Andrew Reid

Get it now I have just released a Setup Guide for the Samsung NX1. This guide makes the camera compatible with a range of LUTs so you can more easily apply stylistic moods to 4K footage in post. Along with the LOG conversion workflow, the guide explains the best settings for the NX1 and what you must know before using it for video work. The Samsung NX1 is one of my favourite cameras for video and the 4K image quality is simply the best you can get for the money right now. I have been hard at work on a guide for a while now. This is essentially a 'brain dump' of everything I know about the NX1. It is an all-in-one reference so you no longer have to search forums for the information and the 12 page arguments that goes with it. The LUT and workflow included with the book, I am particularly proud of. This converts footage shot with GammaDR on the NX1 to ultra-flat LOG in post. When used with a transcoding app like EditReady it creates 10bit ProRes with a Canon LOG style gamma curve and saturation. This allows you to then apply a LUT in your NLE such as the excellent DELUTS range from James Miller. The whole process is made easy to understand in the book and the camera becomes so much more fun for colour correction as a result. Introduction and general recommendations Firing up the NX1 for video and about the specFilmmaking Settings Optimal settings for 4K video and slow-moThe NX1 In Post The best way to transcode H.265, convert to LOG and apply a LUTRecommended lenses with character Lenses I recommend fitting to the NX1Get it now

You know what guys, either I am going mad or I am starting to see why Canon held off on significant improvements to video like 4K on their consumer DSLRs so far. If landscape photography with a long exposure suffered due to heat, Canon would lose half their customers.

Setting effect turned on. I can't use it without that, got to see my actual exposure and not some gained up shit Fun camera though despite all the silly quirks.

Details on the blog - http://www.eoshd.com/2015/08/panasonic-gh4-vs-sony-a7r-ii-in-low-light-the-speed-booster-shootout

Yeah the NX1 is a good budget choice. A7R II if you want to spend more. 1D C is ultimate especially if you need good AF with Canon glass but it will costya!

By one of these do you mean the Sony FE mount lenses? The 55mm F1.8 is my favourite. I went through all the others (Canon, Nikon, Zeiss, M42, Olympus, etc.) here - http://www.eoshd.com/eoshd-shooters-guide-sony-a7-a7r-lenses/ Well worth a read as I rate each and every one and point out the hidden gems for cheap.

It's true some of the M42 adapters short out the pins. Put some tape over the back of the M42 adapter, the bit that touches the pins is then covered. The tape doesn't interfere with the screw mount or infinity focus.

If the mainboard and main CPU backs straight onto the rear (likely) then it is indeed the heatsink being covered by the LCD. Also I notice when 4K is enabled, you can't enable Sunny Weather mode which makes the LCD backlight go crazy bright, thus generating more heat. It gets greyed out in the menus. Worth testing this I reckon... ---- How often do you record continuous takes one after the other of 30 min+ Live events and interviews... that is about it. For everything else including the long hikes in the sun, you should be less worried than you guys seem...

I'd rather have a blown out bottle top than a grey fog and terrible colour!

I had good results with the Arri profiles in Film Covert as well. Premiere CC 2015 Lumetri Color is a good step forward but I am not sure I 100% trust the built in profiles yet. Have you seen the train wreak it makes of S-LOG 2? Select the SLOG2 - SL - PROFILE LUT with your A7S / A7R II footage and have fun trying to get that to look good!!! Two tints... too yellow or too pink, take your choice

Nope. The mirror is in the way!

I love the Blackmagic image as well and the URSA Mini 4.6K looks extremely good so far. I can't get my head around why they keep announcing stuff at NAB instead of closer to when they are actually read to ship. Somebody move NAB closer to the Blackmagic release dates because visa versa is clearly never going to happen!! Video Assist is just a cheap monitor... good one at that... but why does it take them until October to get them out of the door? Summer is peak shooting time!! Yep the price is good however Blackmagic seem to have more firmly defined their market as professional. With the initial cameras they had more of a cross over appeal and Blackmagic seemed to encourage it and get them into consumer high street photography stores as well. Can't see that happening with the URSAs.

That's a great lens and you will be amazed how light it is as well.

