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Regarding batteries - I've used the various Amazon aftermarket batteries for years on Nikons and big Panasonic broadcast-style cameras. Zero problems. Still, if the NX system is truly dead, don't be surprised if the aftermarket stops producing accessories. I'd consider grabbing some batteries (I don't feel comfy without 5 or so for any camera). I'd also suggest getting the genuine Samsung charger (that SHOULD HAVE SHIPPED WITH THE DAMN CAMERA), for 2 reasons - 1, the aftermarkets are direct-plug so tough to have on a desk; and 2, they're about as cheap as a charger can get. They're all the same base with snap-in plates, and my plate is already falling off when I take a battery out. (Ever have a multi-day gig out of town and go to sleep in your hotel with a dozen batteries on a dozen chargers??) I'd also think hard about what glass you may want someday, and possibly grab adapters while they're plentiful. Think you'll ever do a music video and want that crazy helios look? Get an M42. Who knows, maybe this stuff will be manufactured for years, but a $12 (or $30) adapter isn't going to get much cheaper, is it? And buy a spare for your favorite glass. (When I shot canon, I just bought adapters and rear caps for most of my Nikkors, really sped things up since the Canon adapters were a fiddly pain). It's gonna suck if you still love the NX1 three years from now and can't stick your glass on it...

To ettr the g7. Set the Zebras to 100% and avoid them on any highlight of importance.

Resolve,Colorista,Speedgrade all have ability to isolate/key/punch skin tone to where you want it to be. If you going in with a heavy orange and teal grade in mind, maybe try to avoid reds and oranges in wardrobe and props where possible. If you can load a LUT onto your camera monitor...great, it will show you the ballpark of what a stylised grade will give you as you shoot. For exterior/overcast weather, you could favor a warmer colour balance to bring skin looking less washed out. If your actor is very pale, that is something you can't do too much about - without helping with makeup.

Hi guys wen to local vintage camera store and in the basement i found those tag say movie lights they are extremely strong light source and i was wondering if they can be used in production. Found something similar on eBay Acme Lite Movie Photography Light Unit 2 GE Photo Bulbs 375 Watt. There is yellow sticker in the back what aperture to use

I often find that the light controls in front of a light fixture are more important than the fixture itself. There is a barndoor that is designed to fit directly onto those R40 photoflood bulbs. They came out decades ago and were part of the original Lowel-Light. I don't think that they are made anymore, but you might be able to find them used in kits, as kits of that Lowel-Light are included on almost every large truck. I have also seen them employed a lot in department store window displays using track lighting with R40 photofloods.

They've been great for me since I bought them in June last year. Also, I LOVE the battery life on this camera in general. Pretty amazing.

this is my best tip too. Learning to do secondary colour correction on skin is one of he best things you can do, then you can push the skin tones where you want them. I frequently rescue and improve shots like this. of course you need to start with well exposed and white balanced skin in the first place. if you're editing in Premiere you can use the three-way colour corrector to do secondary correction without having to get into Resolve or Speedgrade. Find a video tutorial and give it a go.

they do get hot i will bring them for warmth

nice! can't wait to see some shots from that combo.

Try white balancing with warm cards? http://www.warmcards.com/WC1.html

You can also use davinci resolve or adobe speedgrade (and probably some other software that I don't know about) and pick out the particular hues of skin in footage and adjust them to your desire

I recommend you also consider the Panasonic AG-DVX200: http://pro-av.panasonic.net/en/dvx4k/ I looked closely at the C100 Mk II -- it is a fantastic camera, but (before the recent price reduction) it was significantly more expensive, did not have 4K, could not do a smooth power zoom, and required extra lenses. I ultimately got an A7RII plus 28-135 f/4 cinema lens and am happy with that. My documentary group got a DVX200, and it is really good. Sensor is micro-4/3 but it holds up pretty well in fairly low light. Here is a night shot we did: https://vimeo.com/user4747451/review/151164510/7771fb51fa OTOH the $1k price reduction on the C100 Mk II changes things a bit. That is very tempting. It's "only" 1080p, but good quality 1080 is very good. The interchangeable lenses give a lot of flexibility. However I've gotten used to the editing flexibility that 4K gives, and it is pretty nice.

