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@kidzrevil they didn't close the hole we are using, mods work fine, but due to changes in firmware the bitrate hacks don't work (as they work with messing with memory locations of already running process, etc). Enabling 2.5k on nx500 works when adapted to new memory locations (already done by Kino Seed). You just have to wait and see what happens, but if you need higher bitrates don't update yet.

Finally had the chance to take the 25mm Voigtlander out for a little test.

I saw that one last night. Nice review. And, so many hidden features. I can imagine 5k Photo Modes (pre-burst, post focus etc) easily covering most photography needs.

Would love to see your results with the 2x and rangefinder! This is a photo with the 1.33 and the 40

Instead of just a thread, how about a subforum?

It just crossed my mind a few days ago that maybe I should shoot monochrome in my spare time as much as possible, so I could train myself to frame better and maybe see better compositions without the distraction of colors. Sometimes when there is some fast and spontaneus shooting involved, my mind simply blocks and I hate my average framing/composition in those scenarios, and I find myself thinking if I just had a few more seconds to let my brain to catch up. It seems to me that with b&w I could force myself to pay more attention to composition and contrast, and simply see the details that are important for my framing more clearly. It certainly won't help over night, but I feel it could pay off in the long term. Just a tought, what do you guys think?... and don't laugh at me you naturally gifted people

Well its not really second, its more like 36th because they have already made profiles for 34 different cameras. great news none the less tho.

Basically you're losing the quality and advantages of the balanced cable (the main reason to use XLR) when you connect the adapter. (You can search balanced vs unbalanced cable for plenty of info) Other than that you should have the same results as using any other mic or cable with a minijack on the end depending on how well made/shielded the adapter is. The weak points in the signal would probably be the camera or zoom preamps more than the type of cable/adapter

What's in the 'other'? Seems a big piece of the pie to be all mysterious about

I have no experience with that model but i do recommend the ikan dh5 monitor which is only $100 more. You can flip the image and the display is 1080p. Also it is very light weight and takes canon or sony batteries. For pulling focus the added resolution to me is worth it!

I'm no expert either but I'd think the sound quality of the two Zooms would be the same. But if I'm understanding the other part of your question, and your mic is going directly from that xlr connection into your camera, then you're depending solely on the sound quality of your camera's amps, which usually isn't the best quality compared to if the mic was going into a dedicated preamp and then into your dslr/mirrorless (unless dslr/mirrorless cameras have much better amps now?? I'm still on a 5D III/ML). The point of buying a dedicated preamp is to bypass the camera's preamps right? So for me I use a Marantz PMD661 with the Oade mod which gives me a great preamp + a second HQ recording. But somehow I feel like you already know this and I'm not really understanding your question. Either way interesting find!

If you don't get any answers - see if you can track down the user manual. Image flip is pretty common. (I know, you'll need an owner or a good review for the other info.)

I've only tried the Fotga DP 500 II S. It seemed to work similarly well to high end compact units (Arri and O'Connor) for most lenses, very little backlash and and no play. But it fell apart a bit over time. For the price I think it's about as good as you'll get. I haven't tried the cheaper one. I recently switched to the DJI Wireless Focus, so haven't used anything too new.

For sure the micro is quite tempting, but I have to admit that rigging doesnt really match my profile of using a camera. But the specs of the BMMCC in a BMPCC v2 and I would maybe even forget about how nice stabilisation is. In the meantime, lets find out about the GX80

Im more for a b&w setting on the screen or evf, not for the finished product. For stills it's different. Film I love shooting and developing in color. Digital stills somehow always look better in B&W. I'm fighting the urge every day not to buy a Leica Monochrome, and have been since release. If their new screenless camera comes in a monochrome model... The fight would be lost.

I think those who feel some kind of sinister motive from samsung have been watching too much xfiles. I don't think samsung cares at all about the hack, I'll bet they don't even know it exists. The bitrate hack will work again in a little bit, give kino time. We are cockroaches to samsung.

As somebody that doesnt have film convert, can somebody please explain how it works, (if they were to make an nx1 profile) if i purchase the software, will the nx1 profile come as standard?, or do i have to purchase the different profile for the differently cameras that I have.

