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it is alot cleaner in low light - the blacks are stunningly clean, cleaner than the Red Epic we tested it against, image looks very similar to the Arri Alexa we tested it against - there is hardly anything in it !! amazing camera from Panasonic , the G7 camera lets you shoot in the shadows very cleanly in very low light. I am using 4 Panasonic G7 cameras for the new Pandora feature film I am DOP on , Panasonic have partnered up with us for this movie and we are working together to show how good the G7 is a film making tool. I am using Metabones XL Speedboosters on all the cameras, Brian Caldwell and Metabones have kindly supplied them for us to use in Nikon and EF mount . We are using these with Atomos Ninja Assassins and all the rigs for the movie are supplied by Gini Rigs , I will post some pics of these rigs soon.

Argh! I typed a silly long post and then hit backspace outside of this box and ... poof ... it's gone OK, shorter version: If you start telnet server as described and connect to camera you can do following: killall dfmsd; sleep 2; dfmsd -p & This will kill original dfms daemon and start a new instance that we can now use by dfmstool command that sends commands to daemon like this: dfmstool -s "this is a command" Be careful, as soon as it encounters an invalid command it stops processing all other commands so we need to do killall... to restart it (it does not affect the camera state). The command we want is sys_param movie size 2560_1440_30p. Yup, it's still in the firmware, it has no crop and it supports peaking. Why they removed it from the menu I have no idea. It's labelled as MJPEG on screen but it records HEVC as others and is limited to 29:59. dfmstool -s "sys_param movie size 2560_1440_30p" Here's what ffmpeg has to say (I have to find a way to set the quality as well): Stream #0:1(eng): Video: none (hvc1 / 0x31637668), 2560x1440, 11280 kb/s, 29.97 fps, 29.97 tbr, 120k tbn, 120k tbc Oh, yeah, remember how there is no 1080p at 120fps in NX500? Think again: dfmstool -s "sys_param movie size 1920_1080_120p" And output of ffmpeg: Stream #0:0(eng): Video: none (hvc1 / 0x31637668), 1920x1080, 38589 kb/s, 119.88 fps, 119.88 tbr, 120k tbn, 120k tbc If you really want to you can put just the command in the nx_cs.adj file and call it a day (dfmsd will parse it and finish) or put a small script in test.sh that will do it for you (there is no touchscreen available while dfmsd is running). You could have SD cards for special video modes to simplify it. For NX500 full list of modes is 4096_2160_24p 3840_2160_30p 2560_1440_30p 1920_1080_120p 1920_1080_60p 1920_1080_30p 1920_1080_24p 1920_1080_15p 1280_720_120p 1280_720_60p 1280_720_30p 640_480_60p 640_480_30p For NX1, full list of modes is (yeah fractional ones too, don't know whether they are just for show or are there really differences between 24 and 23.98 when recorded) 4096_2160_24p 3840_2160_30p 3840_2160_24p 3840_2160_23_98p 1920_1080_120p 1920_1080_60p 1920_1080_30p 1920_1080_24p 1920_1080_23_98p 1920_1080_15p 1280_720_60p 1280_720_30p 640_480_60p 640_480_30p Well, that's it for now, have fun

Nope, it is a rx100 iv. Have to say that i am quite pleased with the results!

Sony A6000 I reckon

Effect can be done in After Effects...take the last few frames from shot 'A' and keyframe a quick zoom or whip pan type move, whilst parenting the move to the next incoming shot layer - revealing shot 'B' using a keyframed mask and/or simple dissolve that helps blend the shots together. Adding motion blur to the compositions layers seals the deal...as it blends (effectively smudges) the transition into a fluid looking shot continuation. Results work better when using 4k footage or higher (but not essential since post motion blur can hide 'blowup' artifacts) , as you can re-frame/zoom without revealing resolution jump when delivering for HD. Shots that purposely have real intro or outro camera moves work best (such as whip pans)...but it is possible to simulate that in post. You could kind of do a simplified version in Premiere using inbuilt effects, but it may not look very good...best to do these effects in After Effects or Nuke where it's easier to control motion curves and animate masks etc. You can see in the frame grabs below where the incoming shot is being quickly dissolved to or being revealed with a custom mask, whilst the post zoom or pan is happening...enabling the motion blur on the parented layers blends everything together.

