Leaderboard

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!

http://***URL removed***/forums/thread/3988168

Has anyone tried to plug an external USB drive directly into the camera and mount it using telnet? I cannot find anywhere if the USB 3.0 on the NX1 is an OTG port. I was planning on going to pick up a micro USB 3.0 to female type A and play around with it but if someone already has the required cables and knows more about Linux than me this would be alot faster. I would just be googling commands from the internet https://www.google.ca/search?q=how+to+mount+a+usb+hard+drive+in+linux&oq=how+to+mount+a+usb+hard+drive+in+linux&aqs=chrome.0.69i59l2.1280j0j7&sourceid=chrome&ie=UTF-8 The intended purpose would be for a program that would back-up all the contents of the SD card to an external drive. This would allow us to back-up our videos(a must with only 1 SD slot) without bringing a laptop to every outing.

As long as you use a fullframe (24x36mm format) master lens, then both the 0.71x ULTRA and 0.64x XL will work fine. The ULTRA is a little better corrected in the outer part of the image, but this is mainly important if you want critically sharp results at f/1.0 with a Sigma ART or Zeiss Otus, and would not be noticeable with a slow lens like the Canon 24-105. If you plan to use an APS-C lens such as the Canon 17-55/2.8, then you should be aware that you may encounter slight vignetting when shooting HD (not 4k) with the 0.64x XL. The reason for this is that even though the XL itself covers the entire m43 image just fine, the image circle of the lens is too small to cover after it is multiplied by 0.64.

Will probably get some new footage up tomorrow. Tested the HD 4:2:2 Slowmo today. My copy still only have the 50/60p. But if the upcoming 120p is equally clean, it will be awesome. 50p 1/100 50p 1/100 Included this frame just to show the fence thats free from aliasing. I also got the Mitakon 35mm f0.95 today. Its a m4/3 mount but designed for APS-C, so full coverage. Ungraded Quick Grade

Maps are the fundamental part to a working camera. I hope RED got their map right or we're all doomed! Not sure why there is a lot of animosity against Kinefinity. They are offering excellent cameras to the market and people are in a huff puff about it.

Collection of small utilities for bash scripting added to github repo: popup_timeout ["text message"] [timeout_in_seconds] - displays a popup message for a given number of seconds popup_ok [message] [ok label] [cancel label] - displays a OK / Cancel dialog, returns 0 if OK, 255 if Cancel popup_entry [message] [OK label] [cancel label] [sample entry] - displays an entry box with OK/Cancel buttons and prefilled sample text, returns entered text and 0 code for OK or just 255 for cancel.

Also I just bought an XC10!

http://www.43rumors.com/ft5-new-image-of-the-black-gx80-and-full-spec-list/ Finally Panasonic achieved what we want from Olympus, 5 Axis IBIS on 4K cam. just not sure how good is Pana's implantation compare to Oly. Sony's one is just barely usable.

This is exciting but it's not something I would purchase for the same reason I will not purchase the G7. I would like to record internal 4k and monitor via HDMI. If the GX85 allows HDMI monitoring while recording 4K internally, then I will consider purchasing, especially if it does as well as the G7 at high ISOs.

I am surprised, not not so many people are as excited about the Panasonic GX85. It seems to have solved two of the biggest issues with Panasonic cameras, namely shutter shock and in-camera stabilization. It will obviously move all these, and add a lot more to the GH5. But, for the $797.95 price tag, for the camera AND the lens, it's a superb deal. Atleast it doesn't overheat like crazy and become unusable well before 30 mins of continuous use, have terrible rolling shutter, and some curious color science. Though the lack of headphone jack is really a bummer. Panasonic would at best have saved $3 per camera. Like seriously???

I'm gonna ask @Rob Bannister to chip in on this discussion. He's a user/owner of the kinemini 4k and from what I've seen him create with it, I started looking seriously into the kinemax as a primary camera for DSO rental purposes. The plan was a camera and lens setup with loads of options as far as focal reducers, behind the lens filters etc - all the exciting stuff the sub-pl system permits!

Actually yeah! This whole thing got me really curious, and I've been in full on research mode the past week or so. Once I have the necessary capital, I plan to pick up one of the "battle-tested" Kinimini 4Ks from their website. In fact, I've been talking to some of my film school buddies, and one of them will be putting in his pre-order for a 5K Terra as soon as his tax return comes in.

