Leaderboard

I started this research when the nx1 first came out, saved and tracked the firmware, and then started digging into when the rumors of the exit started happening. The tech inside this camera is just magic. Compared to what other companies are doing its a few years ahead. And due to samsung being able to roll their own chips it seems they didnt cripple anything because it was too costly. Im not going anywhere!

Its so we can shoot 4k and 4k crop, giving us 2 focal lengths per lens. And it would likely minimize moire.

This is so frikkin' cool to watch... I know enough about software structures to understand what you're doing, but not enough to help. Damn fascinating to watch though.. Again - THANK YOU to everyone involved!

It was written in the .cpp files showing the hz of the sd bus, this would be an incremental increase test that would just be raising it until it crashes or to the limit stated by the sd association. And if it changes depending on what type of file is being written to it. As well as tracking the sensor and chip heat out put to see if it is underclocked for a reason. Lots of fun. Not at the point yet, still tearing it down. The base tizen didnt seem to change much through the updates. It was the control files for the camera, written in c and a whole new ball game. I do about 15 hours of work into this a week, which isnt much considering but things are moving. If you wanted me to just make hello world appear it wouldnt really prove much, at least not in the way that this camera works. Have not got to that point yet, still diving into the code and doing a control file comparison, as the updates for the camera happened they state what they changed, and that is what the major key point of what Im doing is. Its one of the nexts steps though. I can update as I progress and post summaries of what I find. Just to find the rgb888 and lut info I had to look though about 15000 lines of code. Its tedious. But worth while for me in the end, so I will continue to dig and deconstruct. And update!

As promised, nothing special. Still, i am quite pleased with the Sony colors, til yet!

Tried some different LUTs with the NX1 today. Im stuck at home guarding my dog after surgery, so this is what I can do for now basically.

Just look at videos shot with both and specs and then if possible rent and play w raw footage from both. Each has a different motion cadence and skintone handling dunamic range etc. Its up to your taste. And of course price out media lcd etc to see cost. If bm is cheaper and that gets you other stuff you can buy like a nicer lens then that maybe something to think about too.

Geez. It's so badly shot. If you're going to judge the camera, judge it from something decent for heaven's sake. I hardly think the rolling shutter will be any worse than the 1D C, A7S II, NX1, GH4 or many other 4K cameras, many of them much more expensive than $999

The a7rii doesnt have bad colour science. it's just different to canon and nikon, which are different to red which is different to arri, black magic, etc. subjective. There is nothing that careful rgb curves can't sort out. If specific colour is important it's probably best to learn how to set and use white balance bias, tweek profiles, and learn rgb curves rather than discard a superb imaging machine with such potential for glass. Glass is way more important than the camera. - being able to select from any type of lens is worth the effort of learning how to get the required results from a camera in my book. 'awful' motion is subjective but assuming you are getting unsatisfying motion and rolling shutter you're probably not rigging the camera properly. fitting a cage to add weight to the camera and learning how to shoot with it to avoid micro wobble is a very good way to remove rolling shutter - as is the ibis. perfect example of a piece of work by someone who got to grips with how to get the most from the a7rii. lots of hand held stuff.. no motion issues. lots of colours, no colour issues.

I posted about the work Im doing on the firmware side of the nx1 a few pages back, but it was/still is hidden for some reason. **no longer hidden on page 11 at the bottom. Much more detail about what I have found on the camera.** To sum it up, I have been working on this the better part of 6 months, didnt know anyone else was interested until I found this thread a bit over a week ago and posted my findings. Im at a point of comparing the changes in the firmware versions to see how the code is written. I have uncovered the bootloader, the file format and language used for their custom control files for tizen, info on lut, rgb 888, sd card bus speed(its quite low should be ush1 u3 but its not set close to the speed stated in the sd association docs) and a few more things. My goal is similar to what the guy said on the gh2 hack. I had a hacked 144mbs gh2 I used for 5 years until moisture killed it a few months ago. The tech inside the nx1 should be capeable of pushing the hevc and the sensor to the limit, even if it shortens the life by 4-5 years its still cheaper than a red by a magnitude. Ideal goals for me are raw/compressed raw output, see if cdng or another compressed raw format would work. As red raw is just their version of jpeg2000 modded for cine work. There is not a deadline I have set to finish this, as this is just one of many projects I have on the go but comparing it to other cameras its quite promising.

