MattH

​​Pro DPs have Alexas. They don't need to care about this stuff because the problem is solved. The DPs who don't know or care about the difference between a camcorder and an Alexa or even a C300 and an Alexa are not worth their day rate.

​Fuck off! That is my response to that. This is a gear head website, if we weren't interested in the minutiae of technical camera specifications and capabilities, then why would we be here?

http://www.dvxuser.com/V6/showthread.php?333655-Samsung-NX1-Here-is-the-rolling-shutter-measurement

​​That sounds awesome! Way beyond my expertise. Please share your progress on this forum.

Good setup! The bulb really tests the dynamic range! I have to ask though, did you shoot with levels at 16-235 or 0-255? Because from these tests http://www.dvxuser.com/V6/showthread.php?332463-Samsung-NX1-getting-log-like-setting/page11 comment 108. It looks as if iffmpeg and presumably other converters are set up to receive legal levels so are destroying the information bellow 16 and above 235 in the transcoding process. This means that if you shot 0-255 levels that there may be more dynamic range you can get out of this bad boy. Hopefully as transcoders and programs advance they will be able to accept 0-255, but for the time being it looks like it makes sense to shoot only 16-235.

This was never going to be suitable for video, everyone new that from the start. 50mp is way too much. Canon did everyone a favour by not even suggesting it would be good for video.

Yeah, I find the A7s also has the highlight aliasing / high contrast outlining, which I don't like the look of. It seems all sony's have it apart from raw on the fs700. I also see somthing similar in the c100 mk2 footage, although apparently they have loads of sharpness settings so it may be possible to disable it. The pocket with a mosaic AA fliter and speed booster would be interesting. But its a lot of ad-ons. I'm also interested to see what kind of detail the NX1 has in HD now that the bitrate has improved. So far it doesn't seem like there have been many good examples. Of course the transcoding is a pain but at least the file sizes are small. As for what I actually expect from canon: just more of the same.

I actually think there is a lack of a highly detailed fully clean 1080p camera. Whether its low detail, moire, aliasing, low bitrate codec, low dynamic range, bad rolling shutter, fixed pattern noise, or sharpening artefacts, it seems there's always something. There is certainly no model I can think of that screams out as a no-brainer. A cheap-ish canon that recorded 1080p H.264 with non of those flaws I think would be something. 4k's main selling point for me as an acquisition format is that it has enabled highly detailed HD output which was lacking. If a perfect HD file was provided to start with it wouldn't really be needed for most people. I watched the first half of From Dusk till Dawn on Netflix last week. The file was 720p but it didn't matter at all. Half of people wouldn't even notice it being SD, never mind 720p.

4k would be great, but I'm not holding my breath. If it had good clean hd that would be something.

I thought it was weird that It would be all liquidy in this cold weather, but then you mentioned Australia and it clicked. I bet it's really fecking hot over their isn't it? Maybe the Australian summer is more than the product (or the type of grease) can handle.

Cool. It looks like all the negative hype about lack of colour science is unfounded. I guess kineraw's videos are responsible for that. It will be really interesting to see how the image holds up against the NX1 with the new firmware update, especially in terms of dynamic range.

The crop factor for super35 is 1.4463 (36/24.89) 32 times 1.4463 is 46.28 full frame equivalent. So to get closest you would want a 28mm lens on canon apsc (1.62) giving you 45.36mm equiv. And a 30mm on other apsc (1.52) giving you 45.6mm equiv. 18mm on gh4 4k crop mode (2.5) giving 45mm equiv. Or if you have another system, in order to get the accurate crop factor just divide 36 by the active sensor width in mm.

​​Probably! Sure, the competition has 4k in consumer cams, but a lot of pro's are invested in cannon glass, so why make it easy (i.e. cheaper) for them.

Good job really. Can you imagine how much rolling shutter skew there would be with a full sensor readout on a 50mp sensor!

​​So that would mean that a canon cinema 14.5 - 60mm zoom actually delivers the full frame equivalent of 14.5 - 60mm. So is actually a 9.6 - 40mm t2.6 lens? Because fuck me that is some lens! (it might even justify the price). But na, it sounds like a load of bulshit to me, sorry mate. 50mm is 50mm. Which is to say: The stated focal length is as near as makes a difference the actual effective focal length.

Unless that person knows you have a 550D and knows exactly what a 50mm will get him. Which is a lot more probable with a stills shooter. But other than that you're right.

​Basically, if something in your scene is so dark that it is clipped to pure black, and you want to more of it to be dark gray so you can see more detail, then raising master pedestal should allow you to do that to some extent. But there is no point raising shadows by master pedestal to a higher level than you intend it to be in the final grade. What's the point of compressing the range and then expanding it again. You achieve nothing but increased banding.

Thanks for giving your initial impressions. I'm eager to see peoples tests too. I think the master pedestal will have to be adjusted depending on the scene. Raising only if its a high contrast scene.

Apsc on nikon, sony, samsung etc etc has a 1.52 crop factor. But canon apsc has a 1.62 crop factor. If you had a full frame camera I would say get the 40 because it would give a nice wide normal fov. But on apsc it will be a long normal which will be less usefull. If you need long why not go with the longer 50. And if you are in a situation where the 50 is too long, then 40 isn't going to be wide enough to help you. I even find a 30 mm a bit long when indoors a lot of the time. So i really recomend getting the 50 for a solid short portrait and close up lens, then you can think about getting a 24mm for a wide normal lens. Bare in mind that the 50mm 1.8 and 1.4 are soft wide open. So if you are shooting stills you will want to stop down liberally according to the scene and you wont be disappointed.

​​Thats not a ps4. It's the player itself. A black box you attach to your tv like a vcr. It does look a lot like a ps4 though.

​Thanks for the simpler explanation. Hopefully the update will fix these issues.

​I barely have a clue what you are on about, and I am sure 99% of the people who read this will not understand either. You will have to be gentler than that for people to understand. But I suppose as long as you conclude that there is a problem occurring that is good.

"​I know it had some paperwork with it but my wife had cleaned up and tossed it out i guess it would have pointed out this on the paper. All good now." would've not would of. Just doing my part to rid the world of this abomination

If it was optical bloom it would be instantaneous. There wouldnt be a delay as happens in your second video. As people have said it isnt compensation because it drifts the wrong way. It is the samsung nx1 exposure drift bug, and we should refer to it as such until it has been fixed. Hopefully the upcoming update will do it. It does seem to be related to the metering ability of the camera. The first video looks like it shifts when the centre point goes over the door window.

Didn't Andrew recommend not to use movie mode and just press record from stills mode? Yet people are still talking about movie mode. It would be good for someone who is not experiencing the problem to replicate the scenario to show it is possible to not have the issue.