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https://www.fotodioxpro.com/catalogsearch/result/?q=nd+throttle+nx1 NX1 ND throttle adapter! I already ordered, very glad they decided to make it for the NX mount.

This is a test of underexposing the Red One MX and pushing it in post. And some footage from the 100fps Over Crank Slowmotion. Today it was really cold (-20ºC/-4ºF). Therefor I stayed inside and played with the R1MX. Firstly I finally read the manual and learned the different exposure and focus aids that are available in the EVF and viewfinder. And there was a lot of them. While calibrating my Zebra settings to show the same as one of the false color modes I got a bit curious about underexposure and did a series of tests. The conclusion I drew was that the Red Raw is very pushable. Like all cameras it introduces noise when starved from light, but the noise isn't to shabby looking. Its nice to see that even the darkest one, f22, can be used in documentary purposes. Meaning you can shoot something and show what it looks like. We are not not talking about looking pretty, just identifying an object. The framesAll of them are shot at ISO 800 with a Nikon 35-70mm f2.8. The cameras is at its highest compression, in other words, its worst image in 4.5K. In the camera the Zebras are set to indicate over exposure and shadows that are at risk to be to noisy. The frames have first been exported in their default Red Gamma 3. Then I have used the f2.8 as bench mark and pushed all the others to match its lift, gama and gain. (sorry about the photos of the monitor, smartphone.) f2.8 Here I had Zebras indicating clipping on the table next above the remote. The stop light indicates that its a red channel clip. Meter is also on red. Straight from camera. Balanced. f4 No Zebras for clipping nor underexposure. Straight from camera. Balanced f5.6 No Zebras but exposed to the left. Straight from camera. Obviously I slipped in and made the red channel blow, but Im to lazy to redo it f8 Starting to get dark. Still sharp and not to noisy. Colors back to normal. f11 Some Zebras warning for under exposure on the remote and parts of the blanket. Straight from camera. Some noise but under control. f16 Night time. This might get noisy. Should clean up in a pinch. f22 Green Zebras all over the place. Yeah right.... Still usable in documentary situation where the goal is to identify and not to look pretty. SlowmoSo for reading through that boring stuff, here is some slow of birds

Thanks for this test, definitely shows me I don't need to invest in a high end recorder for this camera. I actually prefer the skin tone off the internal file. Also I don't think the SHOGUN upload is working. It won't play after I have downloaded it and it is showing it as a smaller file compared to the internal one.

Zeiss C/Y lenses on speedboosters are a superb option I use alot , I made a full set of f2.8 Zeiss C/Y lens - yes the f2.8 versions so on the speedbooster they are f2 when fully wide open - and thats how I use them wide open , the glass in these lenses is identical formula that is in the Zeiss Super Speed cinema lenses and Zeiss Ultra Primes - the guys on RED USER have done loads of A/B tests and its identical , so for me as I like to shoot f2 max the f2.8 Zeiss C/Y lens are amazing . Cinema quility glass at affordable prices - I went for 25, 28 35, 45, 50 , 85 . 135mm

Hi everyone, I have a site up with free music that you can use in your videos. It's all original...all my own work. All I ask is to be credited as indicated on my homepage: http://soundimage.org/ I sincerely hope my tracks are helpful. Any and all feedback is welcome and always appreciated. All the best, Eric

it all depends on the scene. i made a super flat gammaDR profile and got some amazing results... but it only worked in scenes with no real gradients....once a gradient is introduced it falls apart quickly. i have not 100% made up my mind yet but I'm thinking I'll lose the 2-3 stops of DR that a flat profile gives on this camera for the sturdiness of the image when shot regularly.

You can always blur the footage slightly. Easier to have the information and decrease detail than to sharpen detail that is not there.

Feedback with closed-back cans in a non-amplified environment? I have no feedback issues in my studio space with monitors blaring and big-capsule cardioids. It's a non-issue on set. WTF?? "blow your hearing"?? My experiences day to day with bluetooth is that it can be a real "ghost in the machine" technology. Stuff lags, disconnects, one device decides it just doesn't like the other anymore… I'd guess acceptance of it is more of a "why add more complexity?" issue. But for indie, small-gig corporate - people do some weird things that happen to work perfectly for them. I was once derided on a forum for mentioning my "400 watt mogul HIDs with an aquarium ballast in a Starlite softbox". But damned if it's not my most-used interview light… 1200 watt tungsten equivalent with no-gel daylight in a really nice box with grid that pulls 3 amps? It works and looks like pro gear (no duct tape or PVC pipe involved), so laugh your heads off! If I were having cable issues, I'd likely give it a try, but I'm usually the interviewer and I ditch the cans once levels and placement are set. And boom ops are usually physically connected to the recorder. Maybe for dialogue scenes it would be handy for a director or DP/director. The only way I know of to remotely trigger video on an NX1 is with a phone app, so Bluetooth may be something we'll all get used to in the sub-Alexa/Red market.

