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Some things related to hacking and video modes. Based on examining /sys/devices/platform/drime5-pmu.1/ during operation. This is a power management unit (it shuts down blocks that are not currently used - a very definite source for what's being used when): During MJPEG block called mp is used (also in video preview) During HEVC block called hevc is used, but mp as well (also in video preview) Block called srp is used only during SAS mode, not during video Block called pp is always used and I have a hunch (just a hunch) that noise removal is included in it (same name in various places during any image processing, memory allocatin, etc, even just for displaying) This strongly suggests that both hevc and jpeg are done in dedicated hardware, not something that can be easily changed (but migh accept various parameters, etc).

I'm on a film festival committee. Trust me when I say almost all indy movies look really good these days. IQ looks on par with just about anything. Even work that has limited dynamic range still looks pretty impressive. As for all the other stuff that's actually more important in making a narrative film... well, not so much. So, if you think what camera you're shooting with is what's holding you back. IMHO, you're wrong. So, you pick up and use what you're going to pick up and use. That's it. Stop thinking about the limitations of it. You made the choice, move on. Now, make smart lighting decisions. Get a good audio guy (for god's sake please do this), concentrate on telling a good story, and find some actors that can actually do so. Trust me, no one's going to give two shit(es) if you're dynamic range in 10 stops or 13. Your skin tone looks a little goofy? Oh well, I forgive you if you're showing me some interesting characters on screen.

My review, mainly sample footage:

Never lost a frame.

I'm quite certain that it is actually 23.98p not 98p, but it's written as "3840_2160_23_98p". I hope I'm wrong.

Do you take many stills on a professional level? Do you not mind the h.265 codec, along with it's macroblocking artifacts and slightly limited ability to push in grade? Then the NX1 will perform will excellence. It has better rec709 colors popping right out the cam moreso than the G7. 'S' lenses are great to use. S35 sensor off the bat. Currently it's resolution is king. Use some kind of filter that can diffuse the image and cut down on the in-camera sharpening. OTHERWISE I'd say get the G7 and speedbooster. Options for lenses are overwhelming, considering the m43 native mount alongside all the speedbooster mounts. Codec holds up well when pushing the grade if you expose right and get white balance spot on! Getting rid of this 'plastic' yellow/green cast and skintone look I keep hearing about can be dealt with in seconds. Also mostly avoidable with proper white balance. But it's hard to save h.265 footage with strange milky blacks and limited color info coming from the NX1. TBH same goes for most cameras talked about on this forum even Sony. But again, as mentioned earlier, which one is a breeze to shoot with and get you the results you need? This is subjective. I'd say both cams are excellent in handle and usability. But in post, I'd feel more comfortable working with the h.264 panny files.

Also I just bought an XC10!

Shot with lx100 with no tripod. Travelled light

Made one of these today. It really is a compact little Raw Cinema Camera that also works as a great stills camera.

Never use the current buy it now prices as a guide. an auction of an F3 tends to end at half the buy it now numbers. Mine came with a rod/riser setup, a top plate, a nikon adaptor, a 16gb sxs (over 1hrs recording of the pretty damn rugged 35mbs xdcam codec), and a sxs-sdxc adaptor, vlock battery plate, 2x sony U30 batteries. I paid just over £1000 and looking back since a few similar setups have gone for less! Mine was a earlier unit which was 'unlocked' with the paid firmware rather than the later units which were unlocked as standard. If i recall there is a slight difference - the paid firmware is marginally better when it comes to external capabilities? not 100% sure on this. Even unrigged i can stick the F3 on my shoulder and monitor with the built in screen - which is bright and easy to view in bright conditions. It's so lightweight, yet feels solid. Now the magic happens when you grab a fz to oct18 adaptor and start using the multitude of lomo lenses which are copies of early arri/zeiss s35mm format lenses and go for less than the average vintage slr lens! Also, from looking at the image from the F3 it appears that on paper the DR might be less than that of the A7s etc, but in reality the peaked highlight rolloff is way more filmic than the new range of dslr's that outdo it on paper.

With fewer lenses out there than NX1 bodies - I'm worried it's going to be the opposite. If you happen to NEED the auto-focus or IS and want the "S" series lens...I could see them selling for twice retail because there are so few of them out there. Maybe 1 for every 10 bodies sold.

