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We need to disable the noise reduction in video, its killing me inside literally. You know its sad when the Panasonic FZ-1000 has better noise grain in 4k video than the NX1 which is just muffled mosquito noise, I had a look but could not find anything. Does anyone have any idea? I know the HEVC codec deals with fine grain texture poorly specially in my personal tests from converting Blu-Ray films to HEVC. But the NX1 has a nasty noise reduction in video which you cannot turn off and quite frankly its destroying details very badly.

It was just Osiris, curve and grain. So nothing special. Im not very good at grading. But Im usualy pleased with the result. Think my NX1 footage vill look better this time around. Im moving in to a period of more saturation. Which suites the NX1. The A7sii that Ive decided to return is sweet in every way accept vivid colors. Two years ago we would have been a pefect match. Might be different when the a7siii comes out, this weekend...

sorry, then why should panasonic "upgrade" to apsc? seems like they have fans as m43, but if they went apsc, people should just ditch them for fullframe..? - kidding, not really looking to ruin a thread with that..

Yes, I am not sure what it is but its not the codec because I have tested the HEVC codec multiple times it only washes out some of the fine grain in flat areas with no details to begin with in order to save bitrate, there is definitely some form of noise reduction in the video mode being applied, the noise reduction you you can turn on and off is generally just for photography but even then its not turned off completely. It really annoys me when I see a super cheap "(/#%#/# one inch sensor bridge camera have better noise grains than my NX1 and I actually just noticed it now that I shot on a FZ-1000 and compared it to the NX1 for fun, I noticed way more details in the darker areas on the FZ-1000 thanks to the 100mbps H264 codec Panasonic uses. Panasonic has way more experience in video of course but it should not be an excuse for Samsung to force noise reduction in video on us like this. I like the video image so much, the APS sensor is perfect but if I loose details in dark areas on ISO of 400 in 4k, its not good enough and both cameras were underexposed by one or two stops.

A simple script/hack (if possible) would be a script that runs when you boot the NX1/500 that would check to see if there is an external USB storage device(e.g. portable hard drive) and if there is one plugged in it would back-up all the files from the SD card onto the hard drive. I travel and climb alot and would like the ability to back-up my videos for redundancy on the go without needing to bring a laptop. The stumbling block with this is from what I have read you need a USB OTG port witch I cannot find anywhere saying that the USB port on the NX1/500 is an OTG port. But you got to admit if it were possible this would be an easy script to write(relatively) and would be quite useful. P.S. I have been following this progress quite closely and applaud everyone's hard work. It is only a matter of time before more people get wind of how great these cameras are and how easy they are to hack and the fact you can get an NX500 kit for $799 USD new without any discounts.... oh man

Such an adapter, along with nx1/500 hacks, would make me a happy nx1 user for...10 years :-D http://***URL removed***/forums/post/57361842

internal is superb amazing at 100mbs - external is even better 700mbs very clean and detailed

no you have 4k UHD at 24p and 25p at 100mbs thats what I was testing not any other settings have a look on the Panny website for all the spec for the other details

I don't take head counts when I'm in the store but at present, quite a few. I see. You presume we need to reform because you're presuming the as yet unproven allegations are true. Maybe they're not all true and if so, maybe we don't need to reform.

it is the younger , faster , quicker , better syndrome , its a new camera and has significant improvements made in the 18 months since the GH4 came out The G7 is amazing in low light with super clean blacks NO FIZZY NOISE !! unreal in a such a cheap camera its image quality is outstanding , no banding issues either . I highly recomend you get one

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!

X-Pro 2 4K - 80% said they don't need it, so Fuji didn't flick the switch in firmware. They ask a bunch of hardcore stills people if they want video and surprise surprise most of them don't. How are Fujifilm supposed to expand their customer base with new people if the keep asking their existing ones what they want? This is why camera companies keep serving up the same-old same-old every year... they never reach out new markets, because they only listen to the needs of their existing one.