Here is my first test with my run and gun anamorphic set up. Shot on a GH4 in 4k with natural profile. Lens used were Baby Hypergonar anamorphic + LINOS MeVis-C 35mm F1.6 Most of it shot at f1.6 or f2.8 Rectilux Core DNA with +0.6 diopter on close ups. No sharping or noise reduction.. I hope you like. The images at the end I really love. The Rectilux is a dream but you diopters to get sharp below 2 feet.

What was it shot on? just kidding. But I think it's a really well "shot" show, and maybe doesn't get the credit it deserves. Particularly season 4. Kinda blows me away really. don't need to just share every single film or show that looks good, and it's hardly a "topic", but just wanted to give it a shout out. the amount of silence for a children's show, the fight scenes, the landscapes, the different aspect ratios (usually 4:3), it's all just awesome. They actually get away with quite a bit for it being a kids' show - most of the enemies are robots, so they're allowed to get "gory". It's all on Hulu, if anyone cares. the equivalent of this for someone like us might be just an enormous budget, admittedly, but I still find it inspiring. haha, hope it's not all just nostalgia and that I'm not just spamming, but yeah . happy shooting!

Well, the first one is apparently the Nikon that is in the other two. :D

Played a little more to make two more "modern" and clean looks. (Didnt frame the letterbox properly)

Well, Alexa is way to expensive for my budget. At the moment, Raven is most interesting because of size and slowmotion capabilities. About Sony fs7, actually i haven't thought of that one. Though it seems to be quite big, similar to ursa mini. Also, its the problem with lenses. I have two pair of Samyang EF lenses wich i can use with either raven or ursa. Though i dont think Raven price has to be that big. The only thing i need to buy is brain + jetpack as it can be powered through the ronin and controlled through wifi and a 3rd party monitor. @bzpopBM micro cinema camera is really interesting indeed! btw here is a showreel of most of the things iv done

Some LED makers are using different color temperatures as a reference to attain 100% CRI (or close too), when the actual CRI would be much less than 100% if noon day sun light was used as a reference. So always good to read the detailed spec sheet and see exactly where they get that rating from. If 100% CRI is the ultimate goal in lighting, you can use the following: Incandescent lamp = 100 CRI Candle Light = 100 CRI Natural Sunlight = 100 CRI ...In other words, shoot with the lighting used on The Revenant...or Barry Lyndon. If the camera still renders skin tone as uncooked sausage meat with these lighting sources (and you can't correct easily) - it's the camera not having an accurate rendition of colour.

You're using the Yongnuo's, aren't you? Might want to give the Aputure Amaran range (also a lot of other rebrands out there) a go. CRI95+. Aputure has an awesome collection of panels. Nitsan has tried a lot of them out over on his channel: https://www.youtube.com/user/NitsanPictures/search?query=aputure and loves the AL-H160 rightfully so.

Aputure Light Storm LS 1c Arri 650 Tungsten Scorpion Light Flag kit Depending on the scope of the shoot I sometimes rent 2 Arri 1K's.

Over the holiday season, I strayed from my S II prime kit, and had a very short and intense affair with an NX1, the 85, 30, and 16. After the rental ended, I felt, well, lonely. Like I'd given back the best mirrorless hybrid effort to date. Watching the NX1 hack thread unfold, and thinking about that 4k, and that in-video PDAF - which I openly abuse - I took a chance on a zoomy "daytime" NX1 kit: NX1, 16-50 S, 50-150 S, 12-24, 16, grip, batteries, etc. Out the door, $2800 - this is a good deal in the states. Arrives early next week. Couldn't be more excited.