I to was after some sort of Cinema/Camcorder hybrid. The C100ii of course came to mind or the now sub $3K c100i. But the JVC always intrigued me, it seemed to fit the bill perfectly but still people wasn't buying it. I kept my eyes on it and when the first Lowlight footage from J-Log came out I just had to try it. Now when I have been shooting with it for a week, and love it btw, a few thoughts and questions about the market surfaced in my mind. I thought that the lessons from the initial bad reviews of the BMCC and C100 would have taught people to not let specs blind them. But maybe more importantly, don't let their feelings about brands get in the way of the results people are getting. Its like when people say "Nikon is bad for video" based on what reviews said 5 years ago. Same with the BMCC, "Philip Bloom says you can only shoot for 30min with a huge rig and no SDOF". But we all know thats not the general truth. A guy on this board just said, "JVC footage looks like news" when he has only ever used a t2i. My suspicion is that the reason we aren't seeing more reviewers giving the camera an actual chance is because its a JVC. They might have been big back in the days, and thats why the reviewers so far has been traditional "Camera Men". But a s35 is mostly interesting for the cinematic shooter, and they/we aren't used to JVC. Just look how long it took before Sony and Panasonic was widely considered an option over DSLRs. Or the faith of the NX1. And speaking of Panasonic. Does a day even go past without people shouting for a AF200? Well, why wait, its already here. It has the 4K, 4:2:2: LOG, Improved form factor and soon HFR that the AF100 users wanted. Plus a cheaper initial price. Plus a s35 sensor.. with the m4/3 mount. And Panasonic owns JVC.. What are they still waiting for? Lastly, I could buy it just for the satisfaction of owning a camera from a brand named "Japan Victor Company" I know NAB is close but Im pretty set on getting a LS300 anyway. I simply don't want to give it back. If you know me Im a vintage lens junkie, and there isn't a better camera to satisfy that need on the market. NAB for me will more be about a B-cam or 4K recorder. Speaking of B-Cam. Given that a B-Cam imo should use the same lenses and do stuff that the A-Cam doesn't, I currently have two great options. BMPCC, Brings a small form factor so that it can always travel in a pocket of the bag. Ads a second angle, Raw and the super stealth, given that the LS300 might raise eyebrows in certain situations. It can use both the MFT, all the vintage and EF lenses I have. 5DMark3, Can only use the EF lenses and some of the vintage. But it brings Raw, FF, Stills, even better lowlight and semi stealth. So if NAB doesn't bring another Raw option to use as B-Cam, my 5D3 might get to stick around or be replaced my a BMPCC. (PS. For the love of god BMD... A BMPC4K with an active MFT.. I can crop the sensor in post for you.. instant buy.)

I agree that most modern cameras are just fine. But I dont agree that skin tones are the "least" of the problems for shooting interviews. If I where using it for interviews it would be my number 2 priority after audio. All the cameras produce the frame rate and resolution needed. Handling and build isnt very important for locked down interviews. The only two specs to care about is audio and skin tones

Here is the link: http://www.coremelt.com/products/lutx.html?utm_source=CoreMelt+Subscribers&utm_campaign=0ffe0c1015-LUTx&utm_medium=email&utm_term=0_01ba29c9ef-0ffe0c1015-366352285&goal=0_01ba29c9ef-0ffe0c1015-366352285&mc_cid=0ffe0c1015&mc_eid=549ff42fce It has some really nice features, - among them is the best preview and before-after function I have seen until now. Includes camera specific LUTS. Can import LUTs form other vendors too. And it is cheap, - intro offer $29.

PMW-F3 - go to vimeo viewer to download S-Log, Internal 35mbs XDCAM 4;2;0 Zeiss Distagon 25mm - from f2.8 to f11 ISO- 800 (0db/Base ISO) ND's - Used throughout. post - no processing applied to footage - dragged into timeline, exported at 150mbs 2-pass vbr (2560 x 1440)

Moot. Kinefinity wouldn't be broadcasting about prores support if they didn't have the licence in the bag in some way or another. The person who responded to your email probably just went on their own website, saw the brand isn't listed and responded accordingly. I seriously doubt the person handling random unsolicited emails is taking the time, let alone even able to access the list of pending licencing deals going on in one of the biggest technology companies in the world!

Not really. Some clients ask for 4K, but they just ask because it's the latest technological buzzword they see advertised. Slow motion gets asked for a lot, as does certain styles of lighting.

I have played around with the trial for a hours time now. So far I like it. The adjustments for the lows/mids/highs are indeed nice, but what I like almost the most is the swipe function (the white cursor that appears in the player window) for checking before and after LUTs and other adjustments. This I find extremely helpfull as it helps you not to overdo any adjustments.

If you cant get decent skintones out of G7 or GH4 with Neutral or Cine D + Leeming Lut its not the cameras fault.

I would like to hear more about this sci-fi film.

Is there some article about history of camera firmware hacking (CHDK, Magic Lantern...)? What are the biggest "history" highlights? Just curious

Yeah, I love flares. I shot this video on the NX500 a while back. That was shot with a Tokina AT-X 24-40mm. If you're looking for some lenses that flare nicely, those vintage Tokina lenses do the trick, but they are very low contrast.

