Parker

Yeah that's what it looks like to me. Could be caused by a variable ND as well.

I've had good luck lately with RED's gamma profiles, they seem to match up pretty good with the NX1... but it'll be interesting to see how much 'better' colors and things look once we get our hands on the actual official filmconvert NX1 profile.

Great write-up Andrew! That was a lot of fun to read, I look forward to seeing what you get out of that monster.

Wow, I had no idea the X5r could be had for such an affordable price... definitely tempting. Do you guys know of any good, solid reviews on how it performs? Footage seems pretty scarce, and I can't really find any in-depth reviews on it at all.

As cool as it would be to be able to use some of my canon glass for stills and such, the only thing I really care about is rudimentary aperture control. I wouldn't really care at all if autofocus was lousy/unreliable, I just want some form of electronic communication between body and lens and I would be very happy!

Yeah I put it in a 24p timeline and it slowed down just like it should, then I changed it to 1080 and the 4k scaled just like it should, it's kind of hard to judge based on the video but once I get home I'm going to do my own testing.

Hey guys check this out! Apparently UHD 60p is now possible!!! 1D(N)x-ii in all of our pockets. http://***URL removed***/forums/thread/4011837 I really hope this is legit. I downloaded the clip and threw it into premiere just to see, and it does appear to be a true 3840x2160 file playing back at 60p. This is huge.

I guess this is sort of an aside from the discussion on ultra-wides, but the Rokinon 85mm T1.5 cine lens is one of my favorite pieces of glass. It's got a fairly low-contrast, very creamy rendering of things, definitely gives a dreamy look. Sometimes it makes it harder to cut between the more modern, contasty look of something like the sigma 18-35, but I often prefer it! Just very different. The 85 pretty much lives on my camera during weddings. Rokis are sweet!

Not sure which NLE you use, but for a mobile-friendly setup, Premiere's next update is supposed to greatly improve the way the software handles proxy editing, especially on less-powerful, more portable setups, which could definitely be useful for you: http://blogs.adobe.com/creativecloud/whats-coming-next-in-adobe-premiere-pro-cc-and-media-encoder-cc/

Yeah I agree, the Roki 12mm f2 is awesome, and for me, it's the obvious choice for an ultra-wide on NX cameras. It's very small and lightweight, and of course it's f2! I used to own the 10-18mm, loved it, but had to sell it for the same reasons as Ricardo, as sadly it's just unusable with fly-by-wire adapted. I also briefly owned the sigma 10-20mm, which I bought to replace the canon, it was fine, but too slow for my needs. The rokinon 12mm f2 is both very sharp and very fast! Awesome for steadicam stuff (including low light) and astrophotography as well. For me the extra stop was more useful than the zoom and 1 millimeter more width of the tokina 11-16 (the rokinon is also cheaper.) If all you care about is the widest glass you can possibly get, there is also the Sigma 8-16mm, which I believe is the widest rectilinear glass ever made for crop cameras. I've never used it, but it's fairly pricey and I have heard it's not the sharpest lens. You never know though!

Yeah the NX500 is a great little B camera, especially good for stills and timelapses now that the hack has enabled silent shutter, which almost acts kind of like a pseudo-ibis in a way as well, since there is never any shutter shock, shutter speeds can be set lower than usual and still get sharp photos. The 4k crop is pretty annoying though, but can also be pretty convenient. A tiny, stabilized lens like the 16-50pz can be pretty versatile switching between 1080 and 4k to take advantage of the crop. Something to be aware of also is that there is no UHD 24p, you have to go up to the DCI 4k for 24p which makes it slightly annoying matching with the NX1.

I only own the FD 50mm 1.4, but I used to use the EF version quite a bit in years past. It is not a very well regarded lens. For video use the focus throw will be much shorter than the FD, and of course only electronic aperture as well. I'd stick with the FD.

Don't count on it. I've learned over the years that's it's just a waste of time to get your hopes up over Canon. I think that's why you see such 'canon hate' on this website. I assume it is brand that the majority of us all started on, or have definitely used at one time or another. We all know that if they REALLY wanted to, they could easily make "the perfect hybrid camera" that everyone of us wants, and they could do it without even breaking a sweat. But they won't. I'm sure the 5D4 will be a modest upgrade over the mark iii, canon fanboys will eat it up, and the rest of will be left feeling cheated once again.

Yeah it's too easy to get locked into that "grass is greener" game… although I have to say I shoot an A7sII at work most days and for me it's not all it's cracked up to be, ergonomics are horrible, everyone knows about the menus, battery life way worse than nx, bloody awful screen… it just feels soulless. For me the nx1 is basically the perfect camera ergonomically. So comfortable to hold and easy to shoot with. The only thing the sony's really have going is the low light and of course it's a little bit easier to achieve shallow dof, but to be honest with fast glass I pretty much never have to go above 1600, ever. Who actually NEEDS 25,000+?! And why are they only filming in pitch black caves?! I do love (and frequently use) the NX1 for stills as well, but lately I've been batting around the idea of picking up a full frame just to utilize all my FF lenses the way they're meant to be used… which means mirrorless over dslr, to adapt all that glass, so I've looked at used A7r prices, but then it sucks to buy a camera that sucks for video, just in case, so then… gah… round and round it goes.

