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http://www.amazon.com/Samsung-Wireless-Smart-Camera-16-50mm/dp/B00V5UDU60/ref=sr_1_2?ie=UTF8&qid=1461082163&sr=8-2&keywords=nx1 But please do not buy it in the hope that more capabilities would be unlocked by anyone. Nothing is guaranteed. See here why: http://***URL removed***/forums/post/57624059.

@Jonesy Jones dude thanks for your time and effort in posting all this interesting information and feedback, its a great perspective ill prolly never go to NAB because i hate las vegas, but id love to go, but thats kinda bullshit bc even if their show came to LA id be useless as a voice from the floor..... id just be walking around the whole time super high like "Wow..... oh man......so many Ks for so few Ks..."

The only Mac I'll consider buying is a big one from McDonalds.

Could it be that finally, RED and BM are both busy with actually manufacturing their cameras? :D

I thought so. You are applying the subjective connotation of negativity, when in fact there is no intrinsic link to negativity in the definition or theory of scepticism itself.

Here's what I think is happening. Blackmagic is definitely working on a new camera, but instead of announcing now and hoping to ship later this year, they'll announce at NAB 2017 and ship immediately.

If you could go by the Samsung booth and just say.... What the Fuck guys.... WHAT THE FUCK lol. Apparently they do have a booth so if you could go by there and take some pictures of the professional broadcast level fridge camera that would be great. Thanks

Bought a stills camera today that came with the Olympus 17mm f1.8 (the nice one with hard stops). Turns out it covers the full s35 on the LS300.

Yep I've had that happen too. The worst is when you hand off a final render to a client and they use "enhance" on YouTube.

Would be interesting to see (or hear...) if the preamps are really capable. Saying that it´s just better than "most of DSLR preamps" is not very promising, though...

Wow this went off topic..... but in an entertaining way :-)

I wonder what could Blackmagic do to integrate Cineform ST 2073 VC-5 as a codec for their cameras, being crossplatform it would start to make sense over Prores, even more now. Specially if it can be encoded in PC and mac.

I am eager to see the full review As I have many lenses from super 16mm to full frame, it would be a great camera for it (plus super 16mm zooms are quite fast and super cheap !) I guess B4 lenses would be an option too (but the image circle is still a bit smaller than super16mm, would B4 lenses cover a sufficient amount of the LS300 properly ?) But I just bought an AF100 and 4k$ isn't an option right now :s I still have to rig my AF100 and buy an external monitor :s BTW, I just began on working on review for the lenses I own (a bunch minolta primes and some M42 lenses)

demanded != being useful/used.

I have had lots of 4K cameras and even 4K Raw cameras and the screen to watch it. And I agree. As soon as you put it on youtube you might as well upscale HD. Same goes for Vimo. And as pointed out, TV is 720p at best. DR and color is much more important to make an audience like it. And reframing isnt my thing either. Ive done it on for example an interview where the space was to cramed for two cameras. So yes it can be a life saver. But for me its an emergency tool, not SOP. All IMO of course.

could the following be used on the NX1? From here: http://x265.readthedocs.org/en/default/cli.html --nr-intra <integer>, --nr-inter <integer> Noise reduction - an adaptive deadzone applied after DCT (subtracting from DCT coefficients), before quantization. It does no pixel-level filtering, doesn’t cross DCT block boundaries, has no overlap, The higher the strength value parameter, the more aggressively it will reduce noise. Enabling noise reduction will make outputs diverge between different numbers of frame threads. Outputs will be deterministic but the outputs of -F2 will no longer match the outputs of -F3, etc. Values: any value in range of 0 to 2000. Default 0 (disabled).

Man, you can wash your blacks out a little bit - don't listen to these idiots, since taste is absolutely subjective. And your footage always looks nice...

Congrats for all the effort guys (Chant, Vasile, Otto...). I'm very excited to see all things you are implementing on this cameras. Now with the new Blackmagic View Assist 4K i was wondering if (even on our more remote dreams) would be possible to get a RAW image via HDMI. I have no knowledge in this area and i apologize if it's a stupid question. Take care and keep up the good work!