The cost to continue production of the NX lineup > The potential revenue + the cost of losing all existing NX costumers No amount of petitions or social media presence is going to change this formula witch is what samsung is looking at. If I were samsung I would be doing the same thing. It is a shame tho the NX1 is an amazing camera. One that I have been using for over a year now and hope to use for another year or two depending on what the other camera offerings are in a year. Personally I am kinda holding my breath for the GH5. I kinda miss the ergonomics of my GH2. I am kinda worried about going back to a smaller sensor tho but anywayy I have another year to think about it.

It is a dangerous world out there....

That would assume there's a strong demand, which isn't the case. Also, they're still available new in Korea. Prices without new bodies are only going to decline as the NX fades away.

3 to 5 years! If only we had that kind of time!

Well...sort of. Yeah. I STRONGLY urge anyone who has never shot a BMCC in RAW and then seen how far you can push the grade around in post to rent, borrow, whatever...TRY it. Just once or twice. It's a whole 'nuther world. Like I said - my NX1 with the same lenses can NEVER match it. I can get them close usually...bot NOT if it requires a lot of creative work on the grade. The NX1 image - even being 4k - WILL break apart much faster.

And even more importantly, the audio.

This. Best bang-for-buck on the market right now. Alternately, spend a bit more and get a used RED One, but it will be much more frustrating than an F3. Plenty of movies and television have been shot on F3. Plenty more feature films and television have used the F3 as an A-cam versus the BMCC. Unless you desperately want 4k or something..

Part of a short movie I´m working. Hope you like it.

My friends had good luck with a C300 on their micro-budget feature. It was a compromise (the DP/director was used to Alexas) but they found the ease of use kept costs down and allowed them to get better practical effects. Their grade was very good, I think they spent money on that. It's nice because you can use it with no crew for pick ups and set it up very quickly and the ergonomics are great. It's different for everyone, but I can't say enough good things about the C300 for very low budget (under $500k) productions. Past that point you should rent an Alexa. I wouldn't consider anything without timecode sync for a feature unless you figure something out with a comtek providing a reliable guide track. The C100 Mk II is good for weddings but I wouldn't use it for a feature unless I already owned one. "Narrative" sort of implies a full team of camera assistants and a G&E crew, but I'm assuming you don't have one all the time. If you do, definitely Alexa or even Dragon is nice.

Thank you very much for your good work. My hope is: When remote shooting NX500 via iOS Samsung Camera Manager i can not shoot RAW. Only JPG is possible. Is that software or hardware related? Strange. All my other cameras can shoot RAW via wifi. I would be extremely happy if RAW (.SRW) remote shooting could be made possible. Thank you

For me thats the important question. A BMCC might get me the best image I can produce.. scratch that.. Film gets me the best image I can produce. A camcorder get me a very nice image, but it does it so fast and easy that the quality drop is worth it.

Fair enough. I think, for me, my attitude is also a product of my age. Whereas I see all this gear as being incredible compared to the stuff I had to pay for in the past, new folks coming up focus more on the minute differences between cameras/brands; simply because those small'ish differences are the only things that separate one product from another. So, it becomes not whether or not the camera can do good skin tones, but rather: is it easier to do it on one over the other? On top of that, resolution capabilities are stunning, regardless. I mean, here's a Panasonic cam that does 4k for $700. Here's a Sony cam that does it for less than $1K. It's all a candy store to me. I'll pig-out on taffy or chocolate, doesn't matter.

eBay is your friend.

The whole Samsung NX (& lenses) story is another cautionary tale: a really great product is not in of itself a guaranteed success. Sadly, marketing, brand recognition etc are arguably more important - you only need look at the continuing success of Canon DSLRs for that...

All this going on and on about color --as if content creators could never make a good video without someone's skin tone looking like a Vermeer painting right off of the sensor. C'mon, someone's skin tone should probably be the least of your worries with modern gear. All of it is more than good enough. Sorry, I really shouldn't gripe and be an old fart about this. It's just that you're making interview videos for freaking YouTube. If you have half a clue what you're doing... Sony is fine. Panasonic is fine. Canon is Fine. Nikon is fine. I mean, look what you're getting for less than 1K. It's practically magic these days and it only costs a handful of beans. Use it, make fun stuff, and be happy. (Jeez, I'm seriously getting curmudgeonly about things these days. Don't get old kids, it makes you cranky!) So anyway...I'd buy a G7... and why would you need a speed booster for talking head studio stuff?

Talking about Special Purposes.... how about being the only $1000 camera with Super 35mm 4K recording, 13 stop dynamic range with LOG, small file sizes, built in EVF, 120fps in full HD and the best autofocus system under the $6000 1D X Mark II pro DSLR.

