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Andrew is always updated. He always follows our work. He will also get a NXL adapter these days. I hope he is not too bad in his review :-) In 24 hours I reached 2.980,00 euro of orders, this is awesome !!! Help me too to advertise it. It is a good news for Samsung NX fans. Metabones had no interest in building it. I do not believe in their justifications. TNX for your support!

A story without words about the demobilized soldier watching with drone for the neighbors Inspired by Fargo (TV series) Budget: 15$ All work in Davinci Resolve Studio 12 Shot on Canon 5D Mark III with Magic Lantern (ML RAW) and DJI Phantom 3 Thank you for watching

Dude... Its a movie and in movies there are flashes, ammo lasts forever and you can shoot point blank from the hip on full auto. I'm no astronaut but I'm sure the Millennium Falcon wouldn't be able to make the Kessel Run in less than twelve parsecs either

I bought one! I'm super excited to play with it, and finally get to experiment with all my FF glass the way it's meant to be used. I'll be putting it through the paces for sure, with both video and stills, using all kinds of Nikon glass, m42, c/y, Minolta, and canon of course, on both my NX1 and NX500... and I'll be posting all of my findings and results here! Can't wait! Special thanks to @lucabutera for making all this possible... You're definitely helping to keep our small, loyal band of NX users alive.

The NXL projectis it's in the crow founding home page!!!!! :-)) https://www.produzionidalbasso.com/

Starts at 5:44 They have no problem putting C-Log on 8 bit C100 files...

Maybe I can answer that with a video:

I too find it a bit awkward that in A or S mode on a Panasonic you can't see the ISO or S/A that the camera selected. For the GX80, I find that the IBIS gets a bit wobbly when doing some sort of movement with wider lenses such as the Olympus 9-18 or 7-14. With the Panasonic 12-35/2.8 and dual-IS it works better and really controls the jitters on the Panasonic 35-100/2.8 zoom. Check out my youtube videos where I tested out the IS of various Olympus and Panasonic cameras including the LX100, EM5-II, and GX80. I had the LX100 and sold it in anticipation of the LX200 and hopefully the better colour rendition like the GX80 (check out my test of the LX100/G7/GX80 colour). I don't know if it was the (auto) white balance, or the LX100 lens, or the "JPEG" rendering but the LX100 would give me some funky colours in the skin and lips sometimes. Also a tilt/touch screen would be nice as I use the EVF+touch focus for stills a lot. As you say, the GX80 isn't much larger than the LX100, except when you need something faster than the pancake lenses (like the Panasonic 2.8 zoom or even the 15mm/1.7 prime). The GX80 is also much heavier than the LX100 and doesn't have as good a thumb grip. I've recently sold my Olympus cameras and most Olympus lenses and replaced them with two GX80. I hope to get the LX100 replacement as it is a fantastic travel camera, and I could probably get by with the LX200+Gimbal and the GX80 with Panasonic 35-100/2.8 for most things. I didn't find switching between stills and video mode that tricky. I assigned custom settings to the bottom left function button and C1 to stills and C2 to video. I mostly shot stills in A mode, so to switch to video it was: Function button (select C2=video), shutter dial to 60 (rear wheel jog to 1/50), Aperture dial to A. I would pop on a 3 or 6-stop ND depending on how bright the scene was. Outside I used ISO 200 and inside auto-ISO. It would be easier if Panasonic told you what A it was selecting as sometime you need to jump into M mode to find out.

In one case you have 256 possible values of the r/g/b, with the other you have 220 (shades of r/g/b), if it's worth using depends on your needs. (no idea why you would want to limit the Log LUT to 16-235, which means the LUT clips everything below 16 and above 235, forcing you to record with more limited tonal resolution) I made a LUT for my own use, here it is with some additional warming: Camera setting: WB: Auto WB G:1 B:0 A:2 M:0 Color: Red:x0.87 Green:x0.90 Blue:x1.00 Saturation: -3 / Sharpness: -10 / Contrast: -5 / Hue: 0 Usually I put a LUM-curve (to adjust black level, contrast and highlights, if needed) and above (next) the LUT (which you can adjust for temperature, sat to taste) you can download it and use it for non-commercial work from here:

This was mentioned in the hack thread. Sounds like the cheaper, earlier option may disappear at some point, so it's like an "act fast!" thing

Ordered...now...i can't wait to use it for my works...go on Luca!