We appreciate your concern and your loyalty, and want to take this time to help you understand what has been happening recently. At B&H we value each and every customer; your concern is our concern. We know you have choices when shopping and your choice of our establishment is something we do not and must not take lightly. We want to continue earning your business and instilling pride in your choice for photo and electronics. B&H is a family owned business, a success that has been built for over 40 years from a small storefront in New York City to the worldwide enterprise we are today. This is credit to our dedicated and devoted employees, many of whom have been with our company for decades. Every one of our employees is treated with respect and dignity, no matter of race, religion or gender. The average employee tenure at B&H far exceeds most of our competitors and as well as most employers of any kind. Our employees are well compensated, offered generous benefits, and they are given 17 paid days off in addition to 3 weeks paid vacation. Few companies offer this. The allegations you have been hearing about are largely made by people who have never set foot in a B&H facility. For the time being, we will address several of the accusations, as they are far from factual. We can declare outright that B&H does NOT have any segregated bathrooms by race or religion, and anyone working at B&H knows that to be true. Additionally, any similar contentions are not only inaccurate, but bizarre. There are always areas where we can better ourselves, and these are issues that B&H is committed to strengthening as we move forward. Our goal is to create an even friendlier environment for our employees, where there can be no doubt that their needs, concerns, and well being are noticeably our primary focus. Our roots are from a place where discrimination affected so many of the very people who are now part of the B&H family, and we built this company and brand to defy what were the norms around us, and to give everyone the chance to succeed, to care for their families and homes, and to be happy. That will not change, but will only be improved upon. What you may not be told in these scurrilous narratives is that B&H chose to keep its jobs in New York, rather than opting, as many others do, to outsource jobs to areas overseas where labor rates are lower. Our call centers and online management teams are right here. We chose a very different route, and we continue to make daily decisions taking into account first and foremost our dedicated employees and customers and we will continue to do so. Over the next few weeks and months, you will hear more and see the growth, and we will make sure our customer and our employee are kept keenly aware of the situation. Please feel free to reach to us with any of your concerns and we hope we can continue to earn your business in the future. Henry Posner B&H Photo-Video

Ahhh it was my first thought. Then I changed my mind. Then I thought it again but one shot threw me of a little Been researching it like crazy lattely so I was afraid my mind was playing a trick on me

Having used so many cameras on many different shoots, I can absolutely agree the camera choice has a tremendous effect on the final end product. Sometimes it's the wrong choice. Once for aesthetic reasons I chose a RED, but operating it held the entire production back creatively - so it ended up with pretty visuals but an average video at best. It works the other way round too. I bought the Sony RX10 II and ditched it after 3 shoots. Hated the aesthetic, the lens, the sensor size, noise performance. Replaced the lower end stuff with an A7SII and people are saying "the quality has gone up several notches".... You should never be held back shooting though.If a Canon 550d/T2i is all you have then go for it!

Cameras do matter. Deakins fought for the alexa on hail ceasar and the cohens insisted kodak film. Have you seen hail caesar? It looks amazing. The camera is as important as the lighting lenses color etc. A lot of top dps say the camera doesnt matter but of course it does or they would not be risking it all to shoot on film when digital is so much safer for a production. How it renders motion and sharpness and smoothness. The camera is really important. Everything is important. And yes deakins could say he would shoot on an iphone because that's baller to say. But how many top DPs have "slummed" it on shoots with less-than-good cameras for major feature work? Pretty much no one except Rodrigo Prieto who likes the Sony F55 for night exteriors. Pretty much every other DP I can think of only shoots Alexa or Red.

