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Yes Marco, it's a speed booster prototype selfmade. It's possible. In the nex time I post my full work on it, and begginning the test on NX1 camera.

Wall test.

First video: "Samsung NX100 + Speed Booster prototype". For my test, I use the Samsung NX100 camera with Nikon Nikkor 50mm f1.4.

Sorry, I do not have electronic knowledge to build smart adapter. But I think that, in the future something like Aputure Dec or similar is possible. Hi Kidzrevil, first of all, I thank you because you have put together a Samsung camera enthusiasts. I soon, when I'm done with my testing, I will begin a Kickstarter for the construction of the Speed Boster NX. At this time it is premature.

I always thought that Speedbooster for NX mount should be possible becuase Samyang 12mm NX exists. In theory - it is one lens specialized only to mirrorless system which is be adapted to Sony FE, Fuji, Panasonic, etc. and also to NX mount. Difference between mounts is in flange distance. NX flange distance is probably the longest between all mirrorless systems and that was reason why Metabones thought that it is not possible to create speedbooster for NX mount. However Samyang 12mm NX (according my opinion) is proof that it is possible to built optical system wich will work across multiple mirrorless mounts. Why it should not be possible for Speedbooster? Speedbooster for NX mount would be great... I am keen for more information. I think we can forgot on inteligent adapter but Speedbooster (even manual) would be great!!

Very interesting, Luca. You should get in touch with ihkim (mentioned above) for building an intelligent speedbooster for nx, together.

Hi Pavel, Sure! I got it from focal reducer lens system on the market, but I could not install it on an existing adapter, if it was that simple, they would have done! I had to build a tool for finding the correct position of the lens (focal distance flnge), I also had to make changes to the lens and body NX100 camera. My first experiment was only to see if it would work. The second step was to understand if no changes to the body it would work. This is another success, the spaces are tight but it works perfectly. I started the third step now, the SB Adapter construction for Samsung NX1! (Work on Nikon lenses because I can manually adjust the aperture, but I tested it also with M42 lenses, and with bayonet mount).

@kidzrevil I have the 50mm 1.7 and love it. I also heard it was sharper than the 1.4, which is why I got it. (It was also cheaper!) It's one of my favorite lenses for stills. I use it for video quite often too, but here's a couple stills I've taken that I think really show off the lovely rendering of this fine piece of glass:

Well, I had this idea time ago: but not many seemed interested. And, for sure, I don't have the competence of building one myself. I know that ihkim was doing something similar, but he disappeared long ago...: http://www.mydiyworld.net/ and http://***URL removed***/forums/post/57327923 http://***URL removed***/forums/post/57443528 http://***URL removed***/forums/post/57361842

I have checked the photos and it seems that there is really 50% more of "image" on second photo. Second one is also brighter (there is more light that comes to sensor) with same shutter speed 1/60s (and probably same aperture). Image quality seems to be also good enough. Fullframe NX1!!! YES!!!

It's quite obvious that something was wrong with the FS5 setup in that video. That is as soft as a 720p footage being played on a full HD screen. Anyway, I just found the videos below on Vimeo. I think the image's got great tonality and should handle well in post.

@kidzrevil Yep. I shot this with a Contax Zeiss 50mm f/1.7 using an adaptor (not SB) on my GX8

Yes I shot this in Portugal (night of the Euro win). This is all so helpful guys. I'm definitely still learning and being novice, I didn't want to break from the rule I learned of setting your shutter speed 2x your frame rate. Clearly I need to for this. I'll run some tests in Portugal tonight and see what works out best. I will also switch from 120fps to 100fps. Luckily these shots are going to be quickly cut so most people I've talked to said they didn't even notice until I pointed it out. Really appreciate the help!

Ive been doing alot of tests with the G7s on my custom made shoulder rigs and Im not having issues with the rolling shutter . with regard to Pandora movie I did alot of tests to show the Director Arri Alexa v Red Epic v Panasonic G7 internal recording v Panasonic G7 and Atomos recorded . and he liked the look of the internal recording on the G7 with Metabones XL speedboosters and Nikon lenses , its very very sharp clean image and he decided to do the whole movie with it , the image is superb and grades very well , using 6 x G7s was the best option for us time wise as I wanted to shoot multicam.

Wow... two thousand grand is... TWO MILLION BUCKS!!! That is a lot of scratch for a camera and grip - I'd at least want a lens, and 5 Ferraris...

I have to say I'm a little obsessed with the thought of buying the DJI X5R with the Osmo and Inspire 1. Has anybody else on the forum played with the idea a little? The seamless integration of the X5R with the Osmo and Inspire 1 is very attractive. Other gimbals (like my Ronin-M) can be very cumbersome and the pistol grip solution that exist now seem quite problematic.

