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Messing around with some more footage from the Zeiss ZF 25mm 2.8...

I believe that JVC is more aware of the market this time, but wants to be safer with this device. I say that because the brunt of JVC’s market share comes from the ENG side of things, hence the subdued attitude towards the LS300. That was one of the camera’s aspects which made it a sleeper because most cinematographers don’t look to a company like JVC for a cinema specific tool. Then when JVC hampered the LS300 with capture codecs usually meant for deliverables, that put the shade down for more prospective users. The frail feeling body and lackluster monitoring tools didn’t help much either! Another aspect of the LS300 that most didn’t understand and seemed to leave a perpetual confusion amongst our peers, is the MFT mount JVC decided to use with a S35 sensor instead of something more “logical”. Even with all of the data JVC left in their white papers, sadly most couldn’t wrap their heads around it. I’m not sad about JVC using the MFT mount at all because that was an excellent choice, but sad about the reading comprehension our peers lacked and still when that idea was discussed to no end in the simplest of ways, the concept of using an MFT mount with a S35 sensor was just lost on many. JVC’s marketing was also shabby because they didn’t get this device into the hands that mattered and the few that they did, really didn’t showcase it properly. Then you have the Blooms of the world, who with their ever increasing condescending attitude towards “regular” people, not even showcasing this device properly, which just made potential users look elsewhere. With this impending release, JVC has to separate the concept in users mind that this isn’t an ENG camera and that crowd is kind of annoying because I believe they also had a hand in how the device eventually ended up because of the requests made in their groups. On Facebook there are two serious groups devoted to this camera. One being an ENG related group and the other geared towards cinema using the LS300. In the ENG group the things that are requested, while excellent for those types of users, was just plain annoying for cinema type users. I won’t get into the specifics, but I believe that’s what helped to keep the LS300 in this gray area of the market. Now here’s an opportunity for JVC to appropriately segment their ENG line of cameras, which they have an abundance of, from this Cinema camera they are producing! They need to get it right and this survey is wonderful! I truly believe a Full Frame sensor will be a wonderful choice, S35 is awesome too, but the market is heading towards Full Frame and JVC needs to be a part of this, with the capture codecs serious cinematographers are requesting! While I’m a big supporter of more resolution and all things 8k, I think 6K without any cropping in the “regular used” framerates would be the happy medium. I also think JVC needs to be forward thinking and have internal SSD recording capabilities like the have on their newly released ENG inspired camera the GY-HC500USPCU. There’s more that I would like to address, but this post is getting too long and my family is ready to enjoy this Father’s Day with me!

Hi Max, welcome to the forums! Things here can be harsh, but it's more that people are passionate about their perspectives rather than just being nasty, so I hope you can get past the initial impressions and stick around. You'll never question if people are being honest with you, and people do spend a lot of time agreeing and helping each other too, and nasty people are invited to leave, so it's not toxic like most other forums, IMHO. I've really enjoyed your videos and you're definitely one of the most thorough reviewers with tech performance and the like, so thanks for your work, it's been both entertaining and informative. In terms of how you did the camera tests, I agree with a straight-out-of-the-box test. It's useful to see what the manufacturer has suggested and what many people will use. I think the second most worthwhile test is to set exposure and WB with a grey-card. In a way the out-of-the-box test is for people that don't know or care, and the grey card is for people that do. The third (and most difficult) test is to try and tweak profiles to get a good result, and that's the one fraught with peril, because it's going to come down to taste unless you get objective about it, perhaps placing skintones at a given IRE, etc, but if done well it's probably a 40 minute video exploring all combinations across many scenarios with a comprehensive analysis and recommendations component. This audience would have preferred a grey-card style test, as perhaps the majority of people that post here are either professional film-makers of some kind and the rest of us are ultra-serious amateurs (like myself). This forum also has a bit of an issue with what the YT algorithm does to creatives - heavily pushing you guys into low-quality disposable first-to-publish click-bait industry-shill type content designed to help brands sell cameras to bros who need to be told they need a "FF sensor" "fast glass" for awesome "bokeh" great "colour science" awesome "codec" and "ND filters" and a gimbal and "buy my LUT the link is in the description" to make "cinematic" videos, and insert more meaningless buzzwords here. (and never mind that cinema was glorious for decades without any of these...). I realise that you have resisted these pressures more than many others, which is to your credit and why I'm still a subscriber. [Edit: I think your hardware performance videos are excellent and have been well received on here in the past, it's just that this video was a bit subjective and click-bait-ey so that's why it got the negative reaction. Talking about colour science is a difficult topic and one that this forum is pretty sensitive to because the vast majority of YTers don't know anything about colour science beyond buying a LUT and the results they produce are so terrible that the only conclusions that we can draw is that that particular person didn't bring out the best of that camera, and we have to wait for someone who knows what they're doing to show the potential of the equipment. So you hit a nerve basically...] Keep up the good work and I hope you stick around

Updated the instructions in the first post, so they're more detailed and cover the preparation steps / nx-on-wake.