Well, you could buy four 5300's or one MKIII. On the web, there are hundreds (or likely thousands) of posts, reviews, tests, and so on for these cameras. The major differences are, of course, price and sensor size. Sensor size has a really big impact on your footage and in many cases it's big, big differentiator as far as the look you want to achieve. Then there are dozens of smaller differences, from color rendering to menus to size to… etc etc etc. I don't think anyone can answer this with zero info about what you want to do (other than the fanboys for either body). For the $$, the 5300 can give a really beautiful look. If you want raw, that's another thing entirely and you should be considering raw cameras. In many ways you're comparing apples to elephants here. If you have the money for a $2400 body, I'd start thinking about what features you really need, what sort of look you want, and which cameras deliver it. If your budget is $600, you might be hard-pressed to find a better body (new at least) than the 5300. You'll be limited to Nikon mount glass though, which isn't a giant limitation - only about 5 decades worth of glass out there. But it doesn't seem like you've thought this through or done much research. If you're an absolute beginner (and we all were once), get the cheap one and see if you actually have talent in this area first. If you've got money to burn… I dunno, get an Ursa Mini.

I've only seen this once before and that was on a pre-production camera, the Sony A7 II. Check out 2 min 38. Maybe Canon need to fix this with a firmware update.

Weird. It looks too clean of a line to be optical to me. Have you tried adding filters and flags/hoods to see if that changes anything? Perhaps also using the internal ND's? If this changes things it might indicate that it is an optical issue I guess. It's clearly caused by the blown light areas (the two guys' heads on the bus in the other thread are crazy). If it's natural light coming in the bus window it's not flicker that's the problem. My guess would be that this is a processing issue of some sort. The line just looks too clean and uniformly horizontal to be flaring to me. I don't know what you can tweak on the C100II - I'd try turning off/down any auto functions (e.g. noise reduction) to see if that changes things. Are there any auto DR settings?

You mean like this: https://shotonwhat.com ? > https://shotonwhat.com/the-man-from-u-n-c-l-e-2015.html Btw, IMDB also list some tech info, e.g.: http://www.imdb.com/title/tt1638355/technical?ref_=tt_dt_spec

took the nx1 on a first test run this afternoon, not confortable with video grading yet and I noticed too much red and magenta in the skintones highlights so far. colors "feel very thin" to me already when grading so I will not lower the saturation in camera, happy with the DR and details. All available light, should receive some led panels soon that will make things more interesting. All the same lens, Nikon 20mm f 2.8D 4kdci, gamma C, maximum black level, minimum contrast, minimum sharpness. I will try to upload to youtube in 4k.

Here is an updated link for the shogun file for you to play with: https://drive.google.com/file/d/0BwO55ILG1OL-U3MxclpEQWRqWDA/view?usp=sharing

I saw a similar effect in the film "The Duke of Burgundy" & in the extensive director's notes, Peter Strickland stated that his DP set up 2 mirrors & shot the reflections - you could use 1 or 2 mirrors depending on your desired effect. The resulting in-camera effect was stunning!

Ive seen it 5 times now , its a great film one of his best , amazing cinematography , worth seeing just to see the opening vistas Great story - taking the Agatha Christie murder mystery format and placing it in a different context - Lots of classic Tarantino split diopter shots too . Cant quite believe its been so passed over by the Oscar Nominations this year - no that many nominations .....

Here are the results of internal vs external. because quicktime (external) takes 0-255 and makes it 16-235 or whatever I adjusted the internally recorded one in premiere from 0-255 to 16-235 to emulate what was happening in the shogun. this doesn't affect the quality of either file as all the information is still there, but it helps them appear to match better (it's actually not exact... which is odd). so here is the scene as a whole (Shogun then Internal): here are two power windows (from speedgrade) around the lightbulb and around the statues on the chair to demonstrate highlight/shadow information and then just a 300% crop comparison (not perfect as he was slightly leaned back, but on this wide of a lens the sharpness shouldn't vary too much) jpegs aren't a great way to judge, so i've attached original files: SAM_0818.MP4 <-internal file SHOGUN_S001_S001_T004.MOV <-external file Int_Ext Test.zip <-tiffs my thoughts: first, i expected conforming the internally shot footage to 16-235 would make them virtually identical (it did not). when it came in originally, it was very crunchy, but 16-235 made it actually a little flatter than the prores, which I am under the impression takes 0-255 signals and clamps them to 16-235 already. so, not sure what to make of that. as far as quality goes... the difference is not huge. i would say externally the macro-blocking is smaller and almost appears as less-fine noise, while internally its a bit more exaggerated and chunky (the shadow recovery demonstrates this the best). highlight detail isn't much different, with maybe a slight edge going to the external codec. (EDIT) I just noticed according the JPEGs and TIFFs you'd probably come to a different conclusion, not sure why the tiff export did that, but I can assure you in speedgrade there is more detail. i'll upload the internal and external file now for viewing. while the color kind of appears to be a different, that's mostly just the not-quite-matched 16-235 making the internal a little flatter... it's really very similar when you end up grading it. detail (300% crop) isn't much different between the two. personally if I didn't already own a shogun, i'm not sure this test would convince me it's needed, though if you absolutely wanted the best image... i suppose it gives it a bit of an edge.

