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Just tried this on some random GH5 footage I had laying around, color charts, drunk people in my couch, a client interview. All I can say from this extensive 3 minute test is that I really like this, thank you so much! Cleaned up skintones, made the rendition of clothing, furnitures, walls, wall art more realistic. I haven't shot on Canon for a long time as we use Sonys (FS7, a7SII) at work and I own a GH5 privately and this is yummy. Hat off for you, my good sir! Will make this a must have addition in my GH5 post workflow and test it more than these intense 3 minutes so far.

Any power users want to convince me Resolve has got the strength to edit documentaries and handle all that media? I'm interested. I kinda gave up on FCP a few years ago, but can be swayed back there... JUST REMEMBER: feature length documentary. Anyone playing that game too? Curious to hear the feedback.

Gave it a try over the weekend. Works surprisingly well. 4K 24fps shutter 1/50 NX1 50-200 OIS III AF:

Here is a quick comparison between the anamorphic lenses I have. The goal is to compares the flares and sharpness. Hypergonar Hi-Fi 2 Dyaliscope Champion Singer/Sankor 16D (uncoated) Elmoscope 1 Isco Ultra-Star Schneider Cinelux. All shots with : BMMCC Mitakon Lens Turbo II Helios 44-2 Focused to infinity, using a +1 close up diopter (Hama) except for the cinelux which used the Rectilux Hardcore DNA (Sorry for the misaligned Cinelux shot, didn't see it until edit.) Shot in Raw 3:1, edited and graded in Resolve. Applied the same color correction to all the shots. I chose this lens, so that every anamorphic adapter would not show vignetting. Equivalent focal length is 58 (Helios 44-2) * 0.72 (Lens Turbo) * 2.88 (BMMCC) = 120mm (FF) The flares from the Hypergonar and Dyaliscope are just epic. I really like the subtle flares of the Elmo I The flares of the ultrastar and cinelux are very muted, as expected. The Singer (Sankor) 16D shot is just to show what happens if you want to uncoat your lens What do you think ?

We'll as I see it the two websites that were champion of NX1 was EOSHD (it earned its own hack forum here) and DP Review (they prob got paid by samsung) article looking back at what was and what could have been. After reading the article check comment section is quite interesting. All most 300 replies in 24hours. https://***URL removed***/articles/3890465710/tbt-the-samsung-nx1-is-still-impressive-three-years-later

Magnetic timeline and arbitrary tracks are just an entirely different way of working. Getting used to FCPX's idea of what a 'storyline' is. Given how powerful FCPX is and its ability to do tasks in the background, I find it's very quick to get an assembly together. The iMovie style scrubbing of source clips makes it very easy to quickly look at what you have and grab what you need. Being able to work with your footage while it's still transcoding, or exporting a master file whilst you move onto another edit, or start your cutdown options is incredibly efficient. I find fine-cutting and doing fine adjustments after your assembly more difficult. That said, the newest version does a lot to help this. You just need to get your head around the way the timeline works. The magnetic timeline quirks are what make it very different to others. Having clips 'attach' to others so that if you delete one, it might delete 5 others that are attached to it. Extending a piece of audio or video and have it push everything else back instead of sliding underneath. But they sound worse than they are - at least once you're used to it (the first few times it happens you'll curse a bit). I actually think FCPX is a great option for long form documentary, better than Premiere in some/many respects. But do a smaller project on it first to get your head around it.

@kidzrevil Can you propose any specific way (software/process) to handle those H265 files? What do you thing are the benefits of such a transcode? As of the NX, I have 2 NX1, 1 NX500 and 1 NX3000 with all the lenses I need, natively. Every time there is a new camera, I am consider the pluses and the minuses, even now, there isn't a clear winner in front of me. Right now I am thinking, to just keep everything I have, and go on, until they broke. Ibis for me ain't a big deal (I am old school monopod/tripod kind of guy), and I am using gimbals for when I really need it (even AF with the right settings is great on Ronin and even lighter ones). I recently started using DIS also, good to have, works quite well if you do not expect the moon and the earth (it is good together with the cropping that it does with some primes) The other cameras I use most (Canon C100mkII, JVC LS300) ain't 10 bit either, and do NOT have any high speed capabilities, while the 120 frames of NX1 are perfect for me (and too much most of the times, I shoot PAL 100frames). Unlimited recording (73 minutes in reality), even relatively slow and cheap cards do the magic, the ergonomics of the NX1 is unparalleled, the touch screen UI just out of this world (most competitors do not even have proper touchscreen functions!), monitors do not dim, stays cool even with hacking bitrates, best mirrorless battery performance (GH4 was good also), and some unique lenses I LOVE to use (such as the tiny 10mm fish eye, a gem of a lens) Most of my footage ain't even 4K(UHD), so I do not feel like I have exhausted everything these cameras can do, and also, great photo cameras! I add the 2 things that eventually will lead me to change though, High ISO is terrible above 1600 (NR and all), I wish that the limit was 3200 and 6400 usable with Neat video or something (I know, just 1-2 stops, but it makes a lot of difference in my line of work, and I could use easier slower lenses, such as the excellent 12-24 and 50-200) and I can not zoom in to focus while the camera records. I am considering the Small HD Focus (for other cameras too), but it will add to a very light and small camera, but I want to see if it is solving the problem, and focus peaking on NX seems to me that is working great.

