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@sidi If someone made a feature film that would go on the cinemas around the world and they used a Samsung NX1 to make it all, Samsung would open their greedy eyes, hopefully. But until then, lucabutera and many other have contributed greatly after they completely closed their camera section probably sold it off to the North Koreans for all we know. This reminds me when the Sega Dreamcast was tossed aside by Sega for no reasons, sure it had low sales just like NX1 but the fans were the special kind, the kind of fans you simply just do not get when you sell cheap toasters, no these fans they keep the device alive for years to come on their own because they like it that much, that is the very testimony to a WELL designed, WELL built, and WELL engineered piece of electronics device. This actually reminds of the Soviets, when the freaking Lada design would still be made well into the 90s, it just worked that well, we still had them on our roads when I was small competing against modern Volvo's and Toyota's.

Blackmagic Video Assist is actually and probably THE best external recorder right now, the build quality is superb and the interface is as one expect, very solid and touch friendly, beautiful display and supports NX1 and NX500 at least in my tests but ask Blackmagic just in case. But to answer your question, no. But like you said, your partners need ProRes, and shooting with Samsung in-camera colours and outputting it to ProRes could be many, MANY hours saved in not just grade but conversion as well. And this alone is a huge advantage, another point in using an external recorder besides the dual purpose screen is also the fact that you can record audio to it! Why audio you may ask? Because it is a known fact that the audio in the Samsung cameras are "#&%"("#!) and you really need to watch those audio levels like a hawk, if it goes a bit over you are screwed big time, it works fine for me on regular use but the first time the audio fucked me over big time because I assumed it worked like my GH4 which it did not. So basically, because the Blackmagic Video Assist is SO cheap and so well built, one may ask why not? But if you really just want the ext recorder for better video then no not worth it, but on the longer run it may be if you plan on getting a GH5 or something although it wont support 6k video or 2160p60 so there is also that to take into consideration. This is my opinion on an external recorder for the NX1 anyway, for the NX500 it only adds ridicules bulk to the camera. But if I wanted audio features I would use the Blackmagic, and yes I have tested the Blackmagic and the Atomos Shogun, the Shogun is shit with terrible build quality and the battery life is horrible worse than a Sony A7s in the heat avoid it like the black death.

I mention almost 4 years ago that if Nikon/Canon were to go mirrorless, one option is the Translucent mirror route (which make all their lenses still compatible) there is a lot of merit in it (1) You can have a single all-green sensor on the reflected plane (and also acts as a full frame Phase Focus, which is easy because the sensor contains only a single colour pixel) coupled with a second red-blue sensor (that can also act as both phase and contrast focusing elements). The advantage is that it reduces not only 2x2 bayer wide noise and artifacts, but dramatically reduces high contrast false colours as well. The result is extremely close to a Foveon sensor minus all of the processing overhead. This is a boon to us Photoshop users when it comes to very precise edge-detect editing, or (2) Instead of all green, one can use all-white and increase the reflectivity of the mirror a bit and the result is that you have an image with significantly higher Dynamic Range and (3) you can place extra Phase-Detect sites on the sensor itself for superior and fast fousing (where the reflected PD is the coarse and the in-plane PD is the fine). Sony chose (3). It's interesting to see how this all plays out in the upcoming tests.

Hi Sidi, thanks for your advice but this would be the good news, "Samsung finds interest in the NX system after months of silence! They sue me for similar mark, and I sue them for selling me a new camera and closed production after six months!!!!!

This was done with vasille's hack. Bitrate was 120. It took a pretty substantial grade, was able to push it pretty well, although the shadows have a tendency to go really black. master black 0. luminance 0-255. Includes live sound (plus a little music) https://www.youtube.com/watch?v=aSz8HvKhDnQ

Evil? Or Evil genius? http://www.independent.co.uk/arts-entertainment/films/news/directors-crowdfund-78000-for-a-film-spend-it-on-champagne-and-limos-a7336836.html

Looks like a normal grade to me, you should try some high contrast scenes with a lot of details although that one girl had a shirt with quite a lot of details which it seemed to handle just fine. I would suggest you do what I did, show the before and then after because sometimes it is a bit hard to see how much grading was done if you know what I mean, was the skin colour made reddish on purpose? There is a strong magenta colour in the entire video.

I think that has more to do with with the limit of the Atomos Ninja 2, I had a look in the manual of it and found that it does not support anything above 30fps in progressive scan. Only the older Samsung cameras can do 1080 interlaced, so that is your problem you are trying to receive an interlaced signal but the camera has none, there is no interlacing settings in the NX1 nor the NX500, you would have to buy the vintage dinosaur called the Canon 5DM4 to get interlaced video analogue style, jokes aside, the recorder does not support 60p only 60i and the NX500 only shoots 60p and no 60i, I hope that helps EDIT: It is easier to just shoot 1080p60 with the hack in-camera instead of slapping on the external recorders, the only point I see is if he needs an extra monitor or needs multiple audio sources as the Ninja 2 apparently can do 4 audio tracks.

