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https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

Hi there everyone, Just wanted to chime in and give a big thank you for all of the support! Zhiyun has done a fantastic job with the Crane and we think the product really speaks for itself. We essentially sold out of almost all of our stock within a few days when the Crane initially launched. As one of the main distributors of Zhiyun products in the USA, we wanted to let you know that we're offering a 5% discount off orders when ordering direct through our website, www.zhiyun.us. Feel free to use the code "EOSFORUMS" at checkout to apply the discount, this should help some of you save around $30.00+ dollars on the Crane if you've been holding out on purchasing it. As one of Zhiyun's main USA distributors, we offer an exclusive 1-year domestic warranty on all products purchased directly from us or one of our authorized dealer stores, meaning if something goes wrong, you don't need to ship it back to Zhiyun-Tech in China and wait weeks for replacement. We hope that this warranty along with USA-based support really helps Zhiyun shine in the months to come, and we'd be happy to get your feedback and suggestions so we can continue help improve Zhiyun's products for consumers in the US. @RNvideo, feel free to contact us directly on our website so we can try to help you out with this problem if it hasn't been resolved. We're not sure if you ordered directly through us or not, but we'd be happy to do what we can to get that Crane working if it's still in your possession! If all else fails, we'll make it a priority to see that you can get a replacement from Zhiyun as soon as possible.

1/50th will give you a smoother look. People tend to blurt out the 180 degree shutter rule, but that rule was invented for use when the playback speed was always between 24 and 30 fps. Really it should be called the 1/48th to 1/60th rule. If you shoot 1/50th at 50p you are still going to get the same amount of motion blur per frame as you do shooting 1/50th at 25p just with more frames. I have to say I haven't done a lot of research on this myself, but basically any 50 or 60p video I see I HATE it because of its staccato look. Which seems counter productive because you would think it would be smoother. Perhaps it is just the look of high frame rate, but I suspect it is strongly related to the fast shutter speeds people are using when they follow a silly catch phrase 'rule' like lemmings. I would do a few tests. Shoot the same scene, maybe a person walking or a car going past, using both 1/50th ant 1/100th and see which one looks smoothest.

I highly recommend going on Kinefinity's website and downloading their sample clips from the Kinemini and Kinemax as well. Insanely robust footage. I'd put it above even Blackmagic footage for gradability.

Fresh test. Better than earlier tests... Rectimascop 80/2x | Helios 44-2 (f:2) | Sony a6300 (4K 25 fps cine2, ISO 100-800)

Pricing probably calculated so that when they sell it as a kit lens with an FS700 etc they can have a really generous discount to make it look like a bargain.

eoshd c-log AF test Tony Northrup comparison

My current settings, very basic, which I think have been pretty successful for me. I'm not super experienced with color grading so I haven't delved into SLOG yet. PP6 Black Level +3 Gamma Cine4 Black Gamma - Defaults Knee - Defaults Color Mode Cinema Saturation 0 Color Phase 0 Color Depth - Defaults Detail --> Level: -3 This gives a pretty flat / somewhat low-contrast / low-saturation image that you can push or pull different ways. Here's an example of ungraded (top) and some basic contrast / saturation tweaks [contrast +19, saturation 147] in Premiere Pro Lumetri Color where I was just aiming to get the skin tones looking natural like they looked to me in person:

... does RS really matter? (we can't really change or make it better, can we?) however, I don't know if it's just me, but looking at the great example @Geoff CB showed here, don't you feel like the effect is much higher at the acceleration points, and when the speed is stable, the effect is negligible ? @Otto K, if you are interested if the 2.5K is line-skipping (which it looks it does), maybe the moire effect will be more telling (and maybe it could show how much skipping is does), but again, (how) can we use that info? edit: On a more positive note, last thing before the summer, I think we got two addresses which load LUT at recording start, so maybe we can modify and get those customized, however at the time I didn't recognize the format (they are not 3D LUTs). And if we can find a way to read exposure levels maybe we can get the time-lapse to auto-correct the exposure, and completely automate it for sun sets/rises.

I measured roughly some time ago and got ~8ms rolling shutter for 2.5k on NX500. All other modes (FHD, UHD, 4K) were 24-30ms. Could someone else verify that and could someone more experienced than me guesstimate whether it's skipping lines, binning, etc? Occasional weird horizontal line pattern suggest it might skip lines but I'm not sure how to check properly.

