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My short film - Chatterhead! Please share!! Thank you guys so much for your feedback - let me know what you think. Shot on the F65. Super easy to bring into resolve.

After long deliberations with myself I decided to let my ISCORAMA 42 MC go, because freelance life can get a bit tough in winter months, especially with the tax payments here in UK. The lens is in near new condition, probably one of the best you’ll ever come across. Body has almost no signs of use. Focus ring and all the markings have no visible wear. There are NO scratches, marks, haze or fungus outside or inside the optics. As with every vintage lens there are a few tiny dust specs inside. They won’t affect the image quality in the any way and most people wouldn’t even mention them, but I want to be as honest as possible. Focusing ring is super smooth, feels like new. Many ISCORAMAs 42 do not have the rubber grip on the alignment ring. This one has and it also has no visible wear. The lens comes with front and back caps, 82mm skylight filter (which was protecting the front element from scratches) and 82mm to 77mm step-down ring. I’ve recently added a seamless “compression fit” follow focus gear to this lens (I've added a few updated pics), which will also be including as part of the sale. I’m looking to get £2500 for this lens. I’m hoping to sell it locally (London, UK) but will considering sending it anywhere. Shipping and paypal/currency conversion fees to be paid by the buyer. Another one of these was sold for a similar price on ebay just a few days ago and it wasn’t in such conditions, so I believe I’m offering it at quite a good price. I absolutely love this lens and will be posting my review online soon, but I do not want to do it just yet because I don’t people to think I’m being biased just to sell the lens. I know that I'm a newbie on this forum, but I've been a long time reader and I'm quite active online in general, so people like Tito and hopefully a few others could certainly vouch for me. Oh and here are 2 test videos I shot with this lens so far. https://www.youtube.com/watch?v=r9dVaEObz7o https://www.youtube.com/watch?v=54BMoWKcheM

Ive been getting a lot of questions about the Red One. Many remind me of when the BMCC was new and people seemed to think it was more difficult than regular cameras and that you could only shoot with thousands of accessories. Back then I did a quick beginners guide on what you needed and how to set it up for a basic shot. So for fun I did a similar thing for the R1, even though I bet not even 1/100 is interested compared to the Blackmagic. Again, this is just on how to get it running and produce an image, not how to make good looking videos Im also still amazed at how enjoyable Redcode is to work with. Ungraded, Redlog Graded Finally a tip if any european is looking. Its a bit pricy compared to mine. But if all those batteries are still good it might be worth it. http://www.ebay.com/itm/RED-one-MX-camera-PL-Nikon-mount-/131712086864?hash=item1eaaa6f350%3Ag%3AvEMAAOSwNyFWg8Dh

Played a little with the old Nikkor 50mm f1.4 today. For the price its more than ok. It was a very warm and burning sunset tonight, this first one is a tiny bit graded to give it some blue. f4.0. Next I think was at f2.0, its ungraded in Red Gamma 3. This is also ungraded at f2.0. Lastly, ungraded at f1.4.

I've found similar to above. For clean image quality: 100-1600 in 4K/UHD 100-800 in 1080p You can push in certain situations, but these are the safe limits.

I just shot my sons nativity play on my GH4 and BMPCC for the school DVD (hardest thing I've ever had to film btw!). It's the first thing I've done using major, extensive cropping in post. What's amazing is that the BMPCC in many cases was not only as good as the GH4 for cropping, but many shots actually better! The GH4 starts looking like digital, over sharpened and compressed garbage pretty quickly when you crop in. The BMPCC however looks organic and rich all the way in, and can be sharpened to quite a high level. Dont get me wrong - it doesn't have the same level of RESOLUTION as the GH4, but as we know resolution is far from the only thing that matters. Colour sampling, dynamic range, codec, bit depth, compression, processing, etc all factor in to what makes an image useable and pleasant to look at. DR, colour, grain quality all qualify as DETAIL imo. Cropped in, the BMPCC has more of these things than the GH4. The GH4 is a nice camera for 1080 delivery but I'd never crop in on it for a critical job. Canon have simply bypassed the 4K workflow inconvenience with the C100 by down sampling in camera.