The original creator's instructions are in the Readme.txt file as part of the download (links below), all credit goes to the hack dev. You must read this before installation. However I thought I might summarise how to get started here in a sticky post to save searching for help (if you need it) in the long threads. PREPARE CAMERA 1. Ensure fully charged battery 2. In the main menu, ensure Auto Display off = 5 minutes and Power Save = 10 minutes 3. In the main menu, ensure Touch Operation = on 4. Ensure firmware is version 1.41 for the NX1 (you can view this in the main menu under the option Device Information). If older, update firmware according to Samsung's instructions online or via Wifi in the camera menus. 5. Format a memory card in-camera 6. Turn off bluetooth and wifi, set mode dial to M PREPARE THE NX-ON-WAKE PATCH 1. From the following link download nx-on-wake.zip https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/nx-on-wake/nx-on-wake.zip 2. Extract all files in nx-on-wake.zip to the ROOT directory of your SD card. 3. Insert the SD card into the camera, turn on the camera and wait 4. A touch screen menu appears to enter a "Magic Number". This is in the Readme.txt, to ensure you have read it. Please look at that document carefully for the 6 digits. I found "357669" but check to see if different. 5. Message "Thanks, preparing the ground" will appear and the display will go blank momentarily. Green light begins to flash... WAIT AT LEAST 5 MINUTES 6. Leaving the camera powered on, pull the battery out and wait 10 seconds, then put the battery back in. WAIT AT LEAST 4 MINUTES 7. Turn off the camera using the power switch. 8. Pull the battery, wait 5 seconds and put the battery back in. Turn on the camera. 9. Look at the green LED, you will see it blink 4 times (one long and three short blinks), to confirm everything went ok. 10. Turn off the camera and remove the SD card. INSTALL THE MAIN HACK 1. Download nx-patch.zip from https://github.com/ottokiksmaler/nx500_nx1_modding/tree/master/video-bitrate-mods/nx-patch 2. Delete the all the nx-wake related files and folders from the SD card 3. Extract the nx-patch zip and place everything in the root directory of your SD card 4. Insert card into camera, turn on the camera and wait for the 'Please wait, installing...' message and for it to do its thing 5. Hack should now be activated, turn off/on camera and you can enter the hack menus by rapidly double-pressing the LCD illumination button on the NX1 6. In the hack menus (double-press LCD illumination button), you can select bitrates, and change Pro1 from 80 to an even higher value like 160 7. Press the "Make persistent" option to save any modifications so they remain on the camera at next cold boot 8. Please make sure you have the fastest possible SD card for Pro bitrate 4K recording (80Mbit to 160Mbit). Happy shooting!

Even if it was exactly the same but with dual ISO and additionally a good 10bit codec, I would buy that camera for 3500€ and I believe this is the market they have to attend, a good work horse camera around 3000-4000€$£. Cine cameras like the Z and P4K are good enough for most, but I still haven't bought my P4K cause I do not really need it. A C100mkII with 4K and some more modern features or an even cheaper FS5 with less features is more the market for me. There is not such a camera at the moment, the JVC LS300 was/is the only one in the market but there are a few shortcomings that can't make it a best buy ever. Their "lite" codecs right now are very "lite" at times, and not Canon C100mkII good-lite! Also, the low light performance is not good for 2019 (or even '18). I know most people here want a cheap and incredible cine camera, but there are; Z and P4K can offer you whatever cine you want. Seriously, they are that good and that cheap, what else do you need from one for an indie short or a crash cam of a bigger production? What I am missing, which is the HUGE BULK of video productions around the world, is a reasonable priced workhorse camera under 5.000$€£. Changes happen so fast now, that big "investments" in camera bodies are not easy to make, and the lower segments of the market are growing rapidly. There are literally legions of low budgeted video makers from villages to huge metropolises (Mumbai, Kuala Lumpur, Mexico city, Cairo, etc etc) that want a dependable tool that will bring food to the table and now most served by various flavors of Canon (C100, 70/80D, camcorders even..). LS300 sold more than we thought, because of some of those people, but still was some kind of an afterthought or one of its shortcomings was a deal breaker for some (e.g terrible monitoring, and those people do not want extra bulk, or extra expenses). They can make it right this time, but the key here is "pricing", and they know it, and that is good. Edit: it is interesting that they do not allow "amateurs" to take the survey. It shows to me that are targeting specifically the gap in the market I mentioned above. My impression is that they will try to fit in as much as they could for the most economical price.