Do you have a pic of this adapter? I think I'm using a similar solution, here's the guy: http://www.thomann.de/de/sennheiser_ka_600.htm?ref=search_rslt_xlr+3.5_312811_19 I did a little reading up and from what I could tell there's no loss of quality using a 3.5mm adapter, XLR is purely for the stability of the connection. Generally if something had a XLR input then the quality would be better because you're most likely getting dedicated audio focused amps. I plug my Sennheiser MK 600 directly into my Sony A7SII with this method and have found the Sony A7SII pre-amps to be REALLY good and I get great output. The only problem is that the 3.5mm jack can be nudged and moved and that creates static. I have to be careful with that, but that's the only problem I've encountered.

I've thought about adding a arca Swiss base and just using a L bracket. I'll take a closer look at the screw, it's not difficult to replace with a higher grade steel screw if needed. The 16-35 is much heavier than the 10-18 I usually fly, even though it's within spec, that's a setup that's really front heavy. That's a small benefit of the a7rII s35 mode, aps-c lenses are much lighter. I can also use the 16-50pz. If I were shooting FF I would use the 28/2 or the Loxia 21. Being able to easily flip the DS1 and get low shots is what sold me on it over the H1 since the H2 wasn't shipping when I bought mine. Hopefully you can get your issues sorted. Cheers

Gotcha :D Will get both this weekend. Cant wait!

Get the DP500 line, the DP3000 has more plastic parts as I've read on the Blackmagic forum.

wow almost 400 votes for the nx1

It depends higly on which Voigtländer you mean. They make and have made tons of different lenses. Bang/buck their M lenses are very hard to beat.

A lot of the great directors first films were B&W simply b/c they didn't have the budget or team to precisely light/process for accurate color. I remember Christopher Nolan saying he shot FOLLOWING on B&W b/c color added a whole set of skills that they didn't have time/money to do.

hahaha. Those are bad bokehs.

Yeah, the out of focus highlights can look like footballs.

Nice! The more I use this lens, the easier it is to sell other lenses, especially if I take them out with me at the same time. The others just don't stack up. The rendering, even wide open, just blows my mind every time I use it. Are you picking up the GX80/85?

I'm very happy with my set up but if a person was starting out from scratch with semi pro / serious indie amateur aspirations on a tight budget then I'd also suggest keeping an eye out for these products: Tascam DR70D (only US$200 on sale I've seen it for!! :-o I've used it myself as the soundie on an indie feature film) Aputure D3 (announced at this year's NAB, meant to be as good as a Sennheiser MKH-416, but heaps cheaper). Saramonic UwMic10 (looks like the Sony! Has 2x TX to 1x RX feature).

This is a video of Gordon Laing and Doug Kaye discussing the GX80/GX85's video features on This Week in Photo (TWIP). Notably, no overheating and his experience with IBIS.

Great shot! Guess who re-bought the Voigtländer again this weekend...

If the big boys from Japan Head Office (Canon, Sony...) would just start to compete with the jump-starts and disrupt-tors (bmd, kinefinity, etc) and stop trying to play to the folks who don't want any challenges and want their buttons where they used to be, our worlds could be rocked overnight. They can do it, they just won't. They want to milk us for all we have. Those that are doing it are being marginalized due to buyer skepticism. But I tell you what, I did a search in vimeo yesterday for '4.6k' and you guys should see what people are producing by just walking out the front door (narrow your search to the last 30 days - just looking at the thumbnails should tell you that times are changing. No more cat test videos, everything looks like it belongs in a TVC ((if that ideology exists anymore???)). Have we stopped to ask ourselves what happens when everyone has 15 stops and filmconvert? Are we going into the super DR phase, like the super desaturated phase of 2 years ago (can someone tell mr bloom)? However, I still look at BMD vids and I don't get that anxious feeling like when I am watching an Alexa film, shot in low light (or graded that way, I don't know). Your brain tells you its too dark to see shit, but you see everything as clear as day without even having to pay attention. Its an odd viewer experience that I guess you image pros call dynamic range, roll off, science etc. I just think see it, and I know the difference from someone lowering exposure in post or shooting without light. That conflict to me is the essence of what we are trying to evoke in the average viewer - something that makes them sit up in their chair and go back to minute 1 - because something was off, but so good - it pushed the boundaries of what we see everyday. Soon we will see great images everyday, what then? Please don't say story. To me that is like an ad man saying we need a 'documentary feel'. It doesn't mean anything. Every time you put one image after the other, you are telling a story. In fact, when you pick up a camera, you are telling a story, even if you don't turn it on. Everything is subjective and nothing is new. You can only improve on the design. In our world, that means mixing different influences together to make something appear new. I could go on for days about the evolution of art. Filmmakers are no different to those who came before us, who expressed themselves with light. We are subject to the time we live in and everynow and then a true virtuoso will appear, but they are usually a talisman for many who are doing the same thing, some even better. WHy I have sat here writing this, I don't know. Bedtime.