John, all of that is over my head ... I have no idea I do know it's hard to frame in still mode though (crop happens as soon as you press record if I'm remembering correctly) the times I tried but yeah, definitely has some advantages. Also remember you can't use the shutter to start recording but not a big deal. I've taken your previous advise and gone with the variable ND and shooting in manual in movie mode. Working really well ... even for faced paced street stuff.

It makes it less genius if they thought of it after they ran out of money. If they had it planned all along, kudos!

Are we?

When they finished the money, no?? ;-D

Looking at the ffprobe information, I'm seeing that the GX80 is at 29.97 fps and it has "yuvj420p", not "yuv420p". I believe yuvj420p will show 255 different color [0-255] values whereas yuv420p will show 219 color [16-235] values. Is that correct? I know that many other cameras use yuvj420p (5DM3, GOpro, etc.), but is there any real difference if you were to shoot a whole project this way? Another benefit of shooting video in stills mode is the ability to shoot in 16:9, 4:3, 3:2, and 1:1 aspect ratios. Could be good for some projects... 1:1 is offering 2880 horizontal and VERTICAL lines of resolution. The widest aspect is still going to be 16:9. I find it interesting that the GX80, specifically, is essentially a pseudo world camera, having the possibility to shoot 24p, 25p, and 30p video (in stills mode). It's only lacking the unlimited max recording time of the GX85, which can be removed by putting it into service mode.

It does need some work on the color though. The green and the reds are oversaturated. Highly likely they will be clipped all the time. The blue is very apparent in the shadows. Hopefully they can calibrate color better in a firmware update. Blue shadows can be handled easy. The clipped reds and greens are impossible to recover the detail. Not having to do any color correction would be a huge plus.

I did some more research yesterday and saw that the HR672 included mount comes with a drilled hole for umbrellas! How did I never see this? Now I'm wondering if a umbrella for some indoor lighting setup (with limited space) might actually be a viable option. I did my homework on umbrella differences but quickly found myself in shoot-through vs silver reflective vs white reflective battles and am more confused now than I was in the beginning. Most resources available focus on photography where the shoot-through umbrella for example is very very close to the source which is most of the time not possible on videos. Reflective silver umbrellas seem to make sense. A good amount of light is reflected because of the surface, and more directional than shoot-through. Anyone here experienced with umbrellas for videos? Would love to hear your thoughts!

Oh I don't know. I think I was using Portra or Velvia. I just found for me, FilmConvert to be the easiest way to nice color with these consumer 8 bit footage... Or any footage really. But your mileage may vary.

I noticed that too but it seems like a series of stills it's taking when reviewing footage on the cam. I haven't had a proper look though all the 4k photo modes though.

Hey guys, I know bragging about the G6 again, it might be like cold coffee. But in the heat of discussion a cool ice coffee is a beautiful thing, so to say, metaphorically speaking:) I was shooting in September 3pm bright sun light, -2-2-2-2, WB at 5600, John Matthews and Jase´ A3G3 setting, 200ISO, autoshutter- Colorwise, grading it in Davinci feels almost like dealing with raw with the right workflow, colorwise not DR wise. Call me crazy for saying so. I´m really shocked to see what a adequate workflow can get out of this cam. That little 24 Mbps codec in 24p is really, really suprising me. When focus is right it even forgives a 1.25 croppin in post. So I bet the GX85 must be awesome picture quality wise. The ergos don´t fit me that well it seems. Grip could be a little bit taller. There is an additional grip available but only from one company I think. I am thinking about this one, rather than the G7 because off IBIS. @mercer, Merce, tellin you, with grading workflow you can achieve so much beauty in color with these little lumix cams. So for me it´s still G6 for a little while, then GX85 and later the 13stops of the GH5-IBIS-10bit with 600Mbps-Beast!:)

The D-Fuse softboxes are great. I own a 672s and the D-Fuse. It will help, but it won't be a truly wraparound kind of softness since the size of the softbox is really not that big. If your subject can handle the light getting in real close, then it will be better. In general, I don't find the power of the 672s to be enough for a key in a lot of situations once you diffuse/soften it. It makes for a fantastic hair light, great for background, and in some situations a good key. I am thinking that I need an LS1s or something similar to be able to soften enough (need to light up enough surface area of a larger source...softbox, diffusion panel/scrim, etc) and still have enough punch to deal with a variety of situations, backgrounds, practicals, and/or distance needed from subject to avoid making them feel uncomfortable and still get foreground/background ratios to sit right. But yes, the D-Fuse are great, and crazy inexpensive. Portability and speed to set up is also really great.

As someone who uses a A7r 2 and used to own a Nikon D750: the A7r 2 is a far better stills and video camera. The FF 1080p is great and gives you a great bitrate and leeway in post. I love the Full Frame 4K on it, great look and low rolling shutter, and working at a theater typically downscale it to 1080p for final delivery. I almost never use the Cropped 4K mode. Sure it has better detail and low light, but the Rolling shutter on it is horrendous.

easy to understand. just click the option that says 1080

Frankly we do not understand this talk about 1080 ... downscale 4K to 1080 .. simple

If your player gives you an option to choose resizing algorithm, try "lanczos", but I really don't see "sharpening" as an issue. re original issue: Destroying the footage with "softening" just to look good when you playback 4K on 1080p (when your player uses poor resizing algorithm) does not make sense.

