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@vaga http://www.adorama.com/ISGNX1.html?utm_source=rflaid912994 $1199 doubt it, but might also, later on, release a complete resolution mod à la my bitrate mod.

regarding the sharpness: i'm starting to believe -10 = no post sharpening, like someone else suggested. i did some tests with many details and sharpening -10. i couldn't find any interpolated edge sharpening, which is usually visible by ringing artifacts. my consumption: the oversharpening some are seeing is a result of a downsampler, probably bicubic ... is there a way to change this? i don't know.

this is honestly a glorious clusterfuck of graphic design

Hopefully - I guess that's also the issue with the Craft camera. The images don't exist yet. But they do for the KineMAX sensor. Dan Chung doesn't seem that bothered, but Rodney Charters seems impressed. They need to get their cameras into the hands of more filmmakers in Europe and USA. If the footage holds up for the 5k, I'll be one of them (that's if I don't go for the FS5 + 7Q with it's awesome ND feature). I made a pre-order for the Ursa Mini 4.6k but I want smaller. I need to use a new A-cam on my current grip gear. Smaller is the future.

I see this whole HFR 3D thing as almost a separate medium from traditional film. Laser projection is an entirely separate discussion, and imo should supplant traditional bulbs asap.

Ahh, that's interesting. Yeah, I saw the hateful eight on film. it definitely wasn't sharpened digitally, and it definitely wasn't soft. Though I still feel I'm seeing sharpening in these nx cameras, I just suspect it's better sharpening than others. Or that it's such high res and sharp, the combo, you don't see the downsides of it until you punch way in

The guy is showing everyone's dream camera at a dream price, but the skeptical looks on both hosts' face is priceless.

Did you meant this post http://***URL removed***/forums/post/57598414

At least that means we'll be at the top of the preorder list

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.

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

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.

I had to come up with about 50 of these for a project where they had the unlimited stock photo account but a very low budget. It got to be kind of fun, other than the deadline had me up til 2 and 3 AM. This kind of stuff can add to your billable hours - since most of us have decent computers, after effects and photoshop and AI, if you can learn character animation, animating charts and data, or basic animation of things like manufacturing processes… you can really add to your billing (more for one-man-band guys than studios with dedicated animators anyway), farm less stuff out, and have more tools for telling business stories for marketing videos.

Hey fellas - While it sounds like everyone's efforts are concentrated around the bitrate, I was wondering if changing the menu functionality is in the cards? More specifically, is it possible to have the Resolution saved as part of the C1 or C2 custom settings? Right now, it saves the Shutter and F stop among other settings but the resolution is not one of them and it really does save a lot of time when you're constantly switching between 24P, 60P and 120P.

3D is terrible in traditional 24 fps. 2D and 3D are very different forms and translating into 3D any affinities cultivated from 2D makes no sense. While I mostly don't care about 3D, HFR at least makes it bareable and not just a mess of motion artifacts striving to look "real". I wrote this a few years ago, when The Hobbit's HFR debate happened: http://www.shutterangle.com/2012/why-48-fps-is-good-for-3d-movies/ In this context I can only applaud Ang Lee's perspective.

I have both the plugin and the standalone version. The color wheels part of the plugin GUI I find much to small and very hard to adjust. Then if you want to use the wheels to adjustments for many cuts, I would use the standalone version. In my normal workflow first of all I edit my footage to get the story right, then adjust exposure/levels and colors/saturation to my liking. Then I make secondaries, - masks for separate areas and so if needed. Sometimes I make compound clips for parts of the film. As the last part I add LUTs/looks - or make my own grading - and film grain if needed. This last step I normally do on an adjustment layer and this is where Filmconvert can be used the best as a plugin imo, - and it does not involve a lot messing with the color wheels. If you don't have too much footage- or have reviewed and sorted the footage - and you know for the most part before editing how you want the finished filmgrade to look, you might import the footage in FC standalone, make the grade and import that into FCP. Some people import the final edited film into FC and do the grade. I guess there is no right or wrong here, it all depends on your on preferred workflow, - and on the power of your Mac it seems :-) For some reason I like to stay in the same application for all steps of my editing and grading.

