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Oliver don't make things even harder. I can't buy a GH5 cause GH5s is coming. I can't buy an E-M1mkii either cause the new E-M5mkiii is coming. A7rmkiii? No, because the A7smkiii is coming. An X-T2? How can I when the X-H1 is coming? Of course I can't buy Canon or Nikon cause their kickass FF mirrorless is about to unveil for few years now. Terrible christmas I am telling you. Now I will have to use all these lousy cameras that already have everything that I have ever wished for.

I'm the guy that launched the petition. I would say at this point the system is obviously toast. I still own and use my NX1 to date. It is still a viable camera, and still as underrated as the day it was released. I've heard from several South Koreans that the transfer in management is what actually killed the previous camera business. Basically, it was a pet project by the much older previous CEO before his nephew took the reigns, and obviously showed us he had no skin in the game. I'm sure it was widely seen as "forward-facing", but in my view it was very premature. We could have had an NX2, maybe even NX3 by now and although it wouldnt have been as profitable as say their appliance and smartphone offerings, it will still bring in a considerable amount of cash and more importantly kick back by reputation to their other products. I'm sure many Samsung employees that worked on the NX system were just as disappointed as it's customers, as it was obvious they were striving for excellence and to cause a stir within the industry. You don't cram all those features (in 2014) into a body when your competition is still shooting muddy 1080p (ahem Canon, Nikon, Sony) if you're not trying to put a stake in the ground. With exception of Mr. Reid, a lot of camera pros were pretty hostile towards Samsung's lineup, and couldn't decide if it loved or hated the camera. The exit gave them more fuel to put down the system, and gave the industry yet another excuse to move at a snail's pace. The NX system was headed towards excellence and household name status. That is what Samsung does. Had it not been for the change of leadership, there's no doubt in my mind that it would have been a leader, if not THE leader and bar for all other manufactures to live up to. I've owned very few Samsung products that were faulty. Some may not like the name or have preconceived ideas about the quality of Asian markets/products (most cameras are Asian born) but at least where Samsung is concerned they are a giant, not just in South Korea, but globally. I'm not sure why the skeptics were so skeptical, but their cynical attitude certainly didn't help matters. What it did do in part was made sure that innovation remains slow and incremental. So thanks. I watch YouTuber's like Tom Antos, Film Riot, Film Courage, Curtis Judd, and many more along this vein. How is it all these channels are acutely aware of the GH4 but have no idea the NX1 line even existed? It never shows up in their gear recommendations past or present, which I believe shows a telling pattern. Tony Northrup, The CameraStoreTV, Matt Granger, Max Yuryev, and Rocket Jump Film School did actually review/use the NX1 and their responses were generally positive. Although the guys at CameraStoreTV were actually more on the fence but they did dedicate two whole segments to the NX1/500, albeit slightly sarcastically. DigitalREVTV did a asinine video review of the NX500 which was basically as one commenter put it, "An 11 minute long bash because it was a Samsung and not Apple". But that Brit is a cynical muppet and Canon/Apple fanboy anyway. But it serves as a good illustration of how many pros received, more like perceived the entire line. What I never understood is how on one hand you could sing the praises of the GH4 and yet dismiss the NX1/500, which in my professional opinion was and still is the better camera of the two. In some regards it wasn't even comparable. The NX system is that anomaly camera/lens that we're not likely to see again anytime soon. If you own any of these products I advise you to hold on to them. Don't worry about the detractors, they most likely never even used the camera. We need to re-petition our hacker community to further investigate opening up the power of the NX1/500, and I would suggest employing them in this effort full stop through crowdsourcing/donation. I would not count on Samsung themselves to resurrect the business or even offer another Firmware update. I and others have done our due diligence on behalf of the NX community in to let Samsung know our love for the NX1 system and our frustration in "their" decision to pull out. I put this petition in front of a handful of Directors, both past and present, using my influence and connections as an ex HTC and Microsoft employee, having worked on projects in cooperation with Samsung. Unfortunately, I'm sorry to say "they" have chosen to broadly ignore our pleas. Employees and shareholders are different beasts, at a certain level it's to be expected. This is how it goes in general. That being said, those that know the beast that is Samsung knows they can be unpredictable at times and pull out a wild card. Translated, I wouldn't hold my breath, and yet I wouldn't count them out in the future either. They will act if they see a value prop for their business and they have the capacity to compete at the drop of the hat on a global scale. I learned one thing in creating this petition. Those that own or have used the NX system absolutely love the hell out of it. You will hardly see a comment (about 928) that expresses a mundane reaction to these products. That truly says something about the quality and innovation of the product AND the gap of this quality and innovation in the market right now. It's awesome and interesting to see people from all over the globe echo this similar sediment. Its a true community.

