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Updates NXL NX / EF: Hi, I worked on this adapter for a few consecutive days, the biggest difficulty was finding the right point of distance between the lens and sensor. A tenth lower and slamming into the sensor, a tenth farther and slammed into the lens. Find the right setting to infinity focus it seemed impossible, and some moments I was throwing in the towel with canon EF mount to return to Nikon. All this for 0.05 of a millimeter (Canon EF mount is definitely the final flange focal distance limit). Now fortunately, the system works perfectly and soon will publish the first tests with Nx1 camera. See you soon.

I love the "Gold Ring" on Samsung NX1... It will be a very long wedding!

Hi Ty, It should fill the card if you trigger the flag in the Ml raw menu to record in exfat. I am using firmware 1.1.3 of the 5d3. Check out ml forum for more info on exfat recording. Your card also has to be formatted as exfat when that mode is triggered.

http://rbrune.github.io/mlraw/

After much work and many sleepless nights, I have almost finished my work and I think I have brought the lens NXL to the point of being sold to the public. I thought if the test this week will be positive to produce it with Canon EF mount dumb to which you can add a Nikon adapter with iris aperture control. At this stage it allows to mount all Nikon and Canon lenses, in the future I will continue to work to enable the electronic control of the lenses.

What sorts of things could they realistically do to improve the usefulness of their video? And why aren't they doing these things, given they don't need to worry about protecting higher end video cameras.

Because they want to do everything well and appeal to consumers, they don't want to add fluff and invest resources in something that would sell better if it was more generic and priced cheaper. The Blackmagic range is not really something for mass market, so they can focus on making it excel at one particular area. Their area of expertise is video production. You wouldn't pick a BMD camera to go and shoot stills however. But yeah, that doesn't mean I wouldn't like to see Panasonic do something like that. Talked about that before, I think they should bring out a prosumer up from the GH-range. Like a tiny little VariCam. So... you'll get the GH5 and up from that, say the VC5 that's roughly the same idea, but just a little crazier (and more expensive). Sort of a AF100 follow-up, but then again, not really. Still more like a GH5, compact and capable, somewhat reasonably priced, just a little more with a prosumer videographer in mind, rather than a hybrid shooter. So yeah, then it would be nice to see some sort of RAW and ProRes and some proper data and audio handling. But as a mass market camera division, you can't bring out your top of the line camera for hybrid stills and video with overkill on features driving up the price. That's why I suggest to put a VariCam-label on there and drive up the price for the folks that do need those extra features. Nikon seriously needs to do a mirrorless APS-C line-up. They've got great sensor know-how what extraction/processing concerned and I know they can deliver lenses that are on point, but I just don't care about fuzzy DSLRs. D5500 as a mirrorless camera, or perhaps even something like the D750... that would be golden (but would need to include 4K). But I guess they are scared of the competition in that segment and are afraid that losing the mirror will also mean people won't see Nikon as a solid AF performing brand anymore... I think they'll be sticking to a pro-stills strategy. Olympus. Here's what I think the thing is... they had the E-M1, people found it decent, people liked to have image stabilization, they saw a use for video and would like more. So... they were like, well, now that we have the E-M10-range as the mini-E-M1, let's just make the E-M5-range the new video-centric model. BAWHAMMO. E-M5II. No mention of 'video' in the press release, remember? It was all 'professional film', 'cinema movies' and all that stuff. Boy, it didn't exactly live up to the raised expectations... The E-M1? It's the Olympus pride and joy... on stills level. They don't want you to go and shoot awesome video with it. They want to carry the tradition that they're the classy stills camera brand. In the successor of the E-M1? The 4K will just be the feature that they 'have' to add. 2160 is a bigger number than 1080 after all. Sex sells, more/bigger numbers too. And if a flagship has to be relevant for atleast the next 2 to 3 years, people will be bummed to learn it's going to be outdated soon, which could potentially harm sales. So yeah, I don't suppose it's more than the obligatory 4K (not that Canon cares). But hey, Fujifilm didn't have to step it up that much with the XT-2, but they seem to have done quite well for themselves, so who knows? Sony man. Just about everyone and their neighbour's dog is using Sony sensors these days, yet they all seem to do a better job of extracting/processing what's coming out of it. Rolling shutter issues. Overheating. I'd honestly almost rather shoot a Canon, because they might be underwhelming, but atleast they do what's expected of them. They should just buy up the laid-off folks over at the Samsung camera division already. They need to work on color and reliability/performance. They need to be as good for actual shooting as they seem on paper. I think there's room for improvement everywhere. Bitrates, datahandling, processing, color, codec, dynamic range and pushability, noise levels, rolling shutter. Still would like to see intermediate resolutions. 1080p to 2160p is somewhat of a leap. There's room in between to allow for 1080p projects to still have a little wiggleroom up for framing correction and/or stabilization, but for that you don't need the full 2160p. Which most notably means as well that you can shoot at higher than 1080p res, but do not have to drop your framerate as hard as when you'd go 2160p. Anyways, I'm good with the options we have for the time... next up is Photokina, around that time (fall) Craft Camera is supposed to be doing rounds showing off their system... we'll just have to see about that... then it's CES and NAB already. That's about 6 months of sitting back and looking what happens and just keep shooting with what you have. That's doable.

