Matthew Hartman

Are you GenX? Boomer? (I'm GenX) Only the older 30 something GenY would have any familiarity with a look that is different than this. My two GenY and one GenZ children have only known this type of video look on a practical level. They're well acclimated to this look as this is the quentesential look of most social media. If we're comparing the look and feel of this camera on that level then you can certainly understand their enthusiasm. But I get ya bro. A clean technical image so clean that looks pretty sterile and general. But remember, a lot of this has to also do with the subject matter. Most average people don't know how to tell a visual story, they just document. Same camera: https://youtube/nVnDRbKdzCU

What was the point of shooting at 60fps if you weren't going to conform it into slow mo? There is no other point in using that frame rate as 30fps is plenty suitable. @dbp Samsung doesn't sell mojo. They sell technology. The mojo is up to the person behind the camera. It's a cellphone with a suitable point n shoot camera slapped on the back of it. The smartphone has very little to do with the premise of a phone in the traditional sense. What they truly are is tiny computers with phone capabilities.

It's coming apparently in about two weeks. I know as much as anyone else here does, I've been merely asked to assist with communications when or if the examples start showing up. I will not step on Arikhan's toes on this. I've been around in the NX1 communities since I bought the camera in early 2015. I've seen plenty of action on various hacks, some have materialized, others lost in the ethos, but I have never seen anyone ever claim they had a working RAW workflow, so I'm a little suspect or uneducated about the claim that it's been a known rumor for many years. Sure, the question has been raised plenty of times, but no one ever said they had a working "prototpye" to my knowledge, and in fact the existing hacker community pretty much wrote it off as impossible. Perhaps, impossible for their level of expertise or approach, all due respect. Arikhan set a date. Let's allow him to make good on that first before we write it off. We're all in the same boat here.

It reportedly looks far better than just dope. It will be compared with the RED Epic 8K footage, at least that's the current game plan.

We all want our suspicions to be wrong on this one. Hopefully, I'll have some good news for everyone soon. "Arikhan" is a young man from Germany and he doesn't feel strong with the English language and has asked for my assistance in fielding the information as it becomes apparent. Right now, he's focusing on his studies/finals for school and we need to give him that space. The goal here is to address any technical questions that will inevitably crop up in a sort of FAQ when Arikhan is ready to reveal this to us. There's also a legal component to this and we want our friend to be protected here.

Wasn't ML released on April 1st? I've been in contact with Arikhan. If this is a joke he's been rather convincing both publically and privately. If it turns out to be a bluff, it is what it is, we got played, that's the tradition of April Fool's. I think whatever the situation, you can't denie this has many of us intrigued, including yourself. A great many of us have felt through out the years of onwership and use that the NX1 had more technical potential then Samsung enabled. I think our very own Andrew Reid would agree. This possible revelation plays right into the hands of these speculations, and if true, its not only good for existing and potential NX1 owners, but the broader mirrorless market altogether. This would perk up the likes Panasonic, Sony and Fuji for sure. It would be a serious call to action.

That is the whole theory of supply and demand. Supply can no longer meet demand in the case of the NX line of bodies. Expect this equation to increase, perhaps even triple-fold if demand increases due to the RAW output, especially if it's in the realm of 16bit. We are the fortunate ones to have "first access" to the possible findings before the ground swell hits the broader video community. If it turns out to be a positive outcome, you'd be wise to purchase another NX1 even at double the price of release/discontinue before those prices go through the roof, and they will. Those of us that have held on to our NX1s will be in the most favorable resell position yet. Can you provide store links that ship international?

Depends on what you consider a good deal. If the RAW hack is good expect the used market value on the NX1 body to sky rocket. You can also purchase the NX1 brand new in box from South Korea: http://gsearch.gmarket.co.kr/Listview/Search?keyword=NX1#none

Two important features to look for are the compound used for the wheel covering and good/quiet bearings. The goal is to reduce friction of any kind. Two good options: https://www.bhphotovideo.com/c/product/1189046-REG/glide_gear_gw_100_dolly_track_swivel_wheel.html?ap=y&c3api=1876%2C{creative}%2C{keyword}&gclid=CjwKCAjw4sLVBRAlEiwASblR-0KbegMvgpCRnHgaK3InydhOhRZSUEMxe27xhiMdMMo9uNm4e3CPzRoCbisQAvD_BwE https://www.bhphotovideo.com/c/product/604842-REG/Ikan_FDD_TW_FDD_TW_Track_Wheel_Set.html?ap=y&c3api=1876%2C{creative}%2C{keyword}&gclid=CjwKCAjw4sLVBRAlEiwASblR-9gr1SFzErycqwoje4xjHrlGww3vPizpaDxSlHdOzI8OidQMRczzXhoCDb4QAvD_BwE

And we both might be. Arikhan is a young fellow/student. We should give him the time to concentrate and finish out his studies. Trust me, the suspense is killing me too.

My guess is it's doing 8/10 bits. But even with 8bit RAW, the image should be much more malleable in post and recover shadows and highlights better, you control the amount of denoising and don't have to worry about nailing perfect WB or using log. All this is very welcome over H.265 imo.