The deal is that sensors have what they call a "native ISO", which is their own internal native functioning gain level within the device. So all other ISOs are either an amplification applied to that or an attenuation applied to that, so that's why some cameras might give its best result at say 400 ISO. But like you've heard - it varies from camera to camera. As far as I have been able to see, the response of the sensor in the NX1 doesn't seem to show any bias towards any one ISO - meaning that it all just looks equally clean in the lower range regardless of what its "native" ISO might be. That's good engineering. I agree with Casey. Just follow normal exposure and ISO techniques and the NX1 should respond with no surprises. Hell of a camera...ain't it?

elaborate please. I thought it had a nice visual. tbh I felt the trailer didn't do a very good job of informing me what subject the piece is really tackling. Informing a widespread audience needs a more cohesive and direct trailer IMO. - particularly when asking for funding from said audience.

That's not an appropriate way to give feedback to someone coming here posting their work. Have some manners.

I had promised myself not to post any more screens without actually posting a video, but I couldnt resist start grading some new stuff. I promise Ill post this video this week :3

Got a great deal on a new BMPCC during a Black Friday sale for nearly 50% off. It's my first Blackmagic camera (I have the Micro pre-ordered) and have been eager to pair it with the Trump lens set I ordered from Richard Gale. I took possession of the set a couple weeks ago and have started shooting a short film with it. I love the versatility in terms of contrast control (from standard to ultra-low) and the variety of aperture discs. The 2x and 3x ovals are my favorite. Made a quick comparison of the two here. But this week I finally started shooting a short I've wanted to do for some time. I work professionally as a freelance editor so this project is being done as schedules allow. Shooting RAW has been an eye-opener for me. For the last year I've been trying to wrestle a GH4 into being something it just wasn't capable of. And have come to the conclusion that I should have traded 4K for color science and dynamic range a long time ago.

Last week I had an insight into just how responsive Sony are becoming in rolling out support for their cameras. As users like myself and Paul Antico discovered soon after the FS5 was released the image had some issues. The very week I bought my camera Sony were in touch by email - I was then tasked to shoot some tests and send the XAVC footage to their engineers in Japan so they could work on analysing the problem. The detective work complete, Sony have now just released a statement saying they've identified the bugs and will squash these in upcoming firmware updates. Read the full article

If not, what does? Unfortunately, everyone is uninformed to an extent. Heck, former Prez GDub and his cabinet admitted they were chronically uninformed and offered it up as an excuse for a lot of their foreign policy decisions. (to which I say there's a difference between willful ignorance and being uninformed, but, well, you know, semantics)

Well, from my POV, I'd give that sentiment a full on raspberry. If a US citizen voter isn't frustrated with the candidates and is perfectly comfortable with any particular person, I'd say that kind of outlook is more dangerous than being skeptical and worrisome. Especially in 2016. If one finds themselves trusting a politician, any politician, I'd say they've gone off the intellectual deep end. You think it would be any less disturbing if we just watched a similar styled movie called "Trumphead"? Oh my good lord, that would be something. Also, Ed, what would you tweak about the color? Nothing seems off to me.