A lot of Sony "zombie skin" is from filmmakers using LOG and de-saturated profiles where they shouldn't. I've tried to be the "LOG police" on the Internet but will give up. The desire to believe you can get pro-equipment/lighting quality in mirrorless is stronger than the simple fact of the matter--"film quality" (what should we call it?) is now moving well past consumer equipment. The trend will only continue into 2023. In other words, many consumer equipment filmmakers will always believe in snake-oil (LOG, 10bit, rec2020 as a shooting CODEC, etc.) Of course, all those shooting wild-color music videos and zombie movies will be as proud as peacocks with their mirrorless kits The epiphany came for me while watching Netflix's "Abstract" series--on a 720 TV. I thought it was done on something like the Canon C300, or even C500. Nope, RAW-shootin' Red Epic Dragons with $10,000+ glass. When this site was in its formative years ER (I believe) shot a whole episode using a 5DII. It was good, but not as good as the professional equipment of the time (too much aliasing from spread out pixels on that FF sensor). I believe a 5D4 is no closer to today's professional video cameras--farther even. Unless consumer cameras shoot essentially RAW quality (and it seems physical power limitations are preventing this because SD cards are now fast enough) then the cameras of 2023 will be as you describe. Better than today's cameras. Not as superior to the cameras of 2017 as today's cameras are from 2012. All that said, one can get in the game, even with a G6 (what was his name on this forum that championed that camera?) that was IMPOSSIBLE when I was young and even a few minutes of 16mm film was $100 back then (never mind the camera!). Some more proof that video has diverged is @Mattias Burling. He used to shoot RAW, now it's 8bit. So I believe his YouTube quality has gone down, but seems I'm the only one (though it doesn't stop me from watching his videos)! If mirrorless today is good enough then it should be good enough in 2023. Other questions, are, will consumer available video editing/processing software and lighting get powerful enough to do David Fincher type work? I'm certainly interested in your thoughts there Oliver! I know this seems left field, but I've heard the iPhone X is selling mostly because of the real-time video emojis it can create using its face recognition post processing software/chips, etc. That's what I mean about post technology. Maybe computer visual processing will be more important than whether or not it's 8bit or RAW sourced.

Also, thank you, thank you for letting your dark scenes be dark. I feel like in the gimmicky high ISO craze, suddenly we've become concerned about taking darkness away. The darkness is as much a storytelling tool as the light. We don't always have to see the detail lurking in the shadows. Let it be a mystery.

People have been asking to have an example of the Alexa conversion on HLG footage, and want to know if it is as good as VLog It is a precision match; I finally got around to shooting a comparison, and here are the stills. HLG, HLG with GHa Tungsten Main (no further alteration), VLog, and VLog with GHa Tungsten Main (no further alteration) Also, something interesting and useful coming soon.

Dropped by to say thanks to Andrew Reid and everyone on this sub-forum for generously sharing their knowledge ... and add that I think the NX1 is still very relevant in today's market. Here's my story, I was looking for a small and light B Cam for a Red Dragon and decided to spend the last month really getting to know the NX1 because I like how close the out-of-camera images look to the Red. I advocate for not heavily grading DSLR images and trying to get as close to what I can in-camera ... playing to the DSLR's strengths and avoiding its weaknesses, like codec and bit rates. I shot this with the NX1 and a DJI Mavic as a test, all images are ungraded, straight out of camera and through Premiere's and Youtube's compression ... EQUIPMENT USED . Samsung NX1 with Canon EF 35mm and Samsung NX 16-50mm PZ. . Beholder DS1 . DJI Mavic NX1 SETTINGS . Vasile hack 180Mbps . Master Black Level +10 . Gamma DR . Custom Profile R0.90/G0.92/B1.10, Sharpness-10, Contrast-5 . Smartrange on . DIS on PS. I had trouble with focusing but have figured out how to assign peaking to the speed dial now, haha, should help. PPS. the DIS does work well but occasionally does some funky things so I learned that it's important to review the footage carefully.

Here is my first test with my run and gun anamorphic set up. Shot on a GH4 in 4k with natural profile. Lens used were Baby Hypergonar anamorphic + LINOS MeVis-C 35mm F1.6 Most of it shot at f1.6 or f2.8 Rectilux Core DNA with +0.6 diopter on close ups. No sharping or noise reduction.. I hope you like. The images at the end I really love. The Rectilux is a dream but you diopters to get sharp below 2 feet.