My "next system" will need to be 8k@30, 4k@120, 2k@460, apsc or bigger, 10-12bit at all the resolutions, with very high bitrate (over 200) and h.265, in a packaging with the size of nx1 and a cost of 2k$ for the body at most. And a good selection of outstanding, yet affordable, af lenses. I think I'll have to wait several years, since Samsung is no longer in the game.

The 16mm Sigma will be 405g, just under the Oly 25 1.2 at 410g, which is quite an increase from the 265g of the 30. But as long as the image quality is on a similar level to the 30, it will be a must-buy. It has a bit of weather sealing too which is nice.

H.265 was a common complaint about the NX1, which is much more commonly supported now. It is sad that the biggest criticism of the NX1 is: "was too advanced for its time"! :-/

I sold my 1DC for a 5Dmkiii. So I too would go for the D850 with a D500/7500/5500/bmpcc backup. The Tokina is sweet. I used to have the 11-16 back in the t3i days. Tomorrow Im finally getting the 18-35/1.8

Transcoding XAVC-S to ProRes is entirely different to originating in ProRes. Yes, better chroma sub-sampling and a far superior codec are nothing to sneeze at. ProRes is one of the best codecs out there. That said, banding is a direct result of limited bit-depth. Compression artefacts will clear up, and by virtue of recording in a 10-bit 'space' (even though the signal is limited to 8-bit), you may find banding clears up to some extent, but banding in and of itself is a result of bit depth not compression. I've never encountered this before. How strange. Good to know!

Yes the pixels can come back. Resolve 14 has a pixel fixer or can be done manually in other software. You can minimize heat and extra long takes when possible to decrease the chance of occurance. I myself wouldn't have the slightest concern about buying the 1dc used or the potential pixel problem, but a new 1dxii would certainly be less of a risk.

DR14 doesn't work properly on any other Windows version before Windows 10 either...

You can shoot 4k 50p in cine-d with a unified LUT to match vlog at 25p 10bit. For the price though one could go external recorder for those shots that required 4k 50p 10bit vlog.

Hi, everyone, and thanks for contributing to help me solve my issue. I talked to Atomos today, and after a bit of back and forth the guy asked me to check my HDMI cable--and see if it worked for 4k. Now this seemed futile to me, because I KNEW it did. But I pulled out my XC15 Canon to test the cable and BOOM, the Shogun was recording 4k like a top!! Back to the Sony--Bupkis. But I did recall I had another micro HDMI cable, so,..... just for laughs I decided to try it--and BLAM!!! The Shogun screen lit up with the Sony 4 K and I was recording on SSDs. So, here's the deal. Just because a mini or micro HDMI feeds 4k into your external recorder for one camera or brand of camera does not mean it will feed 4 k into another. Capisce?!? Try to remember this...because it will be on the test.

It seems you might be mistakenly thinking that the only microphone on a boom is a shotgun, which is very *very* wrong :-/ As a scratch track for reference, or for very quick turn arounds, then it is a reasonable approach to take. Few of us have the luxury to have a massive selection of microphones at hand to match one to each person's voice :-P (although.... I do own quite a ridiculous number of microphones!) But if you have two (one for indoors, one for outdoors) then that is more than good enough for most situations for the kind of shoots you're doing.

@Drew Allegre you are going the right way! one last advice, just try to get one of the hyper cardioid ones for indoors, Oktava could be the minimum you can get, and if you do not move it on a boom (or else needs special technique and mounting accessories) then it is extremely good (for the price) for indoor interviews, this is the one I use on very tight budget jobs (I can handle it on a boom too!). http://www.oktava-shop.com/Small-and-medium-diaphragm-condenser-mics/Oktava-MK-012-01-movie.html remember, even if you test a shotgun mic in your grand ma's living room, with all the sofas and the heavy curtains, there is a huge possibility that your next interview will be on a minimalistic office, or an Ikea's made living room (with hard surfaces and rectangular!), or anything, at least with the hyper, you tried.

I thought you have already switched to some of competitiors (A6500?) ;-) So NX1 is still better?

my pleasure. this was also posted today. ExtraShot had to cover up their EVA1 footage when they originally released this review, but today got a green light to release it properly. this is not final firmware however.

I've bought a few adapters for the NX1, all the similiar cheap Fotasy or Rainbow, chinese stuff. All have been good enough for me and certainly worth the cheap price point they are at. I have the Nikon, Canon FD, Olympus Zuiko, M42, Minolta MD, Konica AR and Leica R. They're all good. For the like $8-15 they are, they're absolutely worth it. Just don't forget to buy some NX rear caps if they don't come with them.

I find it easier to get my kids to read than to watch 'old' movies. The visual entertainment made for them now gets them into a terrible habit of requiring a beat in every scene to keep them interested - even what seemed like fast paced movies when I was younger now seem interminably drawn out to them now. It's a terrible shame and I can't see it getting much better - I think as time goes on the enjoyment of 20th century cinema will become a micro-niche pursuit.

Hi Boygetslost So what do you think after having it for a few months? Would love to hear your thoughts

To underexpose when you mainly have low light will never conduct to fine performance... ;-)

I would also like to add to that I am extremely happy with how the NX1 has aged meaning that if you asked me last year if I would still be using my NX1 in a year I likely would have said no yet here I am and I don't even see anything on the horizon that could really grab my attention for another year. I always thought that once the GH5 saw a price drop I would pick one up but I am not really that drawn and with the GH6 at least a year or more away I could be using my NX1 until I end up finally dropping it off a cliff and need to replace it.