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Isn't film and music so very middle-class these days? Read the full article

At Cinegear, I asked a Panasonic salesman about the HDMI output of both the GX85 and the G7, and he insisted that both gave 8 bit, 4:2:0 video out of HDMI. Later, I went to the Atomos booth, and asked a rep if any of their recorders could sense the bit depth and chroma sub-sample of a camera signal (to test the outputs of the G7 and GX85). He said no, but after taking a swig from his beer, he boasted that he knew the output specs on every camera and that the G7 was definitely 8 bit, 4:2:2. After I offered a US$5 wager that the G7 wasn't 8 bit, 4:2:2, we went to the Panasonic booth to find out the answer. With the tipsy Atomos rep at my side, suddenly the Panasonic salesman was not so sure as before. He admitted that the output of some cameras haven't been tested, but that the corporate office instructed the sales reps to say 8 bit, 4:2:0 for most cameras. However, he was definitely sure that the G7 output 8 bit, 4:2:0. So, I don't know what to tell you. Hopefully, someone will connect the GX85 to a capable monitor/recorder/analyzer and post the answer here.

this made my day

I have the 16-50 S and 16-50 PZ lenses. The S lens stays in manual mode, so it is possible for this to happen. It is very annoying on the PZ to have to keep switching it.

Ha

Actually the Terra has ignored me. I'd love to try one out in Berlin at some point, I can't buy absolutely everything just to review it.

Great write-up Andrew! That was a lot of fun to read, I look forward to seeing what you get out of that monster.

>reads post about rubber and condoms >thinks 3 self >wouldn't silicon be a better choice 5 steadicam too? >sit back and LELs

Okay, but also that guy should not be allowed near an Alexa.

I've just finished filming a short film. We used 5D Raw, A7s + speed booster, GH4 + speed booster, and the XC10. The best looking and "organic moving" footage in my opinion came from the 5D Raw and the xc10 in 4k. The a7s was the 3rd best and the gh4 was the sharpest "out of camera". We could have comfortably shot the whole thing on the XC10. Unsharpened ungraded CLOG frame grabs. Having a 1 inch sensor is no hindrance for a shooter like me...i own multiple cameras and i light my shoots. I'm invested in canon gear, it uses the same batteries as the 5D3, has good battery run time, doesn't overheat and captures excellent video quality that compliments 5D Raw. I don't have to carry around a 25lb camera bag with various lenses and accessories to be able to shoot dynamically with the xc10. The only accessory I carry is a variable nd filter. I like to minize rigging as much as possible and I don't want an xlr input on this form factor, a rode videomic pro is good enough. The only thing i would like is a constant f/2.8 and true DPAF. I wouldn't even bother with a C100-300 if it had those 2 features. More ungraded frames of CLOG + Variable ND filter of me testing the cam on a poor trapped dog.

