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Liam Have faith, and again a few weeks of patience. Before selling my NXL adapter, I have to do many tests to be sure that it works best. As soon as I finish the "pre-series" model in the early days of August, I'll start with pre-orders.

Samsung NX1 + NXL (SB prototype) + 50mm Nikon 1.4 (f.2). I love the DOF like Full frame! I remember my old Canon 5d mark III... but 4K!!

I got a Nikon Nikkor 50mm f/1.4 Ai in the mail today, and I love it. I tried it out on my T2i along with Magic Lantern and Visioncolor CineLook, and I'm loving this combination (graded with FilmConvert). I'm sure everyone already knows this/has posted about it, but this lens really is sharp at f/1.4 (which is the aperture of these grabs). I'm liking the 28mm 2.8 Ai as well: Wonderful lenses.

I can't imagine using my Nikon mount Samyangs 1.5T Cine lenses with your speedbooster! Finaly great 35mm lens with ultra nice low light performance AND Fullframe like DOF!. The Same for my 85mm. And now I could actually have LESS lenses, because one lens work for two focal distances.

I don't think we should be worried about the electronic part yet. Let the man do his magic A regular dumb speedbooster with iris control for nikon would be magical at this point. Eventually an electronic adapter will be built on its own and then the two can be fused together later on. Go luca!! I'm totally on board for buying one.

Hi guys, FilmConvert here. Just wanted to let you know we've heard the feedback about some redness in the NX1 profile. We're doing some more QA here, and may release a new version of the profile shortly.

The 3 EOSHD Moderators jgharding, jonpais and myself jointly in unison have given Ebrahim Saadawi 2 warning points for fraudulently scamming 3 EOSHD members and making bogus/false posts on the forum He is now restricted to only reading threads and making personal messges to the 3 EOSHD members he fraudulenty scammed. He must fully repay them asap. This thread is now Locked.

Seriously Ebrahim, you have admitted that you are a 21 years old film noob kiddo with a canon 1100d plus a regretful scammer, edit your signature and put that there instead of all the 61 years old filmmaker crap, maybe they let you post. So when a 21 years old kiddo with a canon 1100d writes that the Canon 1DC is the best lowlight camera in history, the guy who reads it will understand that this is just the opinion of a 21 years old kid -who made a scam- based on footage he saw online.

I very very strongly disagree with that! As it is totally 100% on topic for this forum, and if they wish to share it and make it public this discussion so otherwise can read and learn from it as well then that is FANTASTIC! Or the Tascam DR-10C which looks to be even better! :-D http://tascam.com/product/dr-10c/ https://www.videoguys.com.au/Shop/p/30883/tascam-dr-10cs-micro-linear-pcm-recorder-for-sennheiser-wireless-tas-dr-10cs.html

I would believe those are "outdated" in some way, and most people have moved to other settings. Considering everyone has slightly different settings, maybe it would be good for FilmConvert to have a "suggested settings" for each profile, and match their profiles to the most used settings right now (which can be found in the NX1 page). Maybe have a poll to figure out what settings most people are currently using.

ES declared what was it 10 days ago he would never contribute to this site again because he knew his credibility was tainted.. then yesterday i see him post all kinds of bogus advice in threads. And now today he's whining no one locked his account so he took that as a free pass to continue his BS activities. Kid even has nerve to say "it's your fault" "don't get a seizure about me helping people".. I'm glad mods are finally taking a stance towards this punks behavior. I understand the are leaving his account open until situation gets resolved but really it should be restricted and his signature modified ASAP with a warning of his fraudulent activities. It's like giving a sex offender a slap on the wrist. You know it's a matter of time before dude commits crime again.. Seriously, the leniency given here is starting to give this site a bad look I'm afraid.. where is Andrew btw? he needs to step up & address this imo..

because I like the look the image produces at the settings I use , It works for me and my work flow , I never resharpen an image in post , never ever ! get it right in camera . use aspheric lenses on a speedbooster the image is superb

Some graded screen grabs from the 1DC. Shooting on Leica R glass.

https://www.usa.canon.com/internet/portal/us/home/support/details/cameras/cinema-eos/eos-c300-mark-ii/eos-c300-mark-ii?WT.mc_id=C126149#drivers_downloads_tab Looks interesting:

Depending on the framing of your shot, you could always tie a thin rope between you and you actor/subject... Attach it to your belt and his... Hit your focus before you start moving and as long as you keep the rope taut as you track him, you will stay in focus.