That's true, but on the other hand, it would be trivial to hide hobbyists' responses from the response database as they peruse the results.

Yeah if you are not a Pro making money on it eat shit and die on the survey. Pretty gay, Like someone who is just a hobbiest can't contribute a good suggestion?

Working towards it, day by day. The exciting news this week is that I wrote the engine to be multi threaded on Thursday. Now a refinement pass takes a quarter of the time, which is a substantial savings when doing many successively. It will scale linearly to the Amd 12 core coming out next month. When the website changes in a very noticeable way, in about a month or so, it will mean the S is imminent.

They both look terrible - more indicative of the users failure to expose, WB and grade + poor profile choice than the inherent 'colour science' of Sony vs Fuji

So here it is... Hasselblad is back with a big announcement coming soon. Is this the successor to the ill fated X1D? New and improved.... with perhaps the latest leaked Sony sensor that sports all the goodies to trump Fujis GFX 100? Get your popcorn... and wallets ready??

I'd agree with that. A7 III ripped a hole in the full frame market pricing and we see a race to the bottom, but Fuji is doing something far more interesting with insane value for money APS-C cameras that simulate the look of film. The 18-55mm OIS works incredibly well, it's as good at run & gun (great AF, par focal) as it is at cinema.

The only time these "internet celebrities" join a proper forum like this is when they hear their name mentioned.

Well unless you have dual pixel autofocus and tap to focus on the C300, most people will be stopping down their lens to give them a deeper depth of field for ease of focusing. In this case MFT has an advantage because you can have f2.8 light gathering but a 5.6 depth of field which is more forgiving. I love the MFT mount and hope BM, Panasonic, and Olympus continue to innovate on it. I also think JVC should do the same thing as they did with the LS300: super35 sensor with MFT mount (or some kind of adaptable mount like MAVO) and offer more features in a smaller form factor. I prioritize weight and carry-ability over sensor size and depth of field. I’m definitely in the minority though. Everybody wants that blurry background because is easier to do them think about composition.

I said "amateurs". Know what I mean! @BTM_Pix i always use SmallHD Focus, and never an EVF, even if it comes without any of those and I save 200-300€ I will be extremely happy! @Alt Shoo 6K yes, full frame - NO! I seriously doubt a full frame such camera would be useful or necessary or even competitively priced which is the key point here. Ursa mini pro cameras, EVA, C cameras, FS cameras AREN'T full frame and they own 99,9% of their market.. P4K, Z, GH cameras are owning a huge portion of their market too with "only" being m43.. When I use full frame cameras I always go to 5.6f or more, to have reasonable depth of field, and newer smaller sensors have great high ISO performance.. The sensor with the m43 mount was/ is an amazing solution for me and speedboosted can cover all bases! This was a plus for me on the previous camera, the company that owns the LS300 I am using since then acquired 2 more GH5 and a Pocket 4K, before the LS300 they were only buying Canon/Sony..

Can I push half way or even the two thirds like button on this one? Well said BTW : -)

+1 on 1.5x APS-C/Super35 sensors for the M4/3-mount, truly the solution, using established film-stock language, that would provide for smaller and lighter camera/lens systems vs FF, IMHO. M4/3-sensors (aka: ~110-film-size) can then be the "crop" version for that mount system. And, finally, some manufacturer, please...an FZ2000(2500)/RX10-style (read: all-in-one, non-interchangeable wide-to-zoom lens, fully sealed body/lens, body+lens IS) with an M4/3 (or, yes, even an APS-C!) sensor for us run-and-gun nature/wildlife shooters for whom changing lenses in the field is a recipe for disaster! (Sooo close, Panasonic, with the GH5/G9/100-400...sooo close to perfection...too bad about that GH5S omitting IBIS, though, Ha!) But, hey, I'm just some "lowly" enthusiast who, so far, only volunteers his retiree's time and resources with posts to the eBird/Macaulay Library... Macaulay Library – A scientific archive for research, education, and conservation, powered by you: https://www.macaulaylibrary.org/ ...so it's unfortunate to read about JVC's (and/or any other manufacturer's) decision to not solicit or investigate (or even filter-out) non-pro/non-paid voices for their imaging/video needs and interests. Edit: So, how about it, JVC? An MILC M4/3-mount APS-C camera to shake up the marketplace segments?! ...with a global shutter, of course! :D

Almost there

It’s not necessarily more or less expensive. Competitive quality inkjet prints are not cheap. A Nikon F90X, one of the best SLR’s, can be had for 50€ in great condition. Pair it with a used 50 1.8D and you have an amazing camera for around a hundred quid. That leaves you with hundreds of of euros left to spend on film and prints. All in all perfectly possible to make work for an entire exhibition for under 1000€.