Cool! It's fun and encouraging to see how (seemingly) simple footage can be used for shaping creative narratives. I do wonder if a lot of filmmakers get that part backwards and demand assertively creative visuals before the storytelling? Not that you don't need both, but you get the idea. Also, clever use of irony there at the end is an impressive bit of storytelling craft. Anyway, POV from an aspiring documentarian, so I'm biased. I am biased for a heavy handed use of film grain too. What is it about me that enjoys that? BTW, one of the things about ideological rhetoric, and is present here, is how things are framed as of the USA is a broken state that needs to be fixed. You see this in phrases that typically has the word "again" in it. Make America great again! Make things good again! As if the way American culture exists is currently in some sort of disaster. I don't see it that way. We're constantly and absolutely flawed and screwed up, yes. Things are always unfair in many regards and needed remedy, yes, but you can't have a broad swatches of cultures coexisting without that sort of reality. To assume otherwise is a fundamental misunderstanding of the philosophical DNA of this nation. Hey y'all, our system is pretty much broken by design. The three branches of government are built to NOT cooperate wholly. You don't fix it. You continuously shape it through compromise, but fixing it is impossible. I realize the "again" phrase in this instance is coming from the perspective of a fictional character in a movie, but nevertheless it triggered my thinking, so you should be congratulated. Good storytelling should accomplish that.

idk. I hope all of this customization works out for you. But I think you may be overcomplicating and spending for what you will end up with. Have you seen the results Zak Forsman, Lintel and Squig have been getting with the BMPCC? For the amount of time and money you have spent, you could have a fully rigged pocket cam and a few shorts in the can by now.

My bet is it will be Super 35mm crop not 1.3x like the 1D C or full frame. There are also question marks over the codec. I doubt it is 500Mbit/s at 4K 60fps! The 1D C is 500Mbit/s in 24p - so a very nice image. It could be a worse image on the 1D X Mark II with more compression and less sensor area. Ultra HD crop from 20MP like we saw with D5 is 1.5x.

The fact it doesn't take photos means it is not a dslr killer. He also has 0 understanding how to properly use a gh4 or an nx1. His main sponser is canon. All these canon guys are the same, trying to push every filmmaker over into the overpriced and underperforming Canon Cinema Series. There are just too many other better cheaper options if you're looking for a pure film camera especially for that price.

Looks great. IMO, it is some of the best stuff from your new set up. Nice shot. Is that a grab or a still? I love those old Taks. I picked up a 35mm f2 yesterday. Can't wait for it to arrive. Actually, I bought 2 yesterday. The first one was a great price, the second one was just cheap... Stupid cheap. I'll keep one and sell the other. Cha ching. I've been obsessed with M42 lenses lately, which is ironic because when I first started shooting, all I could afford were M42 lenses. I've sold most of them since then and now I find myself buying them up again.

The thing that I'm finding, certainly in the UK, is that there is a higher demand for video work than ever...BUT....the cost is going down. Some of the quotes you complete against are ridiculously low, and you think "how the hell do they do it that cheap!" I'm not willing to take down the price, I'll always stick by it. I just make sure the client knows the full value of what they are receiving. This is a very good point, and I agree somewhat. The issue is that some niches become not-so-niche, and you have to broaden your horizons. I started with a Canon XHA1s and some crappy chinese redheads filming local bands. Not many people were doing it, so these bands came to me frequently. Now that camera tech is so accessible, this market isn't worth considering anymore as it's full of "price-based" buyers and everyone knows someone with a cheap DSLR. I now work on management and label only music videos, plus commercial/corporate work. Both very different markets. Thinking about my niche again - it's not my market but my creative style. My clients come to me for the "look" of the videos...so that's my focus. The niche. Back onto the topic of health... I've found it's definitely worth sticking to your prices a you will turn down all that cheaper work that wears you right down, but you will have more time and space to work on the better prospects that come in. It's far better to work on two projects per month that equal the financial value of 8 cheaper projects.