So, I am assuming that you read this post: You will need to align the anamorphic - the best way to do this is to shine a bright light at it (use your phone's light & don't get too close) & you should see the flares/streaks. These flares need to be horizontal, if they aren't it will be very difficult to get the lens to focus. So you just turn the anamorphic until they are horizontal. Try to get a clean focus at 5 feet - i.e. without any diopters (measure it with a tape measure to get yourself in the right ball park & set your taking lens to 5feet, then do minor adjustments until the object you are focusing on pops into focus). Lastly, this is not a focus through - it's fixed focus at 5feet. You use the diopters to be able to focus closer & you just adjust the distance on your taking lens to reach the right focus distance - a lot of trial & error. Hope this helps.

great! please also release one profile based on EOShd suggested settings (0.95 on the green channel, gammaDR). Most are using these settings to get good colors ooc and great dr.

A couple screen grabs from a BTS video shoot, 1DC 4K C-log pixel summed to 2K, graded/texture-managed/re-grained.

I actually prefer using the Filmconvert 'default camera' profile over NX1 profile(s) as those indeed give too much red and too little saturation in the blues. Here is a video I did today, graded with Filmconvert and shot on the RX100m4 & NX1:

A few folks here have stated that this is a common practice, but that really is not the truth. Think about it: if productions (large and small) intended to loop dialog, then why would they hire a pro sound mixer (with a cart full of expensive gear) and a pro boom operator and why have the mixer also wire up the actors with lavs? Check BTS vids/articles of your favorite movie scenes with dialog -- I'll bet there is a pro mixer and boom operator. The only time that I ever was on a set in which the dialog was intentionally looped for the entire project was on an Indian feature back in the film days. They had to ADR as they commonly used a less expensive MOS camera (in this case Arri IIC that sounded sort of like a rice thresher). Looping is avoided like the plague.

Well, let me start by saying, I really liked the G7... but so far, I love the XC10... but I miss interchangeable lenses. But this is a long story for me... and it may be boring for you... Last year around this time I had just my eos-m, then the lure of 4K and a ridiculously cheap price tag brought me to pick up an NX500. I had a love hate relationship with the camera. By the time I started finding it's sweet spot, the G7 went on sale. Since I had a small collection of c-mount lenses, and the bundle came with a Rode VideoMic Pro I jumped on it. The NX500 was a little sharper and shot in Cinema 4K, but the ease of use and external mic plug in led me to use the G7 way more than the NX500... so I sold the Samsung. Shortly after that I decided to pick up the FZ300 for family stuff and I liked a lot of the features... I loved that camera. Without a doubt it was the most fun camera to go out and shoot with, but the IQ just wasn't there. Still happy with my G7, and my lenses, I just went on writing some shorts and planning some shoots. One of the shorts I wrote required some slow motion. I had read that the Nikon D5500 had really nice and clean 1080p both in 24p and 60p... all of the videos I saw online confirmed that. And since I had a small collection of Nikkor lenses, i thought it would be the perfect option... it was out for over a year and I figured the price would be well below $500 for a body only... even if it was grey market. Well it wasn't... the cheapest I could find at the time was refurbished for $600... which was a little more than I wanted to spend for a camera I would probably only use for one short and then I realized the BMMCC had come out and was getting glowing reviews for it's 60p... Once again I was lured in by the promise of natively shooting ProRes and Raw, so I sold a few things and bought one. For the first month I loved the camera... I was able to use old Kern Paillard lenses and the Raw image is just stunning... as is the ProRes... but it is literally the most unenjoyable camera to shoot with. I prefer to shoot handheld or with a monopod and the form factor of the BMMCC is not suited for handheld once you rig the camera up with even just the bare essentials. And the battery life is simply horrible. You cannot leave a battery attached to the camera, because it will drain almost as fast with the camera off as it does with the camera on in standby and the batteries take 2+ hours to charge, so you really have to prep your kit the morning before a shoot, so you can charge half a dozen batteries... But the image is just damn gorgeous. After a while I just got burnt out using it. It wasn't any fun rigging it up every time I went out to shoot... or break it down if I was moving to a different location. Since I consider myself a run and gun shooter, all spontaneity ran out the door because it was such a hassle to quickly reset shots... for me. Other shooters who are more used to rigs and the proper way of shooting narratives are probably fine with it... but for me... it's just not an option any more. Then one day I was reading eos hd and I came upon Andrew's review of the XC10. Now mind you, I was in love with this camera when it was released... I may have been the only one. Over time, every negative I had about the camera faded away as more and more footage emerged. Basically my buying and selling of cameras and lenses over the past year put me in a unique position to afford the XC10 this year. So, after a little more research, I jumped in head first last week. I have only shot with it for a couple hours, but I enjoyed every second of it. I have been mostly shooting with the 1080p C-Log, but the couple test shots I did do in 4K... I was pretty impressed. Now I just have to learn how to expose C-Log properly... I'm starting to get the hang of it and how to grade it properly... I'll probably never get the hang of it. Finally, I originally intended to keep the micro and use it for really small, contained shorts. I have a few short film ideas that are only a couple minutes long. But after using the XC10, I don't think I could go back to the Micro, I think I would feel stifled. This leaves me without an interchangeable lens camera... Hmm? I love my lenses and I know eventually I will want to use them again. If I had to purchase another camera today... which I won't... I am leaning towards either the GX85 or maybe I'll stay with the Canon family and pick up a used C100... I actually bid on one the day after I used C-Log for the first time, but I didn't win it... maybe next time. Sorry for the long post. Basically, 5-axis ibis and IQ trumps the G7... even with the ability to change lenses. I also think the internal 4k to 1080 downscale, of the XC10 is better, to my eyes, than the internal 4K of the G7, with post downscale to 1080p. The G7 wins in the shallow depth category and with that in the lowlight category. The GX85 seems to have a better image than the G7 and it has 5-axis... but no mic input. It seems like there is no perfect camera out there, but the XC10 is the closest i have come to thus far. It seems like the GX80/85 owners feel the same about that camera... if it had the mic input, I may have chosen that over the XC10. Again sorry for the long, and boring, post but these things are so subjective, I wanted to give the history of how I got here... which may help people understand why I inevitably chose the XC10 over the G7, GX85 and BMMCC.

