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Things are moving fast guys. I've created a sub-forum for any subjects which might require a separate thread. Regarding compression on uploads or attachments, let me know if this is a problem and I will look into it. http://www.eoshd.com/comments/forum/25-samsung-nx1-hack/

Interesting tool in firmware (at least on NX500): https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/Prefman_tool.md

Time limit hack works for NX30, NX300 and NX1100 for all video recording formats including 60fps 1080p. NX30 and NX300 shows 3579139 for total duration for all videos, if last two digits are decimal points, it will roughly equate to 34.67 GB corruption mark. 34.67 gb converts to 35502.08 and 35791.39 mb converts to 34.95 Gb. NX1100 had a time duration showing instead of a constant, different times for different formats. NX1100 does not have an AE button, but substituting the Trash button worked to gain access to Dev Menu.

Hello. Here's some more DNG's for downloading. There's a mix of evening and dusk shots here with tricky and mixed lighting. Compressed RAW as well. https://johnbrawley.wordpress.com/…/ursa-mini-4-6k-carnival/

@ Andrew: Philip Bloom caled he wants hes location back

NX1 forum can be for all the Samsung cameras for now.

I'd really like to be able to use cropped uhd (ala nx500) on nx1, as a form of digital lossless zooming.

Just wait at least until 6th April :-) But I think the improvement will be significant. I just made few 120fps shots yesterday - those with shallow depth of field are very nice without any macroblocking... but others are where is everything is in focus are quite awful (especially in shadows). 80mbits are clearly not enough and it is most visible in 120 fps mode.

The new titanium PL mount SLR Magic Anamorphot cinema lenses are designed for RED users, Arri and Canon professionals. They're also a great fit for the Sony A7S II and Samsung NX1. Read the blog post here

D750 is probably the best hybrid for the hobbiest imo. The NX1 is a great video camera and great at stills in daylight. In dusk, dawn and darkness it fails in AF and its no monster in dark video either. A true hybrid needs to work 24h/day imo. I doubt you could tell good HD uspcaled from true 4K on places like youtube, and TV don't want no 4K. And I doubt you will shoot for 4K cinema on a hybrid. I can somewhat get the "future" thing but no one will care in the future. I still watch my favorite shows captured in SD and they are just as good today. Regarding personal stuff like travel videos and such, no one is going to watch it in the future anyway.

not 120, but here is 60fps 1080p internal vs high bit rate http://www.eoshd.com/comments/topic/18661-your-ideal-nx1-settings/?do=findComment&comment=129594 I'm not entirely sure the camera is outputting 422. 8bit 422 on other dslrs produce much less banding which leads me to believe the nx1 is outputting 8bit 420 over hdmi. macroblocking is precisely what increased bitrate will help us with, however. 80mbps: 600 mbps: clearly here is some jpeg compression from the upload and its a major crop of the origional, but the difference i think is clear. higher bit rates = less macroblocking and more fine detail. it will not significantly reduce banding, we need 422 and ideally 10bit+ for that.

That is basically what Motion JPEG codec is and Motion JPEG 2000 which allows for 422 - 444 and 10bit

Imo it has about 2 more usable stops at ISO800. It can take much more beating in Resolve and it has an over all nicer color. Plus higher resolution in continuous shooting. And of course ability to several flawors of Prores. "Billion" negatives, I have to look hard to fins even three. What the 5D has in favour imo is the small body, battery, stills, and full frame. Its more of a run n gun Raw camera. For narrative I would use the BMCC every day of the week.

Panasonic GX8. The stabilisation is good with Panny lenses, particularly in 1080. The audio is very good and the continuous autofocus and face detection is excellent. This camera continues to surprise me with its versatilty and excellent image quality.

The two that spring to mind are the Panasonic G7 and Samsung NX1. Good preamps, decent autofocus (the NX1 excels here), articulating screens, focus peaking, relatively lightweight, and excellent image quality. You might also look at the NX500, which has a big crop in 4K but all the other advantages of the NX1 and is smaller/cheaper.

Hey guys, just joined here. The main reason being that there are many users here who seem to see the magic in the 5DII and III when it comes to skin tones and people. I find lots Sony fans just love the specs and detail. Anyway, I did love the a6300 image and wanted to test it out. All handheld and bad editing. But it's just a test. I do like the ITU709 color mode because it doesn't have that drab look that I've seen in so many other videos. I still enjoy the skin tones of my 6D more!

^^^^ completely agree 100% im personally looking forward to getting a used 5d3 later this year if nothing that i like better comes along before then. the work that i need it for wont start until the fall so i have plenty of time to see whats new around and after nab

Thanks for the info, Fredrik. I found an MS1 pretty cheap. The G7 + 12-35mm comes within it's weight limit, so hopefully ought to do the job.I think the main practical difference is that it might not function in inverted mode. I'll give it ago and post how I get along here. The weight limit being what it is, I'll be limited almost exclusively to micro 4/3 lenses since they're so compact.