This is a pretty ludicrous response. First off, grading is, beyond anything else, a subjective matter. So you didn't like the way they used shadows and concealment to draw the viewer in. I happened to love it. In no universe is there a definitive 'too dark' in these matters. Not to your taste? Fine. Simply wrong? That I don't accept. That character's first scene, which is the one I imagine you have most objection too, uses concealment to draw the viewer in, and does a pretty good job of it imo. There are highlights that flash up here and there that give glimpses of the pressure the character is under, and then they use motivated light for a great reveal (when the headlight splashes through the window and you finally get a full glimpse of his fear). It's not the most devastatingly amazing cinematography I've even seen, but it does a very good job. Secondly, the image you've posted up as a comparison is so different in tone and feel it's more or less irrelevant. It's not going for anywhere near the same kind of atmospheric sense of dread. It's shot in a completely different set of lighting conditions, so of course the exposure looks different. Added to that, it's not even technically that accomplished of an image (though it may work perfectly well in the context it was intended). I genuinely wonder if the gamma is a bit off on whatever screen you're viewing on, cos that can make moody stuff look impenetrable.

The conversation I had with with someone from JVC regarding the EVF on the LS300 is that they were offered a different option during the development but felt it would have blown the price beyond what they thought was reasonable. So they are very aware of that shortcoming (though I would say when you add a Ninja V to the LS300 it takes away all that and adds 4K60p so is the best £500 you can spend on it!) so I expect it to be a given that it is addressed in the new one. The price is an interesting thing in that while the LS300 is a great price now (particularly used) it has had a few price cuts in its life cycle so I'd be surprised to see them get a lot of some of the features they're asking questions about into the sort of launch price that might be anticipated. When all is said and done, JVC are a very much a traditional broadcast company with the sort of prices that match rather than an aggressive new player. Having said that, I wouldn't have expected them to come up with a product like the LS300 in the first place so you never know !

well thats embarrassing never been concerned with post dates before. now. Not sure how i can carry the burden of responsibility now that i have to watch post dates as well. I feel abit like jesus bringing lazarus back from the dead

oof I didn't even realize the massive bump I figured with so few replies it was new post lmaoo

This a screen shot example why I think Digital on certain things can not look like film. This was probably killer looking on the origina; print.

Do hobbyists buy cameras... or is that only reserved for professionals? If I was running a camera company I would want to know what my customers wanted regardless of their profession. FYI: No pros are dropping Red and Arri for a JVC.

I would prefer mirrorless form factor like GH5, NX1 or S1H!

I filled it out and told them basically.... - ProRes - Internal ND - Simple ergonomics, not JVC/Sony camcorder nightmare buttons everywhere and shit menus - Canon EF mount, with good AF if possible - Super 35mm or Full frame

It's exactly what the NX1 needs, tones down the greens and over-sharpening. The great thing is, with the hack and Gamma DR you can stick it at ISO 800 and rarely need to go higher, you just push the exposure in post. Really cleans up the image and stops the overzealous in-camera noise reduction from muddying it up. Never shoot at ISO 6400 on the NX1, always at 800 and boost it in post!

All comments on the forum by new users start off in a moderation queue, and until they're approved they're automatically hidden by the server. Without this important control, the forum will have a daily stream of Viagra posts. Max's first post is on page 1, and he's explained some of the test and admitted the poster frame is manipulated to catch the attention of YouTube's clickbait algorithm controlled audience. I do admit my reaction was a bit harsh and it's nice of Max to finally say hello, but if he's bought Pro Color previously, he's clearly been around lurking and probably using the blog for inspiration for quite a few years now, without bothering to strike up any kind of friendship, email, or to my knowledge any mention on his YouTube channel. So that's not very endearing. Either way, I just find it difficult to trust somebody who tweaks the facts in pursuit of clicks. It's nothing personal. It's the internet and it's happening all the time... and I do not respect it. I don't know why Jon's being mentioned all of a sudden. Jon used to be a moderator here, until he started being weird and aggressive to pretty much everybody, then he turned into a Sony fanboy and got even more aggressive, had a fight with Jon Brawley and lost his mod privileges. This was entirely his own fault. Then I finally kicked him out after he argued in every thread with Ed David who I consider a far more talented filmmaker and a much nicer person, so from that point on it was Goodbye, and you see the result now from Jon with his bitter words in his Vietnamese diary. I don't shy away from confrontation with people I think are bad for business, or bad for the community of EOSHD. I'd rather confront. Same with lies and clickbait. Confront, expose and guide people to the facts.