Blackmagic Design have announced an affordable 4K recorder and 7″ monitor. Unlike the existing solutions on the market, the View Assist 4K records to UHS-2 SD cards and costs under $1k. Read the full blog post

I know for sure Amazon charge what the market will bear :-) - which is remarkable for a camera more than 18 months old. I will keep an eye on it to see if they do sell it. As an interesting tidbit: they (amazon.fr) kept the price of the 30mm, for a long time, at 205 EUR, which was, incidentally, precisely what a French brick and mortar chain advertised it for (I think it was one of their last ones). A day after the non-amazon price disappeared, Amazon price suddenly went up to >300 EUR. I wonder why :-)

yes

Does this count? There's Still a Lack of a good dual sound recording microphone (on an SD or MicroSD). The Shure Lenshopper is good, but not directional enough. This is cheaper by $100, and even records a safety track. And either headphone or mic input (I am guessing only 1 of the 2). Looks terrible, but who really cares about how it looks? http://tascam.com/product/dr-10sg/overview/

All those in favour of voting off @Brian Caldwell reply yes.

i just think that last year and the year before were incredibly highly packed and this is more like it used to be, but i also expect fotokina to be awesome.

Kino Seed just posted video of 2.5K video without noise reduction - http://***URL removed***/forums/thread/3990893?page=2#forum-post-57632926 Noise grain is very visible here, but we should realize that it is quite high ISO (6400). I think it would be more usable and subtle in 4K. It is proof that noise reduction is not built-in the codec - really great news I think. Vasile/Otto - is there any chance if 4K could be inserted into slot for VGA? Maybe then 4K would be without NR. I am wondering how it would affect 1080p modes which suffer with high NR above low ISO.

Sure you can make fun of people using a lut as a starting point, those same people make fun of me when I light something with a light from the home depot but whatever gets you to the end goal, who cares what they think. And I like instagram filters - for some projects, it works. For others, more naturalistic ones are good. The biggest thing for me is skintones - get this right. Once that's right, then everything else you can play around with. But if skintones are off, the whole thing won't be believable. Also Aaron Chicago and kidzareevil - your delut work is really, really, nice! what lut names are they? I like Baxter a lot. I used that to color a commercial I just shot.

I would be very curious to hear a comparison between the HD1000 and CAME H4. I've also seen people recommend the Blackbird. This seems like a great higher-end option, if pricey. http://www.bhphotovideo.com/bnh/controller/home?O=&sku=1148838&gclid=Cj0KEQjwrte4BRD-oYi3y5_AhZ4BEiQAzIFxn7g7PmBoDDk61YraecWxg5c2_L9UTisaOo8K7RLMU2saAla48P8HAQ&is=REG&ap=y&c3api=1876%2C52934714882%2C&Q=&A=details I'm trying really hard to decide between one of these and a Beholder DS1 ($600). Any insight from you more experienced flyers would be much appreciated.

I doubt the BOM is over 200$ for the body, let us say 300 with manufacturing. The rest is retailer markup and getting a return on the investment in IP. IP investment can be considered sunk cost at this stage. I guess what I am trying to say is incremental cost/camera for Samsung is very very low, once they have written off development costs - which they seem to have done after the restructuring of their imaging division. So there's nothing to prevent them to continue to make just enough of them so they can still claim it is not discontinued, and keep their options open in case the market recovers.

Matt says they are seriously considering 10 bit 4-2-2 Internal. That would be Huge. And maybe moving to Faster Cards too.

Sometimes one just have to question what insanity Samsung went through to make it so damn hard to just disable that NR, even if HEVC is a lets just say not the best codec out there for a camera but even with NR off the differences are night and day imao, it still wont be glorious but Samsung should have stopped being so childish and just given us the option to turn this off I remember quite early a lot of NX users asked for this, we been ignored ever since about it. Despite them pushing out the updates they never included an option for disabling NR in video mode.

FYI guys: you can ignore users to stop seeing there posts. Click on your username at the top right of this page and select "Ignore Users" from the drop down menu.

Sounds like it's the same sensor that's in the BMPC. Not sure if BM is withholding 4K/60p or it was a heat issue.

