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Dude, Tommix. Could you maybe not? How about no to you acting like bully to all of us? Just stop. Either start contributing and stop being a dick to us, or just watch what is happening or lets ask Andrew to get you banned? PS: This is not an invitation for you to flame spam this topic so be that kind to us, fellow cinematographers, and get better, friendlier.

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

Im looking forward to completing the review, test all kinds of vintage glass like c-mounts and my K3-Bayonets. Unfortunately I have to return it this week and don't really have time for another two weeks.... ..so I have bought one Here are 5 Reason why. Im hoping to get my own copy in a week or so. Ordered it from Germany and they seem a bit slow. I suspect they bring them home on order.

Im not going to read the pages and pages of wining going on here from people who have not owned a camera from kinefinity so please forgive me if I say something thats already been covered. Kinefinity is totally a reliable company. I actually get great access to support online and they have been very open to suggestions. They added an anamorphic mode within 2 versions of the firmware. Kinestation is great, their codecs are great KRW is a lossless format that can be converted directly back to DNG (if its not shot in highspeed mode which is 4:4:4 not raw. I would say they push their cameras way further then any other company because they have no top end to gouge so why not make the cameras the best they can be. Now for the cameras. Ive owned the Kinemini when it first came out and then upgraded my body to the Kinemini4k. I was about to upgrade to the kinemax but then the Terra got announced. Who doesnt want this camera??? You are crazy, just go and spend more money on a Red Camera then. I personally dont have $40k+ to spend on a cinema camera. The image on the kinemini4k is already lovely. A good mix or the red and Alexa honestly. The noise pattern is organic and the range is there.The kinemax 16fstops in Golden 3k, this sold me along with the highspeed options. Now with the Terra comes global shutter and 15/13 stops in a smaller body. I want one so I really hope none of you do so I get one faster. I got Rich off the forumn here to modify a speedbooster for my Kinemini and then Kinefinity made one shortly after. They are a company who does listen I feel. The mount is awesome, its a sub PL mount with many options. The sensor is Super 35..... I dont know what else to say really, its a sweet vcamera and Im glad I didnt go with the black magic cameras in the end or other cameras. If you really want to know more then just speculation you can join us users over at Kinecommunity and the Kinfinity User group on facebook. Rob

I have mentioned this previously on other forums, the H.265 codec profile used within the NX1 is limited to 160,000 kbps, it's MAIN - Level 5.1, to go higher you need to change the codec profile. To get to 10bit the NX1/NX500 needs the newer version of the codec without which it is impossible. https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding

Here is comparison of hacked and non hacked 120 fps (200% zoom). There is quite big difference in terms of compression and details. Problem is that hacked is just 106 fps according Premiere... First is hacked and second normal:

For the NX1 I have done a stablity test going from 320mbs down and the 200mbs worked best on a 3 year old 32gb class 10 Sandisk extreme pro uhs 1 card. If you use constant focus it crashes the card 1/5 times, switching to manual focus and back to constant seems to work. Its a good leap on the scripting side of things! Try running the camera in manual mode and ois/dis off.

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???

