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Time to make this topic alive again, comon people, lets get sharing !

Shooting in Iceland at sunset is officially cheating

hi guys. that's my quick little travel piece about a train in yangon. yes, the d16 is not the perfect camera (and I didn't even update the firmware then) but, like many people, you use different cameras or techniques for different purposes. I'm still amazed this thing exists, it fits in a large pocket, and it's simply a joy to use. the post production is a bit of a hassle but the images are magic. so take what you will..

I'd love to get back into this soon. I've started a thread for people to post regular summaries of the latest progress regarding the hack, since it can be time consuming to read so many posts in the dedicated forum for it, to get a general impression of where things are at. So guys, hit me with the latest news....

I woudn't expect nothing comparable to the a6300 in terms of low light performance from the nx1. It's just not made to work in low light. If i get acceptable 3200 iso, i'm already happy. But of course... without all the nasty macro blocking.

My question is is the gyro calibrated? From reading the description of your problem, this could very well be it. After you balance it, you have to calibrate the gyro or it's gonna freak out. They should really emphasize that the gimbal will not work properly unless it is. I'm just going to guess that the H2 needs calibration as well. And even calibrating properly requires some digging into Pilotfly's youtube channel. I think the gimbal manufacturers need to get off of the idea that a gimbal should work out of the box. I just really can't see how they can come up with a device that's going to support the whole spectrum of bodies of lenses with just 3 preconfigured profiles. It's just not going to happen. I think that's the problem with the Came TV Single. There's are some people who got really lucky and it actually worked out of the box, then there are a lot of people running around with terribly unbalanced and uncalibrated gimbals and they are relying on the batteries to compensate (thus the really poor battery life for some), and there are just people who return them because it just doesn't work for the configuration. In my experience, PID settings really don't seem to change much of anything unless they are grossly miscalibrated. The buzzing and the freaking out from my experience is from the lack of gyro calibration and improper balancing.

Thank you :D I use mostly the Samyang 14mm f2.8 and 24mm f1.4, however, I recently sold everything and am now rocking a Sigma 18-35mm f1.8. Thanks :D I editted in premiere and then exported to AE for the transitions, I still havent found any plugin that makes this automatically, so I do it manually (scale/rotation/etc) and then I add blur to make it smooth.

I feel like the guys at Aputure noticed... 'geez, what are they charging for that sorta gear? I thought cameras were starting to allow more people an entry into filmmaking... guess it's up to us to make the rest of the gear follow'. Monitors... LEDs, accessories (like DEC schtuff). Not too shabby at not too shabby prices! (oh and how many times I notice myself saying 'aputure' when I meant 'aperture', speaking of branding that sticks)!

Yeah im not bothered with the sensor size. I do want better color, At least 10bit, a hell of a better noise performance and more DR and RAW would be nice so I can choose to have the the image a lot softer for cinematic purposes, and sharp for travel video.

Yeah Ive been working out of Sweden for over a week so I haven't been able to do much. But now Im ready to get back on track and get the review done. There is so much cool feature framed in that thing, I want to show them all. Also I think my Chinabooster is here tomorrow, and hopefully my adapter for my Canon TV-zoom Meanwhile I just fell in love with a camera today. Did the stupid thing an asked to see it in a store. It was like when I got Gunpowder. I was only there to "look" at puppies I shot a cheesy little unboxing with the LS300. Graded it totally over the top. It was shot in C4K 24p and Cine Gamma, which btw Im staring to really like.

Camera : Bmpcc Lens : panasonic lumix 20mm 1.7 Color grading : davinci resolve 12 with ARRI ALEXA negative film lut to Kodak 2383 D55 film print emulation https://www.youtube.com/watch?v=ZJHnSNOlZbs

Better colors, v-log Better low light; noise free up to ISO 3200 or 6400 Better DR(14 stops) 10-bit 422 internal I'd be in line to buy it with these specs.

And if you need SDI, you can always hook up BM's new HDMI - SDI adapter to your Ninja Assassin.

Those Zeiss lenses are trully great ! Wish I could afford one !

the nx1 is a bit better than a6300 noise wise, even at iso 3200, in photo mode. There is something going on in video which destroys the output at high iso.