Shane Hurlbut is pretty much a walking commercial for Canon, but I'll say this: 1080 on the C100 is ALOT better than 1080 on Canon's DSLR's.

the c100 is good for what you get. Yes the dynamic range is nothing special but it has the best low light ability in the business which makes it really good for documentaries. The reason canons DSLRs are used in some films is because of its small size. It's able to fit in small places. The C300 was used to shoot Blue Is The Warmest Colour which I thought was a really gorgeous looking movie before I even knew much about the camera

No digital cameras are completely and totally free of aliasing. They all will exhibit artifacts in some instances. The majority of million-dollar movies have artifacts in them somewhere - be it aliasing, moire, noise, etc., even the Arri Alexa can produce the "black hole sun" artifact in the right conditions. The whole ballgame is to get a great overall image. For $2,500 the Canon 5D with Magic Lantern does so good a job that nearly nothing in that price range can equal it. My Panasonic GH2's, because of their design, have nearly zero aliasing and moire when compared to a 5D, and they are sharper than a 5D not shooting ML RAW...but does that make them a better image? Hahahaha! No way! Not even close! Don't get hung up on small image artifacts because every camera has them in one way or another. Look at the overall image. The whole picture. Do you like it for the job you're shooting? Do others watch it and also like it? If the answer is 'yes' then you win. Nothing more to be done there. There's always a more expensive camera out there and they're usually better too, but you have to work within reasonable expectations or you'll drive yourself crazy needlessly. If any camera for $2,500 new could deliver images as widely liked as the 5D with ML RAW it would take over. Sony thought they had it with the A7 cameras..BZZZT! Already selling for half price in the used market and being dumped by enormous numbers of early adopters. Trust your gut. Don't fixate on specs. kgv5 - your stuff is gorgeous.

Tried the Impulz Cineon to Fuji FPE (D65) LUT with the EOSHD LOG conversion LUT. With the two Samsung S Lenses. Used Filmconvert for some grain and changed the setting to 35mm Academy and also gave each scene some blur. Going to try out my Nikon MF lenses next week after getting the ND throttle.

Well, growing up with so much awesome gear around them, perhaps just pass down the knowledge and skills by homeschooling them in the art of photography/cinematography. Imagine The Kelly Family if you will, but instead of playing instruments and singing, they grow up taking pictures and video. That's a pretty mean production crew put together right there!

Thanks for sticking up for us shooters Andrew! Instead of acting like some corporate stooge.

My reasons to check it out - I shoot B&W stills and have a well equipped darkroom and print often, and I have a fair amount of retro film gear; one day I stumbled across an FD/FL lens adapter for the NX1. Though I mostly shoot mamiya 6x7 for film, I have several awesome, retro 35 bodies (my Minolta HiMatic is a killer camera and I love just looking at the thing) including a couple Canon FTQL bodies, and in the FL series, the 35 2.5 and the 50 1.8 - so I grabbed the $20 adapter. I have only two really wide lenses - the NX1 16-50 kit zoom and a Nikkor 18-35 3.5 zoom; the NX kit is really handy and looks nice wide open at 16mm and it's great for lightweight steadicam/handheld stuff (great AF and OIS), but it's a pretty "sterile" lens; the Nikkor isn't really 'special' in any way either and has bad mustache distortion. Some variants of the Nikkor 20mm 2.8 aren't great performers so I've yet to get one and have been researching wide glass like crazy. Researching which FLs are keepers, I found the 19mm and many reports of it being remarkably flat-field for such a wide lens. But they tend to go for $400 and up for the "R" (retrofocus) version - I just got lucky on this one. Sensor size just makes me need a wide even more; this is functionally a 28mm or so and I really like APS-C best; beyond the value of the price, I like how it works with my glass and the way I shoot. The Samyang lenses are hit and miss quality wise, and have a lot of distortion - for half the price of a Samyang (true, it was a lucky break) I've got a nice, low-distortion problem-solver lens. There are some for $400 and $600 on eBay this week, but at that price, I doubt I'd have gone for it. Hopefully I'll have something come up (big corporate glass interior, manufacturing facility?) where I can put it through its paces. I tend to shoot more in the 60mm - 200mm range, so I may try to get an FL 85mm and do a music vid or something using just FLs; I haven't done any real footage testing with them on the NX1, but I'd like to compare to my Nikkors; I'm shooting at 2.8 much more now with the NX, the slight drop in contrast the Nikkors do wide open looks great with that sensor, so I really want to get a model and run some side by side tests; I like the idea of having a full kit of FL primes for a couple hundred bucks - if the image is worth it. So far without serious testing, it seems they have a cool way of rendering colors with a boost to the greens and blues in the shadows, so could be nice for some projects. To each their own... though once I got that lens on my radar, I really wanted one...

