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We have to remember that every single camera to date always look very "video" on promos. Thats because we are a little minority and the camera companies would never make "filmic" demos. They would loose customers. Regarding the film simulatuons I like them. Just like a LUT they are a great starting point. But more accurate to the cameras colors and saves you time in post. After the lift, gamma, gain is set you are already 80% there. LUTs always needs lots of tweaking.

I threw the .apk file for this app on my nexus 7 a day or two after that dude first posted about it on github and it worked pretty good! I paired it with my NX500 and had full video control, photo control, etc. For an alpha version, I thought the UI was really pretty slick too, I tried it with both manual and native glass, and I had an image coming onto my tablet from the camera just fine. It was quite laggy though, and definitely had some pretty bizarre colors, but I hope he keeps it up, it could be very useful if he gets it working just a little bit better. The more tech-talented enthousiasts that jump on the NX hacking train the better it will be for all of us!

The D16 isn't retro, the A7, X-T2, GH4 etc are. They look like old film SLRs. The D16 looks like a Cinema Camera Any who, its all just a shame. Ive seen it happen with other cameras as well. People get hung up on some pseudo thing and it doesn't catch wind. The BMCC and BMPCC did as well. Before the "Fire sale" they where the most hated and talked down cameras on the internet. Totally trashed by reviewers because of their "odd shape" (non retro/DSLR). "Where is the viewfinder", "No stills", "NO bla bla bla". Then the price drop and people actually used them, the rest is history. I just hope we get another cinema camera that is as complete and low cost in the future. Sony, Blackmagic, Red, etc have all failed so far. They can deliver cameras with a good image and some cool features. But not all at once. Luckily time and technology moves on so there will be plenty of cameras to love and hate in the future

I think this camera will go really well with some Canon FDs or Takumars. The videos I've seen look a little too sharp for me, and I think using older glass would really make the image look softer and more film-like. Definitely a cheaper alternative to pricey Fuji lenses.

Damn. Well perhaps if Fuji receive feedback that this will cost them a lot of sales they may make a change to the firmware. They need to understand that the cost of a 4k recorder is no small addition. And its not like we are getting 10 bit with it either. It gets to the point that people may as well buy a dedicated pro video camera. For such a small change in firmware they could bring a lot of new people to the system.

Time ! thats why , shooting multi cam saves time and money and lets you get alot more setups done per day , I had 6 x G7's rigged up on Gini Rigs that I custom made , I had 2 rigs with Nikon 80-200mm lenses, 2 with Nikon 28-70mm lenses and one with a Nikon 20-35mm lens the sixth G7 was used on steady rigs and dolly tracks and sliders with various different lenses , all cameras had Metabones XL speedboosters on them to give me a Super 35mm field of view on the lenses , most set ups I would run 3 cameras , a close up, a mid and a wide , the actors loved it as we could do long takes 3 min passes at times and pick off head shots, mids and wides all in one performance . Some set ups I did run 6 cameras at once as we had some complex special FX shots with prosthetic heads and blood and gore etc . Multi cam is the way to go , we shot the movie in 44 days , and if we had done it traditionally with just 1 camera it would have taken maybe 60 days plus . So multi cam saved us alot of time and money , the Panasonic G7s all performened amazing no issues at all and we shot 12 hr days every day , the rigs and camera and lenses got Battle Tested to the limit and all worked beyond my expectations , The G7 is an amazing camera its very very good in low light much better than the GH4 as it has a newer better sensor , I could not have shot this movie without the G7 it let me shoot 3 or 4 stops under for most of the movie , I like that low light Gordon Willis - "Prince of Darkness" look so the G7 let me push that to the limit with no noise and fizz at all in the blacks , its very very good!!

Yes! Seriously though, why do most mirrorless cameras being made today still follow the form of SLR's? Also I would urge most people who haven't tried the D16 but seem to know a lot about it to actually try it. It is an absolute joy to use. There is nothing that can do what it does at that price point. Don't even start with bmpcc ballwashing. It's a great cam too, but they are NOT the same beast. I'm sure Mattias can attest to that, he actually has tests with both! Also, s16 and 16mm are lovely formats. So are s35, ff35 and medium format. I wouldn't cut sushi with a hammer, but I wouldn't say a hammer is useless. Aranofsky makes some pretty cooool films no? PS: I think super shallow depth of field needs to retire with wedding videos from 2012. Her eyes are in focus but her nose is soft, and everything is a giant piece of high shutterspeed jello... why man...