Higher bit rates and raw video is my dream for NX1. I love the raw out of this camera. It blows away anything my Canon is capable of. I've taken a grossly underexposed photo of the city in the dark and managed to pull out such ridiculous amounts of details that I thought it was voodoo.

The pricey 35's are hard for me to justify with the sigma art down to about $600 used. The canon looks awesome with better bokeh, but is it worth 3x, not so sure.

Hey, I am currently on a shoot for a music video for 3 - 4 days but I have checked my mail, if nothing I will personally contact Samsung regarding the SDK for the NX1 in the weekend. My guess is its sensitive SDK with very deep hardware binding codes because no one has leaked it anywhere, which means Samsung is having you write a deal with them to keep it to yourself. I literally spent days searching for it without a single trace of it. I personally have no clue what this SDK is, what it looks like and what it does exactly, all I know is what I have read and heard there is no images of it either, Samsung is really keeping it close to the chest and I only read about some people having it, I tried contacting them but no answers. I highly recommend people go around try contact these people whom possess the SDK for the NX1. I will take a wild guess and assume it looks something similar to the Tizen SDK but with more hardware control, I will just post the image of the Tizen SDK here, however realistically it probably wont be as amazing as we think but it might be a good start to construct our own set of developer tools.

Rectilux Core DNA: Extras to get by Ian Edward Weir I would highly recommend getting these extras to make the Core DNA ready for use. 1. M3/M4 Stainless Steel Nylon Head Grub Screw Plastic Brake Buffer Bolt Screws Hex This is so you don’t scratch up the coating of your anamorphic lens or housing. http://www.ebay.com/itm/281858121964?_trksid=p2057872.m2749.l2649&var=580836260280&ssPageName=STRK%3AMEBIDX%3AIT 2. 86mm UV filter to protect the front of the Core DNA glass. 3. Metal back cap for whatever size you end up using for your coupler if bigger then 75mm. 4. A custom coupler made from this lens hood fits perfectly. “FOTGA Screw Mount 67mm Standard Metal Lens Hood for Canon Nikon Pentax Sony Olympus” http://www.amazon.com/FOTGA-Screw-Standard-Pentax-Olympus/dp/B009GFY858 Then a step down ring or step up ring for whatever the size of your front anamorphic thread is. I’m doing 77mm because this is what most of my front clamps are. I’m making a custom 75mm to 77mm coupler for Kowa 1.5x and Kowa 1.75x. 5. 86mm Fixed Spacer Ring http://srb-photographic.co.uk/86mm-fixed-spacer-ring-5713-p.asp You want a uv filter to protect the glass but having it on you can’t completely go to infinity. Lucky, even with the uv filter on and not being able to turn the Core DNA to infinity, I’m sharp for over 100 feet. This spacer is for clearing the full range of the focus and using filters. 6. You want to get some 86mm or higher diopters. You need them if you want to get sharp and close.

Since Mr. Jones brought it up - As a follow-up story to B&H Photo Video and Worker Abuses - they have unionized. And this is partly because of people like you and me: "The workers received additional support on Oct. 22, when a coalition of photography and video professionals launched an open letter to B&H management, calling on the company to end the hazardous working conditions and discriminatory practices. They also called on the company to negotiate a fair labor contract. Within a week more than 1,000 signatures from artists, journalists, gallerists, educators, students and photo technicians were obtained. “We welcome the workers at B&H to the USW and look forward to addressing their concerns with the company at the bargaining table,” said Shinn." http://www.usw.org/news/media-center/releases/2015/bh-photo-warehouse-employees-vote-to-join-usw-union This is an example of social media activism being successful. The employees now have collective bargaining powers. Hooray!

Camera 1 Camera 2 Camera 3 The results of this one might surprise To judge resolution don't forget to pixel peep the full 1080p frames.

This would be great for easily matching the nx1 with nx500 If they would include all the color profiles. We should let them know that nx500 users would like this too. So that opens up the demand a lot more.

Great suggestion, I use it often. I will send them an email.