Yup. I'm currently just using Andrew's NX1 LOG converter and his whole recommended setup - no alterations. Then I add an Osiris or Canon/Arri LUT and I'm done. (or a few customized BMD LUTs I have.) After moving from Panasonics and Canons to Blackmagic RAW I'm just burnt out on battling compressed codecs and picture profiles and all the zillion possible settings. There are no "settings" on the Blackmagic cameras really. You shoot at the native ISO or 1-stop above or below pretty much only. The you just white balance and set your exposure and shoot. You either like how the camera looks or you don't. I absolutely frikkin' LOVE how the BMD cameras look so I'm DONE. That awesome Hong-Kong video that Dean posted a few pages back convinced me to try Andrew's package. I'm sold. It's really so good that I'm not interested in doing any further nit-picking. I LIKE that look and it can cut with the BMD footage so I'm happy. It does what I need it to do, and it does it reliably. I suppose I would still be interested in other picture profiles or settings on the NX1 if it was my 'A' camera, but it's not. I need it to cut with the Blackmagics. Plus I just personally REALLY like the look it gives in general. What a relief, ya know?

I don't have my 1DC anymore - I moved to a A7Rii for the weight, convenience and video features. But the other day I was working with some of my old 1DC footage and wow - there's so much information in the codec. It feels real, tangible. For me the codec is the key. It has such an influence over the feel of an image, it's robustness and 'crunchiness'. I feel like Sony's codecs smooth out the image somehow, making it technically great but somehow lacking a bit of soul. It feels like it's been denoised, with some of the reality taken out of it somehow. On the upside though the A7Rii colour is much improved from my A7s, and it's great for the one-man-band corporate work I do. I do like the image. I just don't LOVE it.

Remember folks that LENS choice has a HUGE impact. The 4k cameras can very easily suffer from TOO sharp an image. That's one reason the NX1 usually dosn't look nearly as smooth as the 1DC or the BMPCC. The Samsung lenses can be extremely sharp. Motion cadence is unique to each camera maker usually. Some folks can see the difference, others can't. If you ask enough people, the Blackmagic Cinema and Pocket cameras frequently rank very high, as do the Canons if they are shooting an all I-Frame codec Having seen many test comparisons done, I can tell you this - you'd be shocked by how similar many cameras can look when you put the exact same lens on them and shoot the exact same scene.

Just did a small video on some shots I had lying around, still testing rendering, but rendering in 4k def. makes it a lot better, still highly compressed though. Anyway hope you guys like it, not much love was put into grading on this one, unfortunately.

Alright, I've about had it with all this nonsense, tell you what, I'm going to sitdown this afternoon fire up my engineering workstation and create a brand new stabilizer that will blow this away. That way we can stop this silly thread once and for all. Expect my product on kickstarter... Mark my words, it will work, it will cost less and it will be easy to use. And everyone will want one. This camera stabilization thing is not really that tough of a nut to crack.

This was brought up in another thread, but I did not want to derail it too much. So, for those who hadden seen it yet, this video showcases the Coen brothers and their way of filming dialogue on a single (semi) wide lens: And to quote Ed David:

Since i found those threads quite interesting, I would like do one on my own Here we go:

can't see a reason for it not to

Hey Mattias, I'm afraid I'm not in the market for any of those lenses but I hope you get good prices for them. Gunpowder looks like a lovely dog and I always enjoy seeing her in your videos

yeah, i am in the middle of something, nothing special but will post it, if wanted. dont remember the eact length of those shots, but they were definitely at the long end.

Hallo Andy, this is a great post to go along the angieux/tokina one. Such a great source of knowledge! Thank you very much. Just one question, test were done with the internal codec, right? So how does the HDMI to Assasin compare to the internal footage, is ist noisier due to lack of any noise reduction? cheers and thanks!

Dang,. This is good news. I was all set to get a GH4 to go with my G7, but I think I may with this news invest in another G7 and an Atomos Ninja Assassin. I was planning on buying a 7" monitor anyway.

Its Scandinavian photo that still has one 16-50S combo in stock. After that its probably gone.

Andy, can you post some frames from any test shots? You've peaked my interest in the G7. That video maker test shows some crazy clean video at 6400, I'm impressed.

You are right, of course. This was meant as a joke, but not entirely. If it fits the style, it could be cinéma vérité. Like in the said Victoria. But I agree with independant and others, the best camera is the camera that fits the intendet style. And realism? Reality? I couldn't care less.

I have used both GH4 and G7, and in my experience the G7 is cleaner in low light

Yep that's straight up Coen Brothers style too.

Manufacturer starts with an "S"?

