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Fine details are much better with 160mb. I guess that's a sweet spot for 8bit 420. Would be really great to see 10bit and 422, but I doubt it's feasible.

Sony pumps out new cameras every month now.

OLIVIA Scope was originally going to be a straight clone of an iscorama, just scaled up. It soon became clear that in order to make something really groundbreaking we had to start out with a blank canvas. Though OLIVIA Scope is operated in the same way as an Iscorama, because of the wide fov capability a racking adjustable diopter type 'untactful isco copy' focus mechanism would need a ridiculously over-engineered helical to provide shift of a big diopter element.

Found this on Facebook's NX1 user group. The difference is pretty amazing imo.

Exposing skin tones by numbers can get one into trouble. In the first place, skin tone varies. Consider a shot in which an exceptionally pale skinned person and a very dark skinned person are standing next to each other in the same frame -- which one's skin do you set to 70% IRE? Secondly, what if the shot is supposed to be low key, with the subject darker than normal? Generally, the exposure should be as high as possible to reduce noise, without undesirably blowing out areas and/or without making it difficult to regain normal looking highlights. Use your eyes (and your lighting skills) to determine the relative values of the subject/set, and use the zebras to determine the highest feasible exposure.

Cross post from dpreview: As promised I was working on alternative way to run scripts off the SD card without entering the factory mode (as it limits several functions important to me). Full text here https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/Running_scripts_without_factory_mode.md What it does: it modifies your root filesystem in camera so it starts a shell script from SD card (if present) every time you start WiFi. Yes, it's rough. This is a first release just to enable everybody else to test and play around. Touchscreen works. Bluetooth works. Camera works faster than in factory mode. This might help with increased bitrate as well (don't know, can't test). Have fun

I was more meaning test the line that is the full integration video record test and log what happens. Which modules the pmu activates, the file output etc. So "st app nx record run full" Ill test it when Im done work tonight though. There is a lot of code to go through in the di camera app, and I did maybe 1/4 of it last night Found a few things like that. Mainly looking into the hevc block and that jazz. I do like how quickly the scripting side of things is going though! So much progress so quickly!

Sony sensor in raw has great colour... I love the stills on my a7s... Skintones are beautiful. I hate the video with a passion

So many F**KHeads about! People post sub standard screen grabs & no info about what they were trying to do - unrealistic shit stress test in the first place. Then you go out of your way to upload a DNG file so that they can compare with what they have. Then you get this sort of shit from them. Yeah F**K OFF!

You know what I think makes a really good Formula 1 or MotoGP driver? That he's as good in the field as he is with his team of engineers. He not only needs to know his personal limits, he needs to know where his machine shines and where there's room for improvement to squeeze out that little bit of extra oompf. Albert Fast is one of these folks that knows the limitations of his gear and knows what to do in post processing to make it go that much further. I feel like that's the real struggle. It's like flying a plane, everyone can make a decent take-off, just throttle up and yank the yoke... pulling off a smooth landing is a 2nd. You've got to have a feeling and understanding for it. It's about putting the puzzle pieces together, you've got to have that oversight. I'm still trying to get to that place with getting my looks down, figuring out the whole deal with all these different LUTs, techniques and methods especially, since I've been shying away from them except for getting quick impressions how different looks would suit certain footage and then just tinkering away from scratch, which tends to get a little time consuming, but I also don't want to throw in a LUT and look like a Instagram hipster. Tough to find that balance, I salute those who have a natural feel for it! One of my fav looking vids to come across over the last year, must have been this one by Ed on the F35, to me that's just gorgeous synergy of men and tools.

Right!? I'm genuinely stunned they haven't stuck the EF-M mount on a Cinema EOS camera yet. Here they've got a great mirrorless mount with speed boosters and adapters for EF(-S) compatibility just sitting there and they're doing precisely dick all with it.

I saw an F35 video the other day. Frankly it looked like the only time Sony color didn't suck. They can crank out all they want. People will go apeshit over specs, but if they don't step up the color game that's all they'll be. Specs.