Seen as there worldwide EOSHD forum users, I thought it would be an interesting topic to see how the business of video production differs for each other across the globe - and see how similar or different it is. I'm from Manchester UK, and make music promos, commercial video and offer another pair of hands for other production teams. The city is a media monster, with Media City (home to peeps like the BBC) at the heart of it all. There is everything from your production companies, boutiques, one-man bands shooting everyday - video is becoming even bigger with creative agencies and the tender for all the work is fiercely competitive. Generally I have found that expectation from the clients is higher, yet the price for video is going down. Music videos especially have gone rock bottom for budgets. Some of the ideology is why pay more when Mr. DSLR can give you something decent for literally nothing but the "exposure"? Same goes for commercial and corporate jobs. The price is going down, and it gets more difficult for some of us to competitively quote. Clients here come to you for your ideas, content and quality. Unless it's a TV drama or major commercial, they couldn't give a rats ass what camera you are shooting on. As long as the end result is of excellent quality, they don't care. I shot over 100 music videos on a GH3 and no one ever said anything negative. You can get hired as an owner operator, but because the rental price for such cameras is cheap - people who want to hire one can just do it themselves. Or try. Does happen. I'm finding that the one to two man bands are the "go to" people for a majority of your lower to mid end video productions. Agencies are actually employing their own "two man bands" so they can save money (salaried earnings and reduced commission), have creative control and oversee the entire process with their own eyes. My business is generally two-man band with the appearance of a company, as we regularly work with numerous freelancers on every project as a team. So for us it's a bit of a middle man thing. As you develop and your price goes up, this has friction with the fact the price of video is going down. The quality, content and service has to be excellent to be justifiable. If Mr. DSLR has better creative work than Mr. Arri Alexa Owner and charges less than half - everybody will go for the cheapest option. Everybody wants to save money, but needs video that's "good enough". Video is booming like mad in my region, but everyone with a brain and a camera is after it! It's positive. I try harder. It's fun

A used Ikonoskop, used Digital Bolex D16, Battle-Tested KineMINI or @Ed_David's F35? Those F3's look great too. Lots of great options out there... I've only used the KineMINI of all those but it appears that they all provide a pretty darn excellent image, have good colors and have some sort of way of dealing with rolling shutter artifacts (all Global shutter I believe except for the KineMINI which has hiSpeed mode). I find the entire Canon Cinema eos line to provide little bang for your buck outside of renting it out and recouping your sunk cost. For me personally, I have no real interest in renting out my gear, so that is not part of my business model. I shoot on what I want to shoot on. I understand that won't be the case for everyone. Man, it's easy to get stuck in camera-lust. Audio, lenses, filters, lighting, good story and talent etc... all very important. Outside of the cams, I have had good results with my Rode NTG4+, Old cheapo Nikkor primes, Tiffen Black Pro Mist 1/4, Leica achromatic close-ups (1-4) and A BOUNCE/diffuser. Seriously. The bounce is probably the most underrated and cheapest lighting tool I have encountered. Lots of small little tools to make digital cinema on a budget.

You know what Samsung should have done. Used the m4/3 mount. Its free to use. It covers the sensor. Many MFT lenses cover the whole sensor, some would be good for crop mode. Their own lenses would have been very popular among GH4/e-m5/etc users. More people would have taken the plunge or bought the nx500 as backup.

Hi, ok I do work for CoreMelt so I am biased but just wanted to say that we really think this is rock solid to load every LUT you might have or find on the internet. If you find any LUTs that it won't load we'll give you a free license if you send us the LUT so we can fix it. And feel free to make suggestions for improvements we will be doing regular updates to this.

Been shooting with the Micro for over a week and have shot a ton with the Pocket, which I love. So far, I like what I see out of the Micro and the obvious plusses like 60p and battery life. As Andrew pointed out earlier, the buttons suck. I'm getting better with them, but the record button seems to suck way more than all the others which is just plain unfortunate. There are times when inside my wooden cage (which also sucks) that I fumble around trying to start or stop recording. Major pain in the ass. This wooden cage is going into the spare parts drawer for when I need some mounting options for something McGyvered. Once I do some edits I'll share footage.