@kidzrevil that's too bad, mine works perfectly and I've never had any problems with it, I guess their quality control must not be up to snuff! But either way, @Mattias Burling that's a really good idea I never thought of before! It seems like you're always after the quickest, most efficient ways to do things (I bought both the edelkrone quick release one and the xume magnetic filter system based on your videos)

I just use the rec 709 ones, they work fine. The online previewer thing is what I like the best with that, so I can just pull a screengrab from my timeline and quickly cycle through a bunch of different looks instead of having to painstakingly change LUTs in premiere over and over again until I find what I'm looking for.

I use Fotasy for pretty much all my lens adapters, they're cheap and they've always worked great for me, that's what I use my c/y lens with on my nx cameras. From what I hear, cheap, crappy adapters can sometimes screw up infinity focus but I've never had a problem with any of mine. Frankly I don't see the need to spend more than $10 or $20 on any adapter really. http://www.ebay.com/sch/i.html?_from=R40&_trksid=p2050601.m570.l1313.TR0.TRC0.H0.Xfotasy+c%2Fy+to+nx.TRS0&_nkw=fotasy+c%2Fy+to+nx&_sacat=0

@sanveer Here's a link to the one I ordered, I got it from ZenPro: http://www.zenproaudio.com/triton-audio-fethead It works perfectly with the NTG2, I've also played around with boosting other common mics such as a shure sm57, works great for that too. I went with this one because the other model you mentioned, (FetHead Phantom) is the one that I heard doesn't work right with the NTG2's battery, plus you sacrifice quite a bit of gain. The one I got, which takes phantom power from the recorder to power itself (thus leaving the mic boosted but needing to run off it's own AA for power) gives a clean 27 db boost! The phantom one passes the phantom on through to the mic to power both, but supposedly has problems with the NTG2 and is reduced to an 18db boost instead of 27. So my recording setup is the NTG-2+FetHead (it's so tiny, just goes right into the back of the mic, only adds an inch or two) but I run it into my Tascam DR-40, on a rode micro boompole with a rode ws-6 windscreen. Admittedly I'm really not much of an audiophile, but for me it sounds great, even indoors. I use it for interviews a lot, just throw the boom on a C-stand above the talent, and it sounds way better than my lavalier setup. Much richer audio. The DR-40 has super handy dual-track recording also, so you can set one a bit higher and one a bit lower and not worry too much if audio happens to peak. It's definitely a 'poor man's setup' but like I said it really satisfies just about all of my audio needs for whatever I'm shooting.

I run an NTG-2 into a Tascam DR-40. When I bought it I was lusting after the NTG-3 but couldn't justify $700 at the time for one as I only infrequently use a shotgun. As others have said, the NTG-2 doesn't put out the hottest signal, but after some research I bought a FetHead xlr booster thing for it, and now it's awesome! You let the NTG-2 use it's own battery power and the FetHead takes the phantom from the recorder and supercharges the mic with an ultra-clean +20db boost. Basically, I went from having to have the Tascam's gain cranked past 75 to 80 all the time get good sound, now I rarely take it past 20. It's been a real game-changer for me, and really takes care of pretty much all of my audio needs. GAS averted!

I second James Miller's Deluts, they're fun to play with although a lot of them are a little too 'instagrammy' for me, sacrificing too much highlight detail for milky blacks, that sort of thing. When you find one that works though, most so the time it looks awesome. I've had great success with the IWTLBAP LUTs that Benjamin sells on the forum here, fantastic value for just $20 and he is constantly updating them too. I also have really like using Neumann Films' cinema LUT from their blockbuster looks pack. It's free, and just goes really well with the gamma dr profile I use. If I have to grade something in a hurry I can pretty much just slap it on there and it looks great right out the gate.

I've actually never had any issues with vimeo taking down any of my videos with copyrighted tracks at all, very much unlike youtube. I'm only on the the plus version of vimeo, but that's why I prefer it over youtube, which always flags anything like that, or slaps some ugly ad banner over top.

@kidzrevil Check these out: http://www.bhphotovideo.com/c/product/1114779-REG/aputure_amaran_al_198_198_on_camra_daylight.html Very light, very small, surprisingly bright for the size, and can be powered by both AA batteries or rechargeable (and cheap) Sony NPF-style batteries. CRI of 95+ too so excellent color rendering. I added AC compatibility and dedicated on-off switches to mine as well for added convenience. I've shot full interviews with these before! Great for some quick fill too, or whatever you need them for really.

@kidzrevil Yeah the lens is just dreamy, and ticks so many boxes, especially on the wide end. It's like having a bag of primes. I've got several cool, vintage 28mm and 35mm primes but I never use them because of the sigma. It's actually the only reason I stuck with canon for so long, because I couldn't bear to stop using the lens back when I had a 70D. So now that I'm in NX-land it's actually 'stuck wide open' all the time since I don't have aperture control, which is less than ideal, but even at 1.8 it's just razor sharp. Throw on some ND and no problem. I've been meaning to get the mount changed but I use it all the time!

I have both the 16-50s and the 18-35 art lens, which I definitely prefer over the Samsung for video work. In my opinion it's really not bad at all for handheld use with the NX1, especially if you add the battery grip. It's definitely big and heavy, but all that weight helps ease out the micro jitters. I guess I probably use it on a monopod more than straight handheld, but still, it's easily one of the best, sharpest, and loveliest lenses I have ever used, so in my book a little front-heaviness is an easy sacrifice to make.

@kidzrevil here's a 4k screengrab from a project I'm working on right now, shot with the NX1 and 50mm 1.7: