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If raw video gets unleashed through hacking, then all these questions will become 'the past'. Consider this: nx1 does 1) full sensor readout up to 60fps, then 2) scales it to 4k or 2k, then 3) encodes it in h.265 in real time. Now...think about jumping steps 2 and 3 and just saving the raw sampled 6.5k image to sd card. Even if that were 12bit instead of 14, even if 24/25fps instead of 30/60, even if only for few minutes, this would be the greatest achievement ever in a sub 1000$ camera. I would buy a couple of spare bodies if this ever happens.

Depending on what I find there could be an option for a 1:1.29 lossless or a higher compression visually lossless hevc. Creating a custom lut for a more red like log seems possible also. The firmware seems more of a proof of concept that they left it open to change so many things. And more so to show they can go head to head with the established makers and make something better. Since this thread has garnered more interest I have shifted to put more hours into this dive I am doing.

Camera 2 is the Fuji X Pro 2.

Answer on my email: The NX1 is certainly under consideration. We almost did it last year, and then Samsung started pulling that camera from the shelves. It isn't sold in these parts anymore. This is in discussion, but I can't promise anything at this stage. We've had quite a few requests for this camera in the last week so hopefully we can push that through.

I've only watched a few videos, the lack of aliasing stood out to me when watching on a 4k monitor. Power lines and all those intersecting lines are clean from these three videos. This is just part of the screen cap, not a full 2160p image, hopefully it can be viewed at full size.

I can confirm 1,1x crop factor at 120p over s35 or 1,65x over full frame mode.... Someone tried today the camera

I have made posts and posts about it in the "your ideal nx1 settings" thread. scientific depends on your definition of what a proper scientific approach would be, but i felt i was pretty methodical in trying to get the best image out of the camera possible. the problem is because I didn't apply a crazy filmy looking lut the end result, I dont think anyone cared

It's magic! No, its the Megabyte (MB) and a Megabit (Mb) confusion: https://opensignal.com/knowledgebase/the-difference-between-megabyte-and-megabit.php https://www.google.de/search?q=megabyte+megabit+converter&gws_rd=cr&ei=463ZVumTOMb36ASKwp6wBg The NX1 writes with 80 Mb/s and thats 10 MB/s so possible is 60 MB and that's a 480 Mb Bitrate for the movie size. Edit: But the Size of one 6.5k RAW-Picture is round about: 3:2-Format: 6.840 x 4.320 = 31,1 MB 6.840 x 3.648 = 26,2 MB * 24 Pics/s = holy s... that's impossibel! But UHD with 400 to 480 Mbit/s vs. the original NX1 80 Mbit/s is a really heavy upgrade ... with 10 bit instead the 8 bit, i think it's a big thing.

Hearing about those "GH5 will be 6k" rumors makes me really annoyed. There's basically no really good, usable large sensor 1080p camera (I know, 5DIII ML, but a lot of people don't want to deal with the tinkering) and we jumped to 4k with weak codecs, now we'll directly jump on to 6k with probably the same weak codec but even more post issues? Forums are full of people arguing that you can't get the good stuff because SD cards are too slow for higher quality, but why can't we at least get 10bit out of the cameras via HDMI? The High Frame Rate also doesn't go out so you shoot 120fps FullHD on some super compressed codec. Are clips with the BMPCC out there that look like detailed, polished, modern footage e.g. like out of a commercial? All I find on VIMEO is low resolution / badly focussed, dark muddy grades stuff that looks like FilmConvert overdone times 10. I think the image out of the BMCC 2.5k is amazing but that camera ergonomics are meh, the extra resolution really helps over the BMPCC sensor in post for the finished product though. BMCC 2.5K sensor in a C100 body with Sony IBIS and active MFT mount... TAKE MY MONEY!

But RAW image has to be scale down because bitrate would be insane in this case (24x around 30MB = 720MB/s). Maximum write speed of NX1 is 60MB/s (see http://www.cameramemoryspeed.com/samsung-nx1/sd-card-comparison/ )

I think it depends on everyone's taste - someone prefers dynamic range (and more filmic?), someone likes richer and more accurate colours. I have almost same settings as Casey... I did not make any scientific tests but my opinion is that (with this limited bitrate and 8bit codec) it is best solution to get best picture straight out of camera. But please - let's focus on hacking of NX1 in this thread... :-)

All of those are way too huge to put directly into a shoulder or tripod rig. I mean to have it be "form fitting and out of the way and clean". Heck - we can hook a car battery up if we want. There are literally a million of these batteries out there in all shapes and sizes and if they have the 9v/12v outputs they all work the same. They're all the same in function. All of them. That's not the purpose of my recommendation. The XT Power is of a specific shape, size, and weight that to me lands RIGHT on the sweet spot. Plus it has LARGE power-remaining lights that are extremely clear when you need to see them. They're not hidden off on one side. It's all these little details that make it so much more pleasant to use busy shooting day after busy shooting day. Those Ankers are like attaching a pizza box to your rig compared to the XT Power. Same with that large RAV Power. Now, I use a much smaller square RAV Power to power my audio recorders - and you can't even hardly tell it's there. Size matters. LOL! Even that "Aukey" brand is a half-inch wider and FIFTY PERCENT longer that the XT. If you want a really big powerful battery? Get a V-Mount - superior in every way. But much much heavier and much more expensive. If you watched my video were I showed the battery mounted on shoulder/tripod rigs you'd see that even the XT Power is not small at all, and that anything larger is going to be an enormous pain in the ass.

I dislike 80% of everything that comes out of FilmConvert, Their Canon LOG presets don't knock me out, no. But I find everything needs to be adjusted a lot with FilmConvert or it's just too heavy.

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.

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.

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...

I became aware of this thing through this forum. So I guess Im kicking in wide open doors here. But I like it so I thought I show my results anyway. I got both the Nikon to E-Mount and NX. My first thought was, shortly the ND must be bad and soften the image. Well, compared to my proven Genus Eclipse its actually sharper... It has a shift towards yellow. But its so small that after grading its not visible anymore, even without correcting., Some moving images and review.

What is everyones now that cameras are so light sensative? Mine is a joker 800 hmi, kino 2x4, 2 litepanel astra lights, some rifa lights and some dedolights and a literibbon. This with a bunch of grip and a 4x8 beadboard gets me through quite a few setups. Let me know what everyone elses is.

The catchily named "LG 31MU97-B" is in fact not a submarine but a 10bit IPS 4K DCI display with 99.5" Adobe RGB colour gamut. Is this a better option than the 5K iMac display? I think it could be... Read the full article

I know, just messing A thread isnt complete untill Tugela uses it for his/hers Canon Envy Rants

I'm sure it will since most rolling shutter cameras have it - as we've clearly seen in your wall of moire - but so far 4k looks pretty good. Hopefully you can get your hands on one to put it to the torture test.

Does it heck as like More dynamic range?! Better noise texture? Really... Have a clue.

Imo 800 is the highest before that bad nr kicks in. I'd like to be able toturn it off,since iso 1600 is still very good in raw stills, on nx1.

Ha, yes, we had some good interaction in that thread. And yes, for h265 you are probably correct. Prores on the shogun seems to care little between 0-255 and 16-235 once you actually grade the files. Sorry for this digression in this thread! My main point earlier that I may or may not have made, is that increased bitrate will help us, particularly in h265 with things like macroblocking, unfortunately I doubt it will help us with banding (as 220mpbs+ already doesn't seem to get rid of it ala the shogun). while h265 is a very impressive codec, I'd really like to see something come along in the hack that will give us 422 (i really dont think hdmi out is 422 on this camera, but i have no evidence other than the terrible banding that still occurs). with gammadr and -10 contrast the camera is capable of a ton of latitude, it just can't be pieced back together in color without significant banding.

Canon has insisted since release that the C100 and C300 have an identical image other than codec. That said, a pro on reduser revealed that Canon admitted privately to him that the imaging pipeline on the C100 had been dumbed down relative to Canon's higher end offerings, and the image quality is objectively much worse. Having used both, I can't tell the difference. It seems like, as is often the case, the cheaper cameras have a worse image because less experienced operators have their hands on them. But I never set them up side-by-side and I don't have access to Canon's engineers as did the guy on reduser. That said, it would be an enormous breach of consumer trust if Canon had in fact lied about dumbing the pipeline down and this is the ONLY documented case of anyone making the claim that there's a difference in image quality. At their current prices, I would take the C300 over the C100, though, for sure. The ergonomics are so much better and the image definitely isn't worse. The internal codec is a lot stronger, too. Fwiw, I would consider the C300 a documentary camera and the C100 a wedding/videography camera. The lack of HD/SDI and timecode sync excludes it from anything remotely professional, except on the extreme low end and as a B cam. (That said, I own one and have shot b cam on features that were mostly Alexa and 10-20% C100. No one can tell the difference after the grade, although we had to work around the camera's limitations in dynamic range and shadow tonality by exposing a bit differently. Matching Red and F5 to Alexa proved much harder, however.)

