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Yesterday filmed in 4K the korfball Play Off - Sports Event + 720p livestream to youtube with the "DEV" hacks to disable 30 mins limit and lens check. Camera NX1 proofs to be stable, even in stress conditions of the sports event! Camera: NX1 Lens: Canon Broadcast J17ex7.7B4 Record: 2160 25p on Komputerbay SD card Video out: 1080P for Youtube livestream Great work and many thanks :-)

Something getting released in July? (BTW, the LS300 should be here on Wednesday. Its in the same price bracket and might upset things. Bought a vintage 35mm for 20 bucks this weekend just for the occasion.)

Unfortunately it'll look like this: colored and punched into problem area: 600+ mbps prores hq recorded on shogun from the nx1 of course that is gamma dr -10 contrast... so about as extreme as you can get, and maybe its usable in cases where you wont have gradients, but as i demonstrated a lot in the "your ideal nx1 settings" thread, increased bitrate will help us with shadows and highlights (we can improve usable DR by 2 stops is my guess), but we need 422 to get us away from banding.

Don't have it any more Don't know, will have to check. Its pretty much the same compression that Blackmagic has in all their cameras.

Having a truncated MP4 file recovery utility running on the camera would be really cool. To avoid complicated menus, the utility when executed could automatically scan the SD card for truncated files and automatically recover them.

Its pretty safe to say that the BMMCC is very close to the BMPCC. And there are comparisons between the BMPCC and D750 out there. If you ask me that have used the D750, BMPCC, BMCC and BMPC4K. I would say that for grading, "filmic" and really diving in to the post workflow the Blackmagic wins, all day long. But if you just want good quality video, small file sizes and a wide dynamic range as well as really good stills, get the D750. To make it even more complicated. Ive been using the 5Dmkiii with ML Raw for a week now and imo its a marriage of the two above. You can use it for great stills, lowlight, decent AVCHD 1080p (not as good as D750) but also awesome 14-bit Raw (not as fast as BMD). Its a great compromise. Also it has a imo very usable Raw slowmotion. Here is a BMPCC vs D750 which I watched when deciding to get the D750. I think it shows that the BMPCC is "better" but not by far.

Sure, but It's probably gonna be a while until I get it. They're supposed to ship 21th of March, but since I ordered the 2-hand handle as well is 28th of March. You probably gonna get a intel a lot sooner from reviewers, but feel free to request tests when I get it!

Just because the couldn't get gs working as well as they would like for the current cameras doesn't mean you won't see it in the future, like for example the over due Ursa 4.6K turrets ? I think BM had to draw a line and ship the UM4.6K because for the vast majority of users the RS is perfectly acceptable for most users, while they keep optimising it. jb

No one seemed to have graded the video footage from Vasile so I decided to have a go and oh boy its glorious, the image has a very analogue feel to it at least in my opinion, I have tried to push the colours very far, much further than I normally would with the regular NX1 footage to see what happens, the NX1 suffers from colour bleeding at times specially when there is strong colour light on a scene like concerts etc. In this footage I did not notice any so that in itself is pretty glorious. Everyones favourite, the Vasile Frame EOSHD GammaDR2LOG LUT Applied Quick Grade with VisionColor's Impulz LUT - Tetrachrome 400 and high colour saturation A more colourful frame

still have other options,, it's Sony's way or the black magic way

I think 4K 24p Super 35 -> to the ultimate 1080p in post for $1k is a pretty good deal to be honest.

This looks like the best image you can get under 10K without buying into Red's ecosystem. This, coming from a former Red owner and operator - and I sold that once I saw how the very first blackmagic camera handled low-light noise. The Rolling Shutter, oh so what. Hey look, I'd rather have a company that tries to do something really amazing and fall short, rather than a company that intentionally cripples cameras to sell you the next model 6 months later, or are trying to protect their tiered market strategies. There is no false advertising or bait and switch. Because you technically didn't buy anything. It was a pre-order. And BM was upfront about the issue and now they're releasing the camera. They're actually pretty damn responsive without the attitude (RED). Yeah there was a delay - like other small companies in any industry. That's what happens when a company is driven by innovation and don't have billion dollar resources. A world without RED and Blackmagic would be immensely damaging to the independent film community. They've changed the market for the better. The crazy sense of entitlement, construing this as some unethical business practice is hilarious. "I will never again buy a blackmagic product" - Ok, enjoy your hacked 5D or franken dslr, or whatever you shoot with. Because blackmagic doesn't owe you anything. If you sat in front of your computer hitting refresh for the past six months, you have every right to be angry. But not at blackmagic. You sad, sad little man. I hope everybody cancels their pre-orders, so please! Keep complaining.