We do not now how it it would look like in 4K (according some comparsion 2.5K look a little worse than 1080p). But I still think that NX1 has similar low light performance as A6300 in photo mode (or even better), so problem is in processsing of video (NR, codec?, I do not know...) which is not so good. http://***URL removed***/reviews/image-comparison/fullscreen?attr18=daylight&attr13_0=samsung_nx1&attr13_1=sony_a6300&attr13_2=canon_eos5dmkii&attr13_3=panasonic_dmcgx8&attr15_0=raw&attr15_1=raw&attr15_2=raw&attr15_3=raw&attr16_0=3200&attr16_1=3200&attr16_2=3200&attr16_3=3200&attr171_1=off&attr171_3=off&normalization=full&widget=1&x=0.03542132736763609&y=0.049389567147613764 http://***URL removed***/reviews/image-comparison/fullscreen?attr144_0=samsung_nx1&attr144_1=sony_a6300&attr144_2=canon_eos760d&attr144_3=panasonic_dmcgx8&attr146_0=100_6&attr146_1=100_6&attr146_2=100_6&attr146_3=200_5&attr177_1=off&attr177_3=off&normalization=compare&widget=205&x=0.351873536299766&y=-0.18579365079365084

An image is worth more than 1000 tutorials. I'm still in progress. Last night we spent about 4 hours playing with wires and stuff, and then. Today I kept going for more two hours and voilá! I still need to polish the edges, but it's MUCH better than my first attempt through brute force. Every step has been properly documented and I'll still repeat the process for the last diopter, hoping to get better shots still. Thanks Brian! I was trying to avoid resorting to expensive tools or specific services since they might not be available to everyone (if I were back in Brazil, I wouldn't be able to find a place that understood my goals, for example). Doing it with stuff that you can buy off any hardware store is more appealing to my current goals of making the knowledge and tools accessible to everyone. That being said, I believe I would've gotten a perfect result with a saw and saved myself some jump scares, burnt wire, plastic, transformers, watching stuff glow red hot and a TON of time polishing edges. HAHAHAHA!

Battle-Tested (used) KineMINI 4K From $2,499 4K 12bit RAW http://www.kinefinity.com/shop/kinemini-battle-tested/?lang=en

I recently did a shoot with a rented RED Epic Dragon. The package came with 5 V-Lock batteries and a dual charger. When we shot indoors, we simply kept 2 batteries on the charger at all times and swapped out as needed. At our outdoor locations, we made sure everything was charged beforehand and powered through the day, or had our DIT holed up at a coffee shop with a power strip and the charger and ran a PA over every now and then to grab the charged bricks. I assume you'd use a similar style with the Terra, except that you could probably get by with 3 and change out less often due to the lower power draw.

So... yes... what was the surprise now?! That there's nothing anyone is interested in for some months more?

Sorry I meant the micro Studio camera. So confused with all these names...

Really nicely put together. Can I ask, how do you achieve such transitions?

Yeah, GH4 + VlogL + 10bit external is great in my opinion. If you're shooting any of the other color profiles it probably doesn't make much sense to go 10 bit.

It says it draws 20w so almost 5hrs on a 95wh battery. But apparently it depends on your format and setting and monitoring mode, for example that's probably with low power 720p monitoring enabled.

This looks great too btw, gotta ditch my 663/O/P2 for this:

Why would they want to compete with themselves, though? That would be the whole reason to start a new thing to begin with, tap into the lower-end market and appeal to the mirrorless shooting crowd and one-man-bands. That's where everyone is still thinking... 'where I do I go from my GH4/A7S/5DmkIII?'. This way their RED aim can still be production team companies, yet get a new stream of revenue from another place. Though, in all fairness, I doubt any of that is the case, because then it would be less 'hey, here's a fun idea' like a crowdfunding campaign and more of a structurized less feel-driven, more fact-driven set-up. Though, it could also be like one of these Hyperloop design teams where Elon Musk had an idea and invited teams to compete with eachother on their own designs/concepts. Jim (RED) could've been like: 'listen, come up with something that allows mirrorless shooters and entry into cinema cameras without it being too much of a set-up in price and still have a little gap towards high-end cinema cameras such as our own... go run with it, do as you like, let me know when it's done'. But yeah, I think it's unlikely. Good pun though, there, btw.

You need a V-mount for the KINEback. The camera also comes with the KINEgrip which goes on the right side of the camera and takes Sony batteries. Bit like RED do with REDvolt batteries and a side grip. The key thing is you can strip down the camera to a small block that weighs hardly anything. I remember seeing a couple of film films shot on the original KineRAW S35 and i was gobsmacked. The image was timeless and very organic looking. Clear with a lovely light grain. I prefer that over the Ursa Mini 4.6k which seems like a very powerful, very modern HDR-like image. Whatever floats your boat, but I prefer the Kine look.