They were put in a tough spot and made a good call right now. The rangefinder has been sent. Hopefully he pays out the rest. The mods were in a tough spot. This was a weird one. The intergrety isnt questioned...they responded...with patience and thinking about it. Everyone go back to thinking about a new prototype camera my friend just plaued with that i cant mention but i think it maybe amazing unless they screw it up and disappoint us. Im joking of course. Cause this is what constantly happening... endlessly. The next big thing. Thats whats screwing us up. Camera manufacturers not a internet forum of nerds. Need to talk more about innovation s in lighting. Ive seen some amazing led tech. Litemats....skypanels...how they shot neon goddess. Using water and LEDs and flaring the mattebox w a light ribbon. Now thats a cool trick. So many cool tricks. Using mylar instead of a bounce board. Using stick lights. So much crazy stuff. Cheap russian arms Etc etc

Ex. Tele Conv does not work in 4k mode only 1080p mode , all my g7s are set on muli metering ,it works for me , try all 3 and see what you prefer .

I am from Germany, so i bought it at Amazon.de, you also find them on ebay. Tiffen Ultra Contrast 3!

52mm UC filter + step up ring? Link: http://www.bhphotovideo.com/c/search?Ntt=tiffen+ultra+contrast&N=0&InitialSearch=yes&sts=ma&Top+Nav-Search=

yee me too, i will put m42 lens anyways

The G7 just arrived! It's a tiny camera, it remember me my beloved G6, I just love it! The only things "strange" is that the "Ex. Tele Conv" does not seems to work. Am I doing something wrong? p.s.: which metering is better to use? Multi metering, Center Weighted or Spot?

I'm fine with a dumb speedbooster for now. +1 stop of light and 35mm DOF!

What filter is it exactly because you have the Tiffen contrast filter 1, 3 and 5.... Can you tell me some more about the filter you have because i really like the look.

shane, the intelligent adapter has to be integrated into speedbooster for several reasons. Mainly, distance from sensor and light leaks. I'm mainly a stills shooter, and long lenses are lacking for nx. If I wanted to use then manually, I'd already have bought a pentax k 300mm and the dumb adapter which sells since 2010 for nx. Speedbooster (even the dumb manual one) will be a great step forward for video, but I will prefer an intelligent one 100:1.