I think Oly might get locked into throttling the video side of the sensor tech because of who they're buying 'em from. Some sort of competitive clause, perhaps? At any rate, Oly is rumored to be adding 4k to it's next gen of cams. And I'm a fan of their models. I'd rather shoot with an Oly than a Panasonic or Canon, fer instance. But it's a nuance. I like Oly's viewfinder and ergos, but I use 2 GX85's because the 4k is a good fit for a production I'm doing. Personally I think it's all good at this point, going forward. If you pushed me out the door and told me I had to shoot with any upmarket consumer stills/video camera that came out this year (or next), I'd be fine with that.

This might be a single chip DLP projector with a colorwheel. This means that every frame is projected several times with diferent colors. You can easily check this by moving your hand in front of the beam and see with your own eyes if the motion blur is colored (3 or 6 colors, I believe). If the beamer is DLP you can probably up it to 100hz or even more, then select the lowest shutter speed possible (this is just an idea that could work).

First fast test.

Jr.?

I'm fine with the Pocket & don't understand why people find it hard to use - set the WB & set the ASA/ISO & then all you need is to tweek the F Stop and/or the ND. The battery life is a not a point of contention, as when you swap the SD card, you swap the battery - 45mins is fine & you get used to switching the unit off/on when not in use. I've used it for Run'n'Gun for shooting concerts & in more controlled settings - practice & getting to know your camera, that's the key. And it's nothing like a DSLR & that's what stumps most people - learning a new technique/camera is fun IMHO.

It probably makes sense if you're shooting at 30p. The numbers seem roughly correct. If you shoot at 24p you should be getting 49min of 1920x1080 on a 256gb card.

Oh no! :-o

For Sandro, the 18-200 is the problem. I think f/6.3 is perhaps too dark for the on sensor PDAF points to be effective. The lens focus speed itself is pretty wicked fast on that one, but if the camera doesn't know what to set it to.... you'll notice it sometimes jumps and that jump is super fast. And yeah, there are situations where NX is a bit dumb, if the subject is small in frame the NX cameras love focusing on the background instead. There are some issues like that, but I still find the NX1+50-150 quite capable of BIF and sports. The 18-200 was exceptionally bad among NX lenses. I can shoot a reasonable amount of BIF with the 50-200, the 45 and 85 primes are very fast focusing, just too short for BIF, but just fine for sports. If you need to use the NX1 in truly low light, that green beam really works quite will in even absolute darkness to a decent distance. Without it, yeah, it doesn't make it as low as a fair number of others. Jefbak and Marco: To be fair, they were speaking in the context of maintaining their current quality, but yeah, it could just have been an excuse because they didn't feel demand was high enough for NX. After all, some other mounts were able to have them at reduced levels of focal reduction. Don't remind me of the 300 f/2.8... I still want it badly. If quality samples are looking good then I would be in for an EF version even without aperture or electronic controls so long as the price is in line with that. I do have a number of FF fully manual lenses in EF mount that would be even nicer on NX that way (e.g. Samyang and Laowa). I could chip in some for a production run, but that 10k is reserved for a fully functioning near native AF electronic adapter.