Some interesting things in the di-camera file ######## RECORD TEST STARTED(%d) RECORD SINGLE THREAD STARTED RECORD SINGLE THREAD COMPLETED RECORD UNIT THREAD STARTED RECORD UNIT THREAD COMPLETED RECORD commands: Usage: st app nx record [cmd,...] start: do record start stop: stop video record pause: pause current video recording. resume: resume current video recording. resolution [show,name]: set video record resolution run stop stop current running test run count [n] set the max test count as given value (0: infinite) run unit do video record unit test run single do video recording while changing resolution run basic do record test while changing mode and video resolution run full do full integration video record test help pause resume resolution Usage: st app nx record resolution [show,name] Usage: st app nx capture run count [n] Set the max test count as %d unit single basic Usage: st app nx record run [mode] unit do video record unit test single do video recording while changing resolution basic do record test while changing mode and video resolution full do full integration video record test If anyone wants to test. No time for me tonight.

Improved version now using BT to trigger running scripts from SD card (still modifies your rootfs): https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/Running_scripts_without_factory_mode_BT.md Apparently this works on NX1 as well, Wifi does not.

That is one ugly camera though..

I even bet the 5D4 won't beat the A6300, but I'm not sure it needs to. It won't have more resolution (almost certainly much less) but it also won't overheat in the middle of shooting a once-in-a-lifetime BTS interview with Tom Cruise or something. I have friends who do that kind of stuff and they've had to switch back to cameras with a worse image (despite spending more to get less) because A-listers have little patience and probably don't know what aliasing is. And so.... this argument is fruitless. The 80D is a great low end "pro" camera because it's reliable and the image is good enough to sell (the 7D was used extensively on national ads and still occasionally used as a B camera on major tv series). For resolution enthusiasts, there are lots of other options, though. So are you an artist or a hack? Sounds like you're an artist. Not me. I'll take hack if the day rate is higher and it's an amicable team. Even on my own recreational projects I don't want to waste time in post or on set. But kudos to people on both sides. Just because I don't have the finances or financial freedom to up my game doesn't mean I don't want to. Artists and hacks both have valid motivations, and even Spielberg money won't bridge that gap. Good luck convincing anyone to switch sides because they won't easily.... The A6300 probably has a sharper image than the Alexa 65, forget a Canon dSLR. If what you're after is technical excellence you've found it. Sure there's tons of skew, it breaks down on set, and the color is hideous unless you control it carefully–but the resolution is breathtaking and with enough patience and care in lighting you can work around the rest. But some of us are broke and need that paycheck. And worse yet we're lazy. Living wage is $80k/year in my market. Once that's paid for, I'll consider trading up. For now... if it pays, that's what counts. So I salute the 80D guys. I even want one because it seems so easy to use I can save on crew and pay myself more. But I also think it's sort of criminal that we still put up with such a soft picture, and that Canon won't offer more. All I need is GH2 sharpness and 80D everything else and I'm sold. Weird... really weird... that that isn't available even now. It should be.

Note, at the time the Isco patent was issued in 1970 the law was that the lifetime of a patent was 17 years from the date of issue. When a patent expires the time-limited right of the assignee to a monopoly also expires, and the technology becomes part of the public domain. So, its been completely legal to manufacture and sell Iscorama style systems since 1987, almost 30 years now!

I found switching to 70% brought a huge improvement in general quality for me, focussing on people instead of some small patch of sky in a window in the corner of the frame (for example) I think gives much better results.. 70% zebras plus simple histogram is also a great combination

Had no idea vimeo accepted H265 uploads, will experiment with that and see if I can get better quality.

I'm less interested in whether you like it or not, and far more interested in statements like "Sony's reds are all magenta" and the like - because for those who do use Sony - and please bear in mind, I use Blackmagic at the moment, I have Sony's for stills only, so have no dog in this race either - this information is really, really useful. I'm not presenting the two stills above to prove some BS ego massaging point, more to help nail down exactly whay Sony colours are doing and to help people get better results with their cameras! I'm at a stage where my Pocket camera is perfect for me, but as a result of my stills lens collection, in a year or two, Sony will be a front runner for me, so getting accurate understandings of Sony's shortcomings in the eyes of people like you, who has never, not ever liked it will be crucial in making a decision - please don't think I'm attacking your view, I want to work with you and people like you. I'm not going to give the answer as to which brand produced which image above, because I want people to feel safe in comparing the two images critically, without fear of being publically wrong.

Not 4k, but maybe someone wants to try. I started uploading h265 encoded stuff and I will continue to do so.

