Geoff CB

If you are starting from scratch, pre-order the A6300. Buy some adapters (get a Lensturbo to achieve the Full Frame look you like), get a Tokina 28-70, buy some cheap Nikon Ais primes or Canon FD primes . Invest in a decent microphone/lavalier set and decent tripod. There is one caveat here though, a good photo set and a good movie setup are not one in the same. I have 2 D750's for my photo work and 2 NX1's for video.

What glass do you have? D750 is excellent overall but I would go for a A6300 in your position, a EOS speedbooster and support gear.

Yeah nobody every talks about it. I've been scaling anamorphic footage to proper aspect ratio 3K with it, works great.

Stick with the Nikon, which can be adapted to pretty much anything. Get a better Nikon adapter for the NX1.

Might be good to know your approximate location to give advice

The GoPro Session was a huge marketing and development mistake. Pretty much killed them this year.

H265 is going to be around for a long time, not just attached to the NX1. Planning ahead.

Better to have a full sensor read out at 6.5K in H265, but that's a pipe dream

Bitrate is #1, hopefully from 90 to ~200 (high end SD cards can support this) if possible. Similar to the hacking done on the GH line.

Cliptools is my current favorite. Tons of options but can be learned relatively quickly. http://hdcinematics.com/convert-V2.html Sometime I like to just use Rocky Mountain and throw it into 1440p conversion, that setting seems to work well in Resolve for me.

I think the majority is Nikon D810 also, willing to bet on it. The sensor size is Full Frame. The skin tones and the way the highlights peak on skin is all Nikon.

This is pretty great, thanks for the suggestion! I'm pretty visually oriented and story concepts are not my strength.

Try fast color corrector and changing the output range to 16-235. Actually fixes the error. Also shooting in 16-235 on the camera eliminates this problem, but for me costs you data to use in post.

Stills will compare favorably to the RX 10 that is for sure. In Resolve that Macbook will not be enough for 4K. Keep in mind you cannot output anything over 2K in the free version.

I am definitely in support of this. Including a donation, the man that hacked the NX300, he is doing some interesting things and may be our guy if we want to throw money at him: http://***URL removed***/forums/post/57133589 If we can get 240 fps at a bitrate of 200... holy shit.... HDMI can output 480, 576, 720 and 1080 (no 2160) but there appears to be support for up to 240fps (at least as a value in a table). Also, file names nx_cs.adj is definitely searched for on SD card (also alt.adj, nx_dev.adj, paf_adj_restore.adj, etc). Also, iperf is used for testing Wifi Regarding sensor modes (for video): FHD, Cinema, Video60, Video120, Video240, VideoHFull, VideoFull, ModeQHD, UD, UD_Crop1, UD_Crop2, 720P60 If UD is UHD there are at least three different crops, tecno will love this There seem to be 7 movie modes 0 - 6 (0:UHD/1:UHD_D/2:FHD/3:CINEMA/4:HD/5:VGA/6:QVGA) - can someone check if they are all present in menus? (**two** UHD + CINEMA - it that 4k?) Frame rates go from 4fps to 240fps in many increments. Pixels can be read in 10, 12 and 14 bits. There are a bunch of functions that (it looks like that to me) call directly HW functions of DRIMe5, all prefixed with d5_ like d5_ep_3dlut_op_init (oh, yeah, there is code for loading custom LUTs), d5_ep_top_change_jpeg_moa_for_conti_cap, d5_ipc_set_dram_addr, etc.

I've found similar to above. For clean image quality: 100-1600 in 4K/UHD 100-800 in 1080p You can push in certain situations, but these are the safe limits.

One of my early experiences that I was very glad didn't bite me in the ass: Working on a TV show with a very inexperienced crew (including myself) DP saw my set of nikon lenses and asked if he could use my wide for a shot, they were shooting with Canon L glass. That turns into him and the Director using my glass on second camera. Then a huge mix of it on a certain section that they wanted to shoot low light and only my glass was faster than 2.8. The look was so different they scrapped everything from 3 days shooting and we re-shot. I was set photographer, and the fault was of the DP and Director. But still, I should have realized it the moment they asked to use my glass.

I'm searching for a Voigtländer 90mm f/3.5 in Nikon mount. I own the 20mm 2.8 and 40mm f2 and absolutely adore them, low contrast that somehow "pops" . Searching for the 90mm in Nikon to round out the set and use them on an upcoming short. It's out of production and I haven't been able to find a used copy, If anyone here has one for sale I would be very interested in purchasing it.

Yeah I thought soto, it does not use the extra CUDA cores or processing power except a slight speed increase if you have your monitor on a second screen. I've also had it lead to "out of memory" errors when warp stabilizer is used. For stability I really recommend a single card.

Go for one very good card not 2. SLI does not speed up Premiere. I have 2 GTX 960's in my system and Premiere crashes on every render unless I disable SLI.

Work directly with H265 if you can, saves space and better to edit with the native files.

Try using the Arri Alexa Rec 709 profile in filmconvert and raise exposure by .2. It's excellent with the NX1 Gamma DR mode.

The mount in combination with the crop is what I find troubling. If I'm spending 10,000+ to rig a RED camera I better have the ability to rent and use PL glass.

I was not running the C100 that day, though knowing the shooter he was running C-log. I was running modified Gamma DR -2 Saturation, -5 Contrast, -10 sharpness, +5 Black Level

The Raven's EOS only mount and crop is ridiculous at this level of investment. I'm interested going Red when I get higher end, but Super 35 or bust.