I made a lengthy thread about the F3 last year, before I purchased one myself:

Agreed, the fs700 is an insane deal. Im curious how much you have shot with the fs700/7q? My work recently went from the fs700/7q to the c300ii. I will tell you that the f3 color wise is in a completely different league than the fs700. It is much more comparable to the red/c300ii than the fs700. If you shoot extreme sports, event videos etc, fs700 is probably great, but wouldn't be my first choice if I shot a lot of interviews and certainly not narrative work. i just bought the f3 for a project over the summer and I so happy with the results. The black magic cameras are also great, but the image seems more fragile, more noise, the color takes more time to get to a nice place, also the ND/IR pollution situation will drive you nuts. That being said, fs700/7q is hands down the best deal right now for a 4k setup. Go for the F3 if you want superior color, but to impress clients and the high frame rates with resolution, you probably want the fs700. I have been shooting a to of 1080/60p through the 7Q and have been so impressed by the image.

do you know anyone you could team up with to make some of these and sell them, Luca? I understand it's pretty difficult. someone like Richard Gale probably has the skill set at least, probably others on this site have some experience in that. also, did you have to completely change the nx mount? you said you had to work on the camera body as well. does glass go into the mount enough to interfere with the shutter maybe? can you say which speedbooster brand you modified for this? just curious

I shot the MCU with the Olympus 12-40 at 25mm f/2.8 on a gimbal: more then that, if you precede or follow the actor you loose the sense of movement and the parallax effect, while it is great if you follow him/her on the side. After that video I made other shot with the gimbal and the sweet spot was between 12mm and 18mm. I made this part at 14mm f/2.8 and I think it is more dynamic then at 25mm. Of course no focus pulling during the shot, I just had to remain at the same distance from the subjects. Hope that helps

The 1DC already had 12FPS stills with 14 in live view, so...groundbreaking new features? More of a slight refinement. Can't say I'd particularly need or notice the upgrade for my work. YMMV.

Maybe miss-aligned?

MODERATOR INTERVENTION FOR Ebrahim Saadawi Ebrahim Saadawi please stop posting in any other thread apart from this one , it was left open for you to communicate with the three people you scammed and to make sure you refuned them all in full asap - you have disgraced this forum we all contribute to and love so much. YOU ARE NOT AT LIBERTY TO SUDDENLY START COMMENTING ON ANY OTHER POST OFFERING YOUR TECHNICAL ADVISE - STOP IT NOW - MODERATOR JONPAIS AND MYSELF ARE BOTH UNITED ON THIS DECISSION. No more tec posting on this forum Ebrahim Saadawi.

Most Hollywood movies end up looping their dialogue. Of course they're going to try and get good sound on location, but the real reason they hire all of those people is probably due to union contracts.

@JazzBox You seem to be teetering between looping your entire series and recording live sound only on parts of the shoot. There are good reasons why 99.99% of narrative productions record sound on set, and why ADR is avoided like the plague. One might anticipate that ADR is fun and easy with a Mac and a mic and gizmos, but be assured that any anticipation/novelty regarding overdubbing will wear off rather quickly in the first 30 minutes of the first session. Looping is plodding, painstaking work. For example, if you want to avoid wasting time with actors repeatedly missing sync, you need to cue them with three beeps, as demonstrated in this video: You have to do that for each and every line that you loop. Even with the beep cues, there will be multiple takes. Imagine doing that for your entire series. It sounds like you have a nice Zoom recorder and also lav mics and a shot gun mic (you can use both at the same time). By the way, shotgun mics are used successfully outdoors all the time in all kinds of noisy, crowded and windy environments, which is why we have the Chewbacca cock: Again, audio is a full 1/2 of your production. Don't just hand the boom to your brother-in-law. If you are not familiar with audio on narrative productions, I implore you to hire/consult an experienced film sound professional.

Panny, I have very little time to test the camera as I am about to start a short film with it. One more day of testing before I start and it's really just a dress rehearsal, sound test situation. But don't worry, my short takes place entirely in the woods, so they'll be plenty of "greens"... God help us all...

I own one still, used to have three. here's some things I shot on it: It's a really great camera, has built in XLRs, I really like slog1 and sgamut - and man for the price, it's a great deal. Is it better than the canon 1dx which is probably now cheaper at the same price? Or the blackmagic MCC or pocket? That's where you need to do some testing. Check motion, color, etc. I think at this point a rigged out BMPCC with a nice monitor maybe a good alternative too. If you need the extra resolution. Anyway it's any interesting time to be alive.

Hi all, simple question, can't seem to find a good answer so I thought I'd just ask the knowledgeable crowd here. So I found an Isco Video Attachment (same design as Iscorama 54, just different stretch factor). Besides being heavy, MFD is 2m which also impacts practical shooting. I have some 82mm and 86mm diopters to use so I would like to buy a step ring. Front filter size is 95mm. Thread pitch is larger than normal though...Does anyone know it's specifications and/or have suggestions for suitable step rings? Thanks a lot!