A bit off topic, but having a GH3 (that would be updated to a GH4/GH5?) what speedbooster would you recommend? XL or Ultra?

I think "just" 160/200 Mbits H265 would improve image a lot. But question now is not "how much" but "how"...:-)

So, it's the FS5 with a Speedy Gonzales?

Very cheap, and elegant: http://www.ebay.com/itm/BMCC-4K-BMPCC-Camera-DV-Battery-Mount-Plate-Power-Supply-For-Sony-BP-U60-U30-/231491513424?hash=item35e5f82c50:g:fIcAAOSwT6pVilrh I think your proposal though wins slightly for overall value for money. But I think for elegance, and overall versatility (as BP-U is a very common battery format that gets used in lots of things), I think mine takes the edge over yours. In the end, which is a best for a person, depends on their personal preferences/needs

Not yet in love with the footage, but I take it these people don't know the camera and its limitations and strong bits yet. But if it stays like that, then indeed I might rather consider the G7.

Not full of shit, but maybe I was a little harsh. 50% more pixels gives you quite a bit more detail and cropping abilities, that 16mp sensor is a couple generations behind the a6300's new sensor. The DR advantage is real, more latitude to move shadows and highlights, its easy to see in any of the image comparison tools - its not a wash. When you downscale a 24mp to 16mp the gap widens. The PADF in the a6300 is a significant upgrade over the a6000 (I have the a5100 and the A7rII), its tracking abilities are much better than anything DFD is capable of producing, and it works while shooting video. The LAEA3 opens up the A-mount and its great glass. You get native quality AF out of many Canon lenses with any of the AF adapters, and the new Sigma adapter looks even better than what currently available as AF-c is fully functional. When talking lenses with the a6300 and A7rII - the EF lens lineup is part of the mix and gives you more options than m43. There are lots of gems in the m43 lineup, but like every mount there's lots of mediocre lenses as well. There are certainly more than 3 great E-mount lenses. Batteries weigh 45g, its not an issue. I bought a GH4 to replace my a5100 and while the video was awesome, the stills were lacking for me - I shoot mostly natural light and the noise was just awful when boosting shadows. I kept the a5100. I'm still impressed by what I'm seeing out of the G7, I'm going to get one to shoot video as current prices make it a bargain. But I'm still getting the a6300 as its going to be a better stills platform for me. There are pros and cons of any system and we could argue about this forever, use what you like. Cheers

Im not a big fan of Scandinavian Photo, don't know what gave you that idea. Just use prisjakt.se, who has the energy to look around. The price is on three of the biggest retailers, http://www.prisjakt.nu/produkt.php?p=3144178 "600-700 USD"... what a rip off.

The commercial filmmaking world is 99% producing shit. Most clients have no idea what art is. They just want a certain production standard and for efficiency. Turning up with a Samsung badged small consumer camera goes against the grain. This is the main reason RED exists - for pros to look professional in front of clients. Clients don't know much at all about images. I have seen what happens when they try to make their own LUTs. It even happens right at the top. Robert Richardson took his name off World War Z for precisely this reason.

I'm not, the ps4 has a similar amount of power to a custom gaming PC that costs about £450-£500, and a PC that costs £2000 is considered about right to get 1440p resolutions at a decent frame rate. Next gen though, for sure

Liam is closest 1 is the Nikon D750 (flat profile, lightly graded) 3 is indeed the NX1 but in 1080/120fps not 4K 2 is...? Clue... Not 1D C or FS5.

FPN is only a problem if you under expose. Ive never had it on the production camera. Lowlight, daylight, nolight doesnt matter, no FPN.

Have you had success with this? I've tried the Canon LOG with the EOSHD LOG for NX1 footage and never had any luck making it look decent. The Red Gamma profiles seem to work a lot better with the NX1 flat footage IMO. Also, I reckon FC looks better on the NX1 using the Arri Rec 709 profile but not with the EOSHD LUT ... i.e. using just Gamma DR settings at default. Cheers.