Longer focus throws tend to benefit cine-style shooting where an AC is pulling focus. They also help making micro adjustments on a wide aperture when shooting handheld where the distance between actor and camera is dynamic. Longer focus throws aren't as great for a single operator if you're pulling focus from, say, infinity to something in the foreground. I've had a hard time doing pulls like that without jostling the camera as a solo operator. On the other hand, shorter throws like those on still, and autofocus lenses are difficult in other ways. It's almost impossible to stop pulling right at the actors eye - you almost always pull slightly past where you want to go and have to make a quick adjustment or two. Or in a handheld situation where the distance to subject is dynamic it is very difficult to maintain focus. 180º seems to be a kind of goldilocks solution, designed for the most-likely midsize productions that are coming up a weight class to cine-style lenses, but aren't crewed up like film or tv productions. Also, manufacturing-wise, my guess is that it is easier internally to re-gear mechanically using the same internals from 90-180º, than to go to 270 or 300º. We'll see how it works in practice.

Thanks for sharing your pain! You made the best of a bad situation.

I really do think the GH4 looks the best, and that surprises me. I figured I would go A7rii, 5d iv, and then GH4. But it ended up being the exact opposite.

Do you know of any plans to have an authorised European distributor?

Looks really good. I wonder if this will ever be possible on the NX1. Does the 2.5k have the same crop as 4k?

Thanks for cluing me in on the M-mount. I still don't like the look of the cam. Not at all. Make a mirrorless look like a mirrorless with it's logical convenience, like the XC10. I'd spring for the M5 if it had 4k. But right now I'm trying to future proof my cams to a certain degree as well as have everything work as a system. Alas, that's how Canon rolls in 2016---no obligator 4k. WTF! Most of what I do are educational videos for my business--where I so a lot of teaching--so, talking head stuff. The XC10 gives such great images and 4k I can downsample to my business educational site, and it's so easy to get great results with it the addition of XLR for improved audio alone is enough for me to upgrade now. As the saying goes, professional video is all about professional audio--ain't it the truth. Plus, the attachment for the XLR audio can also be used for the C300 Mk II. Yes, the 300 Mk II already has XLR, but it's part of an LCD and adds a lot of weight in hand held shooting. This XLR unit that's interchangeable on the XC15 and C300 Mk II is lighter and will make outdoor hand held shooting easier, since out of doors I never use the LCD. The other thing is the XC15 will have all those cinema profiles to match the C300 Mk II...AND a waveform...!! YeSSSSSS!!! I love using waveform to help me with Log exposure---it's indispensable IMO. But I must confess I seldom take the C300 out---it's 95% a studio cam--worth every penny, IMO. PS: You might be waiting till Hell freezes over until Canon comes out with an XC model with a constant 2.8---I'm just saying. Canon giveth, Canon taketh away, and Canon depriveth. Arrrrrrgh!

My next camera...been waiting for this for a while...and a GH5 as B cam and handheld...unlike most interest I see online though, I want the 6K...

They note at the end of the video they are shooting in FF mode, which is worse low light performance. I also think they screwed up the white balance, bad representation.

Why? It only does 1080p over HDMI. The A7rII looks like it was in FF mode, S35 is much cleaner, and would still have less of a crop than the other two.

I ended up getting a prime instead. You're right about the faster lens, so I bought a refurbished 35mm f2 IS from Canon... They're having a sale on their lenses until tomorrow. I think with either the M5, or the 80D, this lens and Andrew's C-Log and a little grading luck, I should be able to match the XC10. We'll see.

Yes, this is really stupid and I found out the hard way doing some long milky way time lapses this summer that the batter life in the GX80 is much less than the same battery in the Gx7 and LX00, especially when I forgot to turn off the IBIS. I don't know why they didn't allow for USB power of the camera as well as charge the internal battery. I posted this in another thread, but it is more applicable here: Look at this guy's blog http://www.grahamhoughton.com/tech-talk for the subject "Building a USB to 8.4v power supply to power your camera for longer periods out doors". It refers to Panasonic, but I'm sure you can do much of the same for any camera that has a "dummy" battery on the market. I've ordered the voltage/current converter and dummy battery and I'm going to use it with external USB battery packs for longer time-lapse video (https://www.amazon.co.uk/gp/product/B01FD9X1NK). I did order the wrong plug to allow me to swap the dummy battery from mains to USB backup. His blog has all the details, but he also has some videos:

I use a light meter: when scouting locations (to learn any ambient levels or to determine the exposure of any unchangeable lighting/display entity); to get/set lighting ratios; to keep green screen and other broad areas smoothly lit; to keep levels and aperture consistent from one shot/scene to the next (when needed).

2.5K mode on the NX500. Very impressive RS performance.

Point taken... Yes I was being lazy. So here are some heavy handed grades to see how far this footage can be pushed before it crys like a little baby. And I can tell you it seems to hold up pretty dam good. Lots of room to get some crazy color grades and it keeps it's cool. This footage is definitely more robust in post than anything from a DSLR. I would love to get my hands on one to see how it handles in the field.