Add into it the tendency to evangelize and thus rationalize one's camera purchase... which is a pretty big inclination among enthusiast (and even pros) and you get opinions that are clouded with so much subjective attitude they're sort of worthless. Bottom line, if it works for you, have at it.

Here's Gordon Laing- "I have confirmed that F log will only be on the HDMI output, NOT for in camera recording. A shame since it would be nice to have a flat profile for internal recording even at 4:2:0. Thanks for the tip!" Such a bummer.

thats why I got hired for the movie!! I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue. Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

Got it!

I can testify to this. The ibis is not as "aggressive" as the Olympus. Meaning, the floating seasor doesn't compensate-shift as suddenly. The Pany tends to "feather" the sensor adjustments. In my hands, this means the Oly works slightly better stabilizing while handheld, but on the flip side, it'll behave weird at the end of a tripod pan/tilt as the stabilizer tries to figure out why the body is static all of a sudden.

You can also set up AF-s to the rear AF-s button and use that when in manual mode. Set the manual zoom-in box to the smallest size and you can move that around with your thumb too. Press the rear AF-s button to focus. Not as accurate as the smaller AF-s focus box on the Olympus but works for me. Just wish that you could Punch-in zoom in for manual focus while recording. I always liked the Olympus JPEG output much better than what I got out of my Panasonic cameras. Also the fact that Olympus gives you a (non intuitive) raw processor to get the same Olympus look from raw files is also great. Panasonic Jpegs were not as good in my opinion and the raw files need work in Lightroom which by default makes them quite dull... The gx80 JPEG processing is much better though. I like the look, although raw files are still is a bit dull in Lightroom.

Agreed.. something really weird about the motion. Will have to wait for real life tests to get a proper idea. Right now it's looking way too 'video'. Also am I the only one to find Fuji film simulations a bit over rated? Never been a fan of heavy baked in looks. It is an interesting concept, at least for still photography but the film simulations have nothing a proper LUT would give you imo. No IBIS, External F-log, Rolling shutter issues, limited/expensive native lens ... meh.. It sounds to me like Fuji is just jumping on the filmmaker bandwagon, but do they really have the chops? I guess it's still nice Sony finds itself a competitor.. Hopefully a real non-sponsored test will give the full breakdown, I certainly won't be the beta tester for yet another compromised new hybrid system.. hyped up solely on the premise of 4K and some "cool" retro picture profiles..

I had the camera for half a year and used the hell out of it. I had no problems exposing etc. You can gargle numbers at me all you want but I test the shit out of all my cameras and really found no discernible difference in DR. And ergonomics are subjective of course but the LCD/viewfinder were inferior to even my lx100 ( and I was using the mark ii not I)

Niiiiice dynamic range in this raw stills http://petapixel.com/2016/07/07/fuji-x-t2-raw-files-crazy-dynamic-range/

Better is relative to the user! I think the film simulations are cool, well, I know they're cool because I have the Xpro2, and yes, cool! Personally, I think for video, the Panasonic GH5 would be the better camera, however, I don't think the GH5 can beat Fuji's color science, and, I don't think any camera manufacturer beats Panasonic's reliablility, they seem to never have issues with their cameras!!

Was at the old computer and thought to give this pic a go. Gave a very quick grade. Eyes see spots at times so don't laugh too hard at my attempt. Cheers.

Other sets of eyes is always good. My other recommendation is to add time to whatever your doing. That is, try to finish ahead of your deadline as best you can, and let the work cool down for a while (longer is better) then re-visit it with fresh eyes to spot the things that need correcting. This is not always realistic or practical in real-world situations, but even couple days away from the material can give enough distance to come back with a more objective eye. Not at all. (or, if it is, I've got it too)

Nobody cares? Then you are nobody ;-) since you are the one who does not care. Anyway, you don't understand what I mean, and this is probably a limit of me (as a writer) and of you, as someone ignoring the capabilities of a great camera. It's not 'my precious'. It's an outstanding piece of hardware, well ahead of its time that, like many other tech goods, was underrated and surpassed in sales by way inferior products, due to ignorance (i.e. lack of knowledge) of potential buyers, like those thinking that this xt2 is something 'new and great'.