There is now a workaround for NX500 users, by simulating going to preview and back it updates the menu. This can also be used on the NX1 which will allow for further instructions to be done after the menu refresh, like text on the screen. Here is the link to the details - http://***URL removed***/forums/post/57556055

I think the IS on GX80/GX85/GX7-M2 is mechanically implemented thanks to the new compact sensor tech. GX8 itself is in difficult situation when the lower end model is in some (actually very important) ways more advanced model. Shame that the GX80 battery is so weak, but that problem will be liquidated in GH5.

Yesterday i took my 5d3 to the airfield to test the recently added new S16 crop feature. Correct framing and fluid live view (two the most important improvements) are just essential to shoot fast moving objects. What a great new tool!!! Almost everything was shot with 70-200 f2.8 IS II with 3x 1:1 crop at 1080p 25fps. Lens set at f8. No single damaged frame (recorded on sandisk 128gb 160mb/s card), just perfect. I have to get canon 2x extender now to have 1200mm lens

... A few others have been going in the opposite direction such as this shooter here:

Props to you and JG Harding for recognising a dark horse of a camera.

Found a way to commit changes made with the st commands and prefman, just do a prefman save, see this link to see how I switch between 4K with DIS on to 1080p @ 120fps with DIS off via shortcut keys. http://***URL removed***/forums/post/57551639

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..

I shot this a few months ago. Looking to get some feedback on it before I start filming a bigger project in the next few weeks. Hope you enjoy it. Let me know whats up. mike

In their official specs they mention a 2.5 mic jack... is it possible everyone is reporting on it wrong?

Lack of mic input is the real bummer. Add to that the lack of any cinelike profile and now you see why there is little excitement. At least the dual IS looks very nice: http://bcove.me/extn978a From: http://www.thevideomode.com/equipment/panasonic-lumix-gh5-2295/ I am more excited for a GH5 with dual IS...

The GX80 itself isn't as exciting as the fact that this heralds the arrival of 5-axis IBIS in the higher-end Panasonic offerings to come.

I am going to snooze thru this announcement, recently the big news was Canon released a camera that cannot even match the quality and features of theT2i after almost ten years of canon "development" at the same price. I use 3 Canon cameras now, they are great due to Magic Lantern however I cannot imagine buying more canon lenses or camera bodies, they are not competitive in my mind. I think any announcement from Canon will be that digital filmmakers will have to pay a mega thousands of dollars for their camcorders and that their dslr and mirrorless cameras are for photos only. For those of us that swing both ways (video and photo) you are sore out of luck. That is why I have been uninterested in any model below $4k and so not interested in their latest cameras and I have taken to heart the Canon philosophy that dslr and mirrorless filmmakers do not matter.

Haven't there been 2 or 3 people in this exact topic who've shared their overwhelmingly positive experiences with Kinefinity's cameras? Hasn't a Chinese resident explained that they have huge street cred and market share over there, in the second largest filmmaking industry in Earth? Haven't we seen some very impressive work shot with their last few cameras? To me, that speaks volumes. 'Nuff said.