Canceled the order pending this RAW NX1 find. We'll see what it reveals and if it's not a reliable thing I'll order the URSA again. Even with the RAW thing I'm still leaning on the URSA because I feel like it will be more reliable/adaptable, but you never know. I can wait for the reveal next month, and I wouldn't mind saving the $7k if possible.

I would see if the RAW internal recording on the NX1 comes into fruition. If so, and it's as remarkable and reliable as being touted, we may have to reclassify the NX1 to king of the hill. We'll see what April brings. Hopefully not a cruel joke.

I'm trying to dig this camera but I just can't. To my eyes the image overall looks thin and people look plastic. The motion cadence looks video-ish too. I'm sure you could do a few tricks to make it look more filmic, but with some effort, which is kind of underwhelming for a camera in it's price range. I feel like it's not a far cry from what you could get out of a modern mirrorless camera. Sorry if this offends anyone. It's just merely my opinion. If you like and use this cam, cheers. Happy filming.

@MicahMahaffey Great stuff. I've been following your stuff for a couple years now. Great addition.

@kye This guy does a lot of videos on best practices for handheld gimbals. You may find it useful. https://www.youtube.com/channel/UC8sibhG707qg5AlVlj5P3mw

As most creative people are. Their sensitivity and self auditing is in part of what taps them into the creative self.

Were you doing tatical military training? ?

You could have mitigated the blown out sky by not backlighting your subject matter. Had you simply turned 90° or 180° you (or had a bounce board) could have brought down your overall exposure and you wouldn't have had such a high contrast ratio. You had golden hour working to your advantage but didn't utilize it. You have to be more selective with your staging when working with cameras that have limited dynamic range. It's about knowing your tools and how best to use them, instead of trying to force them to do something they weren't designed to do and then blaming it. Please note: I'm using you and this post as a springboard for a teachable moment.

Equipment abuse. I'm telling. ?

I should have known better that this was going to spark a my camera is better than your debate. Don't get caught up in specs. If you've taken a good shot, its a good shot regardless what camera took it. The horse goes before the cart here. There's nothing inherently better about full frame in the context of good or bad photography. If that were the logic, then simply owning a medium format camera would make you the "best" photographer in the land. At the end of the day crop factor is entirely arbitrary when you speak in terms of talent and message. The differences in field of view to shallow depth of field ratio is physical, but not creatively insurmountable. A lot of clients hear things said about this or that camera, but don't really know or understand the difference between them. All they know is that their buddy had a recent shoot and the photographer used XYZ camera and they liked the result and thought it looked professional to them. What they don't realize (because they are uneducated) is that in the right hands there's a bunch of other cameras that could also deliver this. In other words, it's the photographer not the camera. The camera simply captures the frame. But what is your frame communicating?

I'm sure you realize this but it's a teachable moment for others here that may not be aware. You have to practice, practice, practice with these gimbals just as you would a glidecam. They're deceiving when you watch them in action but have yet to use one yourself. I've stated this several times already in the past but it's worth repeating, they're not a magic bullet out of the box, nor are they the most natural thing to hold. It takes time and practice to get the results and performance you want after some muscle memory has set in, and they have to be balanced correctly, just like a glidecam. I think if you look at it as just one tool in a bigger toolbox the expectation becomes realistic. One of my least favorite uses of a motorized gimbal is tracking a subject. You can put the device in follow mode, but you may find this doesn't work for all applications. Using the joystick to track things is unintuitive, unlike a glidecam where you have more natural control of panning. To help this, I invested in a device that went up on Kickstarter that automatically tracks your talent by transmitting a signal from a wrist band the talent wears to a receiver that transmits to the gimbal. For tracking shots, this alleviates the need for me to manually track a subject and I can move around the talent and have confidence that they'll always be in frame. Theoretically that is, they haven't sent out the devices yet. Some more info:

Most of my clients I can educate and they genuinely seem eager to understand how it all works and give me the respect and space I need and deserve. This particular director was from a prestigious film school who studied writing, (whom is actually a pretty good writer) and she was mentored by the director of "Mama". I thought it would be a boon to my personal career to have ties with her and by extension her Hollywood connections, but she ended up being insufferable and offensive when it came to all the things that are less glamorous about the filmmaking process. She also wanted everyone to work for free, which I don't mind doing since I work a regular day job and if I believe in the story/film/message, but you better be respectful and understand I'm going to have input as a cinematographer. I am not a puppet. That's what she needed, a simple operator, not a cinematographer. Sometimes that doesn't become clear until you've worked together for a few days.

IF you have to stay m43, then your choices are obviously limited. That being said, GH anything is not renowned for it's stills. That doesn't mean it's bad, but it hasn't been turning a lot of heads to say the least. In my opinion there's only 3 choices when you want equally good video and stills in one camera body. Sony A "pick your poison" Samsung NX1 Fuji H-X1 (as controversial as it's been here) Interestingly enough all have 8bit output.