Ok this is going to be fun. BTW in case you wonder why I have time and state of mind to write this long post, see here :-(. So all you have so far is two contradicting claims coming from me and KS, and you cannot be sure which of us is right. Let us rectify that. I attach the spreadsheet I used to calculate the bitrate values - you will need to keep it open in Excel because otherwise you will not be able to properly follow the rest of my post. NB. you will need Excel 2013 or later because it uses some Excel functions that were unavailable before Excel 2013. I also attach a print screen for those of you who would rather not download it and instead look at a picture :-), or do not have Excel 2013. Unfortunately the machine I am writing this from does not have Excel 2013 either so I cannot plug in the 40Mbit value - but you will see that the spreadsheet calculation gives the exact value I used and KS quoted - see cell E48 (If you want, tonight I will post an updated picture). BTW if you have not heard of hexadecimal (base 16) numbering which is used in computing because it is easier :-) just remember that instead of numbers containing 0-9 you will see in the spreadsheet many numbers using 0-9 and A-F (coz base 16). If you are unfamiliar with this, do not be discouraged - I will not ask you to make any calculations. So, if you are ready to invest 10 minutes in understanding where do the rates come from, here we go: When I looked into the newly broken-in NX500 it was obvious that the di-camera-app was the program to look into - the name makes it so. So my initial objective was to see where the bitrates are set - well, to cut a long story short, I identified the place in a certain function call, and I saw that the bitrates were loaded into a CPU register via a couple of ARM instructions (different for each bitrate slot). These instructions are called mov.w and movt. The end result of running them one after the other is that a 32-bit value is loaded into a target CPU register. For the bitrates, the target register needs to be R3 (except for nx500 pro bitrates which need to be put in R0 - note that KS did not say what is the cause of this exception). Now we go in really deep. Basically we need to re-encode these instructions such that instead of loading into R3 whatever bit rates Samsung marketing decided, they should load whatever __I__ wanted. From now on I will start each paragraph with the cell you need to look at. Cell D9 - So let us pick the target value - in this case 85Mbps. Cell D10 - to keep things easy let us convert it in a 32-bit hexadecimal Cell D11 - let us not forget the target register (for nx500 pro bitrates we would change this to r0) Cell H5 After thoroughly reading the relevant section of the ARMv7 reference manual, I built the tables H5-AM9 and B13-AM23. Let us discuss then a bit. The two ARM instructions I am trying to assemble are each 4 bytes = 32 bits. Since this is little-endian ARM, the values are stored in memory as shown in table H5-AM9. that is, a bit scrambled :-). If you read the ARM reference manual, you will see that these two instructions are very similar, the only difference is that one loads a 16-bit value in the lower half of the target register (mow.w) and the other of into the upper half of the target register (movt). They are encoded with some fixed bits (background white in the tables) and some variable bits which contain the 16 bits that make up the value to be uploaded into the register (yellow background). So now all we have to do is split the 32 bits of the target value into two sets of 16 bits, and spread these 16 bits into the dedicated yellow spaces reserved for them. Cell B13 Let us start with mov.w (cell B13). The mov.w neds to contain the lower 16 bits of the target value - see cells E14 and E15. These 16 bits I then manually (ok through formulae) sprinkle into the proper yellow places in the encoded ARM instruction. I then do the same for the movt instruction. The upper 16 bits from the target bitrate I "sprinkle" into the necessary places within the encoded instruction - see cells B19-AM23. So now we have the ARM instructions codes, exactly how they look if we dump the memory: see cells AB16 and AB22. BUT, since I am going to use gdb to patch the memory, they are inconvenient, because gdb would require four set statements if I tried to patch byte by byte the memory. So what I decided was to make out of these 4 bytes an integer (which can be patched with one gdb set statement). How to do it? Well, because ARM is little-endian, I needed to reverse the memory byte order to arrive to an integer that gdb will use for patching. Hence cells AB17 and AB23 - notice that the bytes are in reverse order compared to what you see in the memory. This is because gdb, when putting an integer into memory, will know ARM stores them in reverse order and therefore will do the same. The net result is that we end up with the proper value in the memory. Finally, again to make my gdb task easier, I decided to concatenate these two ARM instructions together so I do not mismatch them and because they are easily split again in gdb. I did that in cell AD25. So now all we need is to add the surrounding text to make it simply a copy/paste in the gdb script and thus avoid re-typing errors. This I did in cell Q27. But this calculates only ONE bitrate value, and I am lazy so how can I force Excel to calculate all of them without me having to replace each value in cell D9? Well, Microsoft was kind enough to provide for array operations (I think they are called so) and I took advantage by telling Excel to basically replace D9, successively, with the values I wanted, and store the result in a table. You will find the table in cells D46 to G82. From there I simply copied the result into the gdb script I publicly released. Now if you have gdb, go to the memory addresses that change the bitrates and compare my spreadsheet results with the original SAMSUNG values, you will see that they match perfectly: the instructions generated by my spreadsheet are CORRECT - every instance of original Samsung bitrate set instructions, read from memory, matches the corresponding value calculated by my spreadsheet. This proves that the elaborate construction I put together in this spreadsheet is correct. Finally, for those who open the file, there's a second section of the worksheet that I did not discuss, and which is basically the development of the algorithm used by my current nx-patch and which calculates on the fly the bitrate allowing you to set it to whatever value you want. This development I integrated ad-literam in my nx-patch - see bitRateOpCodes function in nx-patch.cpp. NB. This is a very very short explanation of my thought process how I went from zero ARM assembly knowledge to encoding these instructions, by using the ARM reference manual. I hope this post will clear any lingering doubts about the correctness of my calculations. NX wip v18.xlsx