Well I made my decision and can't say I'm unhappy. Made a little noise torture test with Scarlet X, latest firmware, sensor newly calibrated. For those unfamiliar, ISO is set in post with raw, while the exposure meter gives a preview of what your post settings will achive, as well as bars for total noise and clipping so you can see how much lights you're getting into the thing. This is at effective ISO 25600 (12800 is max selection in Premiere, with 1-stop of FLUT push), shot at 10:1 compression (!) Here you see the noise unprocessed, then with Neat Video, then unprocessed again. watch it in 4K a couple of times to get a good idea. The image is far far brighter than real life, it's a little shadowy corner with a tiny amount of natural light. The joy of raw! As I test more I'm working out how best to use ISO to set where your dynamic range lives. In future I'd do all shots intended for high ISO at lowest compression just to get every bit of detail i can. I love that when it pans over to the leaflet you can read it all so clearly. Magic! I knew it would be good but this is just... silly. Don't worry though, I still love my Canons The camera is extremly heavy with an Anton Bauer battery on the back, and with a Redvolt the battery life is abysmal, plus the footage is big and the media are nauseatingly expensive, so it'll never be as convenient as a C100. But god damn, tis pretty. Can't argue with 16-bit colour even when you're attempting to destroy it... Neat Video 4.1 is a great update. It makes full use of powerful GPUs and has brilliant temporal settings that assist with low-frequency noise across time. Great stuff!

I would like to see this hooked up to a Leica SL, which can actually output 4k 10-bit.

4K 10-bit Prores - This is what the blackmagic ursa mini 4.6K is about. It's the only one that does that in the price range. It lacks the lowlight and autofocus, but those are specific features (some would say niche) for other cameras. It has a few bugs, but so does every new camera that pushes boundaries. Some of you are looking for a perfect solution for features, performances, and price, and it doesn't exist. You demand it like some God-given right. "Why can't X, why can't Y" - because these are companies that operate in a market, as do we, in various segments, and these products also must obey the laws of physics. The Sony A6300 is a prime example of that. It's both brilliant and terrible, an incredible value and useless. But somebody is probably going to use it to make a movie, that will also probably be terrible but not because of its visuals.

Get yourself a single-focus unit (Rectilux or Rangefinder), and a monitor that can de-squeeze the image. I personally stick to f4 and think it almost always looks fantastic.

I expect this could be very very damaging to the likes of RED. not so much Arri since they still deliver the top dog in terms of cameras. But the fact that this little Terra shoots 6k and has a focal reducer pretty much means it outdoes everything except the upcoming 8k Dragon/Weapon. The 1 stop increase in low light probably allows cleaner low light results too. Looking at what I;ve seen from the Kinemax, it looks to me as good as I could ever imagine anyone needing for even the highest end productions. The Terra uses exactly the same sensor so will likely deliver the same image. You could buy 3 terras that are ready to shoot for the same price as a ready to shoot low end RED.. And even if the image were half as good as from a dragon sensor people looking at scarlets and ravens will now be looking at this little camera. and seeing $5000 extra in their bank for investment in lenses or other gear

probably the nicest thing ever made using that name

It's disappointing that he has taken the oversized sensor off the table completely, but if they can eliminate the few compromises/shortcomings of the GH4, along with even a modest spec increase, and emphasize the usability and reliability of the camera they could still have a market share. Not everyone can/wants to deal with mega-jello or overheating or fleeting battery life. Basically, just give us a GH4 with clean 1080/120, and 4K with no crop at >30p (even if it's only 36 or 48p). Improve low-light as much as possible, go down to 12MP if necessary, nobody complains about the a7S being 12MP. Get rolling shutter as low as you can- sub-20ms for 4K, 10-12ms or better for 1080p. You're not gonna make the GH4 big or pricey enough for CFast/XQD/SSD/etc, and UHS-II is still kinda pricey, so go to h265 so you can still use U3 SD. Or go to UHS-II and stick with h264. Either way you need to do 10-bit 4:2:2 internal, at 100-150 mbps for h265, or 200-250mbps or more for h264.

I just want the 5-axis, better low light, a recording YAGH for backup and the same focus transitioning as the 80d without the stuttering and self doubt. I know, not easy, but not incredibly out of reach either. The YAGH was a missed opportunity to replace the AF100 but the idea was really clever, I hope you're right and sell a new version.

Apply my NX1 LOG LUT first as the input LUT then the DELUT as output LUT. http://www.eoshd.com/samsung-nx1-video-settings-guide-tutorial/

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.

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

It is a shame to have a camera in 2015 with usable ISO at only 1600.