I think the next move should be to simply have the best 4K image on any dlsr available. No tweaks in post, adjustments to settings, external recorders, upgrades... just the best 4k video image we have seen from a €1000 photography camera (that works out of the box, no upgrades, just fuc*ing works.). BMD imagery with GH4 functionality, hell, keep photo functionality for the time-hyper-lapse nuts... but make that awesome too. Prores and throw every other codec in the garbage, stop trying to make it work, just ditch it and develop on what works. Global... rolling, figure it out. China is figuring it out. But then they are trying to break into a market where someone is trying to charge me 6000 euros for a form factor change with NO other advantages (fs5 fs700). So we are paying more up to 10 000 euros more for the same specs with more brand recognition... oh and all the buttons in the right place. And internal ND. And... Zacuto aftermarket products.

Sounds good...I guess find whatever works well for you - there should be no hard rule on what helps in judging composition. B&W shooting can be a great way to achieve this and definitely worth trying out. My only point was a general one about monitoring in B&W for colour work (and getting too reliant on that) - is that sometimes colour is a critical factor to making a composition work. An ideal solution could be a switchable monitor, where you can toggle to colour/ waveform - just to check that there is no screaming/ distracting colours that would ruin your composition if delivering in colour...Something that could easily be missed if only monitoring in B&W.

Just read about the firmware update, In short it let's the camera connect to a newer version of the Samsung Camera Manager app which now works on Android 6. Really hope they have more to update us on in the future.... Just a thought... if there was a way to implement a 2:35:1 crop, would that possibly allow us to use a higher bitrate as less data would be captured?

Just real heads up to everyone - Bitrate Mods are not working with this FW update, not on NX1 not on nx500. If you use bitrate hack - doesn't upgrade YET, you are loose this option for good, probably.

I've had the DS1 for a couple months, only used it a few times, but the plate locks in really tight on mine. I spent time when I first got it to make sure my A7rII wouldn't slide out. Once clamped tight, I can't get the camera to move at all. I can't see the camera falling off, its really solid. Did something break on yours? The DS1 is on and balanced without any tuning to the stock PID's in this shot, just positioning the camera until its level. I'm getting no vibration, though in one of the modes it tilts slightly to one side.

Just a heads up to everyone - Samsung posted a new firmware update for the NX1. It's v. 1.41. So dust off your i-Launcher

lol, is this going to become a game of cat and mouse with samsung trying to stop people from hacking their FW? Witch is made a quite a bit of GPL code by the way. They should embrace the movement and release the full source code and all their development tools

+1 on for sale sub forum. on other topics it can indeed fracture the community, but for gear sale a single post per sale item makes sense. Works well over at reduser lenses has an argument for it too, as it's just such a big topic.

I'm travelling to Venice, Italy for work tomorrow. I hope I manage to get some shots with the GX80 while I'm there as well.

I personally find Sigmas a little flat and sterile for narrative, but it has nothing to do with the number of elements, and they're still excellent lenses.

Total bullshit, in every way.

Great shots! The image with that 200mbps hack is lookin' goooooooood. I've still got an SMC Takumar 50/1.4 kicking around somewhere. Very sharp lens, but it's quite yellow and doesn't match anything else in my collection.

Yeah, I was looking at those TV Noktons. This was meant to be a fun question, but as I was going through my gear, I thought... Why do I have all of these lenses? I do plan on making a short, or maybe even a no budget feature one day, but it's really just a hobby for me. Right now I have a ton of decent vintage lenses, but I usually only use the same 3 and they are all in the normal range in FF terms. If I thought about this yesterday, I would need 30 of my 50 lenses... Now I'm thinking 5 or 10 should do and I should get one really good lens... So I've been looking at a bunch of videos from the 25mm Voigtlander... Damn that's a nice lens.