An idea came to my mind. There are more and more companies designing EF to [other systems] intelligent adapters, but none designing one for NX. This is apparently due to samsung discontinuing its products. At least that's what a couple of those companies replied to me, when I asked about a future product designed for NX. That's the idea: would it be possible to ask them "how much" would it cost to develop and produce such an adapter, and try to fund it ourself, via a crowfunding campaign? Personally, I'd be ready to buy one, as long as it costs as much as the ones for - say - sony F cameras. What about you?

A gentle reminder from yesterday's CineGear expo - that there is a reason to buy from established makers and brands when supporting your (or hired) camera, rather than Steadicam knock-offs 'Powered by rubber bands' lol. Having owned a mid range, yet 'legit' Steadicam in the past, I can assure you that the torsion springs do not catastrophically fail when at full extension and load (because they are not made of rubber and wrapped around an open pulley!)...or the socket block to the vest get ripped apart by the non-centered elastic forces (as I think happened here) ...yet another example of products already out there that perhaps shouldn't be. Goes to show that Alexa XT's or DSLR's are equally at risk when buying cheaper alternatives to Stabilizers/ gimbals/ car mounts etc. http://www.nbstabilizer.com/

The F35 image is indeed special, but it'd be interesting to compare the uncompressed RGB 12bit of the C500 to it, since it's a very similar format to the RGB the F35 puts out, in fact on paper it appears to be superior. I wish Sony had gone for longer making CCDs. One of the first Sony cameras I bought was an Alpha A350 stills cam back in 2008. Still stands up today, easily. Guess why... It has a Super 35mm sized (well, APS-C) CCD sensor! You can get it on eBay for 150 quid now. It has in-body stabilisation and the ergonomics aren't bad either, but of course no video. It would be interesting to use that as a way to compare modern CMOS cameras to a 'classic' 14MP CCD Super 35mm chip, especially in terms of colour. The only issue I have with the F35 is that it is mega heavy, pretty big, rather power hungry and would exclude the use of my EF lenses. A PL mount is lovely, and would be amazing with the Cookes, but C500 + Odyssey is about as big as I'm willing to go at the moment for most stuff. It does have slow-mo, the 1080/120p is pretty good. ---- By the way, there's an interesting white paper on the C500's 12bit RGB 2K here - http://www.filmanddigitaltimes.com/wp-content/uploads/2013/07/Canon-Larry_Thorpe_C500-vs-C300.pdf It sounds like a massive leap up from the internal 8bit 1080p. The sensor reads out 4 2048 x 1080 streams which don't need de-bayering. The 4th is a 'super green' which has zero aliasing and extended dynamic range. This is made possible by the pixel design of the 4K sensor. I never rated the C300's image. C500 should be a different matter. Well worth £3k. Well worth £5k even. Let's hope they come down even more.

FWW I've shot on a green screen with the GH4 in UHD with no problems. It keys really well.

I would buy the C500 if only I didn't have to have the very expensive and rather large Odyssey on top. It's not a small camera once you add that. This is what stopped me getting FS700 and FS5. The Kinefinity Terra 5k/6k is out this year. It's much smaller and doesn't require a bulky recorder. It has interchangeable mounts. Switchable shutters. ProRes and Raw. It also has 5k 60fps and 2k 200fps.