I think Arri Alexa is the way to go, you just hire one of those peruvian sherpas.

Quality 2X lenses still need to happen IMO. The real enduring highlight here is once again the NX1. Don't get me wrong, SLR Magic have done a lot for the Anamorphic community, and their Rangefinder is the best thing since sliced bread. But when it comes to their anamorphics, they just don't fit what I'm looking for, and they really don't offer anything over a good projection Ana either. 2X is the whole point. With 4K so accessible, just shoot spherical with a streak filter and crop. Speaking of of streak filters, that's what SLR Magic's blue flares look like, and it's not a great look. Either clean it up with modern coatings or work some serious mojo into it. Tinting the whole shebang the same shade of blue is rather uninspiring. I'm pretty sure my Kowa is still the widest 2X Ana out there, outside of a few primes from Hawk/Panovision. The LOMO 35mm is probably about the same FOV as what I have set up, and I can switch primes and do the same on full frame too. I've used the Kowa on paid projects, and it really is a viable solution until there are new anamorphics available that can truly match its versatility. Anamorphic really shines when it is wide. It's not that longer lenses don't have their uses, they do. But 50mm 2X is not wide. 25mm/S35 would be the holy grail, Or 35mm, and a 3-4 lens set built on that (35/50/75/100). That's just my 2c on the matter. I know others love these lenses but for me they miss the mark especially at the price point. 1.33X is kinda half-heartedly anamorphic in the first place, and on top of that there's not a wide enough option in their 2X offerings. The flares feel forced/contrived, and that really makes them still feel more like SLR Magic's other prosumer priced glass. I hope they can truly graduate to playing with the big boys, but to my eyes, they're not quite there yet.

If you come to NAB, let me know. I usually end up going because I live so close.

When Im off work Ill post up what Ive been doing and the things that have happened with the route Im doing. I suggest that otto k and vasile when he is back start a new thread containing the work they have done, as they are pertaining to different things and their updates come more quickly than mine! I will also post up the info in a github of the progress but I think it would help the organize the information better

Zeiss Master Anamorphics

If you need a vari ND, Genus Eclipse - one of the best ones - are on sale right now, can be found $129. I use it for travel shooting and have had no serious issues so far.

14-140 V.1 is fine. Even the 14-42 V.1 (Which I own) has excellent OIS compared to the newer models.

oh, and I dislike the flares with all my heart :D

480p25 MJPEG vs HEVC - NX1 So I decided to test in internal MJPEG versus HEVC at the same resolution and framerate, obviously the HEVC will have lower bitrate than the MJPEG one, regardless I found some interesting results, hopefully the forum wont compress the PNG's to death, but the MJPEG has noticeable more grain details compared to HEVC whether this is the codec or simply lower bitrate for the HEVC is hard to tell. Still the HEVC shows the same noise characteristics it does in 80mbps, it simply smooths them out. I filmed them in GammaC and GammaDR with HQ video setting in camera, 1/50 shutter, F/2.8 and ISO1000, exposed to 0, all images were given the same simple curve adjustment in photoshop to raise shadows. GammaC settings: Red X1.00 - Green X0.95 - Blue X1.00 Sharpness -7 Contrast -3 GammaDR settings: Red X1.00 - Green X0.95 - Blue X1.00 Sharpness -10 Contrast -10 MJPEG - GammaC HEVC - GammaC MJPEG - GammaDR HEVC - GammaDR LEFT = MJPEG | RIGHT = HEVC

Sure, will do. Here's the mail I got 5 days ago: Hello! Manufacturing and shipping the last batch of Hercules to our supportive KickstaterBackers will be completed at the end of March. We are preparing to launch our new website and need some help. Can you please help with spicing up our social media outlets by subscribing. Facebook Instagram Twitter Pinterest Youtube We would love it if you shared your content if you have received a Hercules. Please send us links to your videos, photos or videos at Socialmeida@Rollocam.com Thank you for your patience and support. Cheers, Rollocam

Imo. URSA or a BMCC in a rig = same same. Equaly run n gun worthy. Only difference is that the bmcc can be smaller and doesnt always need external power.

Next time Im buying it. I was supposed to go there but something came up. I tell you after I have raided the place.

Exactly. 10bit would be an incredible achievement for nx1, but I doubt it will be easily implementable. The bitrate hack is already a big potential improvement.

Take raw stills! But not raw video. And yes, no matter what you pick, bringing along an RX100 as a back up in a wise idea.

I never read B&H reviews precisely for this reason. A regular research will tell you that banding is a sub native iso 400 issue. Also a question of NLE according to tests on this blog. The 4K files are not a minute each. I have of course already downloaded clips, my moddest MBP can handle it. And its not like Raw is a space saver There is a huge bunch of differences besides resolution. Many if which I listed in the first post. So thanks for the input, but my advice, never go by anonomys B&H reviews

No its still 8-bit. But I havent tried and would love to be wrong.

That's exactly what a waveform tells you, except that it tells you exactly where the exposure is sitting, with much more detail and accuracy than a 3 or 5 step False Colour. I will say I tend to use False Colour more as a quick reference/check, but Waveform is important and I use it a lot in digital (obviously neither are of any use in film). My recommendation would be to at least buy a light meter, and then use at least one of either False Colour or Waveform - preferably both. The hard part about using neither is you have to put a lot of faith in what your monitor is telling you and unless you've calibrated it yourself, you can't really do that. Also, using a combination of the above three (false colour, waveform, light meter) you have an exact idea of where your exposure is sitting. Without that, you won't know. You might be able to get some kind of idea of where your skin is sitting if you set your zebras correctly, but it's far from ideal.

Panasonic G7 with 12-32mm pancake lens (this lens weighs and costs less than a quarter of the 12-35, if you buy new separated from a kit on eBay). There are a few differences with the twice the price GH4 which stop some people getting it like headphone input. Better low light video on the G7 (which has been mentioned once or twice here recently), which might lead to lower used GH4 prices soon/already? The GH4 doesn't weight too much more and feels great in your hands compared to something like an RX100 or A7.

Really? I got a Pocket about 5 months ago. No real grading experience. Only Panasonic, Sony, and Canon cams before this. I've found it simpler and easier to learn the pocket than any of those, and MUCH more flexible to push around in post. All it takes is contrast and saturation, and it looks as good or better than any Canon footage I've ever seen. The highlight roll off is nicer on the 5D, but overall DR is higher on the Pocket. Plus, Blackmagic has better flexibility and an easier workflow with 2:1 CDNG and 4 flavors of ProRes, along with the best lens compatibility on the market and rock solid reliability. On the other hand, the 5D has that slick crop mode, slow motion, and 2.5K, as well as the good (not amazing) 22MP stills. I wouldn't call either camera a clear winner. Both are RAW classics, but each has its pitfalls. As usual, it all depends what you need. Once the used prices dip, I'm strongly considering a 5D3 to compliment my BM and Panasonic cams. Or maybe a D750 with Voigtlander glass. Then again, this NX1 hack has me all hot and bothered... Spoiled for choice, aren't we?

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

Thank you all for kindly sharing your footage. Very helpful. I thing i'm in love with the old fat 5d3's raw image...

As far as image, I've yet to see many cameras, including professional high end - surpass what the Mark 3 does raw. It clips gorgeously within the 11 stops, the color is something it has that most don't. I don't think I've actually seen any camera do what the ML raw colors on the Mark 3 do to be honest.. Other than that, it's still a hack and the idea of dropped frames is something that makes me second guess it when I've scheduled and paid a crew and a cast to be somewhere. People may not have problems with it, but I'd have to test it thoroughly before I trusted it. Besides that, I've always loved the 1DC. Out of the current C-line, it's my favorite image. That said however, I would hold out to see what's coming at NAB, or the Mark 4 for that matter. Then I'd make a decision.

I really think the D750 is the best option unless you feel the need for RAW. Great image, 60p, very little RS, and small files that grade very well. Also Nikon glass can be adopted to anything, so if you get another camera in the future you won't have to sell your glass. The BMMCC needs an external moniter and can't be used for stills at all, which seems to strike your interest.

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.

Spoke to Panasonic reps this week about the Varicam LT. Mentioned the GH5. Was told 'if there is a GH5, the Japanese engineers are very tight lipped about it - as far as we know, there is no GH5 yet. That being said, if there was an announcement, it would be much more likely to be at a Photokina than NAB'.

Then definetelly dont raw. Not because raw isnt good for Hobby, but if a c100 is overkill it sounds like the lx100 is a better fit.