Let me just thank you so much Vasile for all your hard work so far, I am grateful. So when I first saw your bitrate hack the first thing I did was testing it, sadly my SD cards are only capable of 160Mbps on the NX1 despite having average 40MB/s writing speed on my computer which should have allowed me to use the ~300Mbps bitrate according to a couple of calculators I used, I could be wrong again, my terrible maths sometime. While I tested it I honestly could not notice much difference between the shots at 1600ISO, now this is just a quick test nothing in depth really, hopefully someone will do more scientific tests, I suppose you all should take this test with a pinch of salt because it was done in a hurry, I have not tested whether the banding issue is gone either, and I did extensive tests with JPEG's a few days back and the banding barely occurs at normal JPEG compression and completely gone with super and fine, so clearly the issue lays not with 8bit if its fed enough data. My biggest suspicion here because GH4 does not suffer from banding if you know what you are doing, it could be the noise reduction internally which lets face it, destroys details notoriously even at lower ISO's and higher bitrate does not seem to slow it down in its path of destruction. As always video mode feature my usual settings GammaDR (R1.00 G0.95 B1.00 | -10 Sharpness | -10 Contrast) 80Mbps (Standard Pro Setting) 2160p UHD [1/50 - F/2.0 - 1600ISO] 160Mbps (Vasile's High Bitrate Hack) 2160p UHD [1/50 - F/2.0 - 1600ISO] 320Mbps (Vasile's High Bitrate Hack) 2160p UHD [1/50 - F/2.0 - 1600ISO] JPEG NORMAL (-10 Sharpness -10 Contrast) 2048x1152 [1/50 - F/2.0 - 1600ISO] Left 160Mbps - Right 320Mbps Again, thank you so much Vasile for all your hard work, I really appreciate it even though my results might not prove much but still the bitrate increase is REALLY there, whether the changes are not there could be more the faults of the God damn atrocious HEVC codec which was the biggest mistake to be put in a camera since H264. If I have time I will try to record some blue sky if they appear again this week with the 160Mbps setting to see if the banding issue has been negated a bit.

I like to think of it as a vertical anamorphic flare :-)

You can buy stick-on buttons in various colours that will likely fit. maybe look for stick on rubber feet for hi-fi furniture and the like. http://www.ebay.co.uk/itm/16x-Round-Rubber-Foot-Self-Adhesive-Black-Feet-RF05-Size-6mm-WIDE-x-3mm-HIGH-/191688158450?hash=item2ca1812cf2:g:3i0AAOxyPc5SAhXY

If I can use my c-mount lenses and get 5 axis... that would be wicked!!! The lack of a microphone input does suck, but with a simple L-bracket, one of those new, tiny juiced link recorders and a rode micro, you can have a small and simple, one man band, run & gun, footprint.

Tried to test that allocation unit size and if it does anything to improve the slow card problem. Everything was tested at UHD 25p. Adapted lens. Samsung Pro 16gb SD, 50MB\s write speed, 200mbps hack enabled. Exfat. Tried to set it with 1024 bytes (min value) - couldn't record more than 3 seconds even without DIS. Tested it with max value (32768 kilobytes) - could record around 10 seconds without DIS. 512 kilobytes, 4096 kilobytes, 32 kilobytes - a bit better, but still with DIS on no more than 10 seconds, without DIS around 1 minute, sometimes more, sometimes less. So couldn't get 200mbps working. Also the camera was really slow when turning shutter or iso dials. 160mbps seems to work with and without DIS, also the camera is much more responsive, though not in the level as without the hack. Did this with 32kbytes allocation unit size. So my conclusion is that as long as you don't set this value to extremes, it doesn't have a huge impact. Iso 6400 at 200mbps doesn't look much different than at 80mbps.

There's your answer: HEVC is low bitratre, AVC... not so low :-)

1. read this: http://www.magiclantern.fm/forum/index.php?topic=5827.25 2. read this too: http://www.magiclantern.fm/forum/index.php?topic=6278.0 3. format (in your PC) the SD card with larger block sizes 4. test /done exfat test 5. If you are a Windows [the horror, the horror, I pity you] user, either go here: http://www.ext2fsd.com/ or here: http://www.paragon-drivers.com/extfs-windows/ [if you like proprietary stuff] 6. then format your SD card in ext4, without journal and with a largish block size (8192 or 16384) 7. test again /done ext4 test 8. report back here There, I just gave you a replacement for tonight's sleep :-), and therefore a chance to join me in missing sleep :-) rgds PS. I have high hopes for ext4 since it is a native Linux format whereas exfat is Microsoft and may well be implemented as a fuse filesystem which performs much much worse.

