Matthew Hartman

I think you totally misunderstood my question.

I also use the custom white balance in the WB settings and snap a photo of something as close to pure white in the scene. A white or 50% gray card would be beneficial to have on hand for this. This technique is not 100%, yet close. I also hold up the same white card in the beginning of the take. (Just the initial take will do if it's the same scene) Then in Premiere and with my footage loaded, in the Lumetri color panel, I use "WB Selector" eyedropper tool and select on the white card in the beginning of the first take. Then I check my RGB parade scope and maker sure the 3 color channels (RED, GREEN, BLUE) are sitting relatively equal around 120-230 You should have pretty reasonable WB at that point.

Yep, it's predicated off the original rumor and this particular tech blog site has just gotten wind of it. Look, you guys know me by now, I love the NX1. But I refuse to get worked up in any sense or fashion over this rumor. If Samsung does it, they do it and we all will be pulling out those credit cards, if not, they don't, end of story. This is incorrect. Mirrorless rumors reported that Samsung is testing an retrofitted NX1, which suggests to me even if they have an NX2 slated, it's not anywhere near development as it's own model.

Not to sound adversarial, but does it really matter? The purpose of more bit depth is to gain quality, meaning visually. If Neat Video is cleaning up the artifacts that some 8bit cameras produce, does it really matter what the end bit depth is if the visual issues are rectified?

I'm unable to remove it myself but have contacted admin to remove it for me, as well as the copied one in the quote. My apologies. Just to be clear, my intent was not to offend you or criticize the actual work and can understand the nature of your request.

It's a common German surname (I'm not German, I'm American) but part of my family is descended from south Germany, although on my father's side we've been living here in the States since colonial times. In fact we had some personal conflicts with Thomas Jefferson, as he tried to hang one of my great grandfathers for treason against the United States for his loyalty to the King of England. A lot of ppl don't know that during those times no one trusted anyone, and George Washington wasn't a trusted figure at all either. Also have relatives that fought in the civil war. We are related to Lisa Hartman, the wife of Clint Black. Sorry, a bit of a history buff.

The "sinister" thing in this which is probably too strong of a word, was they officially towed the line that "No, we're not doing any such thing". (Meaning closing shop) And then turn around and do the exact opposite without an official North American statement, which was an obvious attempt to sell off remaining supplies. It's just your average large corporation dick move. Personally, I eventually got to the point where I stopped caring (after the petition didn't get the level of response I was hoping for from Samsung) and just enjoy the camera for what it is. And what it is is a dead camera/system that I enjoy using and I don't ask more out of it. One day it will be replaced with something else I also enjoy.

Neat Video is THE defacto industry noise reduction plugin worth every cent they charge for it. I would rather purchase Neat Video than buy another LED light. My process is to first run an instance of Neat Video, than grade the footage, then add a very subtle instance of noise to further help with dithering. In most applications, I don't need the noise instance to help smooth out banding and artifacts because Neat Video takes care of most, if not all of it. The noise layer is mostly psychological for me because that's how I took care of business before Neat Video came along. I seriously doubt a manufacture could script a NR algorithm in-cam on the fly with the power the NV delivers.

When in doubt you can also just throw some more Emulation-Beutness at the problem.

It would make you more self aware of the process for sure. But is also adds a deep sense of anxiety because you know that roll of film is expensive and unforgiving and you have one chance to nail it. I started out in celluloid film. I'm not one of these guys that holds any nostalgia for the format because I remember that sense of pressure and anxiety to nail it or be very unpopular with the people around you. There's a sense of artistic freedom (but with it comes laziness) that digital gives you. Freedom from the stress of failure. Digital makes it okay to fail. Failure is a huge part of growth.

Whenever I watch your videos here or on your channel I'm always left feeling melancholy. Obviously the music selection, but your videos have a sense of "distance" about them that I find quite intriguing. Even videos of Gunmetal. Ruff! Studying photography teaches you the skill of storytelling inside the constraints of one frame, which forces you to think philosophically about your subject matter, and what message your frame is conveying. It's the highest form of "show don't' tell" and I recommend it to all aspiring videographers and DPs. When I think of a scene I think of it in terms of a single frame and then extrapolate that into motion. I once heard a seasoned cinematographer say, "You know you arrived as a cinematographer when you can pause a single frame in your film and it's a work of art by itself". I could never be a street photographer. I would feel like I'm constantly invading people's personal space. I give props to those with the courage and vulnerability to do it.

Mobiado Grand Touch Executive $3,100.00 USD Vertu Aster $7,000 USD Goldvish Eclipse $7,700.00 USD Ready? Savelli Jardin-Secret White Ice $10,000 USD ARE YOU REALLY READY? Aston Martin Racing 808 $24,000 USD The rich are not using Apple. All these phones run a custom fork of Android.

I think this is a huge point. For most modern mirrorless cameras that shoot to a distribution codec, regardless of 8 or 10bit, the manufactures designed these systems to produce good colors right out of the box. There isn't a lot of room to push colors around in post. You really have to know your way around qualifiers. I think sometimes (I feel a philosphy coming on) we get too caught up associating LOG with "professional" but it isnt neccesarily always true. If you're getting good color and good exposure in camera, what the hell do you honestly need LOG for when you're probably going to arrive at the same grade (or very close to) you would have gotten in camera anyway. In this situation you just unessecarily doubled your workflow. Now, before you nutty professor's jump on here I just want to state I know why LOG is preferred in most situations...DR. I'm just making an observation that these cameras are optimized by the factory to deliver the best they have to offer out of the box. When we speak about these systems this needs to be acknowledged more. As are Tiffen softening filters, and much less expensive. Step up rings are cheap and even matte box versions of these filters are cheaper than a set of lens. Yeah...DISQUALIFIED! ? Heh, that's currently all of our problem. ? The thought of shooting (equals spending) 12 bit RAW to be distilled down to cheap 8bit compressed 20Mbit h.264 is not exactly inviting. Rec2020 is going to help with this big time. That being said, adoption for UHD 8bit televisions is STILL not widespread let alone televisions enabled with HDR/10bit UHD. Streaming Prores? I doubt Apple is going to give Google a license for that. HEVC isn't too far off though. And lastly, this...