I lowered the colors to isolate the people playing.

Its not clipping. In fact its perfect. With any digital image you really need to expose as hot as possible without clipping. When you pull the exposure back down to normal...all the noise that would have been there gets crushed and goes away. You did everything right. Here is a video of what I would do. Even have a way to give it a "look" at the end if you want. You really nailed the shot actually. Looks great.

I'm so thankful to this forum. Its a place where I can get honest amazing feedback and a place that is open to thinking outside the box. I am DP for a pretty high profile web doc in Mexico and we are going to some exotic locations next week. I asked your opinion on what to get and I went with my gut. I got a used 1D C and I am so stoked to finally own a camera again instead of renting stuff. My B Cam operator will be rocking the C100 and we will have an a7S II that is there specifically for slow motion and thats it. A-Cam 1D C. We have a sound guy who will be recording and booming everything separate so the crappy internal audio isn't a problem with the A Cam. Just more syncing in post for the editor Im bringing my CONTAX Zeiss primes and will be prioritizing those over the typical Canon zooms. I get so bored with docs I see on Netflix and on VICE and I realized its cause everyone uses the same boring Canon Zooms. There is nothing sexy about the 24-105. Of course its practical and if we are in a run n gun situation, I will pop it on. But lens character is just as important as the Camera! I am so excited to pair my vintage CONTAX Zeiss lenses with the 1D C sensor. I have a feeling its going to be gold. I shot a doc in Nicaragua two months ago with the GH4 and it was nice and I was surprised by the IQ of it...but the 1D C has some sort of mojo about it that I can't explain. I shot with one in Haiti about 3 years ago when it was way out of my price range and loved it. Im stoked to be able to use it and to own one. As soon as I get home I will be directing a medium sized budget music video that has VFX and very fun lighting. I will use the 1D C for that too. So in the next month, I will have two very different experiences with it. Im pumped. Sure it will take up a ton of storage on this trip...but I can buy 2 5TB drives on amazon for like $300. Like Andrew said on this forum a while back when he got his 1D C: "Yes I may still regret it but you only live once. I believe at it's current used price it's a bargain, bonafide Hollywood cam." Honestly...seeing that these two hollywood films were shot on it...sold me on the camera. Im looking forward to getting it and doing some tests soon! I have it overnighted so I should receive it Friday. Cheers!

If Willis was the "Prince Of Darkness," you (and your gaffer) are the "Prince Of Party Gel!" Seriously, the stylized color in your narrative project is fascinating. I really want to see this film! Some of the images that you posted are impressive, textbook examples on how to peg the saturation and on the use of glints of complementary hues. Please post the main gels you used (I would guess that you used Lee, being from the UK). For those that missed Andy's earlier posts on the project, here are more screencaps. I am very curious to see how daytime exteriors will be handled.

Yes, if this what you mean: (from https://www.usa.canon.com/internet/portal/us/home/products/details/camcorders/professional/xc10) "The advanced CMOS sensor uses Over-Sampling HD Processing for 1920x1080 capture, the same high-image-quality signal-processing system used by the high-end Canon EOS C500 4K Cinema camera." New firmware improves HD low-light a bit, as well as AF.

Fuji's X-Trans sensors have a different color pixel array/ configuration than the Bayer Pattern. Fuji has designed them so as to reduce moiré patterns, without the need for an optical low pass filter (OLPF). I am guessing, that the end results of both of them are very similar. Maybe bayer pattern cameras without the OLPFs are mildly sharper than the X-Trans Sensors. Also, while the read out speed is governed by the sensors (which are made by Sony, btw), if anything, the X-trans would slow the read out speed, if read out speeds are governed by the pixel array. Though they would be by a few micro seconds only, at best. I am not sure you have understood what helps put 4k and recording limits in place.

Another very competent and impressive hybrid camera. The x-pro2 was a pleasant surprise and now the xt... "Serious" cameras, not serious cameras, who's to say? When every photo and film enthusiast has a great tool in their hand, what comes next, really? More than past time to be thinking about a post-technical reality in this bizness. The xpro2 is a really fun camera. Fuji has a good handle at making appealing gear.

What I said is for FF camera. It is easy to confuse while talk about other small format.

