Andrew Reid

You're wrong Tupp. John's wrong. Everyone's wrong Tupp.

I now have two NX1 bodies, in case one of them goes kaput. I plan to continue using the NX1 until both of them go kaput or a miracle happens and Samsung return to the market. A full frame version with L-mount in that NX1 body would be a dream ticket in ergonomics and image quality. Samsung offer wonderful technological prowess. The Japanese need the competition. 5 years later, the NX1 still has so many merits. The shooting experience is incredibly enjoyable. Of the high-end 4K Super 35mm mirrorless cameras only the Fuji X-H1 comes close. Sure the 2018/19 breed offer even more in way of specs now. IBIS and LOG. But not much else. So I still use the NX1 which has to tell you something. I have still not found another 4K mirrorless camera with as comfortable grip as the NX1 either, or the instant one-press video mode, let alone one which is $800 used and runs a full computer OS under the hood, with all sorts of hacks possible to improve it even further. The dedicated hardware in there is bespoke and pretty special, to handle different tasks like AF and stabilisation which really help responsiveness. Hardware accelerated digital stabilisation as good as Warp Stabiliser right there in-camera with minimal crop and no loss of image quality. The codec with the higher bitrate hack is amazing. Looks like ProRes. Colour science. Detail. The AOLED screen on the back. Very good stills. Exceptional 16-55mm F2.0-2.8 lens (and 50-150mm). Extremely high build quality. It's a real shame more bloggers didn't champion the NX1. Philip Bloom bought one but did barely anything with it!

Can't wait for this. Let's hope they make one for L-mount as well ? I see they are already on eBay are various HK and Chinese shops. Shipping now perhaps?

Good to know they are still repairing them at Samsung if a fault occurs. Was it under warranty out outside?

Does the CMOS have a clock like a CPU, and higher clock speed = more heat. They have column parallel A/D for extra readout speed... I think rolling shutter and frame rate are somewhat linked.

Not entirely irrelevant. Larger sensors tend to be higher res = more data to read. Larger sensors also tend to generate more heat, and that has to be managed very well to get readout noise under control, and fixed pattern noise. So we tend to see the smaller sensors being the faster ones, with less rolling shutter. 1", M43 good examples of that.

Looking good. If the GFX 100 has an Luma range option then that should fix the crushed blacks. Software get very confused about that when it comes to the edit. You use one player or NLE and it's fine, use another and it's clipped all the DR away! I remember when I first started editing H.265, with the Samsung NX1. The software support was so bad in the early days, it felt like the camera only had 8 stops dynamic range, when in the raw stills it did 13. Now, the support is much improved and the firmware added 16-235 option, along with a hack for 160Mbit (320Mbit in H.264 terms) and it feels like you're shooting ProRes with the damned thing now, glorious dynamic range and shadow recovery! Did you get a chance to try F-LOG?

AJA got close with the Cion. Don't think they are still making it. Same sensor as BMD Production Camera 4K, so Super 35mm global shutter but not great above ISO 400.

43MP APS-C sensor... I'd never thought I'd see one! The X-H1 used the X-T2 innards so I would have thought the X-H2 will go for X-T3 sensor at 26MP... after all stills resolution not that useful for video shooters. I'd like Sony to do a NEX 9... We never got one.. Just some poxy A6xx cameras.

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.

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!

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

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 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 don't trust Max as far as I could throw the little fucker.

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.

Bump. Overlooked it for entirety of 2018 but I now realise along with the Olympus E-M10 III, the X-E3 might deserve an EOSHD Total Bargain award. As well as the price, it's the size and weight... might be smallest super 35mm 4k mirrorless camera yet? When I tested the X-T20, the 4K was fine. I recently also tested the X-T30 and although it is as good as the X-T3, I still feel both the X-Pro 2 with 4K firmware upgrade and X-T20 hold their own. Pixel binning is no longer a sin. Canon should try it. Gets rid of the 1:1 crop and reduces rolling shutter. All cameras should have choice between full pixel readout and pixel binning. I prefer the form factor of the E-M3 to the X-T30.... But of course X-T30, although more expensive, brings 1080/120p slow-mo and F-LOG to the table. X-E3 is phase-detect AF, but not as good as X-T30's newer AF engine. Review soon.

Is that the full frame 1080p or the 720p? All cameras have rolling shutter, but if you mean "low" then that's ok... Surely much less than the 4K mode. How do you find the rolling shutter in Super 35mm 1080p crop mode? A decent OIS lens is the 17-55mm F2.8 IS from Canon, good match for the 4K crop on the EOS R so it brings that into play. It's much bulkier than the Fuji 18-55mm F2.8-4 though and not parfocal. Fuji's rolling shutter in 1080p on X-T3 and X-T30 is at least as minimal as the EOS R. There should be up to date measurements somewhere in one place so we can keep track of it. For those that need 4K, the rolling shutter on the EOS R is amongst the worst, and I feel that also needs to be taken into consideration on any list or chart.

I have been playing with the X-T30, and it's even more of a bargain than X-T3. However, it's so small and light that it doesn't work well with larger lenses. The Fuji 18-55mm is a stunner on the X-T30 for documentary use though. It feels small enough to be balanced with the camera controls, and it's not always trying to escape forward and downwards from your grip. The OIS is amazing. The AF is amazing. It is even parfocal and you do not see it trying to refocus during a zoom. So you can do the odd zoom or even fast crash zoom and focus stays nailed on the subject the whole time. The image has all the same qualities as the X-T3 and I can hardly tell difference between the 8bit and 10bit 4K. Also the X-E3 does 4K, and although the detail and rolling shutter isn't up to the X-T30, it's even cheaper and I prefer the ergonomics. You don't get F-LOG but with Fuji film simulations, who needs to spend hours grading?! Yes it is surprising how the 10bit RAW stands up. You only notice the difference in the very deepest shadows and a slightly harsher highlight roll off, but since both ends are usually junk on even a sensor as good as the 5D Mark III's, and I prefer a lot of nice colour and contrast from my raw files rather than the HDR-puke look, it doesn't matter... Better to have the smaller file sizes, although 14bit lossless compression also stands up well in Magic Lantern. Still by one of the best non-4K cinematic images for the money which is competitive with Digital Bolex and Alexa for a film-like look.

I don't listen to people with baseball caps on backwards.

Didn't it turn into RAW Magic? Try that. It's good. Doesn't work with the latest 10bit compressed raw though.

It it in the form of a gold leaf?