the interesting thing that happens when an oval aperture disk is installed is that the overall image quality goes up drastically. - since the width of the aperture reduces to around the same diameter as if the aperture were closed down to around f4-f5.6. Since the height of the largest 2x oval (f3.2) remains the same as the diameter of a circular f2 aperture the actual depth of field remains almost as shallow as it would be with a typical f2 circular aperture. The result is a magical balance of shallowness of dof and the refinement of horizontal image quality from the smaller aperture width. also, the illumination of the sensor becomes more even since instead of projecting a circular image circle, the image circle becomes slightly brighter on the horizontal plane. - this reduces vignette and tends to create the look of a higher end lens which has been closed down to reduce vignette. The only real downside is the reduction in light transmission. However since at f2 most lenses don;t really provide a refined enough image/deep enough dof for scripted images anyway the slower lens speed just means a shoot can usually be undertaken without the need for more lighting than you;d use for a typical shoot. The 250% extra light exposure from the speed booster and the 800 base of the bmpcc somewhat makes up for the light losses anyway!

When he (is that you?) gets right-hooked in front of the lit building, the image looks 3D, the bokeh is so subtle, yet brilliant. Who needs an f/1.4 when you have oval discs.

lush. It's the grain I love from the bmpcc. - as shown in this gif. running base iso in night time where a lot of the areas of a frame are underexposed, then applying a careful colour noise reduction in raw - leaving the luma grain sharp and intact renders a superbly filmic look. I've had lots comments of how nice the 88mm, 0.58x sb and bmpcc work together and have not tried the combo myself. the defocus rolloff on this shot looks great - as I;ve said, that sb 0.58x is creating a very good mimmic of a bigger 35mm format. I also like the lower frame rate that gif is exhibiting. is that 15fps?

I cannot sing the praise of 5D loud enough. I was one of the first people to buy 5D2 and had it for 5 years with not a single issue until I moved onto 5D3. I have been using ML RAW for all my work for last 2-3 years and while it can crash, you simply restart the camera and keep on shooting. Lately I have been having issues with a one random corrupt pink looking DNG file but that might be 3rd party battery grip.. For my style of work the storage is not an issue - I bough 4x 128 GB cards which are enough for 3 hours of shooting - when I need more, I have DIT assistant to copy the files or do it myself. You can transfer MLV files into virtual DNG via MLVFS and then use Resolve to get your footage fairly quickly. I then keep ProRes master and delete MLV files. The only expense at the moment is buying 2TB external drive every couple of months (£80?). I am still waiting for a camera that would actually be better than this and would not cost more than £5K. I think these videos show the colour depth you can get with 5D pretty well:

I've got that book yes. Read it. I think it's got some good stuff in the book, however I feel Den is a little up his own arse. Even though he admits it, I find that type of personality hard to deal with. The other thing is that I think quite a chunk of the book is flawed. The marketing tips such as "free reports" just don't work for a lot of us. The book is also a sales pitch to employ Den as your coach, so I feel that it's not really a book that's helping the reader, it's more of an advert to sell further services. I liked it though, on the whole. The important thing I came away with is that quality of service and product is always No.1 - work on that and pricing becomes an afterthought. Although the video market is now fiercely and utterly competitive - if the service you offer is of exceptional quality, people will pay it. I've doubled my quotes since and it's gone pretty well. Not always, but mostly. One thing to take note is that I've seen Den's work and it's nothing special. The Sony A7 and FS launch films don't sell the cameras at all to me. He's obviously a great salesman, very knowledgable and delivers a solid, reliable client experience. I remember the day I left my day job to run a full-time production outfit. The job was tedious, made me very ill, and it was all rather pointless. I asked myself "Why am I wasting my time???" I ripped some paper out of my work jotter, gave in my notice and walked out. That said, I've had even more ill experiences doing production work, and this is because I've completely overworked myself until I become a complete cabbage. I love doing the job, and because of that love, sometimes it is too hard NOT to rest. You just HAVE to do the work! The dilemmas of health and business!