One of the guys behind the looks in Instagram has released a set of LUTs. Whats great, and also bad, its that they are quick drag-n-drops for Rec709. So little to no adjustment needed. As you can imagine the "vintage" is strong with these. But there are some modern looks as well. I count at least 5, flipping through them, that will give a very nice base for a modern non vintage and non stualized look (only used one of them in the video, couldn't help myself, went for the Insta Look ). I just played around with them a little today. So don't take it as "finished looks" but more what base for tweaking they would give you. Some bars and grain and possibly a vignette would probably really make it true "Instagram", but I didn't do it this time, I plan on using them on NX500 footage which I almost exclusively shoot in standard PP and full auto. For Log I will stick to my regular grading. (even though Log to Rec709 Luts are included. BTW: Last time I did this, some where upset so I say it again to clarify. These are LUTs, they are ment to be tweaked. They aren't a quick fix for everything. The reason I didn't last time, nor this time, tweak to much is because then the viewer will have no idea what part of the grade the LUT stood for.

The FZ-mount is regarded as a highly adaptable mount. I saw RJ did some: http://www.rjcamera.com/ocart/index.php?route=product/category&path=20_67

Did you read this? https://pro.sony.com/bbsccms/ext/eblasts/streamline/0312/0312_10bit_SLogStandardweb.html

I believe when it comes to colour, S-Log was way better implemented on their Cinealta range than on the Alpha range. ie. the implementation of S-Log on the f3, f35 and f65 was more carefully undergone and delivers more trustworthy results. I expect @Ed David could shed some insight on the Cinealta range from the era of the F3. Looking at the F3, I can't see a reason not to go for it at the current price. as long as you can budget for an aftermarket fz mount adaptor or PL mount glass, as well as rigging and the external recorder for 4;4;4 you'll likely not find a more powerful camera. I'd take 4;4;4 1080p from the F3 over any 4k dslr.

Stoked to get my second NX1 this week. Meanwhile Im fiddling with old footage. Its gamma DR and everything dial down half way accept sharpness thats all the way down. Then some grain in post really smooths the edges. (it gets messed up again on the web of course)

I think I have to buy it :D Thank you!!!

I think Samsung will reassess too. Sony has shown the way with their sales figures for the full frame mirrorless cameras. APS-C is not where it's at. Samsung should return with a full frame mirrorless camera and that requires a completely different set of lenses.

Nope, it differs from camera to camera. Depends on how efficient it uses its bitrate. A 50mbit Sony will in my experience break apart before Nikon 25mbit.

All this makes me excited to be a NX500 and in a few days NX1 owner. I bought them for what they are and won't have to high hopes. But the possibility is certany making it a bit more fun

Otto K and Marco - you are so great! Thank you... I am starting to believe that higher bitrate is possible... if 120fps1080p mode works on NX500. See this (take from DPreview forum) - https://github.com/ottokiksmaler/nx500

Any significant differences between internal and external recording?

The camera is ANNOUNCED, not released. Bitrate is just a value they switch in software, which is pretty easy to do just before release. I'm guessing the firmware for these cameras is far from final with 1 month still until release - and that the fact they haven't announced the bitrates means they are still tweaking image/video quality related features. I'd assume it's a similar story with the DL cameras and their missing video features: perhaps they will still add 24p even though it isn't in specs.

Dear Andy, I was thinking to sell my GH4 now that it is still the actual model. Could you please tell me more about the G7 and why it is better? Thanks a lot!!

"at least", as if that were something positive. What about transsexuals? I think it should be 33% men, 33% trans, 33% women. And please excuse my language, by trans I mean everything that is between hard defined genders, I still haven't completed my gender studies gulag and am still a white ignorant over-priviledged man.

Why do people hate sony colors,skin tones ? Is S-LOG3 really not as good as BMDfilm ? I really wanna get the a6300 when it comes out to replace my bmpcc. I wish blackmagic would put out a small and affordable camera with 4k and high frame rates but it looks like it's not happening soon so switching to sony is really tempting right now. Plus that super auto focus might be very helpful, especially when shooting on a gimbal. I just hope grading and skin tones rendition aren't that bad with sony cameras because right now i really like whats coming out of my bmpcc but i just need 4k and higher frame rates it's about time now.

Would gorgeous lighting and sunset vistas a la No Country served Fargo's story? No sir.

