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SOLD.

Oh! Not my kids. Nephews. Yeah, once that iPad game time is over with, it's a whole different reality/existence of chaos.

BTW I recommend making the WB adjustment (A:3 G:3) even for a manually whitebalanced scene. Your kids are so carefree fuzzy! I wish I had subjects like that to test my camera settings with. Jase, really nice shots as aways. I think the -5 everything works well for you. Do you use idynamic or change the highlight curve at all?

Samsung NX1 16-50S Hack: Vasile 5.01 150mps Normal Gamma, Costum profil, Premiere CC with R709 LUT, Filmconvert Grain 50%

I am now doing groundwork for mods that will be a lot more advanced. This is why you are likely to not see any visible progress for a while. In essence I am trying to zombify the di-camera-app to enable bi-directional communications between it and my mod infrastructure, and to introduce the possibility to "drive" it from the mod runtime.. If successful this should allow many things, potentially including native UI integration, true BBAF, native integration of focus stack & focus pull, etc. etc. My plan is to make it an extensible and open framework upon which others might build on (e.g. Otto) to deliver things that work in coordinated manner with the native app, and that are aware of what the native app does. This will allow, for example, to have the UI permanently up to date regardless of what the mod does (as opposed to today where mods do not update the UI because they are independent of di-camera-app). NB. Nothing above is a promise or commitment and you do not see any timeline, do you? PS. I still covet that lens ;-)

I have installed version 5.2 on my NX1. Thank you very much Vasile! There are now slots for Normal bitrates so no I can use different bitrate setup for timelapse (eg. 320 Mbps), 4k30p (180), 1080p60 (150), 120fps (100-110Mbps),... Also activation of GUI via luminance button is great choice... I really do not see any downsides now! I am wondering what will come next... silent shutter on NX1 would be great ( I know it is very complicated - I saw your post to Marco od dpreview). However this already outperformed what I have ever expected from whole NX1/NX500 hacking project - custom bitrate settings for each resolution which runs without any waiting and so smooth... BIG THANKS.

I find it sad when people buy gear but are too afraid to scratch it and end up don't using their gear full potential. If my camera is scratched, it's because I had to put it in a tough environment to get the picture. If you're too afraid to damage your gear, you can still work in studios, where everything is immaculate. But personally, I'd be outside shooting

Here is a movie taking during the past month in different places such as : Oléron island (French atlantic coast), Biarritz (French atlantic coast) and Croatia camera : Panasonic DMC-LX100 on tele zoom position 3:2 4K 25p photo mode exported in UHD baby Hypergonar anamorphic 1.75x lens SLR Magic Rangefinder focus system no color correction - slight levels correction -5 personnal color settings - Howa ND 32 filter and sometimes added with low prices 4x and 8x ND filters music : Mark Pritchard - Beautiful People (feat. Thom Yorke) Trumpets of Consciousness - Never Again L'Impératrice — Parfum Thérémine Goran Bare i Majke - Teške boje unplugged Thanks to Céline, Anne, her daugher, and Antun

I noticed in the "champagne" celebration room folks with c100's. Then I noticed out on the court the same thing...Makes you think about how important pros value reliability over high Sony specs...:) Keep in mind I am biased as I have a c100 mk2 due here today and have been burned twice in the last 3 months with 2 Sony a7r2 failures that required the same camera to be sent in for repair.

I've been anxiously waiting for the new Improved Lumetri Color (Secondary HSL) I've always liked Colorista, but I always thought the only reason I still use it is because there is no localized HSL correction for a particular color range. Now, it has it. Crossing my fingers to see if it works well with skin as Adobe at NAB precariously stayed away from demonstrating it on skin. Edit: Works on skin OK. I had "Add color" after I "Set color" to cover the entire spectrum though then blur the mask. Then "Remove color" to remove some nearby similar colors. I would say Colorista is better at skin isolation but this will probably do.

There's absolutely zero evidence to indicate it's the same sensor.