Super cool :-) I can see that Marco already post NX-l adapter on dpreview :-) (https://***URL removed***/forums/thread/4052311)

You should let to know also Andrew (I think it is worth to create article about all this stuff - NX Speedbooster and bitrate hacks too) + let to know other NX users on DPREVIEW ( http://***URL removed***/forums/1001 ). This is really great achievement of you that was partly supported by community NX1 community here on EOSHD. I think it is unique that someone was able to design and create so complicated tool in terms of precision just because of enthusiasm (I think it is unique also for EOSHD as general). Quite funny is that Metabones declared that it is impossible to create something like this becuase of NX flange distance...

Blasphemy!

120d http://www.newsshooter.com/2016/09/11/ibc-2016-aputure-light-storm-120d-is-the-daylight-version-of-their-120t-led/

Turn your Samsung NX camera to Full Frame!! https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

Shot this film in Botswana and I have to say that the BM cinema camera works perfectly for wildlife filming. You will need an external monitor because the screen on the back acts more as a mirror than as a display but other than that it has been great. It eats a lot of hard drive space so a few extra ssd's are needed. Let me know what you guys think.

So I've always, always struggled to get SLOG2 right on the A7s. I'm self taught and not a particuarly good colorist. I still haven't learned how to read scopes properly and found myself relying on the presets within FilmConvert to help me get colour and exposure right when using it. I had a couple of tests that were 'OK' but always found there to be far too much noise and ended up switching over to Cine4, and recently, Cine2 when using the camera. For some reason I decided to give it another shot this weekend after playing around with the new Lumetri Colour panel in Adobe Premiere CC, and lo and behold, it is far far easier to grade and I have finally gotten footage that isn't a noise infested mess. Being able to play around with the highlights, whites, shadows and blacks with sliders instead of curves (as I was previously using) gave me way more control over the image. Below is an example of some quick shots I took walking around Berlin this weekend, graded with a Visioncolor Impulz Ultimate LUT. Also have to add, that while the original footage did have a yellow tinge to it, this was easily taken out with the saturation wheel. Single out the offending yellow hue, drop the saturation of that hue, and its gone. Now onto the next mystery of why my Vimeo uploads always end up pixelated when there's any sort of movement...better to download if you're curious. Either way, if you found SLOG 2 was a nightmare beforehand it might be worth checking out again if you have access to Premiere CC.

It's funny, I have only minimal interest in 4k video in the first place and even less in 6k. For my needs, better low light performance, less rolling shutter distortion and in body stabilization are way more enticing features. My dream features would be if they added compressed raw and global shutter. I'm tired of the resolution wars. Make the cameras more useful please. But I'm a realist and I know that will never happen in a pro-sumer camera.

Well you don't know that for shure.

Makes sense as a concern. I thought the dynamic range was identical to prolost flat on my t3i. But clog was better for colors when grading, and it's definitely looking better for LUTs too. Regardless, the cine picture profiles and LUTs are easily worth $10..

There is a warmth to that video I posted that just reminds me of film so much (beautiful saturated oranges/reds). I know looks can be dialled in, but skintones can sometimes suffer... The C500 raw seems to allow for those beautiful warm colours and maintain the skintones. Maybe it is just a great, great grade... But it really shocked me when I saw that was from a C500. I genuinely thought it was film.

Just returned from another Festival, this time i brought my new Olympus 17mm 1.8 - what a nice lens! The manual focus is really nice and not snappy like the one of the Olympus 12mm f2.0. Also works very fine with the Tiffen Ultra Contrast, screencap (1080/50):

Harass Nikon for news about the KeyMission 360 (and harass Nikon about **FINALLY** making a cinema range?!). See if Kinefinity is there?! See how far along the Terra 5K is ticking along. Pop into Aputure to prompt them about when is their Aputure D3 microphone coming. Find out pricing of the Sigma Cine lenses? Encourage Samyang/Rokinon to make a zoom! (an affordable S35 20-85mm T3 would be awesome!!)

Love the bokeh.

I'll post some result with my takumar smc lens and...with my anamorphic Bolex Moller too...;)Now...i've to wait Luca!!!