Hey Dan, Primers correct the fixed offsets of the camera, deep within the signal and do that with S-Gamut. Additional WB offsets which result from that are taken care of. AWB camera function is another thing and has no relation. Other color profiles also mess up colors but in a different way, and all of them make the footage look very "digital" due to the way cameras of that type process the signal. Primers help with that and shape the image in a different way. One on their purposes is to correct the image, another is to reduce the digital feel. That is done through a number of methods I had to develop from scratch. Another thing that other camera profiles do is reduce the DR. Primers don't. Another thing that camera profiles do is enhance the effects of 4:2:0 sampling. If you look closely at the footage shot with one of the picture profiles you may notice aliasing edges of strong saturated colors, as a result of in-camera processing boosting 4:2:0. That is reduced with Primers. Regarding banding, that is a general problem with log + 8 bit 4:2:0 + h.264. I tested A7R2, A7S1 and currently working on A6300 and all three exhibit the same issues. Banding here and there and sometimes blobs of macroblocks having a party. That's the h.264. Log itself is not an issue, compression is. S-Log3 works nicely as well. The issues mostly come from unexpected scene-dependent camera compression. Going through your list: 1) Taken care of 2) Taken care of 3) Taken care of 4) Partially taken care of. Tonalities are ironed. The rest is a moving target and mostly depends on what a camera decides to throw away with compression. One cannot fix what isn't there. I've had clean blue skies on tests, I've had minimal issues and I've had a circus, with clouds especially and around branches with clear skies behind, on all three cameras so far, and it is there in untouched XAVC-S, regardless of the under exposure or rich exposure, and exists regardless of later image manipulation, so that is out of reach for the transforms and up to Sony to fix. Much of the scenes work nicely with Primers even in XAVC-S. I do initial tests on XAVC-S to see the worst outcome. What doesn't work, has very little to do with Primers, they may just make the issue more visible, in which case they do not have to be applied in post and can be seen on the set with a 3DLUT capable monitoring solution. That is why it is recommended on the Primers page to go with external recorders and Prores and 4:2:2 out and the issues are minimized. Today Prores recorders are much more accessible and those combined with Primers take the camera on the next level. It is not a "simple LUT". Nothing about them is simple. A lot of time and work went into this, with N-revisions, custom developed analysis, optimization and testing methodology, inherited, adapted and further developed from broadcast and film post experience. A7S1 Primers are done and available on the page, working on A6300 at the moment.

Hi everyone As I have a bunch of lenses (most of them are in Minolta MD mount), I am preparing a few lens tests. Would be a good experience for me I think as I watch a lot of reviewers/filmmakers videos. The non exhaustive list of the old lenses I have available to test are : Minolta 28/3.5 (MD) -> Quick Test done Tokina 28/2.8 (MD) -> Quick Test done Super Varexon 28/3.5 (M42) -> Quick Test done Minolta 35/2.8 (MD) unknown 35/2.8 (M42) Minolta 45/2 "Pancake" (MD) Jupiter 8 50/2 (M39) Minolta 50/1.7 (MD) Minolta 50/1.4 (MD) Minolta 58/1.4 (MD) Helios 44-M 58/2 (M42) Helios 44-2 58/2 (M42) Minolta 85/1.7 (MD) Minolta 135/2.8 (MD) Praktica 135/2.8 (M42) Minolta 200/4.5 (MD) Tokina 400/5.6 (MD) Makinon 500/8 Reflex (MD) These are the lenses I can test right now, with and without a speedbooster (I have a Mitakon Lens Turbo II MD to m4/3) as I can adapt M42 to MD without any problems. I am beginning by doing quick and dirty tests in order to choose the lenses to test properly. I don't want to try a lens which is just bad in everyway (but do you guys want to see it anyway ?) I will be updating this first post with everything I'll be doing based on your remarks. Test procedure for the quick tests : Same camera settings, same exposure on the lenses, same grading, shot with my AF100 (AVCHD codec) in 1080p/24fps 28 mm lenses (at f/3.5) IMO : The Minolta looks sharp and contrasty, the makinon is not bad either but has a bit less contrast. Saying that the Super Varexon is soft would be an understatement. More to come (35,50,85 and 135 already shot) Thanks for the read

Panasonic not considering larger sensor in GH

Well, there are no samples yet - guys there just test it and they have not yet uploaded any screen grab from the video to proof there us is no NR BTW - I saw noise grain in very early stages of 2.5K video so I believe it is possible (see above)

I forgot mentioned it - NX1. Moreover - it is screen grab from in-camera timelapse so it is not so static scene but quite complex with fast moving trees, waves and clouds. There was some small macroblocking in blue parts but they disappeared after conversion to 16-235.

So Kinefinity are gods? I remain skeptical:-)

I used one of the DeLUTS on this shot and brought down the blacks with a curve. Set the strength of the LUT at 50%.

2.5k doesn't yet work on NX1, right? Ideally/hopefully they can come up with a way to have a manual resolution input option (maybe couple with bitrate and frame rate selection as well) so you can even use resolutions like 3200*1800.

You do not need to use a battery on the back if you're using the handle with a battery in the handle, that is what they meant. And yes, it has a DC IN on the side as well.