I pre ordered the 5k one . If you shoot music video/fashion, you need clean slow mo and there is nothing else in the price range. It s basically a red epic MX ++ for 5kusd ... It s more compact/light than blackmagic , color science is better than panasonic/sony/blackmagic (you should play with the DNG they provide and the image is great , I was amazed by how much you can recover on the landscape/lake shot). There is a shoot comparing multiple cameras from GH4 to alexa and the tester said that the kinefinity images where the closest one to red/arri from the lot. And the mount system look great , that mean you can get fast zoom easily with the focal reducer. I understand that because it s a unknown Chinese company, people are skeptical and if it was their first camera I probably would not have pre ordered it . But if you look at Dji , they are also a Chinese company and they have great product .

the nx1 will be a solid camera forever. especially if you adapt manual glass, if this is totally dead in 10 years, it'll still be awesome and likely an incredible bargain. I'm sure new cameras will be fine too though, I just can't see the image ever sucking in comparison. we already have raw 6k, and the nx1 looks great. Didn't digital bolex start their company saying they're only doing the one camera? they've updated firmware, but you'll never need to "upgrade", obviously, what's more to want? - maybe I'm mistaken about that though... not a ridiculous concept. your camera being discontinued now is better than upgrading every time sony tells you to

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.

You should have read this post first. This guy says he won't be getting one because it offers "flat looking clinical images".. http://www.eoshd.com/2015/04/canon-xc10-should-you-buy-one/

Just had a brief time with the boxed up retail model. I say brief. I sent it back almost straight away. I might upload the clips to the original footage thread, but there's hardly any point. You know the score with these cameras. Soft, aliasing ridden, huge moire problems, not even 1080p resolution. Very sad - they have a brand new sensor in this thing and had the chance to step at least the 1080p up to 7D Mark II levels, or even in line with the rest of the market, or the Nikon D5500, much cheaper. This is a 1300 euro camera!

Here's a video that compares the dynamic range LS300 against some "affordable" cameras. Don't know if I would call the FS5 affordable, but still interesting to see the dynamic of this camera in JLog. I'm impressed with what this camera can do. Yes, this guy tried to match the cameras as best he could, which might not be the someone else would have done the comparison, but still worth looking at as a data point.

Until you encounter that magic smear

Th There certainly is something magic about CCD sensors... Ikonoskop, D16, F35, Leica M8/M9 all have some special mojo (micro contrast, tonality) that make for such a nice image.

I edit in Resolve, but I run it and my 1440p monitor (as well as a 1080p and 720p monitor, for a total of 3 screens) off a GTX 970 with no issues. My system has 32 gigs of RAM, but I didn't think that affected its ability to drive hi-res monitors.

Yeah I have been having a lot of fun with my c-mount lenses with IBIS and 4K recording with the A7rii. (here) Hopefully GX80 does sensor stabilization with adapted lenses and allows some zoom-in function when c-mount lenses are used. The Little DARling does look very nice, syncing in post not so much . I rather wait for the GH5 which wouldn't be larger if you count in the extra recorder.

vasile, thanks for your hard work! this is exciting stuff. did some initial tests of 80 vs 180 (highest my card can write continuously) and I see little to no difference, so double checked the file and sure enough it is 180mbps. That was just a rough shadow/highlight/detail test. Later I'll sit down with some lights and a person and set up a scene to really test it out. My guess right now is that hevc is extremely efficient, so the difference between 80 and 180 are going to be negligible. 320 might be different, but I can't test that until I get a faster card. This does seem to make sense because even at 660+ mbps to an external recorder, the main improvement is only in shadow macro blocking... even with nearly 600 more mbps. It's also being written as prores, so that could even account for some of the improvement.