People asked about possibility to switch between EVF and LCD during video (apparently not working on NX1). Since I have NX500 I cannot really switch anything but what is described here works as described st app bb [lcd|evf|tv][on|off|osd|video] For example, to show only clean video on back LCD: st app bb lcd video To show only OSD (without video): st app bb lcd osd To turn it off completely: st app bb lcd off To show everything as normal: st app bb lcd on Now, someone with NX1 could try and report back if these things work and if this can solve the problem of switching the LCD/EVF during video. https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/Control_LCD_EVF.md

Wow. Mattias...thanks for doing this. I have never ever ever ever considered JVC an option. But to my eye....J Log looks like it would cut well with Canon C Log. Havent seen many tests online with it. From your 5 reasons video, skin tones looked really good. This truly is like the C100 we all wanted. I also have a ton of MFT mounts and vintage lenses and adapters. It would work perfectly into my workflow and would cut nicely with C100's when I do multishoots with my friends who all own Canons. However, Im still holding out for NAB....this really is a beautiful all in one camera. All for a great price too! I cant believe its hidden from everyone and nobody is using these.

Yeah, quite a lot of people think IS is a steadycam, when it is just for hand vibration. Drives me mental when I see reviewers jump up and down and walking slopily to test IS. I want to say to them: "How do you think that the small movement of the sensor or the lens can compensate for you jumping up and down? You are a moron!" Edit: I thought you were replying to someone else.

I think the death of anamorphic film projection and the resulting appearance of dirt cheap anamorphic projection lenses (e.g. Schneider Cinelux etc.) was also an important factor. After all, the variable diopter part is easy, its the cylindrical lenses that are hard to make. It will be interesting to see what happens once the supply of grossly underpriced projection lenses dries up.

If anything I add more grain as well. (but too much noise messes up youtube compression) I have used the default noise reduction in after effects after heavy noise application (>10% in premiere) but that is a procedure that is used only as way to remove color banding and it was only used back in the time that I was stupid enough to use s-gammut.

I used to think noise reduction was the key and holy grail to professional standard delivery when I first started handling footage in post. It helps sometimes, but now I'm so used to making sure I'm exposing with base ISO and adequate light to avoid the need altogether. I can't stand the plastic look that sometimes comes from it, and it really bogs down post-time for all the system resources it eats up. I hate 'color noise' or the digital blotches that come from compressed video. Guess that's why I hate seeing rainbow moire but can live with simple aliasing. Desaturating shadows helps. And as you said, a little noise never hurt anyone.

Check out C Log profile from Canon. Low saturation and contrast. Adjust to your liking. Still great Canon colors.

i like to do a little bit of neat video when shooting above 3200 on my A7, but i always and in some grain afterwards to make it more natural.

http://www.richardgaleoptics.uk/olivia-scope-15x/ Might have taken one apart & thought it might be easier to just make one?

well I couldn't let this go, so I did so of my own tests. a 4k video with 120mbs bit rate is recompressed to 22mbs.This is by using the download button in vimeo, A 1440p with 120 is compressed to 12mbs. Pathetic.I want to know what happens to my uploaded videos on their end. Exactly how it is compressed. Results using vimeo's own recommendations gave even lower bitrates. I also investigated what the default AUTO quality(you can no longed decide a default quality) always gave me a 720p version. WTF. I have a powerhouse computer and out of this world connection speeds. What do you need to get high auto quality? And I'm a vimeo pro for god's sake. I pay them. If there's something I'm not getting please enlighten. I'm ready to drop vimeo but I've spent a lot of time setting all my portfolios up. It's a major deal to move stuff to youtube.

I didn't mean to say that the hack doesn't increase detail, which you show it does. Just that my test, that was mainly done for testing the anamorphic combination wide open, does not show off this aspect of the codec improvements.

Blackmagic looked at everything I sent them and said it's fixed pattern noise. Their words. They are issuing an RMA so I can send it to them.