BTW: To slow down the 5dIIraw euphoria a bit… Moiré and Aliasing is unfortunately as bad as we know it from 5d-h264. The VAF Anti Aliasing Filter comes with the limitations that Andrew pointed out (a bit less overall sharpness, less sharp on the edges with wide angle lenses, focus point changes during zooming…anyway I would recommend it!). Independently of this, the max. resolution with my 5d2raw setting is:1872x850 (aspect ratio 1:2,20). So you have to upscale it to HD. If you want to shoot in 16:9, the horizontal resolution is reduced even more. Nevertheless I love the image quality, for several years.

Gah wrote a big post and lost it. The jist of it was : This Kowa 8.5mm looks nice: And Tiffen Ultra Contrast and HD/TVFX filters do a lot to attenuate the clinical/digital look of Panasonic lenses: Ultra Contrast on a 25mm 0.95:

If anyone is really interested I will sit down and find the article and point to it.

Yep that interview was also conveniently less than 3 min

Keep in mind they also jump-started their ILC division by acquiring Konica-Minolta, thus gaining access to tech & people with decades of experience.

Sony's been remarkable in this regard. Their stills camera division was a distant third for a decade. They just kept chip chip chipping away, adding more features than the competition, iterating and modifying their designs radically until they found a way into the future (mirrorless). People who were paying attention switched a few years ago with the NEX-7 era. Now I see a huge sea change happening with a majority of filmmakers I know switching and lots of photographers taking Sony seriously as well. Nice to see the hard work and patient approach pay off. Their consistency approach is smart, too. They built an array of product categories and packed each with category leading features, so you can confidently move between the levels. I can use my A7s, RX100 IV on most standard shoots, and rent the FS5/FS7 when I need something more capable, knowing I can shoot S Log on all and have a color matched solution. The idea of adding pro codecs on the RX100 IV especially, was genius. I've picked up B Roll for major shoots when I'm just walking around and pull it out of my pocket. to grab something in 4K S Log.

Yes absolutely, they should have stuck it out. Good post. They had NX on the market for about half a decade, trying to do what it took the rest the best part of half a century to achieve.

I think Samsung merely miscalculated how long it takes to break into a new market, especially one with products that are pricey. I wish they had sucked it up for another couple of years, came out with an NX2, an NX600, and a crap-ton more lenses, and they would've had a pretty good shot, especially if they had set up a pro support network. Half-hearted efforts won't cut it against competition like Canon, Nikon and Sony. Even Fuji & Olympus have made decades of experience in the field. It's the height of hubris to think they could just jump into the photo game and success in a short amount of time in anything other than the point-n-shoot part of the market. The deep end of the pool requires you to be able to swim and defend yourself against what else is in the water.

I was told at NAB last year that Sony is VERY carefully about who they sell their image sensors to and what cameras they are installed in. He told me that Sony writes contractual limitations into the sale agreement. Sony demands these sensors will only be installed into a competitor's camera with specific X,Y and Z limitations. If the buyer doesn't agree, they don't get the Sony sensor. They can negotiate with Sony but will pay a higher price for it. Supposedly Sony is VERY agressive on these legal contracts. Sony doesnt want is own technology fighting toouch against their own cameras and camcorders. I dont know if Nikon is buying Sony chips on this new model but if they are, this crippling stuff might not be their fault. They literally could have their hands tied on what they can give their customers and what they cant. This could be another reason why there are Nikon/Samsung rumors going arround now. I'm certain Nikon wants to get away from Sony at all cost. Nikon does not own a sensor plant so they MUST buy from a third party supplier. Anybody know if Nikon is buying Sony on this?