Thanks for buying the book Doug. The focus magnifier seems to differ between stills and movie mode, also the magnification factor in stills mode is different depending on if APS-C mode is enabled or full frame. So it is 4x only in movie mode but if you read the bit about stills mode and switch to 16:9 you get a few benefits including the cleaner 12x magnification on the 2nd press. Agree that the A7R II is such a good all-rounder. There's been quite a negative response in this thread, I didn't think the review was that bad. Overall I am loving the A7R II. Just had to point out a few of the drawbacks. It is amazing how hyped it has been and how these things have been totally glossed over or added as small print to the bottom of a list of cons below a massive list of pros and a headline that screams AMAZING. Filmmakers gotta know the truth or it really does mess us up on a shoot. Well the A7S full frame 1080/60p is pixel binned so not so good, Nikon D750 is better for that. Super 35mm 1080p from the A7S is all from a full pixel readout. The A7R II is very unlikely to do 1080/60p better than the A7S, it can't do a 36MP full pixel readout from the full frame sensor at 60fps. The A7S only manages it because the Super 35mm crop portion of the 12MP sensor is extremely low res by comparison. In S35 crop mode, let's see... A7R II has 15MP to contend with, unlike to do 60fps with full pixel readout, maybe in 24p. I'll try it.

Thank you. That sums it up well. No camera is perfect. Knowledge, or another word for it, truth, is an asset. If you have that you will choose the right camera for the job and get good results out of anything if you know the limitations.

In part 1 of the Sony A7R II review we will look at the A7R II not as a consumer camera but as a professional cinema camera. The benchmark for this camera is going to be the Canon 1D C. Read the full article

What is the point of the Sony beating the Canon for dynamic range if they both look shit when you dig that far down? Nobody does that in the real world. It is showing some technical aspect of the sensor and nothing more. Also the dynamic range of the A7R II only seems to extend that far in the green channel. May as well be black and white. Where's the colour information gone?

Best penis swinging physics I have ever seen in a computer game! Loved the whole style, it's entertaining from start to finish. If anything it almost looked too good!! If you really want VHS quality.... shoot with a NEX VG90!! It has the VHS colours straight out of the camera. I'm not joking!! Have you seen Computer Chess? I haven't yet but loved the trailer and it's on my list... that looks very CRT tubey. I love it when someone puts a ton of effort into something and its a labour of love which this music video clearly was. Enjoyed the music too man... we shall have to work together on something in the future, perhaps when I get myself back to the UK and divorce myself from my family of 600 lenses and 24 cameras

Quite an interesting test that one. Good to see the full frame mode is looking so good. The only time I will be using S35 mode is when I want to use ISO 6400+ and Speed Booster in very low light. It was never going to be a minimal rolling shutter 4K camera from a 42MP sensor. But even the fact it has less rolling shutter in 4K than the A7S does in 1080p shows an impressive step up in sensor readout speed. And that it is able to match the GH4 despite the enormous difference in sensor size and resolution is mind-blowing.

Still too many words and not enough pictures on this thread! Take some 10bit ProRes and convert to a high quality 8bit codec at the same bitrate (around 250Mbit/s would be good) Then post screen shots of the image quality (hint - they will look identical) and also the grading issues you find (hint - you will never push it that far to breaking point in a real world grade)... LOG is more important to image quality & dynamic range than 10bit vs 8bit.

Yeah. There is!! And all of them fuck all to do with 10bit.

Show us then!! I'm going to fucking bed!

Spare a millisecond proving it then, and do us all a fucking favour.

Because it isn't the 10bit you're liking. For a start your screen is 8bit. Secondly a typical 10bit camera like the Blackmagic Pocket has a wide dynamic range - you liking that and also the high data rate of ProRes meaning fine grain and very little compression so less colour data is lost. Also you are liking the look of an i-frame codec rather than long GOP and 422 over 420. All make a difference to the image. The 1D C proves that you can get amazing amounts of colour information out of a 8bit file. Hell, 42MP A7R II JPEGs prove this 10bit is massively overrated because people blame 8bit for stuff that is really the fault of heavy compression (banding) and sensor related shortcomings in DSLRs. If a line-skipping DSLR went 10bit tomorrow in a firmware update you would notice no difference. And as for grading, I have tried grading 8bit and 10bit from the same camera and you have to pixel peep ridiculously hard to see a difference. Raw makes all the difference for grading, it is a different ballgame. 10bit is not.

Because you're wrong!