Parker

An Edelkrone Quick Release One might help, makes the camera sit an inch or so higher up on the plate. I've had the same problem with some of my smaller cameras, plus it's a convenient product. https://www.bhphotovideo.com/c/product/1210400-REG

It wouldn't be too bad to jerry rig a wireless charger to the back of the phone, connected to a power bank, if your phone supports that kind of technology (which mine does! )

I mean, that one looks just like the two I have tried. At first, of course, I assumed the first adapter I had purchased simply wasn't machined very well, but then I had the exact same problems with a second one. Which c/y lens are you successfully using with the NX-L?

@lucabutera Hi Luca, thanks for replying! I only have one C/Y lens, the 50mm 1.7, and I have tried two c/y to EF adapters, trying to get it on to the NX-L. The adapters will go on to the lens just fine and lock pretty firmly into place. They will also go onto the adapter just fine, by themselves, but I can't get the lens, with either adapter, to successfully mate with the NX-L. Could be something wrong with my specific lens possibly, I don't know, I was just curious to see which c/y lenses other users had experimented with and if anybody else had any possible solutions.

Hey Sammy fans. I'm just wondering if anybody has been able to successfully use any contax/yashica glass with the NX-L? I would just really love to see what my Planar 50mm 1.7 looks like with that beautiful expanded field of view. I've tried a couple different adaptors and suffered the same problem -- they'll mate to the lens just fine, or to the speedbooster just fine, but never together, something catches somehow, can't really tell what, and I can't get it properly mounted. Just wondering if it's an impossibility or if anybody has gotten these awesome lenses to work.

You'll be hard-pressed finding a vintage 50mm that's as ultra-contrasty as the 18-35. Most vintage lenses have significantly less contrast than modern lenses so it can be difficult to get them match. That being said, I frequently pair a CY Zeiss 50mm 1.7 with my 18-35 and things usually turn out looking pretty good. Lovely piece of glass.

V2 has a built in quick release system, shorter handle and different batteries, payload is the same as v1. I think it's a pretty universal consensus that the crane is easily the best pistol grip gimbal around, bar none.

@jcs depends on the model you get. They have a phantom version that will pass it through to the mic as well, but the gain boost you get is a little less because of it. I have the non-phantom/higher gain one, so I just use the ntg-2's battery (which surprisingly I've still never had to change, not once) and then my recorder's phantom power gives the fethead the juice it needs.

I got an NTG-2 on a sweet deal a couple years ago, and I was a little disappointed... until I ordered a Triton Audio Fethead -- 27db's of clean gain for $100-- and it turbo-boosted my NTG-2 to such a degree that I haven't felt the need to buy any higher-end shotguns since. Even with a lowly DR-40, combined with the fethead, the NTG-2 puts out a really hot signal, I can record dialogue around that -12db target at a gain of around 20 on the Tascam, compared to 80 or 90 without, avoiding all that crappy pre-amp noise. Good option for the budget minded, especially if you already have the rode. http://tritonaudio.com/fethead.html

I hope so. It really pisses me off that my phone, Samsung's Galaxy S8, doesn't work with their own company's camera line, defunct though it may be.

UHS-II, for sure. With a really fast card like the Lexar (reads/writes at like 300 MB/s) the NX buffer clears in a flash, so pretty sweet if you're into spraying and praying at 15 fps stills, and it's also a dream to offload data at those blistering speeds, way better than any other card I have, which max out around 80 MB/s.

I use one of the (apparently now discontinued) Lexar 2000x UHS-ii cards. I generally record 4k at 200 mbps and 60p and 120p at 180mbps. Keep in mind however that I am usually recording with the sound off, using manual focus, and at a low-ish ISO (I mostly shoot weddings so sound is not needed for the type of work I do). It is my understanding however that the higher the ISO or more processor-intensive tasks the camera is performing, such as autofocus, DIS, etc., the more likely you are to have your recording stop at those extra-high bitrates. If I do record sound or use autofocus, I usually do drop the bitrate to 160, just to be safe. As far as conclusive tests of solving macroblocking with the bitrate hack, if I recall, @kidzrevil posted a whole bunch of tests a while back, when the hack was first getting going, that showed off the results, especially in busy scenes with lots of detail and motion, like a fountain. They're probably buried somewhere in that massive original NX1 hack thread.

@Andrew Reid Awesome! Can't wait to see what you do with the NX-L. Since I got mine I really haven't been tempted by any other cameras. Shooting wide open on a fast lens with the speedbooster, I haven't needed anything faster than ISO 1600. Having basically full frame 120p in high bitrate h.265 really gives this camera some legs.