Looks like most of the major blogs have now based an article on the Terra including Cinema5d (EOSHD hasn't yet), good stuff!

Same here. I have the FCPX plugin version. First i do all the editing, then start grading. I also bought Color Finale, but I have to admit that FilmConvert really is sufficient for me with their included tools. Usually i tend to bring the shadows down to zero and the highlights to 100, most often i find myself leaving the mids untouched. And i nearly always use FJ SuperX 400, bring the grain a bit down - depending on the original footage. I always use Super35 grain.

My computer slows down to a snails pace with the plug-in version, but I edit everything first and then either add it clip-by-clip (if its short enough) or more recently I use an adjustment layer - having already done exposure on each clip via FCPXs colour settings. I started with the trial Stand Alone version & just thought it would be easier to have everything in one place. Not sure what to recommend for you - correct first & then edit? You could always do minor tweeks to exposure/colour etc.. in FCPX if needed. Or just re-do the clip/s if need be & replace. It might not be practical to do it the other way round (edit & then cc).

Just seems like filmmaker anxiety about competing with VR. Not needed in my opinion. I connect with characters and stories, not the tech, especially if it makes me nauseous. Obviously if the projection or camera detracts, then that's a problem, but what I think needs fixing are the scripts/ideas, not the frame rates.

To be honest I'm kinda surprised that there's nothing regarding cameras with 10bit recording (ProRes, Raw, whatever format). Currently there's basically the GH4 with external recording, the stuff from Blackmagic and then it gets humongously expensive... at the same time we get shoved 10bit and HDR TVs into our faces as the next big thing. Even all external recorders have marketing material mentioning again and again how they record 10bit color depth but they always get shown on cameras doing 8bit 4:2:2 like the A7s. People discuss how the next cameras should be 6k or 8k resolution but we won't even get 1080p with good colors and better compression codecs?! Edit: I think this NAB is only interesting for the non-camera stuff. Great new LED lights, gimbals, jibs, etc etc.

Wouldn't that mean the nx500 4k at -10 sharpness doesn't have the oversharpemed look people talk about?

I'd sincerely appreciate to have more and detail information on this product, as well, full price, etc a year later from such promising presentation: Here's more on topic: http://www.studiodaily.com/2015/04/smarter-focus-assist-andra-redrock-halo-preston/

So basically it is a Tascam DR-10X with a microphone glued on permanently, and a hotshoe. Still, a really good idea. A strong competitor to the Shure VP83F LensHopper & Saramonic Vmic Recorder Video Microphone. But I just wish Zaxcom had not crushed legally the sales of Tascam DR-10C in the United States, as that is what this link I'd hoped would be about.

Btw, Virtual reality has a lot of possibilities for narrative films. I don't know if or when it will be something common and not gimmicky, but it certainly opens a lot of new ways of telling things. There is the straight forward thing of putting people in the action, as if they were actually there. But soon filmmakers will notice all the things you can do to transmit mood meanings,etc through perspective,etc... For example, a tele shot in virtual reality will be something epic, because it is a very different way of seeing. You start moving away from conic proyection into a cilindrical proyection, giving you sort of a god like point of view. The typical vertigo compensated zoom on the otherhand, will be totally crazy. But no need to overdo things, lets take the compensated zoom, you can have a scene where someone walks into a place and experiences something stressful, lifechanging,etc... During this scene the center of perspective starts shifting, beginning to be opressive, like people experience in real life (for extreme cases check alice in wonderland sindrome). The only peoblem is that you could stress some people too much and make them puke

Riego, the solution would be having 6.5k video and then downsize it off camera with a tool of our choice.

Few examples when the circus starts. This is with one generation loss from frame grabs taken from the video then pushed, in Resolve results are better. Intentional approach to show few principles happening and why all the fuss. A6300, 1080p XAVC-S, 1:1 crop First example - direct frame grab from S-Log3, S-Gamut3, taken into Photoshop with contrast and saturation Second example - same frame grab with test Primer applied, nothing else. Notice how the second image almost looks like it has been blurred due to more gradual transitions in between. Also, notice how the second image although has more saturated and "healthier" blues has reduced compression visibility due to finer transitions. This is because the signal has been "ironed" on micro level, to fix the hue/saturation/luminosity offsets which, once enhanced in color correction, increase the visibility of compression. This is the example when Primers help in this context. In some cases the results are the same, depending on the amount/type of compression artifacts. This is the third benefit of Primers. That particular compression related part wasn't planned, I discovered it through parallel tests later.