I find this test to be very poor ! Testing skin tones in a forest with green reflexion everywhere, or in backlit situations... Nevertheless I think Max is being honest. I’m puzzled by the permanent suspicion toward people. Regarding his supposed Sony bias, he used to shoot with two gh5. He made a very positive review about the X-T3 and the blackmagic pocket 4K as well. And he’s in his own right to shoot with Sony like many pros do. He won’t be switching cameras between every video and the workflow that comes with it. He settled on Sonys (which I’m not even sure). Caleb shoots on the GH5s, Matti on Canon... Everytime you say something nice about a camera, you are biased. I have every camera brand, I just did a review (mostly positive but fair) of the bmpcc4k and it didn’t miss. You always get the « he works for blackmagic » comment... If only. It’s ridiculous. Max tests are always questionned. But I always come to the same conclusion with his sharpness, low light and autofocus tests. Sometimes his tests lack details but it’s almost impossible to cover it all. I remember all the suspicion his gh5 vs a6500 AF test raised. It wad insane. People couldn’t accept the simple fact that the GH5 has a terrible autofocus and Sony PDAF is way ahead. Canon being the best. Give the guy a break, his last video is not his best but his tests have been very useful for a lot of people and take a lot of time to do. There are way worst youtubers out there !

Well like I said, to me it is the closest -shooting wise- by the way I still own and shoot film on a FM2, Yashica T5 P&S but I don't develop/scan. I went on a 5-day family trip to Italy with only one 16gb card, no laptop/SD reader. Had to manage the pics carefully with no real idea if I nailed exposure/composition until after the trip (again the LCD is a joke, worthless in daylight). Leica even has digital M models with the back LCD completely removed and a film advance level. Of course it isn't real analog but in contrast to the latest gen mirrorless cams, the Leica M's are a total throwback..

I remember he left himself, without being banned, and then wrote an article about Andrew https://jonpais.wordpress.com/2018/10/17/andrew-reid-is-an-idiot/ I now often come across his messages on dpreview and, as yesterday, on sonyalpharumors, where he got shot by others, for... being himself as usual ahah

Honestly, I think it's because many BM users are whiny and entitled. Announcements would get hyped up beyond reason and ultimately people would be underwhelmed by the actual improvements. Look at what happened with some of the GH5 AF improvement announcements: people jumped the gun and starting declaring that it would be Canon Dual Pixel level performance immediately, only to be disappointed when the firmware was actually released. Better to just surprise people. I say this as a BM user and lover.

I shot hours and hours of footage to create EOSHD Pro Color. Sony's latest cameras still need it. Fuji is superior. This YouTube clickbait, is not even a proper test. It's some unknown, unstated default settings, completely unoptimised. With maybe 1 or two button presses, the entire result would change. Max has a well known Sony bias, and I simply don't trust what he's showing here is representative. If the Fuji is too green for your liking, and you are sure Max hasn't fiddled the results like he fiddled the poster frame, you know what to do about it. There's a hue control, a white balance control, a saturation control and 8 different film simulations.

I haven't watched the video and probably won't ever. Is the poster frame a complete fake? Oh yes, thought so... he's edited it to be more extreme. Clickbait bullshit.

First proper video I've shot on the GFX 100: Didn't have much to knock this together, but the camera did a pretty respectable job, especially as the last two shots are at 2000 ISO. The whole video was shot in Eterna. Unfortunately, the DR+ profile did not seem to be functioning properly, so blacks were quite crushed in the captured footage, unlike what I was seeing in my histogram and external monitor. I'm optimistic that this will be fixed when we get production cameras.

Tossing some more love towards my favorite lens Voigtlander 40mm f2. Video grabs from D750

According to Art Adams (and confirmed by my own observations), the secret to Canon's skintones is that they push red slightly toward orange. Since most blemishes are redder than the surrounding skin, it makes them blend in and provides an overall creaminess that's not color accurate but is aesthetically pleasing. They also push green tones slightly toward blue to compensate for and contrast with the abundance of orange.