I don't know.. The image from your f35 will always be special, not to mention the motion. I'd take fullhd upscaled to 4k from an f35 over any camera below an alexa. what lenses are you using predominantly?

As Youtube generic videos go these are very easy on the eye (and ear!) gives some very sound advice (pardon the pun) and all worth a watch to give you an idea of the possibilities of plugin use and their similarities to "real world" hardware and pratices, check out his career building videos - solid advice there: Michael White Also Pro Tools Expert is a fantastic site devoid of the usual audio trolling and nonsense, and hosts a wealth of knowledge, not all necessarily related to Pro Tools : Pro Tools Expert I use a good friend in Germany (Düsseldorf) for some film and TV foley work, and he may be able (with a few beers) to offer some work experience if its not too far away - and to be honest what he does is "real" sound design - fiddling with Massive and Reaktor for me is just twiddling, he was trained by the best foley artists ever and never ceases to amaze me how he makes some of the sounds I request, take a peek at his site and throw me a line and I can hook you up, he's as mad as a box of frogs lol, but amazing. Foley Lounge

More color information is always going to result in better keys, no? You can certainly get by on a gh4 (Hell I used to key stuff from the gh2) , but if you have the option I'd go with the BM. Do you have access to an external recorder?

I am seriously considering the C500 plus a Convergent recorder as our next camera. We're a small crew, and we've always been a couple years back in the latest gear. Still shooting on the R1MX, and for our needs it makes a great image. Only problem is it's so darn heavy. Almost bought an F5, and really looked hard at the FS7, but I'm not a fan of Sony's color. Just something off about it to me. FS7 is cheap enough to get away with it, but the menu and other ergonomics are awful to me. Anyway, I've seen some truly beautiful footage from C500's. Hard to think that it won't hold up for several more years.

You could rent both to test with your setup. Edit: you could also get an external recorder for the GH4. If you have a beefy computer the Blackmagic intensity 4k might work for a studio setup.

i think you should take the mattias approach, buy a used gh4, test it, resell it if it's not usable. Loose 30$.

i just ordered 3 of them

Or EF-M mount. You can get a c- mount adapter on that. Only 17mm flange distance iirc.

That was one hell of a happy dance!

Hi zero - it's a long old road to get to the level needed for commercial work - the main attribute you'll need to master is getting on with people (usually rooms full, all with completely different ideas lol) All the basic principles of sound engineering are exactly the same in TV, Film and Ad work, so you're looking at several years of slog and learning with little pay and long hours to absorb all the skills you'll need, sadly I don't think a youtube tutorial would help. Try looking for internships or work experience on short films as a starting point and get your head down learn and enjoy. Good luck - it's worth the time-sink and pain in the end !

so no news about gx85/80 hdmi output? 10 bit 422? has anyone tried?

@fuzzynormal Ok I have to say that I thought you were just being crazy but I finally had time to sit down and check out what was going on here. You're right, every other frame is missing. It happens on my GX7 too. But you will be pleased to hear that it doesn't happen on the GX80 Though I still recommend avoiding shooting at that shutter speed

@Oliver Daniel Did you see the Film Riot short where they used the X5 and Epic?

Thanks - I'm not a videographer or a photographer - I'm a marketer who can shoot and edit. The three things that have kept me self employed for two decades: Think like a marketer; Be a partner, not a provider; Don't be a dick. (That last one - many times my clients have said "you're so easy to work with, we can drive you nuts with changes and edits that are our stupid fault and you fix it fast with a smile, it's always a pleasure to have you on the team" and so on). When I worked for big retail and planned a shoot, my first criteria in booking the team was "people I really loved spending a day with". Yeah, they were great at what they did, from shooters to makeup to models to stylists and scouts - and I always made sure the day would make great shots but that it would also be a really, really enjoyable day (or days or week). I had no space for catty models or shooters who treated me like a king but dissed their assistants. I think it's massively underrated to have your emotional shit together in business. It can be what tips the scales for someone deciding on suppliers. It can be what keeps the same clients for years or decades. I once mentioned to a client that I had just gotten stiffed by a new client who went under and left me holding a huge lab and printing bill - the guy excused himself and came back with a big check and said "I know we'll do this much business this year, just give me a credit for it". I'm not a perfect human being, but man, I appreciate the people that keep me working and I treat them that way. If anyone is the kind of person that keeps losing friends and lives with all kinds of personal upheaval, loses clients (and friends) over stupid things - step back and suss that stuff out!