Hey people, I've just completed a no budget short sci-fi film and wondered if I could get some opinions on it visually. I shot this on the Samsung NX1 (my first project on the camera) and certainly ran up against some of its limitations, like low light performance. Anyway, I've never been particularly happy with my own colour grading, maybe its just me being too harsh on myself as I know many of us are a bit self deprecating creatively. i'd be really interested to hear any comments or criticism people may have about the project. Thanks in advance for anyone that replies. Cheers, Calum

Amazing how more advanced your smart phone will be compared to your DSLR ! The processor will probably be in Samsung's S9 early next year. Other manufactures will showcase it at CES in January.

I do not know either, but you certainly have to pay for it!

This:

Hi everyone, I thought I share my first Project I shot with my new Canon C200. I used Cinema Raw Light, mostly at 50fps. I used a lot of available light , I had only one LED Light Panel with me and relied completely on the cameras autofocus. I really wanted to try what I can do with minimal crew. Tell me what you think! I am happy to answer all questions about the camera and my experiences with it. Max

502 is full HD panel, Focus is 720 (441 vs 294 ppi), obviously it has a more expensive panel (there are also oled monitors if you look higher). It is built by rubberized aluminum, the other obvious things you mentioned. There is the 501 also which is very close to the Focus. If you add one, two, three things, it makes them more expensive, naturally. Videoassist is bulky, indeed.

Brought home a 5" blackmagic video assist from the office over the weekend, pretty bulky of a monitor with clunky controls that I personally wouldn't get myself, but it convinced me that 5" is more than enough to judge focus. Still the questions stands, what justifies the 2x price of the 502? IMO the Focus looks better in every aspect except battery slots and SDI.

This is the official lens compatibility list for the GH5, showing what features are supported on which lenses - http://av.jpn.support.panasonic.com/support/global/cs/dsc/connect/gh5.html

I have both the iPhone X and Note8. Of the two I think the iPhone X edges out the Note8 in the camera department. But as a productivity tool the Note8 wins hands down. The new chip should once again secure Samsung’s traditional camera dominance. They didn’t really try with the Note8, and that was a bit disappointing. Instead opting to largely reuse the camera from the S8. i don’t think this race is going to stay on equal ground. A radically new sensor technology, that is not handicapped by size will make its way into smartphones. That’s when things will get interesting.

There is nothing magic to it. Better processors, better sensors, better and faster pipeline will produce better photos in the future. iPhone has nothing to do to it, and usually Apple is late, or last, to the game, so nothing really to see here. I know X is the most exciting Apple product the last few (a lot) years, well done for them, bravo, that doesn't diminish the fact that usually they are 2 or 3 years behind the technological frontiers. It took some of my friends 3 years and a lot of thousands of euros, to match my Chinese mobile specification, that I had bought for 225 euros. The X in my country costs 1199 euros (I know, not even 1200) and the higher version 1499 euros. It better take good photos, because my slightly thin editing laptop with i7/GTX1060 6GB/16GB RAM/SSD+HDD cost 1298euros, and the iPhone certainly isn't editing 4K multicam projects. Back then I bought, new, body only, my beloved NX1 for less than 1199euros, so put those numbers in perspective. The revolution would be if the X cost 699euros, and offered 1" sensor. Take your examples for the legends of the auto industry. Iconic cars like the Beetle and mini, the 500 and 2CV, were revolutionary, because with little, they could do much. Today's Mini, is just an extremely expensive very small car, that brakes often. It isn't a legend, and it won't be. iPhone X will not be written in history, it is just one of the most expensive phones, that in a few months Samsung will surpass it, easily. In a way, that is why Samsung NX1 is kind of classic, because for so little money, does so many things good, and ergonomically, is probably the best camera ever made. There is no way that pro, or prosumer, photo/video equipment will vanish. It is different to replace a compact camera with your phone, and different to try to make a living out of it.

Super impressed. One thing I want to mention is that the level of professionalism shown above has more to do with a good story, believable characters, good locations, composition and lighting than the camera. In fact, you don't want your audience to even think about the camera, or any other technical aspect, you want them engaged in your story.

Chinese and Korean lens manufacturers increase their total market share to 20% worldwide auto focus,DSLR and mirrorless lens sales.They shewdly employed some of the best computer programers so that their lens autofocus could match or exceed native lenses.Face detection now gives a facial "freckle count".

This. I found myself multiple times watching disassembly videos just to see, whether one could rehouse it. I mean even if it is fly-by-wire, in the end the stepping motor has to turn some gearwheel that change the position of the lenses... but yeah, this would require major mechanical engineering skills.