Interesting guesses, but all wrong. Hint: manufacturer and sensor were not mentioned yet

Looks awesome, man! What did you use to do that opening 10 second tracking shot through the trees? Handheld or on a dolly of some sort? GREAT SHOTS!

Here is kind of a workaround for a kind of similar whip pan effect in Premiere...but in After Effects to do this effect takes about 2 seconds and you get a much better result with much more convincing motion blur, which is mostly what these transition types are dependant on to appear convincing and smooth. You can see that for whip-pan transitions (and if not familiar with AE) Premiere is better suited at simply dissolving between two real whip-pans captured in camera. Any more elaborate transitions (especially punch zooms) I'd go straight to AE or Nuke to get transition results identical (or better) to the example video at the start of this thread.

You can do it in two ways.... 1) In post you ramp a post zoom in and the cut to another shot that is zoom in and stops (in 4k you won't see degradation of the zoom in) 2) You do it in each shot. Typically what people do is shoot a clip and then zoom out. Take it again, zoom in. Take it again pan left, then again pan right. Tilt up and then down. Then you have all options to work with in post.

yeah, there are a few masters of this style, it does look awesome. a lot of cutting on action, a lot of zooms in and out in post and messing with speed, some wipes, especially between the last few shots. I'm no pro, but that's what I'm seeing. feel like good resolution 60p would be pretty invaluable for this style while shooting, along getting a wide shot and then a closer shot of the same thing. and then a fair amount of motion tracking in post. might be like a digital zoom on both clips along with a fast dissolve transition?

pretty sure I follow this forum too much to be allowed to guess mayyy have seen one of those shots before from you. they look really nice though

They cut on motion. Follow similar motion either by creating it in post or match motion from clip to clip. Hope that helps...

Nice work Otto! Looks like I was missing some major components when I was investigating the camera app. I was focusing on libmmf-camcorder, since di-camera-app definitely passes parameters like bitrate, resolution, time limit, etc. to that library. However after reading your posts on the dfmstool, I took a look at the strings in di-camera-app again, and it definitely includes the dfmsd commands and arguments. I'm rather confused as to how the two interact. I'll take a look at where those strings are used in the binary when I have the time. Hopefully there will be some way to add the 1440p mode back into the GUI. The simplest way might be to replace one of the existing video modes in the menu with the 1440p mode. To do so someone will have to figure out exactly how the camera app calls dfms and mmf-camcorder in order to figure out the right constants and strings to change. That seems to be beyond me at least for the moment. Otto K: are you planning on trying to install a modified firmware?

Well said guys. And yes i do state my opinions as facts. Im trying to become conscious of when i do this.

the main thing about anamorphic for most is the defocus character rather than the flares. using an ultra wide lens on full frame and cropping wont give you the falres or the defocus character, but will in some way get you nearly there. Main considerations is that a true 'wide anamorphic' lens is approximately a 25mm/28mm with a 2x horizontal squeeze, and is used on a 4 perforation 35mm negative. so effectively they provide the same fov as if you shot on a 12.5mm or 14mm spherical lens on 2perf uncropped or 3perf s35mm cropped to 2.40;1. even at f1.4 a 14mm lens has very deep dof meaning the anamorphic defocus will only be visible if you were to shoot with the wide lens from under 0.5m. any further distances and most of the image is adequately 'in focus'. The point is that in real situations using a wide anamorphic lens doesn;t actually look much different to a wider spherical lens cropped to look the same. and in resolution terms you'll probably get more res from a cropped spherical lens than you would from a wide anamorphic so to clarify, if you were to take a 16mm fish eye like the zeiss distagon 2.8 or cheaper a 20mm flektagon and use it on full frame a7s (36mm wide sensor) and crop to 2.40.1 the actual fov would be very similar to what you;d get from an unsqueezed 4perforation 35mm negative and a 25mm 2x anamorphic. if anything you'll want to increase distortion a little on a 20mm flektagon (since most 25mm 2x anamorphics have around 20% distortion!, and i expaect the flektagon is sub 12% at most). come to mention it the distagon 16mm fish eye cropped to 2.40:1 will have very similar distortion levels to a real wide angle 25mm 2x anamorphic.! Final note... I;d stack a few UV filters over the front of a spherical lens in order to increase the number of glass faces in the optical pathway. a 25mm 2x anamrophic will have a huge number of elements so the uv filters will in some way create the look of there being more elements and more interactions between each surface.

