mercer

I messed around with vivid for a little bit today, nice profile. The colors looks great, weirdly less "vivid" than I thought. I remember an older post where you commented about treating the picture profiles as their own film stocks... I think you are definitely onto something there.

Good to know, I assume the 500 does it too. For some reason I thought you needed a native lens for that function. I imagine that would be great when you don't have an nd, but you still want to shoot wide open. Amongst other scenarios.

Yeah they are. So, you can do +/- exposure with manual lenses on the NX1?

The shot of the lifeguard stand looks like a vintage post card. Wicked. And the dirt looks great. The texture and details are great.

Looks great!!! The decomposing fish looks like the beginning to a revelations based horror film... With vibrant colors. The shot of the bobber next to the dead fish has an interesting juxtaposition. I really like that camera. What are they going for now? I feel like Canon was a little off with the pricing, but if any cheaper, it might take too much of a chunk of their higher end Rebel business away from them. Oh yeah, even with a small sensor, you've managed some nice depth of field.

It seems like Ed was using the NX1 before the FW updates and to my eye, that test, with those settings, look way better than anything I've seen with Gamma DR. Of course, Ed wants a more stylized image, and I appreciate that more than a cookie cutter, clean, event look. I don't have the NX1, but I do have the NX500. Although different cameras, I wonder if 500 behaves like the NX1 prior to the Gamma DR update. Again, different cameras, but one thing that took me a while to adjust to was the minor effect different lenses has with it. The in camera settings seems to affect the picture look more than the lens does. Coming from a Canon Rebel background, I was used to obtaining different "looks" just by using different lenses. I wonder, if with Ed's settings, the varying looks of different lenses returns while still having some leeway to grade. Anyway, interesting post and it's nice to see the Samsungs being discussed again. I guess with all the rumors of Samsung ending their camera line, the NX series has become that boring ex that has moved on, which magically makes her a lot more interesting.

Thanks for the link. The D7200 does seem like a nice upgrade to the D5500, but for the extra money, for my needs, the D5500 would probably do. How is the audio with the Nikons? I would love to be able to plug in a shotgun mic and get usable sound.

Yeah, the flat profile looks great. I used to shoot with a t2i and eos-m and I miss the ease of the post work, but their image just isn't good enough anymore. I have recently been messing around with ML Raw on my eos-m. With the 3x crop, I can use a set of vintage c-mounts I had bought when I thought I was going to get the BMPCC. So, that's been kinda fun, but too tedious for any real work. I'm interested in the Nikon for a web series I want to shoot next year and thought the quick turnaround would be a better fit than the 4K. Plus there is just something so filmic about that Nikon image. And, last but not least, I have a small set of Nikkor lenses that I'm excited to use natively. I only have vintage lenses, so it might be nice not to have to worry about adapters. Do you know the main video differences between the D7200 and D5500... To save me a tiring Google search...

No problem. I shoot with the NX500, so the native files are h.265. I have to convert it anyway, and I have just always been a fan of 4K converted to 1080p, I think it has a weightier image than straight 4K, which I find can sometimes look brittle. Also, the h.265 files are so compressed that they are pretty big when I convert them to prores, by turning it to 1080, I save some file space. The NX500 already has a 2.5x crop, so I have no interest in any further crop. Plus, my goal is narrative filmmaking, so I try and plan my shots. Of course, if I do need a crop, I guess, I can just bring in the 4K version. I use EditReady to convert my files to prores and then I import them into FCPX for correction grade and edit. I use the Color Finale plug in for LUTS and any color work... of course, I am a newbie with a lot of this. I have edited straight 4K and didn't have a problem at all, so with the specs for the MacBook Pro you posted, everything should work fine. Definitely with the D750, probably with the 4K from a gh4. I've never edited native 4K mov/MP4 files, but I can't imagine it would be a problem. How do you like the D750? I never shot with a Nikon, but I have really liked what I have seen from the D5500, so I may pick one up if they go on sale at Christmas.

I have a late 2014 MacBook Air SSD i5 with 8gb Ram and I have no problem editing 4K prores LT on FCPX. But I usually convert my 4K footage to 1080p prores before I bring it into FCPX. Also, ICYW, I just updated to El Capitan and haven't had a problem with it at all, in fact, the update has actually fixed a couple issues I was having with the computer.

I have the NX500, but not the NX1. The main difference, in my opinion, is the lack of DR Gamma in the NX500, but it seems some people aren't using that function with the NX1, but most are. I don't use any of the native lenses with the NX500, so that's a question for someone else.