IMO it is the C-line. What you are asking for already exist

Super 16mm (Arri Sr 2) thats what I'm doing

This is more worrisome than a Prores licence

Yeah, that be my way of implementation too. A vari-angle screen. The E-M5II, which this is kind of similar to, should've been it... but unfortunately isn't (maybe the E-M2). Sony have some great higher segment stuff, but that's twice or thrice the price of the GH4. The A6300 is the direct competitor I'd say, but I can't say I'm eager to jump on that one. That's a good oppertunity for Panasonic to swoop in and claim the segment throne. But I hope they don't rush it. I want a good implementation. GH4, but better sensor chip infrastructure of pulling data and enhanced processing for: cleaner high sensitivity (they should be able to come up with something that's fairly clean up to ISO6400 and well recoverable with denoising), better bit date: improved color & dynamic range, better rolling shutter performance. Of course global shutter would really nail it! But we've learned that's tricky and comes with performance penalties, so I don't see them doing that quite yet. Could be higher MP sensor with 5 ~ 6K. Better codec/bitrate. New LOG approach, maybe V-LOG XL. If they could pull a Blackmagic and do internal ProRes, that would be wicked, but something else I don't see happening quite yet. Anamorphic shooting with de-squeeze. Remember, they've been hammering that the GH4 wasn't designed with all these later add-ons in mind, they're just 'freebies' because of demand and looking into it. The GH5 will be designed as a more serious indy filmmaking tool right from the get-go. In that it should work pretty sweet. Probably getting an EVF update. The vari-angle touchscreen is of course already implemented. For audio interface they might take a look at how the Canon 80D has implemented it. Batterylife is already great. Dual-SD slot is a must. I'd love a battery grip that includes a storage solution much like the PIX-E series field recorder/monitors have, so maybe a new intelligent connector on the bottom. Maybe some nice little accessory that gives you two XLR inputs. Anyways, it would take a while to come up with something like that and implement it well, and the longer they wait, the more likely the tech will be around to support it. So... announcement... no earlier than Photokina. Roll-out, maybe Christmas, maybe Q1 2017. Of course, by then probably the A6500 is already there. But we'll see then.

Probably he's mentioning the lack of vari-angle. It's an error in my opinion; in that price bracket and with the 5axis it would have been great to shoot selfie vlogging style or not to kill yourself shooting somebody while walking backwards. The GH5 can't arrive soon enough!!!! I hope it carries all of this!

IT could be a great c-cam, attach it to a monopod and it may be a good gimbal substitute. And I agree with @sanveer, the Shure is a great option, just a pain to sync.

12 usable stops imo. Very comparable to c-log but a little less than BMDFilm. Totally fine given how versitile the camera is. Today I will se what f0.95 does to the s35

From the linked article: I'd take those sheets!

Their PR vid seems to show it working on a competitive level with Oly's. Of course, that's in tandem with a Panasonic OIS lens, but still very encouraging. Obviously, all manufacturers are gonna get this kind of stuff in their cameras, but I'm eager for it to happen sooner rather than later, no doubt.

Here on Brazil at Rio de Janeiro the things are really messed up. I work with green screen to record teachers. The bosses make us export in 480 with extreme compression to save disk space and make uploads faster with the horrible internet they pay. The cameras are very old sony camcorders with 1080i that almost never get WB right and the wage its equivalent to $350. If you find somewhere that pays around $500 you've got the hell of a good job. Freelancing you can get around $100 a day or per edit, but people generally have zero knowledge about image quality here (720p barely arrived at or tvs, mushy 480p its a norm and its by air with tons of noise depending on where you live). Its a pain having a G7 and losing the job to someone with no idea of what hes doing and is asking $50-$100 to record and edit the footage, just because he has an old DV cam that looks more "pro" or a T2i that is a canon and for being a canon its obviously great. People talk about Canon here like it is some kind of god, but i never actually seen anyone who heard about ML or got courage to use it. Panasonic even quit our market because of this and got no official seller here now. 4k? People talk about it as some kind of ultra pro high end stuff that is totally useless. Our taxes are also pretty abusives (a7rii are around $4500 and even the G7 its $1000). Fortunatelly there is still some hope and with some good quality footage you can get some nice jobs as the TEDx im gonna cover next month and keep growing. But my advice its to stay away from here. It is almost only Stress and there is only one giant company ruling the high end market of Radio, TV, Newspapper and even Cinema. And they dont like the kind of things we like. If you dont wanna do some kind of comedy for the masses they dont want you. There are many people doing great stuff here and there always has been, but its up to creativity to make good stuff with little to no resources. There has been an Brazillian animation at the Oscars. Never seen anyone out of my film schoo who ever heard about it. It didn't even make it to the theaters and was there with a nominee. Its a pretty bad place to live with cinema stuff... But if you guys look at movies as the one that Rogerio Sganzerla, Glauber Rocha, Eduardo Coutinho or Kleber Mendonça did, there is still hope.

Yes. Not to mention that they merely could be licensing the encoder from a third party, especially if the OS/firmware is POSIX-based/Linux-based.