Was this shot on NX1? Fine shots whatever it was shot on.

Very interesting. I would like to test this, could you please upload telnetd since the samsung site takes forever to download?

All well said. I also think motion cadence is related to true frames captured vs compressed motion. My nx1 and fs7 tests with sharpness on minus 10 or as off as it could be w leica r lenses still has that digital feel. But yes always w digital sharpening off. The f35 has a beautiful buttery feel but the pocket camera has more dynamic range. I would be curious to do a test. Also pocket camera vs 1d c. Digital bolex....my issue w it is native oso feels like 200 asa and only 12 stops dynamic range plus just a fischer price like build. No offense to those who own it. Same poor build found in the original pocket camera. That lcd was hvx200 bad. Robert bressom shot an entire film on the 35mm lens. What was the film called. And chivo...did children of men with just wides. No need for any type of lens. There are no rules. Just make the film look good to support the story.

I'm with you man. I'm loving the BMMCC footage way more than the Ursa 4.6K. A good analogy of how I feel: You're driving down a highway looking for an exit with a good place to eat. You pass 3 or 4 exits thinking you'll find something better soon. Suddenly you're at the edge of a town and realized you passed up the best option. You turn the car around and go back an exit to the best choice. For camera tech we've been chasing the perfect camera and I believe we've hit the point where it's passed "the sweet spot" and we're taking back a notch to find the best images. EDIT: Image quality is subjective, but I'm speaking for the people who want something similar to 16/35mm film. The classic look.

The main technical hurdle is that focal reducers reduce the physical length of a lens in addition to reducing the focal length. So if you simply build a focal reducer from cylinders you would wind up with many millimeters of astigmatism throughout the image. An even bigger concern, as valid points out, is that you don't get any of the desirable anamorphic artifacts with a rear anamorphic attachment.

OK, an update: If you want to experiment with your device but don't want to be constantly reinserting the SD card - here's the solution. First, unfortunately, NX500/NX1 do not use busybox but toybox that does not contain telnetd. However, there is nothing stopping you from extracting it from NX300 open source packages (available at Samsung Open Source repo) and copying it to SD card (and naming it "telnetd") and runnig it from there. Just remember that you need to give yourself some time to turn the wifi on after powering the camera. Login is "root" and there is no password. So, after the camera boots and telnetd starts, you do telnet 192.168.1.44 Trying 192.168.1.44... Connected to 192.168.1.44. Escape character is '^]'. ************************************************************ * SAMSUNG LINUX PLATFORM * ************************************************************ drime5 login: root [root@drime5 ~]# ps aux USER PID %CPU %MEM VSZ RSS TTY STAT START TIME COMMAND root 1 0.4 0.2 4684 1452 ? Ss 23:15 0:01 /sbin/init root 2 0.0 0.0 0 0 ? S 23:15 0:00 [kthreadd] root 3 0.0 0.0 0 0 ? S 23:15 0:00 [ksoftirqd/0] ... root 363 0.1 0.0 0 0 ? S 23:15 0:00 [ksdioirqd/mmc1] root 399 0.0 0.0 4696 380 ? S<s 23:16 0:00 /mnt/mmc/telnetd root 402 0.0 0.2 2704 1352 pts/0 S<s 23:16 0:00 -sh root 469 3.0 0.1 2664 904 pts/0 R<+ 23:20 0:00 ps aux Yippie - we have remote root! The fun stuff is the command st. It's swiss army knife - it contains everything. For example, you want to take a "smart" shot? st cap capt smart Work with aperture? st cap capt iris drive 7.1 Shoot in RAW? st cap capt quality raw Help works in most things, just add help (e.g. st cap capt help). You want to push an OK button? st key click ok You can also push/release it in two steps. How about jog dials? st key jog jog1_cw or jog1_ccw You want to touch the screen in exact coordinates? st key touch push/release/click 400 300 There is so many things available, just explore st app nx capture (for stills) or st app nx record (for video)...