I watched the other two this afternoon. Good stuff. Loved the first shot in Face the World. Just something as simple as her in focus in the foreground and him pacing out of focus in the background, with his muffled voice, while she looked on was very smart. With that one shot I knew the story. It's funny though, Favorites and Face the World were a little more dialogue oriented, which actors love, but the strongest performance, in all three was your lead in Not There, which was more of a director's piece. Not that the other actors/actresses were bad. There was no bad acting in any of those shorts. Living in LA must be great for the talent pool alone. In South Jersey, where I'm from, you'll get a first time actress who won't work unless she is getting scale... And she isn't even union... Or that good. Anyway, good work. I love seeing people making quality work.

Yeah, she was great! She has a familiar look too, I kept thinking I have seen her in something else. Even more impressive that it was shot in 3 hours. Kudos. Sorry I wrote kudos. But seriously, with the set ups and make up, 3 hours is admirable. What did you have a 2:1 shot ratio? Did you shoot it with the gh4? Lenses? I assume you used lenses, which ones?

Do you think Samsung could make a camera that writes, directs and edits a movie for me... Now that would be a camera. Seriously though, I think it would be a great move if Samsung released an updated NX that shoots 2.5k raw.

A beautiful blonde left it in a cab in Tokyo... That right there is a great beginning to a story... Or a tragic ending. Either way, yeah I am really happy with it.

Yeah that Sirui does seem versatile. I have an Alzo Smoothy Pod that fits in the same kinda category for me - inexpensive enough to have around for those few times it will be extremely useful. Btw, I watched NOT THERE. Good job. Well written and directed. You did a lot in 3 minutes. The idea of what was real or imagined... or even wished, was woven in well... Right down to the shirt the killer was wearing. Great stage punches too!!!

I don't need Bogen legs, I just like Bogen legs. Most equipment I buy is used and I know, even if rode hard, Bogen legs last. That Sirui looks like a great tripod, perfect for travel. I need something with a little heft, but still lightweight. I am shooting my first feature this winter, if I can get the script done, and I want to be able to trek a mile into the woods knowing that my stix will not have any issues. I know with Bogen legs, they'll work every time without any issues. I'm sure, other brands are fine, I just know what I like.

Whirling dervish. I love the t2i. Make a short.

I'm actually looking for a light tripod set up. My Manfrotto is just a bit too heavy to trek around the woods, so I figured if I could get a head that was light enough, it could serve double duty. I'd rather it be a Manfrotto Bogen combo legs and head since I already use the quick release plates with my other tripod and I'll use the extra set of legs as a light stand in the studio. I did pick up a little 234rc2 tilting head that will probably work fine on the monopod.

The a5100 looked great! I have this camera and I was all ready to sell it and today when I was getting everything together I messed around with it a little bit and remembered how cool that little guy is and then I see this. It really looks great. If you told me this was shot on a 3000 dollar camera, I'd believe you. Btw, did they require it to be 30p?

eos-m raw looks so damn cool. i have messed around with it a little, but the workflow is so tedious. how did you get rid of the pink dots?

Vivitar did make a popular 28mm f2.5 lens, probably in the Minolta mount, but that's not the lens I am referring to. This one is a Minolta MC W Rokkor SI 28mm f2.5. Way better than the Vivitar, which isn't a bad lens either but not even in the same league as the Minolta. IMO.

Yeah, it's a great lens. One can be had on eBay for around $250. They also have an MD version of the 35mm 1.8, I think it's the same optical formula as the MC version, but probably with better coating. If you're looking for a dirt cheap Minolta, check out the MC 28mm f2.5. A real nice lens that can be easily had for less than a hundred, I bought my copy for $60.

So, I was reading the specs and some reviews of the 700rc, the specs say it weighs just over a pound, which is perfect for me, but it states that it needs to carry a minimum of 3lbs? I assume since the tension of the fluid drag is fixed, it needs a minimum weight? Have you noticed any issues with less weight than that? And since the drag is fixed, would you describe the pans as slow and smooth... Or?

I know you weren't asking me, but the MD 28mm f2 has been my go to lens lately. The bokeh isn't nearly as dramatic as the 35mm or the 50mm, but that's why I bought it... It's not as creamy, but perfect for rack focus in dialogue scenes. IMO. Other than a couple shots where I use the 24-35mm, the lion's share of this video is shot with the 28mm f2 on the NX500. With the 2.5x crop factor on the NX500, the 28mm has a FOV of a 70mm.