Dog says thanks I don't really remember which is which but the OSIRIS was the Kodak 6. The Impulz was a Fuji and a Tecktachrome. The Make Log Like are from James Miller. I aply grain by placing it on the track above and switch the blend mode to overlay. On one of the added grains I added some contrast as well My favorite is the Impulz or one of the IWLTBAP.

Finally a CCTV cam you can actually zoom in a little bit on!!!

I was actually thinking of the other Sony FS, as the FS7 indeed is a little big. The one in the image showed above with the MOVI was a FS5. And what would keep you from using your Samyang EF lenses on a Sony FS5 (the smaller Sony) exactly? I don't get that bit. It has the flexible Sony E-mount.

Actually it's not that hard to say - a lot of anthropologists have studied this subject very thoroughly. The last tribe that lived this way is the !Kung. There was a very famous documentary about this - one of my favorite docs of all time.

Actually, there were quite a few different 4x5-inch SLRs, and there were even 5x7-inch SLRs. Here is an early 5"x7" Graflex SLR:

wait a bit, get a BM micro cinema, it has 60fps, when you need slower use twixtor, shoot raw, well exposed and with OK post, on youtube no one will tell it from Alexa, very cost effective solution for music videos; the only thing it is ridiculously small and most of the 'artists' will not take you seriously, so yeah, shooting on Red adds to your resume you want it or not, but your demo and your price are the two major decision making factors, good luck, and post some music videos!

Hi, 2 x 2K "blond" with diffusion panels in front of them and gels to correct the yellowish tint 3 x 650W ARRI fresnels with diffusion panels most of the time too 1 x 150 ARRI junior fresnel light with some manfrotto magic arm most of the time to reach some points... 2 x LED panels with 200 leds more or less (Chinese cheap ones Aputure) that i almost never use... Low CRI and mixing with other lights is not an easy task. 1 x Chinese ball that is sometime interesting to work with. 400W if i remember well. When i need more, i rent...

Great topic idea. We don't talk about lighting nearly enough. Still using Arri fresnels over here, but I can generally get by with 300s and 150s on the BMPCC. Anything bigger I'll rent for that specific shoot. Sometimes I'll use a set of strategically placed small LEDs I picked up a while back, but dialing out the green spike is a total pain in the ass. Anyone have any suggestions for small, directional lights that won't break the bank?

and we weren't always living this way. We lived 70,000 years or more as hunter gatherers. A time where the average work week was about 20 to 30 hours. And men and women were equal. We've only lived in a land of exploitation for about i think 3000 years. A blip compared to 70000 years.

terrible rolling shutter. very bad. slow mo 1080 looks very bad also. looks like it will no be the so expected decent hybrid for some. Don't care so much about improvements on AF over a6300, as I wont be buying expensive sony lenses. And it would be good to have good 1080p - not always with time to process 4k, and can't afford another computer just for 4k yet. Also from the footage looks like this will be terrible hand held.

FWY, its not allowed to criticize Red or claim that they have missed deadlines on the internet, otherwise some Hummer driving dudes in Okleys will come to you're house...

Indeed, looks like rolling shutter, bad.

Cheers @boxtree ! Yeah settings for this vid were.... Natural Picture Profile Noise Reduction -5 Sharpness -3 Contrast -3 Saturation 0 Given its only 8BIT I wanted to retain as much colour information as possible so didn't touch the saturation. For colour grading just some light corrections in Speedgrade and added a sharpen mask in PP. That's it, pretty simple workflow and I like the picture it pumps out without needing to shoot flat.

You're telling everyone color science is "subjective" but this just looks like an instagram VSCO photo. I have trouble believing that anyone who shoots interviews a lot, thinks Sony color is fine and can be fixed with curves. Sony seems to do pretty nice in natural light, but so do a lot of cameras. The canon cameras handle mixed lighting really well. Here is Philip Bloom's - Shot S-LOG 4K, Graded in film convert. It looks terrible. The price of the 1DXii is high, but the footage is going to look nice.