Here's a project I just finished shooting. I tried playing around with some different settings than I've used in the past, and I'm pretty pleased with how the color came out in a lot of the shots. The whole thing was shot on a bitrate hacked NX1, almost entirely in 120p, with the NX-L speedbooster and Rokinon 50mm T1.5 used for most shots, though there are a few shots with the Roki 85 and Sigma 18-35 as well. All the gimbal shots were the NX500 with a Rokinon 12mm on a Zhiyun Crane.

Whoops, posted on the wrong thread, so I just edited it away. I'd love to see that comparison myself though.

Well the anecdotal bad evidence against can Lexar can be matched with my opposite, good experience. I've been rolling with two 64 GB Lexar 2000x UHS-II cards for 2+ years now without a single issue. Sorry you lost your footage though, that sucks man.

I've been waiting for DJI to slate the Mavic for a student discount (I've still got an EDU account so it's always nice to save a few bucks on new products) but more and more I'm leaning toward the P4P instead. It's a fine line of always having the Mavic ready to go in my bag whenever I want it on a shoot (I primarily shoot weddings, so very run-and-gun) which still might be better, even with its inferior quality, vs. having to bring along a bulky phantom, separate backpack, etc., and probably end up using it a lot less. Decisions, decisions. I'm sure, knowing my luck, whatever I decided to go with, DJI will release a newer Mavic with the better sensor and IQ right after I've made my purchase. Seems to always happen to me. Oh well! So from the gist of this thread though, everyone really considers the Mavic footage to be bad enough to make it unusable for paying jobs? That's disappointing. It looks so portable and easy to fly. Pity it doesn't have the IQ to match.

Oh, the 12mm can't be speedboosted, it's a native NX mount and can't be adapted to anything else. The only difference between the the cine and stills versions of those lenses are the gearing and clickless aperture, the f/2 lens is also a t/2.2 lens, the cine lens just uses the traditional transmission measurement over f-stop.

I love the Rokinon 12mm, 50mm, and 85mm Cine DS lenses, both with and without Luca's speedbooster. The aforementioned Sigma 18-35 and Samsung 16-50 S lens (especially for stills) are stellar as well. Regarding vintage glass, I mostly use the Zeiss Planar 50mm f1.7, Tokina 28-70 F/2.6-2.8, and Nikkor AIS 28mm f/2.8. I've got a ton of lenses, but all these that I have just mentioned are what I use the most, for NX1 and NX500.

I used your settings today, been getting a little bit bored by my regular ones and wanted to try something different for the bridal shoot I shot today, awesome look right out of camera! My previous settings were very hard to match between my NX1 and NX500, so hopefully it'll be nice in post that I shot them both with consistent settings across the board today. Thanks for sharing!

I mean you can see what right what it does... Raises your blacks/shadows in camera, so you can expose more for highlights and still maintain more shadow detail than you otherwise would with a lower black level. Granted I've never tested the benefit of shooting in camera and just raising shadows a touch in post, but I always shoot with mine between 7 and 15, I think it makes a pretty big difference.

I have and really like this one: https://www.bhphotovideo.com/c/product/687341-REG/Oben_TT_100_TT_100_Table_Top_Tripod.html I use it without the ball head, which is awesome as well, but it's sturdy, all metal, and fits right inside the zhiyun case no problem.

@SMGJohn @Kisaha thanks guys! I used the tried-and-true Normal gamma, saturation -4, sharpness -10, contrast -3, master black level at 15, which are still my favorite settings I've ever tried. It gives the footage a really sweet look, even right out-of-camera and before grading, though this video is probably one of my most heavily colored projects. Most of this was graded with DeLuts, though I do remember playing around with some of the RED gamma profiles in filmconvert. Lenses, mostly used sigma 18-35 and Rokinon 12mm and 85mm, though some of the really dreamy shots were with the Tokina-Anginaux 28-70 f/2.6-2.8. The timelapses were actually shot with the 16-50pz lens.

This is exactly how I use my NX500, the small, compact size and silent shutter make it an awesome stills camera, very easy to put on a small travel tripod and just shoot away on location. It is also my main vacation/walkaround stills camera for the same reason. The dynamic range of this camera is truly awesome; as long as you can protect the highlights, at low ISO's, the shadows can be raised 100% in Lightroom with no visible noise of any kind. In this video here, one of my NX500 timelapses starts at 3:52, and there are two more starting at 5:08.

I wonder if it's just a battery capacity/proper voltage to run thing, if Zhiyun will perhaps sell the shorter handle piece with the new battery to use on the Crane v1, that'd be awesome.