Andrew Reid

Yes. But sadly, I don't think Kickstarter pre-orders are in Samsung's business plan With their eye on the next trillion dollar shipment of smartphones, and tanks Here's another gem... Make sure Fast Color Corrector to 16-235 is first in the effects chain. Or use 16-235 in NX1 menus (0-255 in menus with correction in post gives you slightly better colour though).

This is video. At the same file size of a Sony, too. Rather than shooting ProRes externally, this is much more convenient. Just a shadow push in Lumetri (Premiere CC 2018)

Looks good. Not oversharp. 5D Mark II raw?

Blown away by the codec... This shot had some serious underexposure going on. At least 3 stops head-room in the highlights. Brought the shadows up in Premiere and remapped to 16-235 (Fast Color Corrector) There's almost zero signs of compression in the shadows!! Which came up from invisible.

As for dynamic range... 4K H265 from the NX1 on standard certainly has more information in the blacks than 4K H264 on the Fuji X-Pro 2 / X-T2 (set to Classic Chrome) Again this is big area of change since NX1's release... If you set it to 235 from 255 you can recover a ton of stuff in the highlights and with the higher-bitrate codec hack it holds onto more in the shadows as well. Original v1.0 firmware and H.265 support on the computer side killed dynamic range, tons of clipping! NX1 (240Mbit): X-Pro 2 (100Mbit):

I'm not blown away with the first footage to come from this camera. Considering the codec is 200Mbit, seems to look quite thin, with poor tonality. Not sure the motion cadence is right either. X-T2 had an issue there. I wonder if people are driving it too flat for 8bit, maybe F-LOG and poor grading is to blame. Fuji's colour usually impresses me a lot more. People often say the NX1 has a weak codec. When it came out, the criticism was justifiable. Now however... full 360 turn-around. NX1 H.265 is now hardware accelerated in MacOS High Sierra, playback is flawless even on a laptop. Spacebar to preview works in Finder and even the thumbnails. With the hack installed and H.265 set to 120Mbit, it's reliable as fuck to a decent SD card. Half the file sizes of H.264 or double the quality at the same bitrate as H.264. Effectively I am shooting with a 240Mbit codec, from 6K readout, on one of the most responsive and ergonomic cameras ever made. Fuji are going to have to do better than the X-H1 to win me over fully... And nobody has mentioned the rolling shutter yet. If it is anything like the A6500 then that's a major advantage to the GH5! I will try one out though and do the review. I get mixed results from Fuji in terms of colour and dynamic range. I prefer the colour of the Samsung NX1 to Fuji in fact, which is surprising. I do like classic chrome and the film simulations but the NX1 on standard colour just has a spark... very electric, Canon-like.

A lot of Instagrammers are going back to actual cameras. Samsung should do an Instagram Special version of the NX1 with 4K 120fps

Taping up a Samsung logo in a Samsung advert by Samsung PR team. Interesting. They must not want Galaxy users to get any ideas about getting a proper camera

That video is indeed interesting It shows 2K modes (2048x1080) in the video menu It shows 99 minute run-time for 4K video (UPDATE: Ah it's unlimited for HDMI recording. 30 mins for internal with grip) It shows the camera has absolutely no video record button! Can the exposure comp. button near the shutter be programmed to record video while in stills mode? I dislike the movie mode lever with all the continuous shooting modes shoehorned into it. I love the top-panel info display and BIG deep grip. Min ISO 800 in F-LOG. No view assist?

Ah good to see you back BTM_Pix I do agree the grip is a bit of a must-have. The Fuji lenses with IBIS will be a joy. I am just not sure they cured the biggest ills of the X-T2 like I expected of them... Maybe the extra crop in video mode exists to reduce rolling shutter - if it's the same sensor as the A6500, that would be much needed. Don't like the Drive dial with movie mode shoehorned into it. Don't like the locks on the ISO and shutter dials. Samsung NX1 all the way for me ergonomically, any day. Some more thoughts: https://www.eoshd.com/2018/02/fuji-x-h1-got-wrong/ The interface seems like a mess according to Richard Butler.