Here you go! You pay ship.

The 45mm F1.8 is remarkeable for the price. The primes and S lens series in the NX system are hugely underrated. My S 16-50mm is Biblical. ? Yes, ever since you alerted the community about it I've used it. The setting truly does increase DR by a stop or two. Samsung did a horrible, horrible job at marketing this feature, which is a pretty big deal when you consider that DR sells cameras.

Yes, and in combination with a Tiffen Low light contrast filter. But Keep in mind my objective here was to challenge the "unacceptable noise" comment that some people hold against this camera, and others in the same class in general. A little Neat Video goes a long way. Also, by the time you add in more contrast or an s-curve to the footage, a lot of those artifacts perceptually go bye-bye. This isn't anything new. It has to be done on a lot of Alexa, RED and certaintly Blackmagic systems as well. Sony set such a high and impractical bar in my opinion. The high ISO capability is literally teaching a generation of how to NOT properly light and expose a dark scene, esstentially stripping away a really good tool that has been succesfully used for many of decade. And now the expectation (bad practice) of using very high ISO gets wrapped up in other systems, like the GH5s. It still comes with other compromises too. Darkness IS information in terms of narrative work, and I feel like I'm going to be evangelizing this more and more, and I'm already blue in the face as it is. ? Yes, this emoji is yellow. The viewer does not need to see every detail in a scene to comphrehend what the scene is relating. That would fall more into line with documentation. A narrative piece is not a document of antiquity, it's a story, therefore an illusion. The human brain is really good at filling in the blank spaces. All you need to give the viewer are hints, the brain parses the rest. It's pretty remarkable, and testimate to how powerful the mind is. Take my profile image of the man sitting in the car. You only see small hints of a car, some seat, some steering wheel, both descending into shadow. But you as the viewer know he's sitting in a car and not a train. Correct? It's what you don't see that's drawling you in. So going back to high ISO, do you really want to see all the details in the scene? I say, shadows are friends, not combatants. I learned this actually in my fine art classess in college some 22 years ago, and it was practiced knowledge long, long, long before that, and has been effective for all kinds of mediums within the arts and sciences.

I can't wait to see the soon to be announced Samsung S9+ record 120 in UHD HEVC. In good light, it could actually be usable in certain situations.

There were parts in the DP Review video that straight up looked like they put the camera on sticks. It was super impressive.

It actually might not be too fast. I think we're going to see a coupe technological jumps in two years.

Wrong on so many unspeakable and unholy levels. Various ways. But it's more of a first person vantage point with the ability to look either 180 or 360 around the environment. So think of the camera man as basically a stationary tripod in the center of the room. Although I doubt one would be more interested in the pen sitting on the desk in the corner rather than the action that's happening front and center. Eh hem. Unfortunately Samsung is hell bent on increasing the prices for their flagship year over year. The S9/+ is rumored to have a price tag of $820-$960.

And that's why it looks softer in a more pleasing way. I have to say, the 10 bits is doing some nice things for those gradients. Are these jpegs in 8bit? If so, I have a 10 bit monitor, I would'nt mind seeing the originals. These blind tests always fool people. I think they're eye opening and show us how much psychology plays into our personal biases. That being said, though these images undeniably look great as stills, how do they fair in motion? I think if that was part of the guess the camera equation, more ppl would have nailed it, especially those who own a GH5. I could be wrong. My favorite guess the camera EVER. Probably not. My guess is at the end of the day, no. But some bigger clients care very much what you choose to shoot on and it better be big and impressive, and cost $1-2k per day to rent. Again, psychology. I imagine as these smaller cams bridge the gap between $3000 and $60,000 it will start mattering less and less to big budget clients. But I can see the speech bubbles now, they see you on your GH5 and one pops up and reads "I can do that too, why did I need him?" There is nothing in your examples that would suggest "amateur". Personally, I'm holding out for this bad boy...

The video looked really good playing in a condensed window. Once I went full screen, it was pretty soft with some considerable macroblocking. I can play other compressed 1080 videos/footage full screen on my 2k/10bit monitor and my 8bit 55" UHD 4K television from other cameras and it still holds up. I'm thinking the h.264/200 Mbit is really crippling the image in this camera. I hope Fuji can address this is a firmware update. 8bit 4:2:0 in h.264 @ 200 Mbits (in 2018 no less) is not going to cut it for larger grades, they should have totally gone with HEVC @ 200 Mbit. Good thing the camera has good color, I would just shoot with the baked in colors. Wow, I'm surprised it looks so muddy in 1080. Reminds me of Canon before they went 4k. But man, those colors though. So rich.

Nothing some noise reduction in post can't handle:

Isn't that because your projecting optically? Can you please site some evidence of this?

I think you've come a lot closer to unpacking it in words than me. Great breakdown, much appreciated. I do some 3D modeling, rendering, animation, etc. There's a parallel to what you just described in rendering as well. When you're going for hyper realism, you employ things like ambient occlusion, global lighting, soft raytraced shadows, etc. These properties give the model a more atmospheric/muted look and feel, smooth gradients, smooth rolloffs, etc. In fact, you often have to crank up your specular highlights for reflective/refractive surfaces with AO. Top render is without AO/ Bottom with: