minolta MC Rokkor 35mm f1.8 HH

Not true. You can shot slowmo in raw with the Markiii, not with Markii. Here's a video i made with my 5Diii

Those are so comfortable. Great ergonomics. The 5D Mark III added nothing of real note over the Mark II. The old camera is the very definition of a modern classic. So much room for the monitor in it. And it was a crap monitor They should have another go with that model. Would be wonderful second time out. Was it from the Jim Jannard puppy rescue home?

Hey Andrew, what's going on...? Feels like: "The last will be the first":) This is also a good example regarding color and skin tones, etc.

I really like what 5d3 raw does with faces. I find it has just about the perfect amount of sharpness. And I've yet to see a better HD/2k camera for narrative in terms of image quality. Interesting that the 5d2 can be made to match this. Is 5d2 raw usable at iso 1600 with proper exposure?

Well, seems like my experience on the FS7 with XAVC-L is indeed the same with the FS5! It's definitely the quality of the codec which is the offending element, as XAVC-L is pretty terrible on both cameras. I think Alister is a fantastic resource for Sony cameras, and I don't think he should be protecting the FS5 when the A7 cameras offer better codec performance for less money. I'm not a scientist or technician but.... I do think he is right about Slog and low light though. It's true you can get a smoother curve with Slog from shadows to highlights, however I picked up that Alister is reflecting on how much data is being thrown away in Slog in low light. You are stretching information in scenes where there is actually little information to record (such as very dark shadows) thus amplifying noise and artefacts. Squashed into an 8-bit codec. So it makes more sense to put this information on a gamma curve where more data can be recorded. A huge lack of understanding for many A7S enthusiasts is they think that scenes can be lit by just bumping up the ISO and shooting in Slog for higher dynamic range. They are just amplifying information that isn't there, which greatly affects colour rendition, resolution, noise etc. This is the reason for bucketloads of very poor footage from the camera on Vimeo. Instead of focusing attention on camera tech, more people should focus on how to use light. This alone is the single, biggest quality difference between one image to another. Many of us are forever chasing the resolution/bit rate/HFR race with ignorance towards more important pieces to the craft. Buy one body, learn it, stick with it and spend your other money and time on lighting/composition and how to use it.

Quick DR comparison. Was planing to do a complete side by side shootout but the day was just to gorgeous and Ive just moved to a house by the sea. So I aborted and went ice skating instead But a super quick shot. A have shot with the same lens, f4, iso800.I exposed ETTR with the same variable ND.Red Code is switched to Red Log Film and the BMCC Raw to BMDFilm.Then I set the highlights and shadows just bellow clip and above crush using the wave form.Lastly I chose a line in the mid tones and pushed it to the same IRE on all clips.My conclusions, BMCC and R1 both have 13 usable stops. They both have about equal amount of noise but the R1 has a dirtier noise (a positive for me but not the the folks who like it sharp). The Red has a much more pleasing set of colors after balancing. Just like C-Log, Nikon Flat or Bolex. Wouldn't need as much grading to get a certain look. A note on using them, The bcc is so super light with just the top handle. The Red feels so much more "pro" and all of its exposure tools are really nifty. Didn't even turn on Zebras or False Color. The meter, stop light and histogram does a good enough job without cluttering the screen. BMCC Prores LT BMCC 2.5K Raw Red One MX 4.5K R28 Red One MX 4.5K R42

Honestly, I think film cameras are easier to shoot with than with the RED. I've never been particularly enamored when using one, as it's a fussy thing. That slow boot up is so frustrating. But, at that price, I'd buy it if I was going to make a certain type of short narrative film or a feature. Because the thing demands light, it does force one to be more considerate. I mean, you really have a narrow range of ISO. That can be a plus, depending on what you're trying to do.

Nice write up. And please, this is in no way a "defense", Im happy people don't like it. Thats why I could get is so cheap But a few thoughts as answers to why I, even though I knew everything Ebrahim says before buying it, still went ahead. All clips in my video are ISO +800 pushed. Doesn't look noisy to me.The number of stops depends on what you compare to. I have decided to rate the BMCC at 13. Which means the XC10 has 12. And the R1 has in my experience more than the Canon. I will do a side by side with the BMCC. But what Ive seen so far makes me guess 13. Anyway, will know tomorrow.Power isn't a problem for me. Its like any other camera to me and the way I shot.The codec is what finally made me buy it. I takes up almost no space/quality, is super easy to work with and I just like it.The fan is very quite. Feels nice compared to the noisy BMCC.ND, again, business as usua (ursa mini includedl.Regarding the URSA mini 4K, I didn't want it since its lower DR, not what I consider "filmic", twice as expensive, no red code and I just don't se it when a BMPC4K can be had for so much less. After the URSA 4.6K is out I suspect I can pick up a BMPC4K for just over 1K. And of course the no above iso400 zone.And here is what it all as usual comes down to. Taste. I agree, the F35 has more mojo. But I definitely put the R1 in the top together with the f35, Bolex, Ikonoskop and... ... Don't really know any more. To me the R1 is the most filmic of all Reds so far. The BMCC has its color/DR but the Moire and the "digitalish" sharpening thing that happens in debayer is often needed to be fought imo. The URSA mini 4K needs a difusion so bad its crazy. To give an example. As I write this my girlfriend started watching my Bluray copy of "The Hurt Locker". Its shot on the same 16mm Fuji stock I have sitting n my freezer. This image is to me the absolute bench mark. It is what I consider "best". The super sharp NX1, BMPC4K, any of the Sonys, you name it, can't touch it. Its the utopia. Not even 35mm looks as good imo. So you can imagine why the R1 is a better choice for me. (only time I didn't like the image in Hurt Locker so far was the massive moire from the digital Phantom during the first high speed footage. Where up at the Sniper scene now. Intense stuff... Love the long canon zoom lenses they used also. Thats why I shoot long on the BMPCC. Drifting of topic here....) Also reason number 1 in my top 5 list was simply that its "fun" and "cool" Again not ment as a defense or argument, just my thoughts. Im well aware that Ebrahim only speaks for himself and know as well as I do that every single camera has flaws, deal brakers and major let downs... depending on who you ask. A heavy camera to one is stable to another. A GoPro kicks the Alexas ass for diving but falls short for feature. Both of them gets smashed by the Phantom in the slow department. The list can go on forever. /M

Thank you so much, it really means a lot =) I havent been doing color grading for too long, and the NX1 is my first "pro/enthusiast" camera, I used the Canon 600D for about 1,5 years. I think with the NX1, its a matter of time, you need to get around its quirks, get to know its flaws, and most people just didnt bother to explore it enough. A few pages back (I think it was this topic) we were talking about limiting yourself with gear (lenses), and I think that is the best way to evolve and progress, and the same goes for cameras, I cant afford to buy more than one camera, so when I spend 1500€ on a camera, I need to learn how to come out with the best product I possibly can, because I cant get enough money to buy another camera.