You do not have to have a 4K-capable viewer to see the benefits of 4K. Viewed at 1080, 4K original footage quite easily has higher resolution, streamed or not. This erroneous point about needing to have 4K viewers to see 4K benefits seems to be made by people who want to rationalize why they have not made the investment in shooting 4K. And, no, I do not believe that resolution is the only thing or even the most important, but I am not in denial that the benefits of 4K are not visible unless you have some special "capability" to view 4K. It's not a joke, or a delusion unless you only shoot close ups of flowers where 3/4 of the frame is bokeh.

Its a very interesting grade, as she looks very natural, whilst it also highlights the warm colour in all the lights. Yes it always amazes me when people talk about great DR and then don't ever use it to full effect - they just stick a LUT on it & go wow look at this. Its like people who think they need a 4K camera & don't realise that hardly anyone has the capability to actually view it - compounded even more by the fact that no HD TV channel is actually broadcasting in Full HD & streaming can be/is an even bigger joke. Once you point this fact out, they come back to you with "well, now i have the ability to re-frame" - which is basically admitting they can't frame properly in the first place. Or, they talk about pretending they can downscale & somehow miraculously convert 8-bit into 10-bit. Each to his own, i suppose.

I was playing around with this last night and it looks like you can get the Saturation, Sharpness and contract to values that are not shown in the menu including negative numbers. ex: if you set sharpness to -10 in the menu and do "prefman get 0 0x87c l" comes back showing the value is set to 0 and like wise if you set sharpness to +10 in the menu and prefman get again reads the value as 20 therfore -10=0 and +10=20. now if you do "prefman set 0 0x87c l -10" witch would be an equivalent to -20 sharpness in the menu then do a "prefman get 0 0x87c l" it read the value is still being set to -10. I will do some more testing to see if the value is actually sticking during or after recording and if it makes a difference to the quality then report back. I also wrote a script last night that uses nested while commands to consecutively record 5 sec clips testing all the gammaDR setting in a given range. this could in theory test every possible combination for saturation, sharpness, contrast setting automatically(1000 tests total). Let me know if any one is interested in this script for themselves. This script could also very easily be altered to do or include MBL, RGB setting or HUE settings if that is your kinds of thing.

There was a side by side comparison with the a7s and f35 in an old thread about motion cadence, but to me it showed rolling shutter more than cadence issues, kind of cheating. In Philip Bloom's a7s review, in his talking head, his hands when he gestures seem to move really weirdly, and I think I've come to see that as more of a cadence issue, though for a long time I was convince the shutter speed was wrong or something. I know it's not in direct comparison, but that's where I've seen it the worst probably.

I disagree as well. James Miller and Philip bloom make every camera and sensor look identical at this point with their heavy heavy filtering. I just want them to attempt to make some natural looking images. Ed, I love your color work on the F3 and the other older sonys. Gives it character in good taste.

I think MJPEG is without noise reduction - could it help to find where it is set?

Isn't it a bit shady the fact that they give you more details about the money they want than the specs of the camera?

Hey guys, I found this new anamorphic lenses ... information here:   The Servicevision Booth was directly across from ours at NAB. Managing Director and Cinematographer Andres Valles surprised me on opening day with a preview of a set of 13 Scorpiolens anamorphic primes to be introduced at IBC in September. He also introduced me to the lens designer, physicist and optical engineer Cristina Alcaide. The Scorpiolens anamorphics are all 2x squeeze, and all have a slender front diameter of 95 mm. They are T2.0 from 24 through 100 mm. 130 to 260 mm are T2.8. The 300 mm is T3. Average length of the lenses is a mere 6.3 inches. The 24, 28, 150, and 200 mm are 7.5 inches long. The 260 mm is 8.3 inches, and 300 mm is 9.6 inches.     More info: :o   http://www.fdtimes.com/2012/04/29/scorpiolens-anamorphic-prime-lenses/       The Scorpiolens 2x anamorphic lenses are expected to exhibit practically no breathing and very little distortion, even at close focus. They will cover up to ANSI Super 35 Silent aperture (31.14 mm diameter). Feet and meter scales can be exchanged. Internal focus keeps the lens a constant length. Telecentric and multi-aspheric design, high resolution, and consistent optical performance are planned over the entire focus range. Servicevision is the largest motion picture rental house and manufacturing facility in Spain. Offices in the US are in North Hollywood. - See more at: http://www.fdtimes.com/2012/04/29/scorpiolens-anamorphic-prime-lenses/#sthash.jTi2HrSd.dpuf

The Zeiss have superior optics but seem quite sterile in the looks dept. The clip above is devoid of flares and the squish you normally get during pulls with wide aperture, the later is obviously desirable but seems to be gained through a loss of the more traditional aesthetic.