Yep, they are probably incompetent.

I had the Pocket and now the Micro. It's fantastic, I don't really need the 4K, but it is a "cinema" camera. You need time to set up it, time to swap batteries etc... and for rush - or low budget / no budget - gigs is not the best candidate. I find the GH4 (and now the G7) far more easy to manage, they share the same lens park and I use 90% of the time the Panasonic instead of the Micro. Of course I love the internal Micro's ProRes, it is just awesome and quite easy to grade in post while with Panasonic you have to nail 85% of the look in camera, because the V-Log, even recorded in the BM Video Assist is not something I use on the GH4. In my small experience LOG needs 10 bits and GH4 (or G7) are not that better recorded in ProRes, the codec is great in "Natural" setting, recorded internally and I use them in that way.

IMHO anything promoting the BMPCC [or BMMCC] over 4K 8-bit cameras is a good thing. I know no camera is perfect (especially in the prosumer market), but in my experience the Pocket was the image & codec i'd been longing for ever since I had to take a hit & demote myself to using H264. It's not 4K, but when I saw the image quality and started working with ProRes (let alone RAW) I knew I'd finally come home - no more wasting time on dreaming about which camera to own next. Some people might say it's only 1080p, but with an anmorphic lens it ends up being way over the standard Cinema DCP 2K (2.39) & you end up squeezing the image down rather than up. I still have my 60d for taking pictures & that's why I bought a hybrid in the first place - the video mode was always going to get replaced with something better sooner or later and now I have the best of both worlds. As far as marketing/advertising etc., of course one must always beware with these capitalists! But when they bring people's attention to something good, i'm more forgiving - at least for the time being.

I own both GH4 and G7: in 4K the G7 is better especially in low light, but of course also the GH4 is a little monster. I also own a BM Micro Cinema, great cinematic 1080 camera, but it is slower to use, for every setting you have to enter in the menu while with G7 and GH4 you can set WB, shutter speed, aperture etc... from a dedicated button. If you are in rush G7 and GH4 are a better choice. If you think to GH4 I would buy 2 G7

I make no claims to knowing the guy, being a part of anything other than being his fan for the past 3 years. He introduced me to blackmagic, because when I searched for blackmagic in 2014 his vimeo channel came up all the time. He started with, if I remember, the pocket and then moved on to the cinema camea. He built his own light systems and taught himself pseudo 3d animation to complete his money shots. His talent was his wife. Who, if I remember, was a painter or photographer, I don't know, but she was not shy. Yes, it sounds like a 'latching on to success' post, but really, I thought he was very strange. But I wathecd all his early videos like a hawk because he had, what we call, 'talent'. He got hired by some agency based on his shorts and I thought he was gone. Then a week ago I see promo for a film BASED ON HIS SHORT. To me, he is an inspiration. His movie is trending worldwide, its called Lights Out. Look through his videos to find his inspiration. Here's the profile https://vimeo.com/dauid Try to watch his behind the scenes if you can where he gets a bit nuts with piping and hardware lighting. We should support him fully!

I disagree, dude. I've got a pretty thriving business that's equal parts stills and video and the NX1 and NX500 do everything I need and more stills-wise. Fantastic dynamic range, high mp for great detail, wonderful adaptability for vintage lenses... Honestly what more do you need? This new speedbooster will only make things better, I can't wait to see how different some of my lenses look wider and a stop faster.

It's a known issue that 5D3 1DX 1DC and other Canon DSLRs don't work well with 256GB cards, better have multiple 128GB cards. 1DX II however improved support for larger capacity CF cards.