Well, I thought we were past the personal attacks, but I guess you just can't help yourself. Indeed, some people never learn or "wise up." I'm not calling the UM 4.6K "off-the-shelf," as you already assured me that it is not. It is custom designed and exclusive to BMD. Fair enough. The Fairchild sensor, on the other hand, is listed as available to the public and is by definition "off-the-shelf." I never said ASICs are related to sensor design, but they are part of the image processing chain, which I wrote about back on page 6 of this thread: "It appears that BMD has to involve third parties like Fairchild in sensor design, suggesting that they don't have the same mastery that RED currently has. This lack of expertise may lead to problems such as we have seen with magenta-gate, considering how the sensor and its integration into the surrounding circuitry and the larger image processing chain would have to be designed with absolute precision." http://www.eoshd.com/comments/topic/20526-ursa-miniis-this-the-end-of-blackmagic/?page=6 You apparently forgot to read this part. My point is simply that when you design all the components in-house and have demonstrated expertise in sensors and image processors, it is easier to avoid such problems in the first place and to diagnose and repair problems as they come up. RED had numerous mishaps in their 10-year history, as you well know. BMD is just starting out and has to go through a similar learning curve as with any company that is new to designing cameras. That's about it. ARRI, RED, Canon and Sony all have numerous patents relating to their cameras. BMD needs to complete its patent applications, which I cited above, in order to put them is the same category. They are surely aiming for just that kind of recognition after designing an advanced camera like the UM 4.6K. At least, I would hope so.

Me too So get yourself a WS 2000, really really good lens. I'm thinking of re-buying the proper single focus Iscomorphot again, don't know why I ever sold it!!!

Some of that autofocus at night wide open when it catches is impressive. That video looks like hyper reality almost cgi like. Can't tell how i feel about. It's alluring but strange.

There is, it's called the Iscomorphot s8/x2 or Animex s8/x2 - a little bit longer than the Widescreen 2000 & not so good as a focus through, but an amazing little lens.

It could not have XC10 specs without the fan. If it had 4K it would have been in mjpeg. Which would have been fine by me. But don't forget, they're supposed to be releasing a FF mirrorless by year's end. If that doesn't have mjpeg 4K, then I would be surprised. As is, it's a little monster of a 1080p cam. Haha, I was so happy with the color I was getting from my original M and then I fell under the spell of that sultry, slutty 4K and I was chasing bad color, especially since I'm a horrible colorist, for the past year. I pick up the XC10 and 50D Raw and I remember the freedom of not having to tweak every increment from a picture profile trying to get my reds desaturated and my oranges not to pollute every pore. 60p with Canon color or overheated 4K with green skin tones... I'll take 1080p 60p please. I wonder how well the DPAF works with their ef to ef-m adapter?

New Sigma full frame cine lens! https://***URL not allowed***/sigma-releases-new-cinema-lenses-full-frame-zooms-and-primes/

This is the story of canon. They come out with cameras, people bash the specs. But they are GREAT to use in the REAL world... Just saying....

RED do face online attacks when something goes wrong. There are plenty of professionals who use forums. Let's try to see the positive side of this rather public relationship Blackmagic and RED have with their customers. We can all share knowledge and sort out a huge number of support issues online, rather than having to go to a service centre one by one like sheep. I am sure whatever issues Blackmagic have with the URSA Mini 4.6k, they will sort them out, as RED would do, or Arri, or any of the others. This is a very grey area and to pretend any of us know all the answers is pretty dangerous. There are just so many aspects to this. By saying 'designing' you could mean numerous things - inventing new technology, planning out pixel architecture in a design room, or simply asking for a certain spec and having a custom order... it's a pretty broad spectrum. The manufacturing of the sensor is an ocean of different aspects linked in with the design as well, if you're going to invent a new kind of pixel architecture or readout mechanism for example you need to have the tools to manufacture it. Arguing about where on this spectrum of engineering a custom-made sensor falls is a bit pointless because... The image is about the whole package - Blackmagic's colour science and sensor calibration is superb. Along with Canon and Olympus I think Blackmagic's colour is one of the most flattering of the talent in front of the camera. Until we see the exact same 4.6K sensor in any other camera, the URSA Mini has exclusivity... I'd question why the whole topic even matters, since as I just said, it's the whole package that makes an image unique. The whole workflow as well - this is an important part and the sensor is just one link in the chain between the lens and the final image. Respectfully disagree. RED don't have an entire sensor design and manufacturing workforce in-house. RED call on similar outside talent to develop a CMOS design, specced out for a particular camera. Probably TowerJazz. Leica do it as well - CMOSIS and Panasonic both design and manufacture sensors for them. Where's the shame in this? Fairchild are just another sensor design company to partner with and a very good one at that. Blackmagic and Fairchild = "lack of expertise" is a really below the belt comment and just not true. In fact, that is just your assumption. You don't actually know.