Excellent work there, I was going to have a look myself if it was any close to Linux coding. Still waiting for that SDK tool from Samsung.

Hi, A nice breakthrough in hacking NX500 (and possibly NX1 - could someone try and report back?). So, TLDR version first: I'm able to run a shell script off the SD card without hacking the firmware (and some other stuff). This is just a very modest start, now we need to do everything else. That said, this is a useful start as we can now play around without bricking cameras. That was the moderately good news, the moderately bad news is that I'm absolutely swamped by work related stuff next few weeks. Now for longer version: First a small "hack": If you want to take a screenshot of your camera screen put a file named save_screen_enable.txt in the SD card root and every time you press EV+OK a file named OSD####.jpg will be saved to SD card root. save_screen_enable.txt will contain the integer of next image id (as bytes, not text). Another small "hack": If you want to see how all the popups and notices look in all the languages (for any reson) put a file named qa.txt in the root of the SD card. When you power the camera on you will see a popup menu that enables you to access all the popups, etc, in camera (press up and down to change them, left and right to change the language). It's meant for quality assurance staff, but here it is. If you like scrolling through the popups - that's fine. Even better is that the camera app crashes on popup 188 (of 189, go figure) and produces a lot of detailed logs on the SD card. These logs are named timestamp_{log,a7_log,a9_crash,a9_dlog,a9_dmesg}.info If you take your sweet time analyzing these logs you will find that NX500 does not boot all that often - it hibernates and then wakes up when you power the camera on - cute - that's how it starts up in one second Also, some RAM information: Total RAM is 512MB, reserved (buffer?) is 380MB. It fits nicely with known buffer limitations. It also means it's very very difficult to extend it to anything larger (maybe by eliminating allshare app or similar but that would give us a frame or two in RAW at best - hardly worth it). How to run a shell script file: 1. Put file named "info.tg" on the SD card root with contents "nx_cs.adj" and a newline 2. Put file named "nx_cs.adj" (can use something else really) on the SD card root and put "shell script /mnt/mmc/test.sh" and a newline in it 3. Put file named "test.sh" (or whatever you put up there) on SD card root and put whatever bash shell commands you want to in it. Word of caution - it's easy to make a mistake - start small and work carefully 4. Put SD card in camera 5. Camera to AUTO mode (IIRC it works in any mode but whatever, it's in AUTO in the Service Manual) 6. Power on the camera and wait a bit (or a lot, it seems it's quite lazy with closing files and syncing, might do it for it by calling "sync" at the end) 7. Power the camera off (and wait for blinking light to stop blinking if it's blinking) For example, if you put following in test.sh st > /mnt/mmc/test This is what you get on the output: usage: st [command] [param] Supported bult-in commands help readl writel dump gpio hdmi log lcd cap pmu clk thread key firmware util app leak devman stlcd bat rtc tbm micom misc oic dvfs adc I put a "ls -laR / > /mnt/mmc/test" and it did list the whole filesystem including /proc /sys /dev etc. And /etc tar also works. I can see for example that every time process id 247 is given to /usr/apps/com.samsung.di-camera-app/bin/di-camera-app and it runs under root (almost everything does), dfmsd (that's the deamon that interprets commands in nx_cs.adj file that are read and sent by dfmstool - I will have to see what else I can do with it), /usr/apps/com.samsung.ap-setting-app/bin/ap-setting-app running with some access keys or hashed caller PIDs, etc, the works. Only two modules are loaded (exfat_fs and exfat_core) but I guess we could compile anything we need and enable it in the future (usb audio anybody?). That's it for now (and some time). Oh, yeah, the touch screen does not work with info.tg or info.tgw present on the SD card. Cheers, Otto

Now seeing the blackmagic micro camera in the "micro" spot - that looks really beautiful and smooth as well and sharp - for some reasons these cameras are getting it right. I think the blackmagic cinema pocket is better than the 1d c, cause of raw and higher frame rates. This may one amazing little $1k camera.

yes the video stream is clean of icons etc and its better than the compressed internal 4k @ 100mb/s , this 4k Pro Res is 744mb/s