Thank you Rich! Just did this for the front element on a B&H and it made things way easier! Cheers, |. . | .|

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MattH, no-one has any issues with your skepticism, in fact I think we all really rather agree that it is sensible to wait until we can see the results of the camera, and it's support network. DBounce however was not being skeptical. His gambit is that Kinefinity are conterfeiting prores, as evidenced by his link to a federal counterfeiting website, on the basis that they are a chinese company. "China doesn't need permission do they?" When everyone pointed out that his evidence was shaky, and the full picture indicates that they are in a convoluted process of getting the licence legally, (which has now been confirmed to be the case by Kinefinity) he went quiet. that was until he saw the rotated buttons, when this became evidence of their poor quality control. In my opinion that's just as bad as not being skeptical - either being a fan or a hater of an unreleased product are just as bad as each other. If I were to apply skeptical thinking to DBounce, I would suggest he has been prone to jump to conclusions, and make somewhat xenophobic statements, thus when he states an opinion about a chinese company, my skepticism tells me not to take his opinion at face value and triple check his evidence. We all know you don't get to see Apples, Nikons, Canons or Samsungs pre-production models, they employ consultants and maybe even have departments dedicated to hiding pre-production electronics whilst they are being tested at that level. Remember the preproduction iPhone that someone snapped being used on a train? It looked like crap and they got a roasting in the clickbait press for it. Try to find that picture now. They pursued every copy of that photo that was published with c&d letters, because they know it looked like crap. Is that really what we want kinefinity to be doing, because that little skeptical part of me tells me that if DBounce found out that Kinefinity was trying to hide their pre-production flaws, he would be presenting this as evidence that they couldn't be trusted.

Hmm so many questions missing from that live show interview. And they really need someone who understands and speaks English better. Only thing I got from that interview was that the 5k sensor does use dual-gain amplifiers. Sadly Rodney Charters didn't understand the difference between dual-gain pathways and dual-exposure HDR as is a common confusion and the Kinefinity guy didn't seem to fully understand the confusion. My guess would be that the global shutter mode can only use one gain amplifier and is more greatly limited in DR by the ADC as most single-amp cameras are, but it should still be able to take advantage of the sensitivity of the sensor by applying more gain as long as hardware gain is adjustable. Gonna have to put in a pre-order, at least the $150 payment is refundable and will give me me a $500 discount if I decide to stick with it.

I'd LOVE to find some affordable dedolight clones!!

Except most 'cinema' setups have in-camera scratch-tracks at a minimum, if not Genlock TC as well. Even middling corporate shoots tend to have that these days. Where's the Genlock? I agree. This looks like the modularity that RED wanted, but even RED with their R&D money, and cost of modules couldn't quick get it to work that way. And what's the go with the price? The website (unless I'm mistaken) tells you nothing about what the eventual price will be. The previous email said 'somewhere between' x and x. IIRC, the higher end of the number was ~$2800. Is that for a 'fully moduled' camera? Or is that just the sensor/single lens module? If so, how much will the other modules be? What is it going to cost to get a semi-workable camera? How do you power the camera without the battery module? How do you record without the Media module? Via SDI/HDMI? What are they outputting? 8-bit signals? 10-bit? What's the sensitivity? Base ISO? Shooting in a studio won't need an ND? The last camera I remember seeing 3D renders of before seeing the actual camera pictures, or any footage, is the AJA CION. Whatever happened to that camera? Some nice 3D renders with nothing that really provides confidence that these guys (or girls?) know what they're doing, or can even deliver a product at all, is a big red flag for me. Also, by the time this camera comes out (December seems ambitious, based on what we have to go by, not to mention their statement of 'yep, December, totally.. unless it isn't'), we'll be approaching next NAB. You'd want the camera to really deliver, considering what might take place between now and next NAB. Because they don't have a camera yet. Just 3D renders. And most likely, not the money to attend. The whole thing, including the, 'we really wish you didn't ask for your money back, but I guess if you absolutely have to..' stinks of 'we don't really have the capital to do this properly' Hence the shifty marketing campaign. Someone with the capital to do it properly isn't deliberately vague and teasey, and releases full camera specs at launch, rather than simply leading with the things that are 100%.

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.

I'm just curious. most of dslr's do not overpass 700 lines of video resolution in full hd, 1300 in uhd/4k due to high compression, video processor performance and lens limitations. So why do you want 4, 5, 6 k in a dslr that shots a most 1600lines(vertically and horizontally), like lumix g7 in 4K?!? DSLR's need a better codec(h265), higher bitrate(150-200mbs), better proccesing, better lens, 10-12bits in colour sampling...