Oh my god, the news on this thread is so exciting - I can't express it in ASCII/UNICODE. How awesome, you guys made my week! 'm a lurker who finally signed up here, just to post a reply: So, I'm a 'prosumer' camera user who purchased my NX500 around christmas (the 'big gift from family') based on the specs & price. My idea was to shoot unattended from an unattended tripod, then crop (& potentially stabilize handheld footage) from 4K to FHD in post. Sadly, once I started using the camera I was pretty disappointed. The 15-minute/4GB limit (still an issue @ 4K if I understand correctly?), and for me especially the lack of manual video white balance control in the NX500 made my results horrible, even worse than my cheap old Panasonic TM-90 (which I know well and still love). This 'forced auto' white balance on the NX500 is killing me! It's tolerable outdoors but absolutely horrible indoors, resulting in unusable orange-on-yellow garbage that's pretty much uncorrectable since the auto-white-balancer is constantly shifting the white balance around... (It seems like such a deal-killer, could I be missing something here?) Having spent the evening reading this thread (I should have taken notes!), I was wondering if anyone has tried running the NX1's .BIN apps on the NX500 camera yet? 'IF' the NX1 video capture app could be made to run on the NX500 that would give us it's manual white balance control (among other things) and to me that would be HUGE. I didn't return the NX500 because it's supposedly a quasi-open-source device and I was hoping something exactly like this would break open. (Plus the fact that raising kids I can't justify spending more... anyway...) Then when Samsung discontinued the product and left us in the lurch, just looking at it sitting on my shelf was kind of depressing. It looked like a device with great potential, intentionally hamstrung for marketing purposes that was going to be a dead-end and a big wasted investment. I was left monitoring developments by searching for 'NX500 firmware' every few weeks... And now these developments... I am super excited and want to contribute however I can. Actually I'm a career software developer with over 30 years of experience. Haven't done much low level hacking lately but know (some) Linux / (a lot of) C++ down to binary optimization (mostly windows) / etc and could probably do some heavy lifting, time-permitting... Not much image processing background, but I think I understand at least the basics. So, from my N00B perspective, and not wanting to brick my (now increasingly valuable!) NX500, I'd like to help (in descending order priority) 1) figure out how to get the camera to boot from the SD card, 2) get the camera to run NX1 firmware (more on this in a moment), and 3) remove the 15-minute 4K video recording time. On the NX1 firm(ish)ware on the NX500 proposed project, the core question seems to be whether the camera is running the same FPGA or if Samsung fabbed different ASIC's for the different cameras. Information seems conflicting on this, with FCC screenshots indicating they're different chips but FFMPEG reporting the same compression engine metadata. So which is it? It seems there's a good argument for both approaches (transistors are cheap vs. FPGA implementation battery run-time might be bad) If anyone can clarify this it seems this would determine whether this NX1 firmware on NX500 project is viable... OR am I missing something here? Admit I've had a few beers tonight... On the 15-minute 4K time limit, it seems like the idea posted earlier of pre-allocating the MP4 files on the SD card is a viable pathway, since probably closing / flushing / opening a new file while straming is problematic and why the limit exists. (Samsung - you could have just supported NTFS, duh!) Or we could somehow just hook the '15-minute-limit-reached' event and re-initiate recording, it wouldn't kill me to lose a few frames (hundreds of frames is more likely :-p). Or at least if the camera could beep a few times to let me know it's stopped recording, that would be a big improvement. Or we could implement NTFS as a supported filesystem, that would be awesome!) One last thing, SAMSUNG - IF YOU ARE READING THIS: Look, you kinda screwed your customers by discontinuing your product line. Sure there are business realities, but I think your sales could have been 50X if you had just completely open-sourced the firmware... Seriously, this hardware has awesome specs and enthusiasts could have made this the cult camera of all time if you had just forked over the crown jewels... (Probably IP licensing issues aside) You could still do that and help compensate your shafted customers. Or at least get your devs to push one more release out, removing all these silly caps. If you're exiting the market, you're not cannibalizing higher-end or newer products! All this being said, I want to end by thanking the guys who have contributed to unlocking the potential this camera holds. Set up a paypal, I'll contribute as well as code! I'm looking forward to seeing how this develops and to contributing as I can. ... Interesting, it looks like the price of this discontinued camera is going UP! If this pans out, folks might want to stock up on Samy cameras before they're gone... ;-)

Effing gorgeous... The lenses look okay too...haha. I assume this is with the NX1?

Hello, Few days ago I made a free set of LUTs to convert LOG profiles to standard (Rec.709) and standard profiles to generic LOG. This library of conversion LUTs includes : Alexa Log-C to Rec.709 BMDFilm BMCC to Rec.709 BMDFilm BMPC to Rec.709 BMDFilm BMPCC to Rec.709 BMDFilm URSA to Rec.709 Canon C-Log to Rec.709 Generic LOG to Rec.709 Generic Rec.709 to LOG GoPro Protune to Video Panasonic Cine-D to Rec.709 Panasonic V-Log to Rec.709 REDLog to Rec.709 REDLogFilm to Rec.709 Sony S-Log2 to Rec.709 Sony S-Log3 to Rec.709 Technicolor CineStyle to Rec.709 I'm open to all feedbacks for improvements and new profiles. Hope it will be useful Download (ZIP 10MB) : http://lut.lu/conversion

Good news! Blackmagic have sent me one for review, should be here any day now!

Some video stills from Flickr's album of the movie https://www.flickr.com/photos/43243778@N04/albums/72157665903659526

If they use h265, it seems more than possible... At least for the 4k