His words were ridiculous, but his hand gestures so confident.. I don't know what to believe anymore

Please keep us updated with your findings and results!

Samsung patent 70 200 f2.8 full frame lens!! http://digiarena.e15.cz/samsung-zrejme-pracoval-na-plnoformatove-bezzrcadlovce

transformers like

Yeah, not sure what's going on ... will test some more. Like I said, didn't happen all the time but did happen. I used "S" movie priority. 24p 4k ... shutter @ 1/50 using an X4 49mm 3 stop ND filter for all of those scenes.

Awesome job. Loved it. The actor looks like he could be Oscar Isaac's brother.

Even though it is a story without dialogue, the soundscape is done really well!

Agreed... and that's a fair price for that lens too.

all around good job but one point guns dont make that big of a flash mostly non at all specially in bright day light. I have some exp with guns/military what i would do is have bullet penetrate the body skull and hit the snow and see the impact in the snow. But still awesome job

Rochester NY, no way! I live here too! You an RIT student? I started shooting with a GH2 myself and I use a GH4 now. I use the GH2 as a b-cam occasionally but would consider selling to you in your price range, send me a PM. It was my first camera and I made a ton of films with it. I'd recommend mirrorless myself because you aren't tied to a lens mount, and your existing glass will transfer. Many great cheap lens options out there too in older mounts.

bamigoreng, thank you! some bts :)))

"Sony really should make it easier to find information and LUTs for grading log material from their cameras. When I first started using the A7s I couldn't find a proper slog2 to Rec709 LUT anywhere that worked correctly. I spent countless hours looking for a neutral converstion LUT and I knew exactly what I was looking for. The slog curve is not the problem the problem is the sgamut color space that is the default on the camera when shooting in log. That colorspace must be converted to Rec709 via a LUT or color transformation matrix otherwise you can get funky colors." This is bizarre. There is no default gamut. Sony supplies some example "Picture Profiles." One of them happens to use the Slog gamma curve and SGamut. Those "profiles" are just examples, for beginners to try out. You are free to combine the log gamma and the REC709 color space or any of many combinations of curves and color settings. And within any of those there are multitudes of tweaks - knee setting, sharpening, etc. It is ok to say one has a hard time getting the color one wants from a Sony camera. It is another to blame it on Sony, given the number of options it provides. On a more positive note: Sony Catalyst Browse will create a LUT that converts the combination of the log gamma curve and SGamut (or any of its combos) to full REC709 automatically, which you can use in your favorite editing software. It is free.

Honestly, the problem is your budget, which is why I recommended the 50D, and since you mentioned an interest in it. For that money the 50D is the best Raw capable camera around. But in my honest opinion, if you're just looking to get your feet wet with video, don't switch to m4/3. You already own Nikon lenses, there is absolutely no reason to switch. I would search for either an upgrade to your D7000... A D7200 or a D750 which gives you the flexibility and durability to shoot video and stills in one package. Their flat profile is beautiful and the video codec is strong in 24p and 60p.

Yeah, this is what led to a broader search on my part. At first glance, the 50D looks great, but it's definitely too good to be true. I'm thinking that a Panasonic G6, GH2, or Nikon D5500 might be best.

Some footage right now from 35nap 2-4. This lens almost identical to 35nap 2-3m, little smaller, little difference with light streaks. Minimum focusing distance I have 50 cm

Have you checked if you have better DR using 16-235? This was a leftover from the analogue age, and it most probably after the image is ready for encoding (and the DR is basically set) the encoder gets instructed to set those min/max values, which would result in lower tonal resolution, and no increase of DR (if we don't count some, if any, value interpolation by decoders, for the clipped regions).

Turn your Samsung NX camera to Full Frame!! 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/