can't remember seeing it... did any hack fix the damn video evf monitor bug. The one where if you start recording video and if use the camera monitor you can't switch to evf and vice versa.

In general I'm not for bridge cameras, but since nx system doesn't have a long tele, at some point I could even go for the rx10 ii or iii. But I still think nx1 is much better, overall.

I'd be already happy to have 4k@60 and fhd@240

NX1 is the best under ISO 600, but above that it really belongs to the sony's.

My Micro has arrived! Such a little beauty. My VS-2HD looks huge when mounted on the Micro

This looks like a great camera to pick up B-Roll, cramped locations, run/gun, especially when you can't fit/get/get away with a focus puller. Or even a Director's viewfinder; the sensor size is close enough to all the other close-enough cinema 35mm. Great for DP, scouting locations too. Some of you have ridiculous expectations. It's a $1K camera. Obviously it's going to involve compromises. Those drawbacks might not work for your project, but that's on you if you somehow expected a perfect camera for $1K. "How could it not have X, how could it not have Y" ... because these aren't professional cinema cameras. It's a consumer camera that has some pro features. Don't get it backwards. If it isn't your perfect camera out-of-box, and you're not willing to tinker with it or work around it's issues, then get one that does. But the 4K quality, low-light and usable video autofocus will give it a place in the market. I certainly am looking to add it to my bag. There are only three other cameras who have all those features: Canon C300 ii ($16K), the upcoming Canon 1DXII ($6K), and the Sony A7Rii ($3K). And those cameras have their own issues. It's valuable to talk about the limitations, no question. But the pissing and moaning? Lord. Nobody's forcing you to do anything. There will probably be some talented folks who will shoot a feature film with just this, and it'll look great, because they'll know how to work around its limitations. Ever since the Canon 5K Mark II came out, there's been a terrific growth of indie filmmaking, because people are willing to manipulate these non-pro video machines to effectively tell stories. And big ups to people who actually shot with this...a lot of great, usable footage. Exciting.

If your already decided, certainly act on it, but I actually migrated the other way. I started in FCP5 and loved it through 7. A fanboy for sure. When FCPX dropped, I was really excited. It looked slick and I was excited to try something different, but in end it didn't seem to work for me (granted, it has gotten better since). Since I already used and owned Adobe software (AfterEffects, Photoshop, Illustrator), I figured I'd give it a go and I haven't looked back. I ended up really liking the way all the different programs effortlessly synced together, which made a profoundly positive difference in the speed and efficiency of my workflow. Additionally, Motion doesn't even hold a candle to AfterEffects. Even when I used FCP, I used AfterEffects, awful round-tripping and all. All that said, they both are great tools and there's nothing that says you have to stick to just one. Aside from having a favorite, and we all do, any editor worth his salt should be able to work in the big three: AVID, FCP/X, Premiere Pro. (With a +1 for Davinci, who's really had some growth in the editor features department.) Good news is, they all have free versions/trials, so go play, my friend! I'd be interested to see which you one/ones you end with, so keep us posted. =] *Oh, and welcome to the community!

Highly recommend the sigma 18-35m f1.8. Terrific performance even at f1.8. In fact when I had it, the colours and sharpness seemed better at f1.8 than at f4, which was strange. Also with the metabones nikon > mft speed booster, it was parfocal (or at least very close)