Hello I would like to present you our new movie. We had just four days for filming in swiss on 9 different locations. It was pretty amazing going up to 3000 meters and start filming with a drone. Everything was shot with an DJI Inspire 1 RAW with the X5R camera. Filming with this system is pretty nice but backup all the footage after made us go crazy. DJI is using their own data partition on the SSD and you are unable to just copy&paste via Mac or Windows. You have to use "Cinelight" which needs up to 4 hours to backup 350gb of footage. No way to do backups on the way. Well, making this movie was fun and a great experience. We hope you like it. Best Lucas Dominicus

The past month and a half were a thrilling roller coaster ride with PayPal and unsure if the seller was true to his word or not. It turned out he wasn't, but I still got my money back. If you want more info and the whole story, read http://www.tferradans.com/blog/?p=9173 Have you ever had trouble with sellers or buyers and products that were different than advertised?

most big Hollywood films are ADR , Fincher has been doing it for years now , as it lets the actors craft a performance for the dialogue , I do prefer it as you get a much better contralled dialogue sound in the studio , also outside in a big city its impossable to get useable production sound as you have car traffic noise , airplanes, policesirens etc etc all messing up your sound , so I prefer crafing at all in ADR and post.

Jase: Thanks but I'm not yet convinced that it has hit a spot:) Building a good skin from flat without a proper lut is challenging. In your sample the most problematic issue to solve was to avoid greyness in darker parts of skin midtones (ex. deltoids in shadow). When the image is 8 bit flat and desaturated, increasing saturation makes an artificial "plastic" look (due to a math of most saturation tools). Usualy it can be avoided by adding previously extracted color layer (in davinci: ilumination at 0, in ps: add color over neutral grey layer). But it work only to some extend. Adding the same amount of sat to hi,mid,low also could mess an image up. Personaly I would experiment and not dial down the saturation in the camera. Lowering contrast values are great but lower saturation in 8bit could be inferior setup. But it shoud be a testing subject and not academic blablapotesis. Have you got any portrait sample?

I would wait on Lucabutera. I guess that he somehow stitched together Nikon-NX adapter with optics from Mitakon Speedbooster or Zhongyi Lensturbo... we will see :-)

@Kamil Sarnowski: if i compare my skin right now with your shots, your first one is most accurate, it keeps a good balance between color and saturation. This is my quick grade. It might be a tad on the darkside, but sun was already quite low, shining on me from the side angle.

It is flat all right. Not the easiest sample to grade cause the sky quickly blows out. But I like a lot that colors doesn't fall apart easily so it seems reletive values are set up well .

I went to check out the new stats area, and all I keep getting is "No Data Available." So, I'm not happy with the change either. We're not alone. It's a problem for Pro users too: https://vimeo.com/forums/help/topic:283212

Out of curiosity, I wanted to see how far I could open up the image... For me, the original is a bit too flat. I had to really pull it around to get this.

Director is being bold ! and decided to ADR the entire movie - partly as the sets where built in a building under Manchester Airport flight path so Jumbo jets very five minuites made on set sound unusable !! that decission made it alot faster and easier for me as DOP !!

The image from gx80 might be usable indeed. Here's some CC I've made. Thanks Jase for a source. I went for a kodak portra look, so forgive me a low key, hi saturated, a bit out of date touch. There is a slight muchy digital-noise but I presume in movement It would vanish in action. From story point of view, I'd be more than happy with this kind of image on full screen. Question: has anybody tried to use external recorder and prores workflow? What about 10 bit 4:2:2 hdmi output claim from few pages back. Is it confirmed/rejected?

Andy, did you record the dialogues on set with shotgun etc or will you go with ADR? If you recorded sounds on set which setup did you use?

The new model works with dual IS on the GX85 (80). The old model does not. It could be that dual-IS eliminates the jitters problem, and you get a faster lens too.

Mattias, no hard feelings but this time I think you are wrong. I shot 60p with 1/100 shutter speed (in Europe) to be conformed to 25p so i could squezze a little bit more than 50% slowmo and didn't have any flicker. I actualy planed to shoot 50p but then did some research and found this online flicker free guide/calculator on RED webpage http://www.red.com/tools/flicker-free-video

Is the old or new model weather sealed?

Thanks Stanley. I didn't have anything special to brace the camera- but a combination of a wide lens, slow-motion (50p interpreted to 25p), and a little practise was able to achieve this look. It would be a lot harder to have pulled it off if I was using my 38mm or 50mm lens instead of the 19mm, for sure! Oh, and I almost forgot to mention that a few shots I used Warp Stabiliser in Premiere (subspace warp, 10% "smoothness")

Was this shot in Portugal or a European country? If so you should be shooting 100fps at 1/200th rather than 120fps at 1/250th. Other than that, I don't know what you can do to solve the issue.

Sub $1k is the goal

Definitely to much. I passed on one for $1300 with less than 10k clicks and a battery grip.