FilmConvert NX1 profile is available now on their website! http://www.filmconvert.com/download/camera-profile

Looking at profit over a decade is dangerous. You could have once said that Kodak was the most profitable camera manufacturer too. Things have changed a lot since 2006 - and if you think Sony or Panasonic are simply going to go away, you'd be mistaken. Yes, Sony has had troubles in their camera division. But that doesn't mean they can't, or won't have success now. Works for Sony - paid upgrade to unlock raw on the FS700, FS5 and FS7? Paid upgrade to shoot 4k on the F5? Paid upgrade to get Slog444 on the F3? etc. etc. I think the big difference is Sony develops these cameras with an upgrade workflow - you still need to get accessories for the FS700, FS5 or FS7 to enable the raw output, but if you want to do it that option is available, it will just cost you a bit extra. Would you prefer to pay $1,000 to enable 4k on your C100 or would you rather have to pony up thousands and thousands of extra dollars to buy a C300? The 4k on the FS5 OOB isn't as good as the 4k on the FS7, but if you want to pay $500 you can get raw out of it. The FS5 fills a spot in the market where HD is necessary and 4k is nice to have. If you need 4k all the time, you can go for the FS7. If you buy a C100, you'll never be able to shoot 4k on it. Call it marketing hype if you like, but there's a lot more to gain from enabling even a somewhat crippled 4k mode than there is to have people at the point of purchase thinking about needing to hire something else if they ever want to shoot 4k.

That is one of the reasons why this thread should remain on the forum. So that in future his previous advice can be assessed in the light of this thread ie be treated as suspect. I suggest to @Andrew Reid that he must keep this thread on the forum but lock it when ES has refunded the people he scammed. However I also suggest that Andrew writes a short summary on the first post that summarises this thread so people don't have to trawl through the endless pages to find the relevent points : ie Ebrahim Saadawi was accused by the OP of scamming him Two other people came forward to say that they had also been scammed by him After a lot of persuasion Ebrahim admitted to the scams and attempted to verify his identity Ebrahim also admitted to extensive lying about his circumstances and experience in cinematography and consequently all his advice should be treated as inaccurate and possibly misleading Ebrahim eventually refunded the three people he admitted to stealing from (Hopefully) Ebrahim has now been banned from the EOSHD forum (hopefully) If Ebrahim is banned, then I think that will be shown on his status with every one of his previous posts so that will help alert future users to the unreliability of his advice.

So, if he refunds the people he scammed, his wisdom of a filmmaker with decades of experience with all sorts of gear will not be put into question? Somehow, this seems like the bigger issue here, since this is a place for getting reliable advice.

I'd still prefer an intelligent adapter, since you can turn the 'intelligent' part off when needed. I'd go beyond, saying that I'd like both an intelligent speedbooster AND an intelligent adapter ring. This way I could also use lenses like 300-500mm using the apsc crop factor.

Multi Cam is great for dialogue scenes as you can shoot over the shoulders in both directions at the same time and sneek in a 2 shot wide side on plus ECU head shots in both directions at the same time too ! 5 cameras for all that and the actors love it as they can play the whole scene in one pass and its all 'real' the performance can be cut for one actual take so it all edits together perfectly , yes you have to light for it and set up the shots but I do highly recomend it ! its so much faster then with one camera . I started shooting multi cam on my pop videos after I stopped shooting on film as its so much more useful to get all that coverage faster, so its not something new to me and when the Director of Pandora embrased this way for filming for this movie it was great to be let free to hunt down cool shots with all the extras cameras I had to use. here you can see a shot from the movie and below it a BTS photo of the set up and how I lit it and shot it multi cam , I used 5 cameras on this sofa scene shooting both sides at the same time. cu head shots, 2 shots and wides all at once - saved loads of time !!

Lighting for 3 cameras something I did alot on this movie, you just have to think ahead so one angle doesn't take a 'bath' with the lighting, I would often use a Arri 150 as a shadow killer on the C camera angle , so as long as camera A and B are good with camera C I will shoe horn in to get a usable angle, 'coverage' is the word thrown around alot by Directors these days , lots of DOPs say you can only light for 1 camera and thats the traditional way , well its not true you can light for multi cam If you think it through carefully it does work , 6 cameras is possible I did that quite a bit stacking them in pairs a close together like 40mm and 75mm with the 75 slightly higher for a close up head shot , if you have enough light and big enough set you can do , I designed the set with the director so I could put the windows and the practical lights exactly were I wanted them , this helped alot . see pics below of some typical multi cam set ups on the movie