This is still true. the final file HAS 180MBit/s so they ARE used. This is no fill up data or anything like this.... well i can't proof that, but i'm pretty sure there is no such thing as filling data in mp4 containers... only television packets use filling data because they have to use a defined constant data rate. sorry, that was a lot of "filling data" but "filling data" is the only way i know to make bits disappear

My guess is that Rich is doing exactly this

I'm pretty unbiased, even into the sony colors sometimes. canon can give you yellow skins, and sony can make things muted interestingly, slightly retro or something..? not sure. but these don't seem white balanced the same at all, so somewhere there's a "problem". with a shot like this, if you don't have the other camera right next to it, I'll rarely care if it's "accurate" or whatever. none of those reds are super important or distinctly red... (maybe it's an orange candle, maybe it's a pink one, who cares?). maybe a portrait would have meant more for the test. Canon is usually too warm, and sony is called out for a magenta problem often, so I'd say 1 is sony. hell yes, the f35 looks awesome all day. if this camera does raw video, it won't make it a mini alexa. kinda click-baity probably better off getting one of blackmagic's mini alexas

Bitrate test 180MBit/s on Komputerbay card

This ^ I imagine it's largely a matter of financials: can someone (with the means and machines) create an Isco clone at a price that is both competItive and turns a profit. My guess would be no, otherwise someone would have jumped on this by now. Doesn't mean it couldn't happen in the future though...

Good call. Put an ef-m mount on this bastard and sell it as a body only camera for $1500.

Quick test, does not show off fine detail at all, but I do think motion is improved. Forgive my look, I've been very very sick the last couple of days.

Poll: burner NX500 for a chance [NB not a guarantee] to get "production" 2K5 high bitrate? http://***URL removed***/forums/post/57572799 rgds

It's personal preference. Some people live and die by their RED. Others Alexa. Others again Varicam. Still others F55. Some love the C300. Or C100. Or 5D. Or A7s. Or a GH4 The smart people do their own research, decide what they like best and use it. There's no such thing as an objectively best camera. I like my A7s and my F3 for day-to-day photo/video low budget stuff. When I have a budget, I'll rent an Alexa. Or a RED. Or an F55. Depends on the budget, depends on the project, depends on the needs of the script. You can spend all day arguing about which camera is better at this or that, but at the end of the day it comes down to what you like the most, and what helps get you the best images possible. I hated what I saw of the F5 and F55 when they came out. Now that I've used them, I appreciate them for the tools they are. You can get great things out of both of those camras. It's just that the original footage I saw didn't have someone behind the camera getting great images. Conversely, I liked what I saw of the Blackmagic cams when they were announced/released. Then I used them a couple times and determined that I hated them. Use what works for you People who buy purely on resolution are simply following marketing gimmicks. Even then, if money were no object they'd go for the one with the 'richest blacks', 'most vivid colour' etc. -- Resolution's not everything. You can't tell me my iPhone gives me better images than an Alexa because it's 4k and an Alexa's not. Majority of cinema is still projected at 2k. Netflix caused controversy by specifying that all new original material must be 4k. Many people are up in arms because technical 4k resolution doesn't actually mean a picture is any good - and actually having 4096 pixels doesn't mean you actually have '4k resolution'. As many will attest to Canon not having 1080p resolution, despite the video files having that many pixels, the same is true for 4k. That's why the Alexa can scale up to 4k so well, but you're better off scaling down a 5k-6k RED Epic, because if you shoot at 4k it'll be just a tad soft..

I think it might have been iso3200 which is usable but at the s16 crop it is a bit more aggressive. No weird colors which is good. The camera usually don't get that in shadows. Its main achilles heal are low contrast mid tones. When pushing an image above the 12 stops DR, trying to treat is a Raw or something, the mids will get the ugliest FPN when grading. Ungraded its ok. The good news is that I have had such footage in all my videos and its fine. One just have to face the limitations of the camera and crush the mids down where they belong. If I was shooting for news or something and didn't care about noise and grading, just want to confirm what I see, then the camera is +13 stops imo. Usable stops are 12.

A) It's unlikely as hell B) Sony already made a 'mini-Alexa' with the F3. Sony tried and failed with proprietary media in consumer/prosumer cameras. A number of times. There's a reason there's no more cameras on the market that only take MemoryStick cards anymore. I mean, who knows really with the Sony con/pro-sumer digital camera division - they're renegades. I just can't see them taking the gamble on this one.. And if, for some reason, they decided to - you'd be looking at a ~$4-5k body, plus the extravagant cost of the XQD media. At which point, why not buy an FS5?