In all seriousness, there are a lot of very enthusiastic people here that really understand (or strive to understand) the strengths and weaknesses of all the cameras out there and I think you need to do that to get the absolute best out of them, in addition to a great grasp of lighting, of course. It would be cool to collaborate with some guys from this forum on this (or another) project, for sure.

So far the CUBE NX1 from Motion9 is the nicest cage I've seen so far for the NX1 but it's sold out and I'm doubtfull it'll come back in stock when considering the current Samsung situation. Maybe keeping eyes open for a used one? http://motionnine.com/shop/cube-nx1/

If you dont like the grip, a cage is always a pretty nice way to ad both weight and functionallity. Remember there beeing a good one but cant remember the name of it.

I found this today, I think it's great:

Well said, Henry, also just found out you are head of PR at the audio department, which I love there. So your opinion on civil and legal matters related to B&H is probably not as inclined to the data and official stance of the company, which is fine - all of this is probably private information as of now. I know how much companies hate unions as well. And how unions can play really dirty. But if the NYTimes and Al Jezera both run stories on it, I think there must be some validity to the claims. Plus that B&H in 2007 paid a $4.3 million dollar settlement to unfair wage page to Latino employees, again scales me towards believing the first-hand accounts of the workers and their lawyers. Also it's possible with your photos that yes it does look really clean - cleaner than the studio I work above - the clean up was done after complaints and hints of unionization. And lastly, I wonder, why is employees unionizing ever a bad thing? Except to the corporation? Well finally, seems like according to the NYTimes, there were two seperate instances of workers signing documentation in English they couldn't read that signed away their rights to medical care reembursement. NYTIMES Martin Hernandez was moving heavy boxes of merchandise at a Brooklyn warehouse belonging to the electronics superstore B&H Photo Video in late August, he said, when he felt a sudden stab of pain in his left leg. “I felt my knee crack, and I just couldn’t get up,” he said on Tuesday, through a Spanish-English interpreter. “The pain was so intense, I couldn’t feel my foot.” Mr. Hernandez, 48, said he had been taken by ambulance to the Brooklyn Hospital Center. He eventually learned he had a damaged ligament, and has not worked or received a paycheck since the injury. He said his meager savings were nearly exhausted. Or of these two employees given documents to sign in English that said B&H was not responsible for their on-site Health issue: Ms. Mazzocchi also dropped off a letter addressed to Mr. Schreiber and Mr. Goldstein, asking that they act on complaints that employees had been subject to discrimination because they are Hispanic, had been pressured by managers to sign English-language forms releasing the company from medical claims and had been forced to work long hours in warehouses where emergency exits were blocked and noxious dust appeared to cause rashes and nosebleeds. She said that if she and other lawyers did not receive a favorable reply by Oct. 20, they would file 180 separate claims with the E.E.O.C. Mahoma Lopez, a co-director of the Laundry Workers Center, an advocacy group that works mainly with low-income immigrant workers, said they had begun meeting last year with B&H warehouse employees. The center’s organizers held workshops in which they instructed workers about their legal rights, he said, and explained that they would have more strength working together than they would as individuals. Eventually, Mr. Lopez said, the center helped the warehouse employees contact the Steelworkers union. One of the workers who said he had wanted to be represented by United Steelworkers was Mario Baten, 29, who said he had worked for B&H for six years but had temporarily lost his job in 2010 after he collapsed at work. Mr. Baten, who said he had suffered for years from cancer, said through a Spanish-English interpreter he had awoken in a hospital and received documents that had been delivered to him by a B&H manager. “He sent papers in English that I had to sign,” he said. “I didn’t know what they were saying.” In the main B&H warehouse located in Brooklyn’s Navy Yard, the walls and ceilings are insulated with fiberglass that fills the air and flecks off onto the worker’s skin, causing rashes, respiration problems and daily nosebleeds, employees say. Inside a second warehouse, on Evergreen Avenue in Brooklyn, employees say they have worked amid asbestos-insulated tubing. “They would tell us to clean the tubes,” recalled maintenance worker Miguel Angel Muñoz Meneses, “but nobody wanted to touch them.” The men, many of whom are undocumented, testify of suffering from kidney stones, dizziness and fainting after being denied access to water or bathroom breaks. They say there is often a lack of basic safety equipment. “If we ask for gloves, they answer that they do not have gloves, because gloves are too expensive,” said Isaias Rojas, a B&H employee. One man reported he was badly cut while lifting boxes, and the managers refused to call an ambulance, instead advising him to simply wait until the bleeding stopped. Another said a manager threw hot water on him and slapped his face. Others report those who complain are fired or threatened with deportation. “They treat us as if we were animals,” Florencio Salgado said. “We are involved in this because we are tired of being abused.” For many of the men, the most egregious offense occurred on Sept. 5, 2014, when two tractor trailers parked adjacent to the Navy Yard warehouse burst into flames, sending clouds of black smoke into the shipping and receiving section as the workers were inside. Silverio Cano Alberto, who has worked for B&H for seven years, said he was on the second floor as the flames licked the outside of the warehouse. “There was smoke and yelling and no one, including the manager, paid any attention,” he said. “Finally, they told us we could leave, but we each had to pass through the metal detectors, which took about a half hour. When I got outside, the parking lot was filled with firemen and police. Imagine — if the fire had spread, we would never have all made it out.” Stephanie Luce, a professor of labor studies at the Murphy Institute at the City University of New York, said that, if verified, these allegations would constitute violations of the “highest level of basic rights.” were they verified? is there a civil suit pending? or was it settled privately? Florencio Salgado, 37. Salgado has been employed in the B&H warehouse for 10 years, working long hours to support his parents in Mexico. “They are exploiting us," he said. "They are 'juicing us' like a fruit. Once they take all the juice from us then we will be thrown away because we are going to be good for nothing.”Jonah Markowitz“These are very serious,” Luce said. “That's one of the main things that happening in places like Bangladesh, where there have been fires and buildings have collapsed, and workers can't escape.” B&H declined to comment on any of the specific allegations, including the handling of the 2014 fire.