I just hope it doesn't run into this type of situation. Three FF cameras to scale: notice the mirrorless one has an enormous flange. I think it's just physics. Petapixel had a whole article on this here: http://petapixel.com/2016/04/04/sonys-full-frame-pro-mirrorless-fatal-mistake/

a 80mm/2 designed for what looks like the sony 50mp cmos would be small and lightweight - no heavier than a 50mm/1.4 for full frame. The lack of mirror means the system benefits in the same way a leica M system benefits - small lenses due to not needing to be placed 45-75mm from the sensor to clear the mirror. think scaled up Loxia lenses. fast, compact, very high quality.

Not saying they're not out there, because they are. Just commenting on the topic, the C100/300's are very popular where I live/work and in TV land, they're heavily used in scripted productions, unscripted productions and commercials. Just watched Cartel Land, at times its nuts. Basically all handheld run and gun (and sometimes getting shot at) with the C300 and a 17-55 lens for most of the shots.

^ doubt it's a regional thing.. for example the Full Sail University (FL) tech package consists of an FS5. if you're producing 4K (which most TV productions aren't) then FS5/FS7 really is the only place to go within the under $8K run&gun/doc/ENG cameras. they're definitely out in the wild, NYC homie shot this on a FS7 couple weeks ago:

That would have to be altered in FCPX, but I'm not familiar with it. With a 4K timeline you should be able export a short clip in Rec.2020 to test on Youtube.

The C100 also does REALLY well in mixed lighting/indoor lighting. You don't need a super high DR, so I would imagine it is perfect for this sort of thing. The c100ii is really underrated in my opinion. It just looks so nice.

It doesn't make any sense for an A7rII to be used in this sort of capacity. In addition, the C100 has been out for longer than both the FS7 and FS5. The FS7 is gaining more and more traction every day. Keep in mind that the NFL were shooting film up until only a few years ago. If you like what you have, and it's reliable and works for you, what incentive is there to change? Plenty of prodcos and owner/operators who bought C100/300s when they came out that see no reason to switch. That doesn't mean something like an FS5 or FS7 isn't just as good a camera. In addition, it's an effort to change from one ecosystem to another, which means unless it's vital to you staying competitive, why would you go to all the trouble to change ecosystems? C100/300 is a great little camera. So is the FS7 and FS5. Both have their places, and serve their purposes. I hired F55s and F5s for a project I was shooting recently. I didn't want to hire C300s or C500s. Different projects, different people, different needs. Use what works for you and your project. Nothing is gained from camera or brand-bashing. Except you preclude yourself from using a potentially superior product based purely on some zealous brand loyalty.

Sounds like lots of people really want an updated Pocket Camera with LP-E6 batteries and 60p... Actually, somewhere on the internet there's a guy who showed that you can use a servo tester for RC planes to make your own controller for the BMMCC (like this). You get 4 channels of analog PWM controls with the expansion port, and if you attach a servo tester to each channel you'll have direct control over each of those settings. Add a LANC pistol grip and you're almost there with what you have in mind. In fact, you can take the composite video out and send that signal to a little LCD that takes composite, and you can do it all with just the expansion port (Composite out, 4 x PWM channels, and LANC). Find a mechanical engineer friend who has a 3D printer and away you go! Though having shot the BMMCC for a month now I don't know that I really, really needed anything like that (definitely a "nice to have" rather than a "need to have"). Though I built my micro camera into a camcorder style that's bigger than the GH4 it replaced, because I found that I needed the weight balanced rather than the smallest possible package. It's hard to beat the original Pocket Camera for size if you really need to get under the radar.

If you're getting lens-jumps with an FF on adapted lenses (turn the gear and the lens bumps up a hair), it's usually all the extra play that comes from the camera mount (still lens mounts aren't really designed for video) and the adapter (and I get bumps on Nikkors mounted direct to Nikkor bodies). Get an adjustable lens support on your rails, find a spot where it will fit without getting in the way of the FF, and push the lens up enough to take up the play. Your pulls should get solid then, works great for me. With a pancake lens, you might have to stick a metal hood on the front and put the support under the hood. You don't crank it until stuff bends, just enough to kill the play. A rubber whip is icing on the cake, too.