is it under ISO 850? I've had some bad results below that.

I just bought my first Contax Zeiss. I picked up the 50mm 1.7 Planar. I haven't gotten a chance to test her out yet though. I recently picked up the Nikon AI 28mm f2 and I am not sure if I have ever used a nicer lens... Even with its squeaky focus ring. I also picked up the Rokkor-X 28mm f2. F2 lenses are my favorite, they just ooze cinema.

I used the nikon to e adapter on my a7s and it was top notch. might have added a bit of green, but it wasn't much and it was easy to correct in the grading process. i'll do a test tomorrow of internal vs external. i dont think the gains will be significant though.

it's not actually clipped, it's just displayed beyond the range. 16-235 in camera squeezes that extra bit into range, but it's not actually capturing any more info, it's just displayed that way. if you want to display your 0-255 clips as though it were 16-235 (thus displaying everything in range) simply add a fast color corrector, then change your output to 16-235. or, if you plan on using any decent color grading software (speedgrade/davinci) you'll have access to all that information still, and you can adjust it into range as you desire.

Welcome to the world of Zach. He has a way with words.

I almost always shoot in DCI, less rolling shutter than UHD and I like that it lowers the sharpness a little. I work at a movie theater and video landscapes that go in to our preshow so I actually use that aspect ratio and resolution on a weekly basis.

I have been a Nikon shooter all my life, the funny thing is that I intuitively turn it in the wrong direction many times, and there is no fucking way on fixing this in my brain, there has to be something about it.

I'm a Nikon shooter, they focus the right way round! ;-)

The Camdiox versions are the best cheap options. leaf springs on the ef side. most cheaper units don't have this. i'd urge you to go a7m2 - the image stabilisation is very good for old lenses. the image below was shot handheld at 1/8th sec. i'd have to have been at iso 25600 to get this without the Image stabiliation

SPOLIERS Which is my favorite changes all the time but KB1 has had the spot the most times and the longest. So that its nr1 now can be mostly because its the newest and "freshest". As time moves on it may or may not slip down. But the reasons its competing in the top: Message Compared to many of his films its not a "saga" with a series of events that are entertaining. In this I felt a strong message. It made me think a lot about the current situation in the US and why it is like it is. That leads me to think about the goods and bads of my country and finding the historical events, situations, and times that formed my society. For me it was a movie about racism, life and death, justice, death penalty, gun control, value of a life, police brutality, etc. All big topics right now. Maybe more in the US than other places but its definitely on the agenda here as well. Feelings Also I like movies that provoke all kinds of feelings. Not just laughter, sadness and scariness. But also disgust, rage and anxiety. It was weird to route for some of them when they are all total murdering and hateful basterds that all deserves to get locked up. And also in the absolute final scene, to feel that she didn't deserve it, even though she certainly deserved it more than the other two.. or did she? I need to see it more times before I will ever be able to make that call. Mystery Im a sucker for a good old fashioned murder mystery. "The killer is in this very room", love that sort of stuff. My copy of "Murder on the Orient Express" is one of my most watched films. I watch Midsumer Murders etc. Its fun afterwards to finally connect dots and think, yeah that's what I suspected (Mexican guy and the chicken was enough to know he was lying) but not really getting the jelly bean (I thought it meant someone else was there, which was kinda true but not in the way I thought). Cinematic Ad to that, nice dialog, strong characters, awesome cinematography, great music, phasing etc and you have a movie at the top of my list. Some might say story is everything, I say no. A good story will not help a movie if you can barley pick up what they are saying and the DP left the lens cap on. A great film has both. Now that doesn't mean that a great movie needs 65mm and a huge budget. Imo The Hurt Locker has the best look of all films, Ingmar Bergmans Seventh Seal is looking awesome and don't get me started on Noir

http://menexmachina.blogspot.com/2015/12/a7rii-m43cmount-lenses-with-cropzoom.html