On my GX8 I continually forget to turn off OIS/IBIS when on a tripod and have never had a problem. Are you sure that you can't do that on the GX80? I do this regularly on my GX8.

It is NOT a serious video tool at all A more serious camera should at least have 10 bit 4.2.2. All of these cameras have terrible rolling shutter. If you do a move it has an unpleasing jumping, skipping and blurring effect. I'm quite happy and still exploring the new Lumix GX80, which is worth attention for just 599 euros. But not for $1599 :))) If you're ready to spend this amount of money for such a camera, then it is worth attention to rethink and raise the bar.

Just bought one, very happy. I hoppe my obssessed quest related to camera acquisition stops for years to come. The image I see coming out of this cam does not make me want anything else while all the others do.

Oh very interesting! Let's hope they keep up with it!

Android remote control mod https://github.com/mewlips/nx-remote-controller-mod interesting. I'm always watching the nx1 hack pages. Never even heard of this. It has potential but doesn't quite work. I could control the camera but never get an image on my phone. Looks like it offers more camera control than samsungs. Was this an early test that got abandoned or what? no posts there in last 7 days. It installed and uninstalled without incident.

But it doesn't have the shitty nx mount, so it can use a speedbooster.

I respectfuly disagree. Resolution and sharpness are not the same thing. As for dynamic range, the codec defines the dynamic resolution (how many steps) but it has nothing to do with the dynamic range. An image with a 4 stop range and an image with a 15 stop range could both be recorded in the same 8 bit codec. Having said that, Its great that people are using the NX1 and finding it to their needs. It just isn't the be all and end all, otherwise people wouldn't still be looking at new cameras.

Sorry for trolling with NX1 again - just check these video frame grabs from @ricardo_sousa11, maybe you will change your mind http://imgur.com/a/KeilF DR is maybe lower, but I can live with it if it can produce such a great results. Moreover - now with 180Mbits bitrate hack is image even better. XT2 is looks promising but it still has crop in 4K (even it is 17%).

Ohhh..... well we do at least have in common the view that the kiwi bird looks cool! :D

Jello party... does that mean there will be girls in bikini there? Sign me up then!

Just got an email from my local major chain of computer stores about this interesting looking device (is going to be going on sale for only NZ$309+gst, or about US$200ish): http://www.pbtech.co.nz/index.php?z=p&p=KVMATN0809&utm_source=WatchListenPlay0708&utm_medium=email&utm_campaign=Retail&utm_content=0709_watch-listen-play-A_37&qr=ec_0709_watch-listen-play-A_37 https://www.amazon.com/Aten-VE809-HDMI-Wireless-Extender/dp/B00B7FSDLA Is meant to do 1080 at up to 30m! Can be DC powered (and even USB powered perhaps?). http://www.aten.com/global/en/products/professional-audiovideo/wireless/ve809/#.V38x0bh97RY

Weird. I saw articles online about it being 1dc. My apologies I've been shooting on C100s and C300s for years. I'm completely aware of how practical they are and amazing they are. But they are boring as hell. As an artist I get excited about doing things that are different and non conventional. I am choosing to shoot on a camera that I believe outperforms the IQ of the c100 dramatically. There is plenty of budget and crew to assist me in my descion. Not to mention having a "dslr" that shoots cinema quality video in the middle of Mexico City is going to be amazing camouflage especially if I strip it down. The "documentary" is more like a reality show. So we will be constructing everything and will have control over most situations. As a DP I have had to decide to make choices that further my career and challenge me as a filmmaker. Otherwise... I'd go crazy. That's just me and my personality. I wish. I just thought a kiwi bird looked cool when I chose a logo for myself. Probably should have thought about that. I'm an LA boy living in Nashville TN.

Have you shot both in C-log and color corrected / graded? The C100 is top notch IQ wise. Having a tad more DOF and quick push button AF, built in ND, zebras, waveforms and the ability to punch in while recording are very important. In fact, I'll bet if you shoot the same scene and downscale it to 1080 you'd never be able to tell which camera took what. Focus and better exposure tools IMO always trump everything else. I have 4k sets here - unless you plan on cropping/panning quite a bit I personally don't see the point of having the hassle of huge 500 megabit files, large memory cards, no EVF, no ND, poorer ergonomics, poorer battery life (if you get the larger Canon battery for the c100). The 1080p60 from the c100 KILLS the 1dc's soft 1080p60 mode. I hope whatever you're shooting doesn't move much, as holding focus at 1.3x crop is pretty tough. For DOC work I'd throw on a STM lens (10-18) or even the 18-35 Sigma stopped down a bit. But hey, to each their own. c100 has MOJO for days in C-log mode (and Wide DR is pretty damn nice too). Just my opinion of course.