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)

Looks good.... I just made a quick test too. Here is a frame grab from some GH4 V-LOG test footage: the original ungraded log-file and a very quick grade. This plugin has a very fast workflow and you get nice results very easily even without using all the features. I have imported the luts I already had, - Impulz, Osiris and WLTBAP - into LUTx. Works flawless and they also appear in the preview- and swipe feature in LUTx, - nice. So, - I just send $29 to CoreMelt...

Yeah...and we have them... But that really doesn't hep much for using the NX1 for stills. I grew up shooting manual film cameras...but you still miss 90% of the shots you can get with a stabilized auto-focus lens. Without this my NX1 is of MUCH LESS value to me. Plus, the "S" series lenses can provide some of THE BEST video auto-focus of any video camera short of a Canon C300 mk II. And sometimes that DOES make a difference on a shoot. The fact that there are so few of the S"S series lenses available at all on eBay USA and that the lowest price I saw last week at all was $800....that shows that there in fact IS a pretty strong demand for these lenses...and it's going to get WORSE once the NX1 owners all find out that production of them has stopped and they realize they can;t put off the purchase any longer.

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.

Those glitches most likely are VLC fault, since it uses it's own codec's (as far as I know). My VLC does the same with 4k nx1 videos. Probably just can't handle it. In Premiere of course, everything is fine.

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

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 work for myself. So I'm actually a real cheapskate. Don't worry about Syfy channel. If that's not what you want to do, then you'll be lucky enough to never have to work with Syfy channel. Just ignore what they're doing if you don't like it and you'll be better off. A C300 is not that expensive–$4500 used, maybe? If you save even a week of work in post from having timecode sync or raise your wet hire rate $100/day over the competition, or book more work because producers like it, you will quickly be in the black. My friends who bought C300s made a lot of money very quickly because it's a popular rental item and a lot of places wanted to hire them really quickly ($30,000/month is a normal rate for a camera op on tv even without owning a camera). I bought a C100, I'm very happy with it and paid it back within a few months and still rent it from time to time, but I can't rent it for nearly as much as if I had spent more. In the long run, the cheaper option costs more. I wouldn't advise spending money on anything unless you have disposable income and enjoy your hobby or know you can make it back in full within six months of purchase. But if you can... go for it. Ever played Monopoly? The conservative players are always the first to go bankrupt.

Single best 1080p image? Easy to edit? Small file sizes? Cheap? Sony PMW-F3 (unlocked for RGB and S-Log) shooting internal. under $1300 Slightly more grading resilient footage? - as above plus a bm video assist. Under $1800 Greenscreen work? - as above but with the Pix-E5 recorder. Under $2200

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.

MOV_SIZE on NX1: dc24p=0 uhd30=1 uhd24=2 uhd23.98=3 fhd120=4 fhd60=5 fhd30=6 fhd24=7 fhd23.98=8 hd60=10 hd30=11 vga60=12 vga=13 mjpeg=14 i think i give 9 a try lol -> seems like 9 sets it to fhd24 btw: someone did the same for NX500 at dpreview: http://***URL removed***/forums/thread/3985980

@CMB the T2i was around for a long time and it had its day, a lot of great stuff shot on it, in the same way there were great Pixar animations developed on very old 90's workstations. This does not excuse Canon in any way. If Apple for example had neglected the quality of their stills on iPhones since 2009 as Canon have done with video on their APS-C DSLRs, it would be seen as totally strange behaviour, really bizarre and unacceptable to all iPhone users interested in photography. The only reason content producers and YouTuber's still care about the 80D is that a lot of people don't care about perfection or the details. They just want to grab a brand they trust and make content as quickly and as easily as possible with the lenses they already have. The other companies have put in a less than solid showing to be honest, in fighting back against Canon and Nikon. Flakey and disjointed. Panasonic only have the GH line, which doesn't have a broad appeal to the masses due to the lenses being massively overpriced, complexity of the spec, odd sensor crop vs the rest of the market and less than stella ISO 1600-6400 performance indoors. Meanwhile Sony have too many models, very confusing, reliability issues on top of that like overheating, over complex specifications and menus, poor usability and again incredibly expensive lenses. Canon have had it easy. The people who will buy a 80D probably see 4K as slowing them down in the edit, when a lot of the material is quite time critical. I can't see them lusting after an A7S II any time soon.

If you need great colors I would rather go for the NX1... (you also get great AF at the same time if you use NX S lenses)