I would say it's not just bitrate but how long you want the archive to be useable in the future. As Geoff CB mentions, Cineform, DNxHD or even ProRes are probably the safest bets in terms of being able to open a file and get it into an editor 5 to 10 years down the road. These require a great deal more storage but an optimized file you can't open is pretty useless. This is a very real issue. I have video files from the early nineties I archived (Think Radius video boards if I'm going to date myself), that I wisely converted to Cineform years ago that are still usable). Although all that 3D 480P demo reel content probably isn't really needed by anyone today.

It has 5-axis stabilization in the body itself, plus another 2-axis from the lens (New 5-axis in-body sensor stabilizer works with LUMIX 2-axis optically stabilized lenses in video and still capture modes using class-leading Dual Image Stabilization). Source: http://shop.panasonic.com/cameras-and-camcorders/cameras/lumix-interchangeable-lens-ilc-cameras/DMC-GX85K.html The lens is usually sufficient for photos (like in the GX8 test in some site). The 5-axis will be gr8 for video (it is, like tested by people already). Also, it actually means that you should be able to use some non-Panasonic lens, with very respectable (as good) stabilization, unless Panasonic has disabled it to save battery, or their lens lineup. Btw, this is from ePhotozine.com (https://www.ephotozine.com/article/panasonic-lumix-gx80-gx85-review-29143/performance): "We tested the in-camera sensor based 5-axis image stabilisation system, by using the Panasonic 20mm f/1.7 lens which lacks lens based image stabilisation, and we were able to take shots at 1/5th of a second and still get a sharp shot, which we were also able to match with the Olympus OM-D E-M5. The image stabilisation appears to work as well when using the continuous shooting mode as well. " I guess, now Panasonic officially matches the 5-axis stabilization of the Olympus cameras. I also hope the video stabilization WITHOUT Panasonic lenses is as good.

Hi. If I format the card as ext4 the camera reports it cannot read the card format. I have formatted back to exFat with an allocation unit size of 4096 which seems to be more stable for 200Mbits/sec, I haven't had any failures for clips less than 1 min but occasionally it will fail over 1 min.

If you added a curve adjustment, this would be sick. I am a huge fan of Color Finale as an all purpose, fully formed color tool, but the LUTx adjustments are genius, so if you guys would give me one less effect in the inspector by having a simple curve adjustment tool... That would be great!!!

I just recently bought the FZ300 and it has the 5 axis in 1080p, but not in 4K. And even in 1080p it is a dual IS system that requires the in body and the lens stabilization to work. With 4K it just uses the ois from the lens. But the worst part is how confusing they describe the IS. So, that is my fear me with this camera. From the announcement, it sounds like there is in body, 5 axis stabilization, in 4K, but then they discuss the need for OIS lens stabilization for dual IS. So are they being vague and you need the OIS lens to get the full 5 axis in 4K, or with the OIS lens you are getting like 7 axis? Is that a thing? So, the question is, can I use manual lenses, in 4K, and get 5 axis stabilization? To be honest, I find it a little suspect that their latest models cannot even do 3 axis, in body stabilization, in 4K without an OIS lens, but this can do in body 5 axis?

I may be wrong, but they excluded it then, because they believed that 4k (internal) would be an issue. They obviously solved this issue, it appears.

13 hours ago, christrad said: Sorry but apparently you didn't write the Vimeo comments of the owner who said how much he love his NX1 and is not in anyway disapointed by it but just "felt like it was time to try something new". Actually, that was my input there and his reply, respectively: "how have you found the difference with your new G7 toy?" Albert Fast 4 months ago: "G7 is lighter and smaller but lacks 100-120 fps slow motion and headphone jack. Different color science but comparable low light performance. Both great cameras!" In a personal note, in a way or another, I share the same perspective of him and many others (no matter the camp you play), to usually be open and straightforward : ) No football cheerleaders contest over here. By the way, it is an European who's writing it :-)

Buy some cheap FDs or Takumars. 24 or 28, 35 and a 50 should cover most situations. Newer lenses with complex designs and zooms don't tend to work as well. You can get those lenses I listed for pennies. Also I would advise getting a vintage 2nd hand 2x adapter rather than the SLR, you will save a ton of money, put that into lenses and diopters.