Sure, as soon as the time allows it. I'm waiting to get my hands on RX10M2...all cool. Yup, hoping the increase in recording quality is being considered. I'm doing my best to improve the results based on what is possible.

The problem with 3D is the framing - if you cut/clip the top of someone's head it just kills the whole aesthetic. The Hobbit was horrible in every single way, it just looked shit - in normal 24fps (non-3D) it was acceptable and still then they messed with the story so much that it still didn't appeal. The only film in 3D that I thought was passable was Prometheus - 3D works really well when it enhances the depth of field of a scene. But it is a gimmick that has had 5 different incarnations over the years & i've vowed to never be hoodwinked again. I might consider Ang Lee's new film, since he seems to have understood that you need to really rethink how you make a film, but still I don't hold too much hope that it will work.

Oh hey, so do I! Did that yesterday:

i think making it just 270 degree view up and down is the answer - then it will take off for cinema. It's so much more interesting of an experience to me than anything I have seen. But people do like completely idiots wearing them. Love that first photo too, Jonesy thanks for this

^Add 120 fps proper slow motion to that and 20 megs

Thank you, still rocking the same settings I posted earlier, havent changed a thing! Im now very comfortable with these, and they are easy to work with =)

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.

When I talked to the CEO yesterday, he said that the prores certification should be wrapped up within a month. It was a shame how tiny and unpopulated the kinefinity booth was at NAB.

BTW: Guess What!? If you recall back in the days of the BMPCCs youth we tested all kinds of s16 lenses, including these cheap CCD lenses. Well I thought what that heck, could be fun again. I remember liking the 35mm best. First surprise was that they have updated the build quality, now its actually not to bad. Second surprise came when I tested the coverage to see how much I needed to remap in camera....... nothing.. its 100%. I was almost sure it didn't use to cover the Nex APS-C. Or at least I didn't know about it until now. Either way, a cheap backup or a fun option for some artsy stuff. Here are some 4K frames. (All examples are cinema gamma, a stop or two lower DR but I still tend to use it a lot) Ungraded Graded Also here is a frame from the Olympus 17mm in f1.8. Some distortion but I could easily scan way larger than m4/3 if I couldn't liv with it.

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

Ugh, why not just put Ursa mini OS on it?! They would sell like crazy?! I wonder how much more it would cost them per unit to make that a reality, how much processing power does LUT support need?!

"How do we change the world ?" someone asked Solomon the wise . "By creating it everyday !"

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.

Well, the dream of an affordable 4K 10-bit 4:2:2 camera has been buried, all companies decided to protect their professional lines, and looks like we will see the same patron the rest of the year, I have no hope, most probably GH5 will be another 8-bit 4:2:0, we will have to live with what we have, which is certainly a lot, but for some reason I still feel is not enough, strange, and why the stupid A6300 can only be used in the arctic?, my hopes now lie in the NX1 hack…...

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

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.

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

With all due respect to YouTube bloggers, a field I do enjoy sometimes actually, it's not my circus, not my monkeys, I don't care if they buy a million 80Ds, it doesn't make it a successful product for those with a more cinematic, higher image quality benchmark in mind.

Pls check the booth C9911. Would like to know your hands on experience of WenPod MD2 stabiliser for DSLR before buying it. Thanks!

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

"No more “Sony look”" aka "Correct s-gammut color interpretation" There are some examples here: http://omeneo.com/primers/ Camera specific LUTs are always better than generic ones especially for sgammut, but instead of buying packages like that, I would just use another color mode and tune the individual channels to my liking. It takes me just 10 minutes... Anyways, the neutral LUTs are the most interesting ones, since you can use them as a base and have secondary rec709 LUTs for a more specialized look.