After a long time, I finally produced a new short movie. This time with the Sony FS7, probably not the last time. Coming from a RED Epic, I have to say: The dynamic range is incredible! Shot in CineEL S-LOG 3, 4K 24P. Color graded in Davinci Resolve. Only used small LED lights.

That is strange, I had macroblockin with the Atomos when I used it could be older firmware or something, whatever it was its just not worth to pay 1500 - 2000 dollars for an external recorder when there is already someone who managed to hack higher bitrate on the NX1, all the benefits you get with the Atomos will surely soon be available inside the camera, the HEVC in the camera if its following the standard set for HEVC, it should come with 10bit, 12bit and 422 + 444. There is also a MJPEG codec in the camera, my prayer to the heaven is someone manages to replace it with the MJPEG2000 codec and enables RGBA4444

They say the same thing for using Shogun with Gh4 and a7s. Huge unwieldy files and no discernible improvement in the image. Besides the monitoring benefits it doesn't seem like they really make the image thicker for grading. Seems like a huge price to pay to discover this.

I have used the Shogun myself with the NX1 once on a short film, I did not notice much differences or gains so I just shot without it on difficult shots. I think the NX1 only spits out the same bitrate its set in the menu out on HDMI, I might be terribly wrong but its what I think based on personal experience with the shogun and the NX1

http://***URL removed***/interviews/4663212665/interview-with-three-time-oscar-winning-cinematographer-emmanuel-lubezki He sure loves dynamic range. Can't say I disagree. Interesting that he feels film still has superior dynamic range.. my impression was that digital had caught up, at least at the highest level.

working with film almost every day on paid jobs...a great sense of art..savings on post...in control of final image = nirvana

Here is a 5dmark3raw vs bmpcc.

1DC as it stands, but I'd keep that sort of cash until the NAB announcements

that's Japanese guys - (I've been living in China for the last five years and still cannot read or even speak this Chinese Mandarin language, way too bloody hard!)

Yes the Sony lens I have adjusts the iris during movie capture automatically, as does the e mount sigma in shutter priority or program modes. Aside from the Minolta, I have no other automatic lenses. Can confirm I have a PAL camera - UK stock so I get that message in NTSC mode and have to format the card.

I have the sony 50mm f1.8, the sigma e mount 19mm 2.8 and neither of these two things you have observed affect these lenses, however the first issue affects the Minolta 135mm STF T4.5 through a Sony LA-EA2 Adapter when the second A mode iris is engaged, even though the camera recognises that A mode has been engaged and adjusts the iris display to match. I cannot find a lens that replicates your second issue.

Yup, and its 5000 swedish already today. Its gonna fall to nx500 territory.

That's with any of these. They aren't 4-axis stabilizers after all (not that the Nebula 4200 looks great, and all the other projects were abandoned). As long as you do the ninja walk and know your gear, you can make it work really well. Especially after some practice and getting to know its behaviour. These are just the initial tests... imagine the results after a while with one of these...

Not just you. I think it's really impressive and might just be the idiotproof thing I was looking for since the Nebula 4000 kinda took off with this concept. Steady, fluid. This really is the one?

ok thanks... anyway don't be offended but isn't time limit removal the last of our concerns right now? I can't find a reason to use such a powerful cinematic tool to record for such a long time I wonder why internal storage is so slow...what if we try to enable swapping on the sd card? with fastest cards it shouldn't be a problem I guess

From looking at the sensor manufacturers website they list the new version of the bmpcc sensor with switchable global shutter and capability to do 60p. It would be my assumption that the sensor within the bmmcc is definitely this new unit - capable of doing 60p, so will likely also have the global shutter, but not enable-able. I expect rather than a problem with physically implementing the global shutter to work, they're probably not happy with the hit it takes on low light and dynamic range when enabled and have been working on ways to process the readout. I see no other existing camera that makes use of this sensor (in consumer or industrial camera applications) so I assume bm are the guinea pigs. Lets hope they work it out and enable the gs function at a later date. the moment it's confirmed for the future I'll be back on the potential customer list!

The rx1004 is ideal as an in-the-pocket do it all for travel - i love mine. And a bmpcc for the more pre-planned moments? Again, I love mine (slr magic 12mm lens albeit quite heavy). Same cards - cheap and widely available. Cheap batteries. Possibly a cheap slider for the pocket (the baby Ratrig is ideal for travel). Who cares if they don't match precisely... It's a "once in a lifetime" holiday film you're making not a business necessity. In situations like this I think the almost negligible differences in image quality between the various option is irrelevant - which will be more fun to use?

It must fit the narration. However, would you say Birdman or Revenant appeared rather real than surreal? I can only tell for myself. I expect some kind of meaningful stylization. That signals - from the very start - that the whole thing is worth watching. In the first seconds of any film the filmmaker must catch my attention, he has to promise a good show. A good director once said, realism doesn't transcend. And anyway, of all isms it is the most arbitrary one. You need to exclude emotion, mood and passion for something to appear real. Hyperrealism is the right term. By this is meant a heightened sense of reality. You can't keep that through feature-length. Special moments in life (more adrenaline), special moments in films. And all the more stylized.

Its not important at all. Definetelly not if you are a beginner. Its better to learn the basics of exposure and then add a bunch of helping features. Its nice to have, yes. I would love to have it in evert camera. But not important. People, both hobby and Hollywood have gotten on without it for years and years, and still do. When I started out it TV some years ago, the wave form was read of a huge box sitting in the Studio. The vectorscope was in another. The camera only had zebra. No peaking, waveform, histogram or vectorscope. But we got along So "important"? nope you should be able to expose without. "Nice to have"? Yes, very.

The Sony stuff is the worst. I agree about the lack of BMMCC footage, although the pocket was the same way. I imagine we see a ton in the next few weeks. I hope to have one by the end of next week. I am really wanting that 60p.

Has anyone tried using kexec in nx_cs.adj to get Tizen to boot from an OS partition the SD card? This might allow us to mod the OS on the SD while leaving the embedded copy alone, reducing brick-risk.

Using the hack to remove the 30 minute record limit will cause the NX1/NX500 di-camera-app to crash when the output file reaches 34.67GB. The crash can be replicated on both NX1 and NX500 recording in 1080p Pro mode at 24 fps. Both cameras crash leaving an unusable 34.67GB MP4 file. The crash will leave you with a 34.67GB truncated MP4 video file that is not playable. Does anyone know how to recover the faulty MP4 file? Attached is the crash log. 20160319_094727_a9_crash.info

Haha I remember when I was saying a long time ago for sure the 5D IV will have 4k and powerful video (best DSLR for video) and people were answering that there is no way it will have 4k.

Apparently BM specced it out themselves, it's a custom chip not an off the shelf one. There's a reason none of the major manufacturers are using global shutter apart from Sony as seemingly a weird one off on the F55. It is a long way off yet when it comes to image quality.

Here is a good example of how to use this camera. Limit camera movement. Don't shoot handheld while running. No whip pans. It looks good. Also, regarding color science, skin tones etc... most of the videos have been graded with a desaturated and cool look. But this one looks fine, with just some adjustments in camera and post. The color and skin tones look pretty accurate to me.

GH4 and G7 native iso is obviously iso200 in video like in photos. I recommend iso200 for video, iso200 for JPG photos and iso100 for RAW photos if there is enough light.

This was something that I noticed with Vasile's aquarium too. It is normal for bitrates to be somewhat variable, especially with the amount of color and light changing (i.e. less detail, less light, requires less data). But, assuming VLC's "Statistics" panel is accurate, this seems to be inverted with Vasile's clip; when the clip is completely black is when the bitrate is the highest. I have found frames (at around 21 seconds) that are less than 1/4 of the bitrate during the completely black seconds at the beginning. What is going on here? EDIT: I just checked a clip (DC24P [Cinema 4K] Movie Quality 'Pro') that I shot on NX500 to see if there was variation in bitrate throughout the shot. The shot lasts 8m09s. The subject is moving water at sunset... a huge amount of variation in color and light. The data rate is locked at 71826kb/s (this is for my shot, not Vasile's!). After looking at this shot I looked through a few more and they also have this exact same bitrate.

This looks like a great camera to pick up B-Roll, cramped locations, run/gun, especially when you can't fit/get/get away with a focus puller. Or even a Director's viewfinder; the sensor size is close enough to all the other close-enough cinema 35mm. Great for DP, scouting locations too. Some of you have ridiculous expectations. It's a $1K camera. Obviously it's going to involve compromises. Those drawbacks might not work for your project, but that's on you if you somehow expected a perfect camera for $1K. "How could it not have X, how could it not have Y" ... because these aren't professional cinema cameras. It's a consumer camera that has some pro features. Don't get it backwards. If it isn't your perfect camera out-of-box, and you're not willing to tinker with it or work around it's issues, then get one that does. But the 4K quality, low-light and usable video autofocus will give it a place in the market. I certainly am looking to add it to my bag. There are only three other cameras who have all those features: Canon C300 ii ($16K), the upcoming Canon 1DXII ($6K), and the Sony A7Rii ($3K). And those cameras have their own issues. It's valuable to talk about the limitations, no question. But the pissing and moaning? Lord. Nobody's forcing you to do anything. There will probably be some talented folks who will shoot a feature film with just this, and it'll look great, because they'll know how to work around its limitations. Ever since the Canon 5K Mark II came out, there's been a terrific growth of indie filmmaking, because people are willing to manipulate these non-pro video machines to effectively tell stories. And big ups to people who actually shot with this...a lot of great, usable footage. Exciting.

please stop thinking i don't think h265 has trouble at higher bitrates compared to h264. this is heavily dependend on the encoder used. and we are talking about hardware encoders, not software encoders that have been optimized for 10 years. i highly doubt the NX1/NX500 would have better quality with h264 at the same bitrate. and furthermore if there's no h264 encoding chip on the board there's no chance to do it anyways. at 4k resolution no one should be using h264, IMHO (this was a post based on personal experience and my own opinion)

Will this update actually affect anyone drastically? No. Have even one of the complainers even pre ordered an Ursa Mini 4.6k? Probably not. If I;d have pre ordered I'd either cancel my order or continue with it based on whether the new news affected me. None of the resellers are taking full payment - most don;t even charge a card until they have stock. We're lucky BM cameras even exist. if you want similar images you need to invest in a RED Scarlet W, pay 3-4x as much, and no doubt have to wait for firmware fixes. these are not consumer products. They're professional ones with consumer pricetags. That's the main flaw with BM - their pricing allows entry for consumers who have the time to make things into a soap opera rather than actually using the things they already have. I hope the bmmcc has the gs enabled either on shipping or later. if it doesn't I'll not order one. if it does, I'll wait for samples to be made available and decide from there.

Here is some 5D Mark III Raw that show its Dynamic Range. In the shot I closed the blinds behind me so the window infront is basically the only light source. So yeah, very much backlit. Same in camera settings on all, exposed with ND. In my examples I set the highlights and shadows the same on all, then I boosted the mids as far as I thought was somewhat usable. I used highlight recovery for the clips with blown highlights. No grading. (Please note that resolve interoperates WB wrong, so set it manually.) Number 1: ETTR, no highlights blown at all. Before After Number 2: ETTR Medium, some blown highlights outside, great job by the recovery. Before After Number 3: ETTR Low, Blew almost the entire window. Before After (look at them clouds returning ) The files: http://www.filedropper.com/justdngs Dropped a LUT on the last one just to give an idea. Not adjusted.

Then the Micro is probably a great buy. Small and light as well, which of course is excellent for a b/c cam. If you arent too picky with resolution and want a Raw camera for slowmo that also doubles as a stills camera and has good lowlight, Im currently testing the 5Dmk3 and Im impressed. Easy to match since you switch it to BMD film.

Not sure if any of this will help in your situation, but try keeping the focal length as short as possible, using the smallest feasible aperture (note that diffraction may not be as objectionable compared to image degradation due to heat haze), shoot when the ground and air are close to the same temperature (e.g., at dawn, after a rainstorm, etc.), and maybe try some image stacking/averaging techniques used by amateur astronomers.

I have a few githubs for other projects and its a good idea. it would be more of a blog, the amount of data I have examined would be too much to try to make sense of, as I said, I was working on this for my own personal goals a few months before I even found this thread. Ill see if I can create something tangible in the next few days github wise and Ill post up. Alas text cant convey how excited I am as I go through all this info. I had a want for it to be a good system and it has surpassed my expectations. Great things can be done with it.

yeepee welcome to the Zeiss Party - these lenses are amazing ! the 28-70mm T* F3.5-4.5 is very good it pops its so sharp !! and its small and light too great for outdoors all the Zeiss C/YPrimes are great too - same glass formulation as the Super Speeds and Ultra Prime Cine Lenses

10bit 4:2:2 internally would be great. As would CinemaDNG storage (to start an ACES workflow to match cameras)

Very little actual motion control going on. This is a motorized dolly.