Man, I totally disagree. A good Cinematographer/shooter/DP/whatever you want to call them can make an ordinary shot look nice. A nice camera can help them, sure, but it's the guy behind the camera at the end of the day. I've seen some absolute sh*t out of Alexas, REDs, F55s, C300s etc. I've seen horrendously noisy RED and Alexa footage. I've seen Alexas exposed incorrectly so as to massively reduce its dynamic range. I've seen people suffer from IR contamination because they don't know what they're doing. I watched footage from a very seasoned DP when the RED Dragon came out - and was amazed at how noisy the red channel was. He hadn't used the camera before, and wasn't aware that the red channel was going to get that noisy, so couldn't compensate. In the grade, they de-noised it. But you're talking about a RED Dragon being operated by a seasoned DP and there was still this ugly red noise. I've also seen some amazing stuff out of all of those cameras. I've seen noiseless RED footage and Alexa footage, after a bit of post-processing, and careful exposure. I've had the simple fact that it's not the camera, it's the person re-enforced so many times through my own experiences, and I think a lot of the time, people would be better off learning more about exposure, lighting, lighting ratios, metering etc. etc. than trying to find which new camera will finally make their footage look like a Hollywood movie.. -- The 80D is not great for video, but it will probably be popular in the market it's aimed at. I think Canon knows 'serious hobbyists' are a market that have already moved off Canon - and who knows, maybe they haven't seen a huge effective decrease in sales for this particular series. I do think there's merit in comparing similarly priced cameras, especially for video - as this forum is tailored to that specific market, and it is pertinent to point out Canon's 'failings' (for lack of a better term - market choices could be another). But that doesn't mean the 80D can't be a capable camera in the right hands. Get informed and make an informed decision. A different camera is probably going to give you better quality, but hey - if you want to deal with some of the issues outlined here, that's your prerogative. No camera is perfect, so you'll always have your own preferences and compromises. If you need that Dual Pixel AF, and need AF with your Canon lenses, and you can't spend heaps of money... maybe it's the camera for you

ok just a quick preview of the test i shot earlier. here are unedited 14 bit jpegs from the timeline. one is at bit rate 80mbps, 180mpbs, and one is 660+ mbps (shogun). can you tell from the stills (shogun might be obvious)? i'll upload the actual video files a little later. if anyone wanted to take a stab at grading these, i'd love to see it. wanted to test banding, shadow detail/macroblocking, skin tones, but had to run the test really quickly so I chose these settings: normal gamma, -10 contrast (to induce banding), -10 sharpness, 16-235 the color chart is just for reference, btw.

Hey there guys, been a lurker for awhile but decided to chime in on this conversation. I actually had an opportunity to play around with a GX80 (and the PL 100-400) today at my local camera store. They had a rep there who happened to have a copy on hand and he let me use it. I was really impressed with the Dual IS in 4k. Its stabilization is as good as the EM5 II but with the added benefit of resolution. The story wasn't as good when I mounted my Oly 12-40 on it however. There was some sway and shake in the footage when handholding but it didn't look too severe. It would probably be easily stabilized in post. EDIT: Also, he told me that IBIS stabilized video will not be coming to the GX8 via firmware at all. The reason he gives is that the IBIS in the GX8 is spring-based and therefore not compatible with video while the GX80's is electromagnetic.

Its an awesome idea for a thread, but I rather have footage straight from the card, no exports. And info on camera, lens, and PP. Then we can see the difference in how we grade and discuss how.

Don't know how others grade but to me its 100% relevant. Did a grade that usually looks nice but the codec fell like a house of cards. Its a trial and error until I know and that just takes to much time So I just did a quick thing treating it as rec709. Nothing special, leveled it 1 degree as well.

Here, try this on for size & so you can compare with yours - from my pocket really low light test (its anamorphic so change the vertical height - divide by 1.5). Shot with a Nikon 24mm @ f2.8 & Isco 54. This is stressed & I would never shoot like this, grade or even use this. https://dl.dropboxusercontent.com/u/90827273/Pocket%20Low%20Light.dng I raised the first by 5 stops, raised the highlight compression to 16, moved brightness to 60, Local contrast to 10 & contrast to 5 - all done in RPP. The second, I did the same but took some contrast out. This is RAW so ISO/ASA doesn't count