I believe the PIX-E5(H) has some cool zoom functions. Not exactly cheap... the go-to brands on a budget are Aputure, Lilliput, MustHD, Ikan, Feelworld, Seetec and perhaps Sony's CLM-V55. Viltrox has some that are rather inspired by that one. The Lilliput 663/O/P2 has the dopest features for the best price. Whereas the new Aputure FineHD-line probably has the dopest price with decent features. Look into these and I'm sure you'll find something to your liking. Here's a B&H-listing with monitors up to 400 bucks incl. pixel-to-pixel zoom level: http://www.bhphotovideo.com/c/search?ipp=48&ci=1984&N=4028759510+3887600113&mxp=400&setIPP=48&srtclk=itemspp . At any rate... recover well, buddy!

Thank you :D My settings were the same as before, havent changed my in-cam settings =) All shots are from the NX1 ! Thank you :D Thanks :D Everything was shot handheld, I rarely use dollys, they are usually too troublesome for me to carry/use.

I absolutely love Fargo, but I have always thought the actual photography was the weakest element of the whole thing. could never out my finger on why but I always felt it lacked something on the visual side of things. IMO comparison to how No Country was shot and the photography looks ugly to my eyes

If anyone wants a chance on a cheap Zeiss or Voigtlander Prime, they can also do Gunpowder a solid. They all cover full frame Canon, Sony, Panasonic, Olympus, Blackmagic or Samsung with a cheap adapter. For eoshd members I will of course post extra pictures, answer comments etc if askes More stuff will be for sale soon, but in the regular Gear Sale Thread. Zeiss Jena 35mm f2.4 http://www.ebay.co.uk/itm/252301417245 Zeiss Jena 135mm f3.5 http://www.ebay.co.uk/itm/252301430295 Voigtlander 50mm f1.8 http://www.ebay.co.uk/itm/252301420627 Super-Takumar 55mm f1.8 http://www.ebay.co.uk/itm/252301412835 Jupiter-9 85mm f2.0 http://www.ebay.co.uk/itm/252301427311 Chinon 28mm f2.8 http://www.ebay.co.uk/itm/252301424599

yes, and definitely not an easy one. I am still not sure whether it was the complete right decision, but the even smaller formfactor as well as the slowmo (and andrew's review of course) made me jump on this trip. We will see

I downloaded some of the a6300 footage that is on YouTube and did a color grade with it. It held up really nicely and was pleased with the results. Looking forward to getting my hands on one soon

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

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.

Yep that's straight up Coen Brothers style too.

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?

Really this is all stuff you can do even just in Premiere or Resolve or FCPX. It just takes a lot of work because YOU must make a LOT of decisions about each and every clip in order to get these kinds of edits to work visually. This is why software really can't do it for you. By the time you've told it all the parameters you want it to follow for a particular pair of clips - you've basically completed the edit yourself already. However, depending on how you shoot the "frozen in space camera" effect, you may often need to use a tracker like in AE. Re-framing, key-frames, blur, and zooms/pans will do pretty much all of the MANY other types of edit-transitions featured in this piece. A lot of this relies on a very basic principle of editing - "line of sight". When you line up the main subjects of the clips that are drawing the eye to them, then there is less jarring movement of the viewer's eyes that is required in order to easily and quickly focus on the subject of the next clip.

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.

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.

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

I am in as well - I'd donate for an NX1 hack!

Here is my first test with my Kowa PA - 35 Inflight 1.75x anamorphic lens. I used three different taking lens. 1. Olympus Zuiko 38mm f1.8 2. Zeiss Ultron 50mm f1.8 and the Voigtlander 42.5mm f0.95. I love this lens. I love the single coating and the way it flares and how it transforms the character of the taking lens so well. I hope you enjoy this vintage anamorphic lens porn my friends. Watch in 4k. cheers! Ian

Hey guys, This was my last job with Nikon (D5300) before getting my beloved A7sII Filmed mostly with the 18-105 plus Nikon E 50 and Samyang 8 for some shots Premiere and Afx for the post work Enjoy!

Hi. Here is a music video I directed last week on my Sony A7sii using zeiss super speed lenses via a pl mount adapter. Hope you like it. Guy