I predict the downfall of at least one of the bigger players. Probably two. Other than that it will be the same story. Just like today cameras will have every single thing we asked for a few years earlier. But we're still not happy.

I think you need to contact your Panasonic service agent.

It's great you got it working!

Sensor size would be important to know as well since we care more about angle of view and DoF. 35mm @f1.4 on FF would be my pick.

Knock yourself out. Take those awesome specs and actually film something interesting. That's what it's there for.

DUDE. i THOUGHT we were over this for some delusional reason (i watch pro stuff), but SOMETIMES i MIGHT want to watch some St. Dane dog videos on a site which i abhor like fb, and PEOPLE ARE SHOOTING THEIR FUCKING VIDEOS VERTICALLY ALL THE TIME WHAT THE ACTUAL FUCK THIS IS MY CAUSE TO CHAMPION AND PERHAPS MY VERY PURPOSE IN LIFE WONT YOU JOIN ME IN CREATING A BETTER TOMORROW? WE MUST #STOP VERTICAL VIDEOS 2018 lets come up with memes and names for our group. anyone can join, all you have to do is swear never to shoot vertical video and upload it. if you went to art school this obviously doesnt mean you first off we need a sicc name for our movement... if its mocking something contemporary thatd be hilarious, but im open to whatever like... ANTIVER? ANTIVE? VV is catchy... lets get into this

@mercer, pocket some batteries with the pocket, bring your backpack with the RX10:) no swiss army knife out there, at least not pocket size. Btw, the 20mm is not just a pancake but some of the sharpest m43 lenses around, close to the 25mm 1.4. TStop is awesome, between 1.6 and 1.7. Would love to have that lens in a housing of a mechanical lens. Like inazuma said, focussing is no fun at all.

I like focus pulls and do it all the time. But I prefer it and get better results with a short throw. There are plenty of people that agree. Which was my point in the last post. One can't argue based one once opinions as if they applied to everyone.

I know only of Olympus pro lenses and all manual focus lenses

What's useless to some isn't necessarily to others. Ive used the 17mm a lot and prefer it to a regular fly by wire lens any day. In no way does it act like a normal fly by wire lens when pulling focus. That is simply not true. The scale and hard stops work. Simple as that. If it was true it would mean that the speed of the turn made a difference, it doesn't. And that the numbers didn't ad up, but they do. If the throw is to short, that's a different story and like most things individual. Personally I prefer a short throw to a long any day of the week because it lets me make nice and smooth focus pulls compared to something like the Yeydra which would be shaky and wobbly in my hands. We simply have different ways of shooting and should choose the tool that suites us best. I've used the Panasonic 20mm f1.7 on the BMPCC more than most and I prefer the Oly 17mm with a huge margin. I highly recommend both but the 17mm is a better fit imo. PS. focus breathing is probably at the bottom three of things I don't care about. Never met a normal viewer that would ever notice.

do you guys think i can get some purple birds out of this

omg... its so much worse than i ever expected

Dear friends, just coming back to the title of this thread.. I have both, Sony A7s II and Samsung NX1, and I know very well both. Yesterday I have tried for first time the Zeiss Distagon 28 f/2 Zf.2 on NX1, and my friends, in the screen of my laptop I've seen God. Great 3D, amazing colors, incredibly alive images, an interstellar trip. Never seen something like that on my Sony A7s II. And the world still ignores this prodigious camera called NX1. I know, I should get over it, but I cannot.

Bottom line is...the Tokina 11-16 is still king...but for vlogging and affordability..the 10-18 is pretty great! Shot on EOSHD C Log on the 80D

Comparison with standart LUTs

Disclaimer: I'm not trying to compete with EOSHD profile. The LUTs that I'm offering have a different look and it's better suited for people who like to tweak footage in post. I’ve been working on these LUTs for the last three months and after hours of extensive testing with different clips the result is pretty good. You can see the example here: https://www.youtube.com/watch?v=hZ8dFKmvMkQ The cameras the you see in the example above are Canon C100 and Sony A7SII. I also did tests with A6300 and in theory you should be able to test it with any Sony camera that has S-Gamut3.cine setting but from my experience FS7 and FS5 have slightly different color, so it might not work properly. It also might not work on clips with mixed lighting. Every camera sensor responds differently to certain light sources, so it’s impossible to account for that too. Check the product page and my blog for more information and examples: https://sellfy.com/p/pyqB/ https://colorandpost.blogspot.com/ Feel free to contact me if you want to review the product or test it with FS5 or FS7.