^ Could not agree more with you! Also, I found the BMPCC screen a nightmare to use for judging proper exposure. The histogram doesn't always show you the finer underexposed areas of your subject and I found that the BMPCC doesn't deal well with underexposure either. Ideally you would want to use an external monitor with a (optional) LUT table if you go down this route.

I used the 5DMKiii for a whole day's shoot and it did not skip a beat for us. https://vimeo.com/122567314 I have also used the BMPCC a couple of times and whenever I have the choice, I would go for the 5Dmkiii 99% of the time. The audio is much better on the Canon and the FF look is much more appealing to me. Plus I prefer the overal image and colour from the 5D over the BMPCC. I'll try to upload some 5Dmkiii DNG sequences for you in that other thread tonight.

for 10 seconds at a time, and stills, yeah 5d, but if you want most reliable raw video and don't love tiny sensor, maybe BMCC - probably still cheaper than what you're looking at. better resolution than both, great sensor size when speedboosted, best blackmagic image I've seen, better battery life (but trickier when it dies... probably battery solution needed). 5d raw is great though of course. can't wait to see what you can do with this edit: plus the bmcc is huge.....

Not technically a hack (but take your point) - as the ML firmware runs 'on top' of the canon code. You can still access canon menus and unload/ load ML firmware at any time. Canon DSLR's (specifically 5D2) was never primarily intended to be used as a video camera to start with - it was a last minute request by stills photogs to be able to shoot video clips for news websites. If anything the 'DSLR revolution' was the hack...dragging a non primary feature of a stills camera - kicking and screaming into the filmmaking community. I would (and have) used 5D3 running ML on paid gigs, but never as A-camera. Not because of reliability issues - but mainly due to MB/s being so high, it is often impractical to allow to roll for multiple long takes. I recently used 5D3 as C-camera next to Amira's on an electric motorbike commercial, had no issue matching the image from the Arri cameras. Form factor of the 5D3 was a huge bonus - as it could be rigged very easily and be maneuvered between A-B Cam, often capturing better action. The final edit resulted in roughly 40% material shot from the canon. When the commercial goes live, I'll post a link. BMPCC + Speedbooster looks very very nice and is best route for 99% of compact/raw loving folks, but if you 'need' full frame look with very beautiful colour rendition - ML on 5D2/3 still seems to be a gold standard, despite the huge file sizes and clunky workflow.

Suffering for one's art is one thing, suffering for work is another. If any work conditions, imposed or self-imposed are making you unwell, physically or mentally - get out of that work....or re-evaluate and change. Chasing unrealistic deadlines, spreading yourself too thin and underbidding others to get work is exactly what feeds the vicious cycle. The biggest investment as a freelancer is yourself, without being able to work efficiently due to poor health from too many hours or stress situations - is literally killing your own business. A production of any worth should never expect (or be legally allowed) to push consecutive hours that endanger the health of yourself or others - if they do, walk away. If you are on a non union/ indie project that requires excessive hours, tight deadlines and poor conditions - negotiate to get those conditions changed, or at least get heavily compensated with increased pay... if they don't, walk away. For every time somebody accepts work conditions that harms them, it sets the precedent that it is acceptable. If these unhealthy conditions are self imposed due to wanting/needing to secure work - make sure it becomes a rarity, not the default. Suffering for your art on the other hand is completely fine. Set yourself on fire, take drugs, never sleep, cut yourself, drink yourself to death...whatever, It's all been done before. As long as you create art as good as Beethoven, Bowie, or Botticelli - I see no problem in having to suffer for it, if that is what it takes.