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.

If you already own a NX1 but struggle to review the footage in the field maybe you will upgrade your laptop (ram and SSD) or change it. One can get awesome second hand laptops for 1000e, more with PCs. Andrew made a terrific post recently with NX1 + anamorphic and he said that it's a camera he really enjoy playing with : << The NX1 has that Canon ‘electricity’ to the images with very vivid colour straight off the bat, as long as you keep it at ISO 800 and below. ISO 1600 and 3200 are workable but it’s not the sweet spot. The battery life is superb as are the ergonomics and the rolling shutter is less than an A6300. Plus, it doesn’t overheat when shooting 4K and the quality of the 1080/120fps is a tad sharper too. I can see myself using this camera for a long time. If only it was compatible with the Metabones Speed Booster. >> yes you can't push the grade as far as with a BMCC but do you really need to grade that much, knowing that the RAW DNGs from BMCC come with the price of big chucks of Gigs to store and double store for safety. What about h.265 4K storage? + in 1080p the rolling shutter is really well managed (http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue!) that's a plus with action scenes. and that app is known to handle well h.265 footage : https://mpv.io/ for post prod, h.265 footage can be hardware accelerated with GTX960 GPUs and now Premiere CC 2015 and Resolve 12.3 read h.265 natively. i just hope that maybe one day NX1 hackers can bring the choice of a different codec or higher bandwidth footage from that little Corean beast. Like it was said before, sound and lighting can make a big difference too And don't forget to feed the crew^^

Seems they've brought back Comedy Central's The Roast. Burns left and right. Which does nothing but sidetrack us from the matter at hand... F3 looks gorgeous. Makes you wonder that with cameras like that and the F35, how they've managed to screw up the modern color science. Apparently it's rocket science!

If you applied half as much passion to video as you applied to these posts you'd be the next Spielberg.

Last time I checked this was a gear blog that analyses the performance of different cameras, lenses etc - mostly those devices in the affordable price range. The blog reports that Canon is still behind Sony & Panasonic in terms of video quality in this range. Don't see anything wrong with that. We all know that the best video quality from Canon is reserved for professionals, but we're a bit grumpy because we wish they actually did improve their video at the lower end, but it's more likely Arri will release a sub $5k cinema camera than Canon doing just that. We all know that the man/woman behind the camera is obviously the most important. But this isn't the blog for that.

Just have to say after shooting in both UHD and DCI 4K... I really think DCI really shines. I have't measured the differences, and I'm only using the eye test, but I will now shoot exclusively in DCI over UHD. Gamma DR, DCI 4K and the 16-50mm S lens is a dream. Loving this camera, and can't wait to see what some of your custom settings look like. I will have to experiment some more after I finish up my latest project. You guys are awesome!

I archive to cineform (10 bit YUV) or DNxHD. Don't archive in H264 if you want to use it in the future!

No problem to adjust levels on A7SII footage... It's more a problem of exposure on location... When exposed between +2 Stops and 100% Zebras, no problem at all... I can adjust things like on my 5D mark III RAW... And it's even easier... The only major big problem is to define the good white balance... Ok with a color meter and some charts... But could be a problem when not well adjusted... as 8 bits can't recover anything... Concerning luts... i don't use one... I prefer adjust my levels with parade RGB and some waveforms by myself... This tends to have no "look" at all and i prefer that...

took the nx1 on a first test run this afternoon, not confortable with video grading yet and I noticed too much red and magenta in the skintones highlights so far. colors "feel very thin" to me already when grading so I will not lower the saturation in camera, happy with the DR and details. All available light, should receive some led panels soon that will make things more interesting. All the same lens, Nikon 20mm f 2.8D 4kdci, gamma C, maximum black level, minimum contrast, minimum sharpness. I will try to upload to youtube in 4k.