I never could understand how Panasonic made any money on the LX100 - packed in so much good stuff for so little money, in a genuinely high-end miniature body. I want to see a sequel!! Make it a bit more expensive if that means difference between it existing or not. Make it have the high-frame rates and low light of GH5... No crippling of the video side. RX100 V is tough competition.

Did anyone actually ready Terry Gou's comments word for word at Nikkei? You all keep second guessing him. Are you saying he's making shit up?!

Have you registered 12kcameras? Now's the time

I hope they are pricing whatever they do like the early Blackmagic cinema cameras, but with much better sensors and much smaller design concepts with low energy consumption. Mini Epic without a fan, with DSLR size battery. This could be the Blackmagic revolution all over again. Mega exciting!!

Is the GX8 dead then? https://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-g-compact-system-cameras/dmc-gx8m.html The GX85 wasn't a replacement for the GX8 but a lower-end model. Now the GX9 seems to be a replacement for both! Unless they do a GX10?

The Hydrogen stuff is already done and in production. This is about a future tie-up they are in talks over at the moment - a completely new line of cinema cameras. Terry Gou says he wants to get into that digital cinema camera market according to the article.

That's where they are most useful of course. In the home, it's inevitable they are coming by 2020. As for 8K on the camera side it could be useful for making VR content. VR needs the resolution. I see an 8K camera as more than just the numbers though... 8K makes for superb 4K. Anything from RED / Foxconn aimed at affordable prosumer market is welcome with me!!

I hope they are Sharp.

According to a report on Sunday at Nikkei, iPhone manufacturer Foxconn Technology Group plans to team up with premium camera maker RED Digital Cinema and enter the digital cinema camera market. Read the full article

What is the point of the a9 as it stands... USB 2 as well... EH!? USB C 3.1 on the a7r iii. I don't understand Sony's strategy at all.

I used the wider colour gamut of S-Gamut 3 for EOSHD Pro Color to avoid exactly that - the clipping issue (especially bright blues) in the standard rec.709 colour profiles. Also the discolouration just before the clipping point is much worse in rec.709 than in S-Gamut or rec2020 with Hybrid Log Gamma. Too many backseat drivers who just look at the technical standards and don't shoot anything chiming in saying blah blah you can't do it. When you can.

Yeah it's annoying if you have S-LOG selected in video mode and you turn the dial back to stills mode and your JPEGs are now in S-LOG. Not sure users want to do that. Sony however, seem to think otherwise. Maybe their engineer is a big fan of shooting S-LOG stills?! That video reveals some interesting things - The colour is slightly better on the A9, with slightly higher luminance at same exposure. The rolling shutter for me is impressive, as the A9 is doing a 6K full pixel readout yet with less rolling shutter than the A7R III which is pixel binning. (Skipping rows or pixels = less data to readout from the sensor). Compare that performance to the other 6K readout cameras (A6500, NX1) and it's roughly twice as good. Finally the noise performance is outstanding on both, considering the megapixel count... way higher than 12MP on the A7S II... But it is particularly incredible on the A9, with clean 12,800 and hardly any noise even at 25,600 whereas that is really the limit for the A7R III - although no shame in that - that camera is a miracle in low light considering 42MP. So yeah, the A9 is superior for video and unnecessarily crippled by lacking PPs. Maybe they want us to spend $1000 less on an A7S III instead?!

Shoot with it on the A7R III and then you will see.

Well Sony and Fuji's engineers clearly disagree. It works in 8bit. Clear advantage over Rec.709 colour profiles. I've used it and seen the difference for myself. It isn't a 10bit-only colour space. S-Gamut is also a wide colour space, and that can be compressed to 8bit as well.

Hmm rolling shutter is pretty good in video mode on the A9 though, isn't it? Not zero, but still very good. And I can't understand why they'd want us to buy an A7S III or A7R III instead for video, when these have more rolling shutter, and most importantly for Sony - when these are cheaper and actually the A9 has a bigger profit margin for Sony. There are people who actually want to buy one for video right now and who find lack of S-LOG a major roadblock to Sony earning a tasty $4.5k sale. Daft!