A skilled person can make the Sony cameras sing, but having been a user of Sony for years, there is definitely something about their colour that isn't quite right, especially the mirrorless range. White balance on the A7 series does not work properly. I have an A7SII and I'm forever tinkering with white balance on set. It's never quite right and is what I believe many users are getting very wrong, hence all the very poor "sickly" footage out there with "bad" colour science. FS7 and upwards are vastly superior and are pleasant to use (for colour). Bit muted and cold in the spectrum, but very nice indeed. Canon DSLRs have a very punchy, yet pleasing colour rendition. Cinema EOS are fantastic and generally beautiful. They offer a quick road to pleasing colour. I do like how you can pick more of a look with the Sony cams, as Canon seems more baked and stubbornly accurate. It depends if you are willing to do more of the work in post (which I personally enjoy). It's all subjective though. Whatever camera is best for the job and best for you is the way to go. Not what the Internet says is the best. The 80d will be best for many.

kgv5, commercials are almost all shot in RAW when possible... This is a choice guided by the production and nothing else... Like 4K when only 1080 needed... Productors want 4K to have the ability to resize... This is not a choice made by the ones who shoot... 5d mark III has RAW... cool !!! I've used it on a big French National TV broadcasted commercial 7 months ago... I don't say it is a bad camera or anything else... i just say this is really not the best option to shoot with today... And today an A7SII is better to my eyes. Way comforter... non hacked, 81 minutes on a 64 GB card, and everything with a slight better dynamic, and slow motions... I don't speak about high isos... lights are always controlled on my sets : 1DC right here 3 years ago... used in 8 bits 1080 only... No 4K MJPEGs... Reaaaaaallllly small budget... But broadcasted on French National TV channels during these three years... Just youtube it : "Pièces jaunes 25 ans"... Shoot with what you want !!!! One time i did replace the F55 we're used to shoot with by an A7SII, my personal A7SII... We had time to play in post. Dynamic and colors are not the same, but the result was here : the client didn't say anything about the quality... No strange skin tones around... Take a look at this too : I don't shoot 5D mark III anymore. Too limited camera. Great picture but limited camera, not flexible, and not matching cameras of nowadays.

Think this is the thing with the Micro - everyone's just got straight to shooting something, cheers. 1. Used worse screens & with a crude viewfinder, I've never ever missed focus. 2. Yes, yes & yes - stopped using RAW because of this & only vintage lenses + anamorphic lenses (also avoid moire creating things like the plague!). 3. Not a problem - swap the SD card, swap the battery. Pocket has/had the best image out there, hands down, no question about it! Just hoping that BM announce a camera that lies inbetween the BMCC & Pocket...

I've been shooting a lot with my BMMCC for a short, but it's not test footage or I would have happily shared a ton by now. Soon though...

I think the pocket camera had a lot of things that were amazing, and a lot that needed to be improved. 1. the lcd screen was low-resolution and off-axis viewing was hard 2. the moire was bad 3. the battery life was very low I think the micro improves on this. Sure you have to buy something like the small hd 501 monitor or blackmagic assist - but really if you shot on the pocket without a monitor it was so easy to get focus off all the time. I look forward to seeing more from this camera. All the stuff I have seen so far has been really impressive. No global shutter, but still the motion feels really nice on it. It's definitely miles ahead of the Sony A7SII and the image quality is also miles ahead of it.

When looking at the leaf and lime test, it's important to realise how the reach of the lens compensates for the lack of resolving power of the camera. Wider angles and infinity focus shots are an appropriate test of resolution. Lime trees on end of a 50mm or 85mm with shallow DOF? Not so much. As for colour it is true Canon have this better sorted than Sony but there's no way that is saving the 80D as a filmic choice. The shot Ben posted demonstrating A6300 colour has hardly any colour in it, it's a horribly overcast grey day, grey street, grey building and white van!! Come on people, common sense should start prevailing. There are no convincing tests or samples so far that show the strengths and weaknesses or either camera. When Canon get the video image right, they really do get it right. The 80D is not one of those cameras. The 1D C, C100 II, C300 II, XC10 all have a beautiful look to their images. It's no coincidence they are all Cinema EOS cameras. Canon's strategy quite clear I think!

Not exactly useless imo since on a Sony its probably 1% of the time I would need to do that. And changing the adapter is 10 times faster and easier than unscrewing a filter.

Thanks man. Chris and his team did a great job. Chris has shot most the red giant stuff including spy v guy and the newest one Go Bag. Thanks dude! I have two FTX films I shot and directed that should come out soon. I'll post them when they are out.

That they haven't got up to the GH2's level yet after 5 years is where the comparison is. GH2's image is still very detailed 1080p and very nice.

NX1 has way better colors straight out of camera. Panasonic users can't even imagine.

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.

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