I feel like I avoided that show for some reason, but I've obviously heard great things, and that clip was pretty awesome. arguing about anything YOUNGER than my generation.. and we might have a problem things went downhill fast

Could definitely be a picture profile/settings thing. I'm sure, with tweaking, we could coax a little more resolution and shadow detail out of the G7. However, while the Panasonic has more blocked up shadows, it also has a clear advantage in the highlights. Not only is there more latitude, but it doesn't show any of the hue shifts, bright color ringing, or hard clipping I see in the A6300. Check out the underwater lights in the second example scene. Horrendous performance by the Sony. The Panasonic has much nicer color overall too, struggling less to render the mixed sources naturally. With used G7 prices dropping to around $400, I'm struggling to think of reasons not to buy it. No LOG profile I guess, but those things cause more problems than they solve in 8-bit cameras. Image looks acceptable at 6400 and rather good at 3200. As to people bashing it for stills...you're full of shit. I'm sorry, but even measurebaters can look at DXO and see that raw performance is less than a stop away from APS-C. There is so much amazing work being shot on M4/3 that no one can claim the camera is their limitation to getting good results. Panasonic's DFD autofocus has also been shown to be faster and more accurate than any other current mirrorless. Time will tell on the A6300, but "it doesn't have PDAF points" is an asinine argument. The last thing to look at are lenses. Last time I checked, the Sony APS-C stable was pretty pitiful. There's like...2 or 3 Zeiss lenses that are pretty cool I guess? Micro Four Thirds, on the other hand, has a gigantic selection of both AF and MF glass, almost all of which are stellar pieces of glass. As someone who's shot and edited a couple dozen commercial and portrait shoots with a GH3 and A6000 side by side, there's basically nothing in it. The Sony is higher res, but the M4/3 glass has the edge. The Panny has lower DR/higher noise, but the Sony's 11+7 bit compression makes it a wash. The Sony is smaller and lighter, the Panasonic much better built and better-handling. Neither have great color on Adobe defaults, and benefit greatly from profiling in ACR. The GH3 battery life is enormously better, the A6000 has almost double the burst rate. I would never argue that Micro Four Thirds is the best stills platform available, but I do believe it represents the best mix of compromises for most photographers. The system's image quality today is where APS-C was a couple years ago, and I don't recall many people complaining then. In a few more years, it'll be where class-leading APS-C is now. And so on and so on. So as technology marches on and sensors get better and better, I'd rather have the smaller size, better glass, and stronger features of a M4/3 body than a bump in performance less than 1% of shooters would even notice, let alone need. Some samples to ponder: https://www.mu-43.com/threads/featured-mu43-wedding-experience-by-sssyurrr.61628/ https://www.mu-43.com/threads/m43-portraiture-by-livingloud.61610/ https://www.mu-43.com/threads/featured-photographs-from-morocco-by-ggibson.62877/ https://www.mu-43.com/resources/voigtlander-nokton-42-5mm-f-0-95-real-world-review.36/ https://www.mu-43.com/threads/featured-my-portrait-work-with-m43-can-it-hang-with-the-big-boys-by-spatulaboy.58189/ Cheers.

If your BM is RED....you need to see your doctor immediately.

I think I was a generation early for that show. Not to brag, but we had possibly the greatest masterpiece in animated television history. Cinematic score, dark tone, great voice acting (best joker ever), reinvention of many characters (including Mr Freeze), art direction that was inspired by art deco,title-less intro, and especially its quiet moments --- this show had it all.

Noise looks fine. But the whole motion to the footage is way off it seems

Totally agree with this. Theres a lot of ignorance towards lighting (and obsessions about cameras) in the enthusiast realm, however all cameras display their absolute best image under carefully lit scenes where the sensor isn't being pushed into sensitivity oblivion. Lighting is the biggest factor when differentiating good images from excellent images. I've moved to a battery operated setup of recent, as I can spend more time creating the look I want rather than dealing with reels and spiderwebs of cables. I can pretty much light anywhere, at anytime, whenever. The lights are: 3 x Lupolux Dual LED (650w and 1000w equivalent) with 6 Lanparte V-locks. (£4000). 6 x Scorpion Lights with Full Scorpion Kit. (£1200 approx). I love this setup as the Lupolux are Dual Color, they are very bright, light and have an excellent CRI. The Scorpions are absolutely brilliant as they are very compact, can bend in any direction and can be clamped on anything! And they are bright! Other lights I have in the kit are: Kino Flo 401s x 2 (£3000) Dedolight Kit x 4 and Gobos (£2000) 1 x Arri 650w (£450) These lights all brilliant workhorses and get knocked about, performing flawlessly. I love DIY solutions for lighting but my opinion is you shouldn't skimp and go cheap on your lighting gear. The reliability, colour accuracy and operation is very very important. Some of us out there buy every new camera with a 4K badge stuck on it, however lighting is far more important and the gear lasts for more than a decade easily.