B+H just put up a used (10 out of 10 condition) c100 MARK II. I assume it was some sort of return. It was $4000 with the Ninja. I had to do it! Looks like FS5 high frame rates will have to wait and I will be using Twixtor when needed for now. Regardless though, 60p slo-mo for a music video where vocals are present is plenty. I am kind of bumbed though, the electronic ND on the FS5 is sexy but on the other hand, it would of been $2200 more with the metabones.

yeah, when we crew up, we are very careful with who we hire. you'd be surprised how many people are forthcoming when you ask them, "tell us how you handled a stressful situation on a previous production". so many people are happy to admit they flipped out, or made a bigger mess of the situation. we've been very fortunate to have avoided any major drama on our sets over 7 features. most of that is due to my producing partner. he's great at finding good people.

What made you lean more toward the 5D in the first place? What type of stuff do you shoot? What's your working style? Do you need the option of fast turnaround? How much are you willing to invest in SD/CF/HD space? Do you have a pre-existing lens collection, or are you starting from scratch? Is low size/weight important to you? Do you have experience with color correction? Are you interested in buying more than one for multi-cam shoots? Do you usually nail your exposure, or need more latitude to fix it in grading? Which camera's footage appeals to you more? Is a camera crash once in a while okay, or do you need 100% reliability?

Hey all, I'm new to this forum today, but some of you know me from the Blackmagic forums or DVXUser. I am shooting almost exclusively Blackmagic RAW these days but I got an NX1 for the high frame rates and for the occasion that some client may insist on 4K. Lots of GREAT GREAT information being traded around on this thread here. These kooky codecs can drive ya mad, so I applaud those of you struggling through what must feel like endless testing. Thank you. Right off the bat I wanted to add 2 points here: First - Variable ND's do indeed all use two 'quarter-plates" (polarizers) against each other and that results in color shifts every time. EXCEPT the SLR Magic Vari-ND. This one is the exception. I have two of them and compared to the others I can assure you that the quality and freedom from color shift is far far better. Want some happy? Go there. Second - I've read through this entire thread and looked at everyone's stills and videos and I just want to shout: "BIT-RATE!" Meaning that almost all the image quality issues of this camera are coming from its low recording bit-rate. I've been through this exact routine already during the era of the development of the 'hack' for the Panasonic GH2. Dear lord...it's ALL in the bit-rate. I bring this up because if WE ALL get involved in pushing for a hack for the NX1 that will allow for a much higher bit-rate then it will stand a chance of happening. I haven't checked in with the N500 hack status recently, but it sounds like the ball is rolling. Masses of folks getting involved was what pushed the GH2 hack so far so fast. All these image quality problems were the same on the stock GH2 - macro-blocking, color breakup, etc., and they are ALL gone now with the 150Mbps hack we ended up with. Yeah, you read that right - 150Mbps just for 1080p. Yeah, that's a card eater, but that doesn't matter anymore at today's memory prices, and watching all those problems vanish was just so delightful. Anyhoo, continue getting down wit' your bad selves!

Couldn't make it past 5 mins - the tone seemed so pretentious and fake. I enjoyed the movie, but this was so dramatic as if they just cured AIDS.

Can there be a movie without political messages? The 'global warming' and hate 'white men', as well as 'do not use resources' etc memes are destroying my enjoyment of extremely well crafted pieces of art.

hehe, taking away the time limit for the nx1 should be as easy as he did with nx300. Implementing the cropped 4k video from nx500 (as a selectable alternative to full sensor readout) should/could also be done, when comparing the two fw and looking at the differences. Perhaps even higher bitrates could be implemented. Adding features that are not present at all (e.g. focus bracketing...) is highly unlikely imo.

Would be quite funny if the NX1 is discontinued, then a hack makes it the dream camera... They will be like gold dust.

Soon ! 4k 60fps !

It's really hard to take him seriously after what he said about 5D Mark II trashing GH4.

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