Not in my experience, at most I have accidentally pressed DISP on GH4, while on 5D I've pressed REC on and off at the most inappropriate times during run n gun shooting. I think GH4 is the most ergonomically sound mirrorless/DSLR type camera for video shooting including the "mental ergonomics" of it -- there's no quirk that drives you crazy like with some others.. It's very solid throughout and it looks like GH5 has built on it, which is great.

A couple more tidbit. http://www.mirrorlessons.com/2016/09/22/olympus-om-d-e-m1-mark-ii-extra-information There is no sensor crop for both UHD and Cinema 4K unless you activate digital stabilisation in addition to 5-axis IS (8% crop). Continuous AF will be available with the same features as for stills. You can vary the exposure while recording.

6.5 stops of stabilization with their sync lens(es). 4K video. Seems too good to pass up. Unless they botch the IQ tremendously (which they most likely won't) I'll be considering it when released.

I'm wondering if there isn't a difference between the degree of stabilisation that is effective for stills and what you would need for smooth video movement. For a start, I don't think IBIS will help keep your horizon straight...

The quote is "one stop better and IS" I think "one stop better" is referring to ISO. They claim the G7 replacement, combined with one of two current optically stabilized lenses- but they plan on making the dual IS compatible with more of those lenses over time, is good for 5 stops of stabilization. Which is pretty remarkable. I imagine the GH5 will at least be able to equal it. Still, looks like Olympus has the edge unless Panasonic can step it up for the GH5. 5 stops is incredible. 6.5 stops is just unbelievable.

It is very hard to please people these days. When one company finally brings 4K 60p and at the same time 4K 10bit 422 internaly to the masses (that we all whined about for a few years), now all of a sudden it is not that important. Sorry Panasonic we were just kidding, we don't actually need better image quality, we need autofocus that is connected to our brain so we can shoot, read magazines and drink coffee at the same time.

The more I am reading about Olympus, the More I am convinced this is the sensor that will take on the APS-C DSLR brigade. Especially for photography. Source: http://www.amateurphotographer.co.uk/latest/photo-news/exclusive-interview-setsuya-kataoka-olympus-95731 "AW: What was Olympus’s main point in mind when designing the E-M1 II? SK: The primary point is speed, which is increased dramatically, not just the continuous shooting but also the autofocus and viewfinder refresh rate. The sensor readout is faster, and the data processing speed has dramatically improved. AW: In its launch presentation Olympus said the E-M1 II would offer a better value proposition than APS-C. Can you expand on that; for example did it mean both DSLR and mirrorless? SK: In a sense it’s both, but more about the conventional APS-C DSLR than APS-C CSCs. With the E-M1 Mark II we have surpassed the speed and image quality of APS-C DSLRs. AW: In what way was is IQ surpassed? SK: In particular, we’re better than our competitors at mid-range ISOs around ISO 6400, with better noise reduction and resolution. AW: Can we talk about the E-M1 Mark II’s new IS system. How well does it work with and without IS lenses? SK: The in-body stabilisation itself gives 5.5 steps, and the Sync IS gives 6.5 steps with OIS lenses. 6.5 stops is actually a theoretical limitation at the moment due to rotation of the earth interfering with gyro sensors. AW: What were the main challenges making the E-M1 II and getting it to work at such high speeds? SK: The improvement comes from AF speed and accuracy, with the 121-point sensor. But this means image recording and autofocus need to be matched at high speed. This was very difficult, to maximise the performance of the E-M1 II’s new image sensor. AW: Is the sensor related to the one in the PEN-F just with PDAF added, or are there more differences? SK: It’s a totally different sensor, two times faster, with totally different construction. On-chip phase detection is also incorporated." Whoa !!! In some ways, I feel the co-operation between Olympus and Panasonic needs to be more. Also, I am curious whether the new 20MP sensor is another off-the-rack sensor, or one that Sony has SPECIFICALLY made for Olympus. Either ways, in many ways, Panasonic needs to concentrate and work on its Photography limitations. Especially in comparison to APS-C DSLRs.

Oh boy! I was afraid they were going to put all the focus on stills and keep its video capabilities on the very down-low... (keeping the E-M5-line more video centric), but it seems, on paper, this might have it all... the only thing I'm scared for now is like crazy shot ruining moiré or something. This seems like a hybrid dream. Hopefully I don't have to wake up to a cruel reality. I'm loving it! New sensor tech. Superfast readouts/processing. 4K. Dual cardslot, improved AF, vari-angle screen, mic in+headphone jack, timecode even, flat profile, legendary Oly stabilization. It's all there. The only reason to get the GH5 is the cinema application shooting with stuff like LOG and anamorphic ratios and de-sequeeze. Super exciting!

60 FPS RAW stills with no AF. Holy poop.

the point Im trying to make is we all can shoot images with a Panny and Metabones and some good glass like the Nikon Bourne Lenes that is equal to any major movie images , its just a bit of thought into how you light it frame it and shoot it , everyone on this forum can do this without buying a Red or and Arri Alexa and some Arri Zeiss master primes .