If you use Andrew's NX1-to-LOG conversion, then I think FilmConvert's "Canon LOG" profiles are already there. Clever of Andrew to do it that way.

as I've found lower contrast to be more beneficial to a compressed image, that's what I've tested the most, and has really been the source of most of my gripes with the camera. The ability to lower saturation hasn't seem to yield many benefits in regards to post work, so I've only tried lowering it maybe to -5 at the most extreme, and I didn't see much benefit so I usually leave saturation at 0 now. With -5 contrast, 0-255, -10 sharpness and 0 saturation I've found the least amount of negative effects on the image, while gaining the most extra latitude. I have not found gammaDR to yield particularly better results (in regards to grading latitude).

+1 on Alexa Mini if you can afford it, but the total cost will exceed $100k. You might also be able to increase your wet hire rate substantially. I don't like the Red "look" but most clients seem to like it a lot and the specs are quite nice, but their lower end cameras have rented poorly and you will face some competition from rich kids.

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!

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!

I have the Pilotfly H1+. If you are a run and gun one camera one lens guy, this thing is perfect. But prepare to spend hours tweaking it to perfection. Not only do you have to tweak for smooth motion w/o vibration, you also have to calibrate it for battery life. But once you get it tuned, you really can just hit the trigger and capture amazing video. The organic camera movements are what I like about it the most. Walking, panning, still etc. The battery life however, is abysmal. About 1.5 hours if you've calibrated it optimally. Badly calibrated (too much unnecssary power to any of the motors), you can zap the battery in about 15 minutes. Where this power goes is beyond me. A well tuned CameTV Single can run for 10 hours. The H1+ for 1.5 hours. Even a perfectly balanced and calibrated H1+ will die in 1.5 hours where the motors are not doing anything. The external battery attachment to the base sold for $65 is actually an amazing addon because now you can shoot for 7-9 hours no problem. All day without worry. But keep in mind while the H1+ looks like a well crafted professional piece of electronics, the battery attachment's make and quality is insanely poor. About the quality of imitation tupperware that you get at a dollar store. But again, the batteries inside of it is what counts. Switching lenses is a hassle for every time. But as long as you got the recipe down, you can do it on your smartphone, and it's not too bad. But don't even think about trying to switch lenses on set if you don't already have the perfect set of numbers written on a notebook. Change bodies on shooting day? That's crazy talk unless you've practiced switching bodies like how a soldier practices how to disassemble/reassemble his rifle. Then you can balance it and change the PID settings and calibration under 5-10 minutes. Another thing about the H1+ is that it uses LiPo batteries. The battery inside the H1+ is LiPo. The batteries inside the external battery attachment, LiPo. The alternate external battery solution they also sell is LiPo. LiPo batteries are extremely high maintenance. If you are going to buy a H1+ you should become an expert on the maintenance of LiPo batteries. The fact that Pilotfly doesn't tell you to do this is a bit irresponsible. my guess is because Pilotfly comes from the hobby R/C business and they just kind assume people know how to take care of LiPo batteries. There are probably dozens to maybe even hundreds of LiPo battery fire videos on YouTube. In hindsight, should I have bought the CameTV Single? For the battery life, the ease of changing lenses, bodies, I think this was the CameTV Single would have been a better purchase. Reading about so many people with CameTV Single's battery issues, although I'm sure a handful of people are indeed experiencing battery issues, I believe most of this has to do with the lack of balance, lack of knowledge about calibration. People have it so poorly balanced that the motors are working overtime, and on top of that, they probably are told to not worry touch the PID settings which leads to people not really knowing how to troubleshoot their issues effectively. It's no surprise the battery dies really quickly for some people. Becoming an expert at the H1+ makes me believe I can rock the CameTV Single for 10 hours on a single charge without battery issues. But without becoming an expert in 3-axis gimble calibration and Basecam SimpleBGC, I don't think I'd know how to troubleshoot a CameTV Single if I bought that first because I would think my battery is defective.

I've had the Panasonic G7 for about three months now and i'm really pleased with it. It's pretty cheap now a days which makes it a great bang for the buck!