Concerning white balance and other settings, I've been using Sunny (A3G3) and Tungsten(A3G3), depending on the project. I'm of the school of thought to maintain consistency and just stick with it, letting colors fall where they may. @Inazuma came up with A3G3. The reason for my using it was due to the blue channel dipping into the 0%-5%. Panasonic's implementation of the 8-bit codec is excellent, but there just isn't much information in that range because it (correctly) put most of the information in the 5%-95% range. The same thing happens at the 95%-100%. @jase is using a Tiffen filter to lower the contrast even further... resulting in a nice effect too. Finally, I think it's almost a toss-up between Standard or Natural, as long as everything is set at -5, the channels will be clean. I gave Natural a slight edge though.

The 45mm is something of a miracle. I have 50/55/58mm lenses of different systems, most of them have something unique to offer, but since my 45mm I rarely use any of the others (maybe FD 1.4f and the Helios for the swirling bokeh, but rarely).

Thanks Aaron. Got myself one of these with the Aputure LS1-C and 2 V-locks.

I kinda thought something in the 100FPS range at 1080 would be a given for a 4K camera now. I really find that very useful - not for every shot, but glad to have it. Nice for beauty, foo9d, manufacturing, sense-of-drama. The NX1 does it really well if you have enough light.

after running around with the GX80 and the voigtländer 25, i have collected so much material i will be busy with editing it for weeks In my opinion, the GX80 is not too small for it, at least for me. The more I shoot with this combo, the less I get why I ever abandoned it... Std -5/-5/-5/-5 with WB cloudy preset (A3G3) & Tiffen Ultra Contrast. ooc.

it's a pretty well known fact that the 4K on the FS5 is soft & that the 4K on NX1 is overtly sharp. ironically people have been complaining about both these "issues"!

I was one second from buying a 5D again today. They are now way bellow $1.5k and closing in on $1k. Before I thought they where a good option to the bmpcc/bmmcc. But at these prices I think its even a better option. Full frame Raw with slowmo, long battery, lots of on screen tools, rugged, takes stills, shoots compressed as well, decent audio..... And no Moire! Its a very affordable and powerful Raw cinema camera. The only thing that made me finally pass is that I think it will be even cheaper after the 5Div hits the market. And when it does, me and my $10 m42 prime lenses are waiting

I don't own any sigma lenses. I did take a look at the 18-35 but as I do a lot of photography too it is not worth for my use case. But if you do mostly video it could work. TDP did a test on the 5D III and as you can see it will probably work on the ca. 1.3 crop on the 4k mode. TDP test: http://www.the-digital-picture.com/Comparisons/Sigma-18-35mm-f-1.8-DC-HSM-Lens.aspx#FULLFRAME 1DX II 4k DCI overlay:

Hopefully they have enough success with this 4K camera to convince them to include 4K on the rumored medium format mirrorless camera too. I'd rock a 4K MF camera with Fuji color science till the cows come home!

The natural history museum video was shot using shutter priority mode with the shutter fixed at 1/60th. I used AWB - within a scene the light was never changing, and AWB did a good job in dealing with the different lighting across rooms, with enough time to adjust. As a consequence of shooting in S, no ISO or aperture settings were reported by the camera (a "feature" common to all Panasonic G cameras in Creative Movie mode when using any mode but full Manual). So I do not know what the ISO's were. I rode ev to obtain the exposure in camera that made what I was seeing in the viewfinder look like what I was seeing with my eyes (if not that of the reptile). I shot using Standard, with NR at -2. I have plenty of experience with grading RAW (BMPCC) and Slog2 (RX100 IV), and my choice of this setting was based on getting realistic colors without the need to twist around 8-bit, highly compressed video, as I had no intention of creating a film-look or a stylized report in this case. In post I tweaked some clips - lifting shadows here and there, altering luminance here and there, and in one clip color corrected based, again, on matching what I had seen in terms of color and light. I shot with the *intent* of not needing to change anything in post. What I saw in the viewfinder was what the clips looked like when reviewed. So mostly what is seen in the video was what the camera produced, given my selection of camera settings.

Kudos to @Inazuma for suggesting the wb adjustment with A3G3 and to @John Matthews for using cloudy and tungsten preset - really works nice for run&gun since it is easy and good! all still ooc since i am not home yet.

Nice handheld work. What did you use to brace/stabilise some of your shots? Thought the music was good too.

nx-patch v5.3 is out. One point of interest to videographers: killall switch added which basically returns camera to factory settings (until battery pull) EXCEPT for the already set bitrates. Pull battery to reactivate mod UI.

Dug up this thread by chance. So how does the math figure out in favour for or against the BMD Video Assist now the Samurai / Ninja Blade has fallen to 495 and the Ninja 2 is only 295!! :-o