I still like standard -5/-5/-5/-5, but might give you guys suggestions a try.

C100 and 300 are used a lot by the UFC and BBC, as well as internet shows like Vice news. Excellent cameras, though not for everyone.

Yes, Full Range in 5DtoRGB is usually the safer way to go with footage from cameras that record a greater range than Legal / Broadcast Range of 16-235. The trouble is that most modern cameras record using neither Full Range (0-255) nor Broadcast Range but instead use Extended Range (16-255) (and increasingly both Extended aa well as Broadcast depending on the setup and picture profile used) and 5DtoRGB has no option for correctly mapping values for footage that uses Extended Range. If your camera is one of the many now that sometimes produces these 16-255 values (also known as super-whites) then by setting 'Full Range' in 5DtoRGB you will avoid highlight clipping that using the 'Broadcast Range' setting risks, but your luma values usually will still be shifted a little, which is generally thought not an ideal thing to do to master 8-bit video recordings that are going to be graded etc.

You can use Kino Seed hack or Vasile's. Vasile is mainly focus on bitrates and biggest benefit is that it is loaded instantly without any waiting and camera behaves like without hack (but you can change bitrates in camera and they will survive even cold boots if you make them defaults - can be done in GUI). bitrate patch itself https://github.com/ottokiksmaler/nx500_nx1_modding/tree/master/video-bitrate-mods/nx-patch to make it work you have to install nx-on-wake which is only complicated and (to be honest) dangerous part of whole process. https://github.com/ottokiksmaler/nx500_nx1_modding/tree/master/nx-on-wake

Actually I'm looking for a sub 750€ (new) nx1 body or sub 550€ (used but perfect) and can't find one for those prices. Same for nx500 with {400;250} figures.

I'm experiencing the opposite. People that are seeing what my NX1 can do (especially after the bitrate hack) are now seeking them out but can't find them.

No, start buying them! All of them!

What are you going to do with it? Keep it in pristine condition in a box until you die? Use the thing! I have a 17mm FD that I also love.

But seriously, I get it... That is a pretty lens. I have a few I worry about too.

I think a lot depends on how much you need lens speed, and how important the speed vs. size/weight tradeoff is to you. The new Panasonic 12/1.4 is no doubt a nice lens, and it looks pretty compact, but a Speed Booster XL on an 18-35 Sigma will give you an 11.5-22.4mm f/1.1 with excellent wide-open sharpness. In this case the native lens would make more sense if size/weight is more important than speed, and if you don't plan to use a Speed Booster on other lenses. On the other hand, a truly sharp f/1.1 zoom can come in pretty handy!

The Schneider adapter is 0.7 x...no distortion and 30 percent wider...don't know the full frame answer though... use S35 .

It would be nice if this blog/forum became a place for hobbyists like myself to discuss the art of making a good film/video rather than a place where people bicker over gear choices. I know there's a subforum for that here already but to post there would be like posting in the Video forum at DPReview. If you're tired of gear, why not shift the focus to what you can do with it?

Yes the bargain super specced equipment can be a motivation, but without anything decent to film, that soon fades. Like I say, I need to get out of Berlin and start a new chapter... try to capture some magic somehow. Until then, I'll continue to update the blog, there's no chance of me stopping because this stuff is my life-long passion. I can't tell you how much I appreciate those who appreciate the blog and forum. Let's hope that the ugly competition to EOSHD and boring corporate mentality of other blogs and 'managed communities', as well as the sheer lack of good content out there doesn't bury the whole endeavour along with my motivation with it. Not a single day doesn't go by without emails in my inbox offering sponsored content and gear for review... it's soul destroying and debases the entire internet.

I love when companies make bare bones cameras. Most of us already own monitors, external batteries, etc. It's nice just to plug-n-play a new sensor in a box.