I was like you - I switched Canon to Sony (a7s, a7r, a7rii, a6300). I have a small handful of native Sony lenses but heavily invested in Canon glass. The Metabones adapter works ok but many times it'd lock up and I'd have to power the camera off and on again. Some compatibility with Sigma EF mount lenses (it didn't work at the time with the Sigma 150-600 C for longer than 1 minute of video). Random error codes, et al. Twice this year my a7r2 had an issue that required it to be sent into Sony for repair. My 5d3's never had this issue and I ran Magic Lantern. Despite all of this, I never liked the Sony colors esp. skin tones. So I started going back to Canon - got the 1dc and liked it, but didn't really shoot C-log nor understand how to grade it that well, so for me it wasn't worth keeping it. So I shot pics with the 1dx for a while (I have since changed my mind about the 1dc now that I'm shooting C-log. I will admit I was wrong there!) Then I bought a C100 Mark II. I figured out after reading and teaching myself how to expose and color (well, getting much better at it) C-log and I'm super thrilled with the results. Built in ND, proper XLR audio, waveform, 1080p60 that isn't soft (a la 1dc), in camera over/under crank, quick access menus, good EVF. Specs won't blow you away but the image is stunning. It's like the 5d3 with Magic Lantern in C-log (provided you get close on exposure) and I love the battery life, form factor and reliability. My son's spring travel baseball ended last week, so I picked up another 5d3 (and sold the 1dx). So I've come full circle after 4 years ago buying my first 5d3. At the end of the day it may not have everything (lower dynamic range, no 1080p60 or faster) but it's plenty fast enough for casual use, has gorgeous colors that need little tweaking in Lightroom. All I have to say is if you shoot people, stick with Canon. Landscapes or something else perhaps not, or the 5dsr. One more thing - the c100 is really, really, really good in low light. In my eyes as good as the Sony a7s original or pretty close. The Sony can crank up higher with less noise, but man, up to ISO 12800 the Canon retains a shit-ton of color detail and the Sony doesn't.

Very quick grade in FCPX + https://www.fcpeffects.com/products/white-balance-plugin (which I like a lot). I would suggest using Paul Leeming's LUT http://www.leeminglutone.com/ and following his advice on exposure. This will correct the Panasonic oranges that are clearly seen in your footage. It looks pretty soft to me too.

I desaturated to b&w to correct exposure, then raised the saturation to -5, and balanced the mids, then did a curve and raised my blacks a touch, then pulled my lows a touch towards yellow and my highs a touch to blue. Of course i have a sneaking feeling I may need to calibrate my screen...

It happens to me too, all the time. I uploaded a clip to instagram about a tankfest in Trencianske Stankovce -Slovakia- And I realized after I uploaded that the logo disappeared half way in the video. I corrected it for the Youtube version but, damn, the first youtube version had twenty seconds of extra black which appeared from apparently nowhere so I had to repost it! I always feel that perfection is the worst enemy of good enough so I try to not overthink and upload stuff quickly, but it keeps biting my ass all the time. There has to be a way to make a screenshot appear before uploading screaming in capital bold DID YOU SEE THAT!!?? It's a fun test of the RX10II too. I wanted to record some clips and make some photos in raw to see if it could held on weddings and it did great. Stabilization at 200 was a little shaky, but it was handheld, so I didn't expect more. And for the color I tried to get that Kelly's heroes look. I loved it!

My experience with the C300 mk1 (which is similar shape/weight) is I really wouldn't want to use it all day long, unless I had to, even my F3 is better suited to rig up for this, and an FS5 would be far far nicer than either.

Too bad no Samsung employee will leak the tools they used for NX1, or they probably ended up in concrete somewhere in Tokyo bay

Ha! That is true. The people that have been looking were all people who shoot daily and have used a lot of different cameras. They could care less about it being a dead system, they want it for what it can do today because that's when they are shooting. They also aren't using any Samsung lenses, so that's not an issue either.