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

This is a typical filmmaking story: no time, have to hurry up and of course no budget ? This is a story about the shoot of our music video and about the mistakes, which you should avoid. The band: 3 people + me (also the director of the shoot) The crew: 1 DP, 3 assistants The lights: 5500K thungsten studio lights + Small Aputure Amaran portable LED light The camera: Lumix GH4, Mitakon Lens turbo Lenses: Soligor 1.33x anamorphic adapter, Pentax SMC 50mm f1.7, Tamron 17-50mm f2.8, Canon EFS 18-55mm, Canon 85mm f1.8, Gear: Shoulder rig, Fotga DP500II follow focus, manfrotto 550 tripod + fluid head, 2m home made camera slider The pre production started one month before the shoot. I did everything myself: I wrote the script, made the storyboard, wrote the shotlist, etc. I tought that I am fully prepared, but I wasn’t since the whole video was shot at night with a very limited ligthning setup. I did not have the time to try out what are the best settings for the GH4, but will get back to this later. A month before the shoot I sold my AGFA 1.5x anamorphot, which was a very-very big mistake. I missed two great anamorphic lens deals on ebay so 5 days before the shoot I was without anamorphic gear which was one of the keys to the videos feel. Just few days before the shoot, an EOSHD forum member offered me a 1.33x Soligor and I took it. It arrived 2 days before the shoot, so I quickly checked the fastest aperture I can use, than I had to realize: there is no way I can shoot every scene with anamorphic lens attachment. I have my GH4 for 6 months now, before it I was shooting on 5D MKII & t3i. When I got the Lumix I automatically set my PP to James Millers (i really like his work and trusted his settings). After shooting on several live events it performed great, it was easy to color correct and the image was pleasing. Too bad I didn’t read Noam Kroll’s article on GH4 PP settings before the MV shoot. I screwed up, and I did the worst thing that a videographer can do: I trusted my cameras LCD screen, not my knowledge and instinct. I was reminding myself, but we just simply did not have the time to figure out the best settings. Never trust your camera’s screen (but you already know that). The location was nice a huge house with a garden. The first 1,5 hour went to packing and setting the stuff up, than 3 hours was the filming of the band with a very easy 2 light setup + 2m dolly. We thought that it would be great if the band is sitting while playing, but to make sure we’ve got everything, we shot the band in a standing position as well. And we did good, I ended up using just that one shot, because the sitting did not work as expexted. When we moved outside I switched the anamorphot for a Pentax SMC 50mm f1.7, I shot it wide open, than I cropped the footage. I think I was shooting at base, 400 ISO. On the screen it looked okay, in fact blacks were crashed and the image was underexposed, which caused me a lot of noise. This is why an external monitor is handy. The story part was filmed in 3 hours. There were 15scenes/34 perfect shots I had to make, the first 5 shots already took one hour of filming. We were getting really stressed that we can’t finish the shoot that evening. This stress caused a lot of trouble, we did not had the time to figure out the best lightning, we forgot to double check the camera’s settings so I filmed the half of the evening with wrong shutter speed which caused me a lot of flicker, bad ISO settings, and we didn’t even had the time to check the filmed clip to verify if the focus was pulled badly or not. During the post production I found out that some of the scenes are really blury, so I decided to go back, ask the actress once again, and reshoot some of the scenes. But I did not have my crew then, and I sold my soligor meanwhile, so a small Aputure LED was my main light, and i used a Tamron 17-50 f2.8 lens to reproduce the soligors 24mm anamorphic feel. I feel sorry that I did not tried to shoot it with a 2x anamorphic lens, that would give it better depth and flavour. This all caused me a lot of trouble in post production. After cutting the video I had to spend a lot of time in after effects to remove the flicker. Grading was like hell, the picture was absolutely orange, we forgot to set the white balance, so I tried to grade it with Resolve, but the XML does not went through properly because there were too many interpreted footage (from 60 to 24fps), etc. Than I tried to make it happen with speedgrade but after messing with the clips I stayed with Lumetri colors. Every clip is graded with lumetri, well it took me around 10 days to adjust each clips settings, and it’s still far from perfect. Than came another issue: the noise. I tried to reduce it with denoiser, which helped me a lot, but it made my premiere really, really slow. Anyway, here’s the result, it's not perfect but I did my best to make something watchable from it And here’s a cut to show the difference between unprocessed and post-processed footage. What do you think guys? Cheers! Alex

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

Tried this on my Canon 60D w/ Sigma 18-35, and I didn't check for focus. Sorry please forgive my rookie mistake. Shot internally and it held up quite better than I imagined. Remember using CineStyle when it first came out and never got the look I wanted consistently.

Sorry for digging up an old thread, but I just wanted to say @Gregormannschaft 's above video is beautiful! The DR is HUGE! Did you shoot in s-gamut too? My favorite shot is the screenshot below. Is this shot on a 35mm lens or a 24mm?