I actually find the colour from my C100 to be missing just a little something. So today I shot some colour charts with my Fuji XT10 and matched them to those shot with my c100 and created a LUT, which I am happy to share with you guys. There are plenty of LUTs out there, as well as plugins like FilmConvert but they often change the feeling of the image a bit too much. I just wanted something that would improve the colour a little. I shot the colour charts with all the different colour profiles but the results didn't really change much. I have attached two files. I'd recommend using the Provia one most of the time. The Chrome one is just slightly different. It would be interesting to hear how this LUT affects footage from other cameras too. Provia.cube Chrome.cube Raw (Cinema profile): FilmConvert Provia: My LUT: Raw (Cinema profile): Quick grade (curves + saturation): My LUT: Raw (Wide Dynamic Range profile): Impulz Fuji Pro LOG: My LUT:

Heres my current settings, this is my balance between retaining color and DR, making it easy to grade : These are : -10 sharpness, -2 Saturation, -3 Contrast +8 Black levels. OOC: Graded :

​you can easily upres a shot film on a decent camera like the alexa or f35 to 4k and no one will notice. Actually recently my man Nate said he did a test between amira at 2.6k uprezed to 4k and sony f55 at 4k and the amira resolved more resolution. it's all a gimmick. 4k is the next 3d. Just there to sell tvs. But not many people even notice 1080p vs 720p while watching 10-20 ft from a tv - and also compression is the major thing - not resolution - gosh in the US the TV cable stuff is soooo compressed - it has gotten to youtube levels of quality.

No, I work in movie theater projection and 99 out of a hundred films are delivered in the 2K format. The majority of cinemas have 2K projectors still and Mad Max, The Hobbit, and many others were mastered in 2K and received IMAX releases. We are a couple of years away from 4K being the cinema standard. Perfect 2K is plenty. I've seen up scaled 720p used for documentaries often.