Arikhan

Internal. Next Monday a friend of mine will shoot exactly the same scene with a 8K RED, edit the footage on a 4K timeline and then...we will compare: NX1 4K RAW vs RED RAW... I am very curious...

I mean, I can now shoot video in RAW format with the NX1. Uncompressed.

Im have good news for you: I just shot RAW video with the NX1...RAW VIDEO in 25p - nice workflow with 25 DNGs per second. Just an unbelievable quality (in my eyes). Problem: I'm just writing my graduation exams...after that I'll download the footage (DNG images) and describe the methodology. It's quite special but it's great for my purposes. With the 60mm 2.8 at F6 an unbelievable detail and sharpness. It's quite exciting...

Full ACK. But everyone needs to get bread and butter on his table. But not nearly for free, as nowadays the stock portals. Just sell your work directly to customers/people/companies. No need for online parasites. No clue how to get real customers? OK, then put your work in the hands of parasites and be happy with the 5 cents you get...

dbp says he is in the m43 system (lenses, etc.). So, why do experienced people (owning a m43 camera they talk about) not give him some advice on this? I doubt, someone here had already his hands on a A7 III. Why giving advice with NO CLUE about this camera and considering Sony's well known abysmal quality control and expensive lens line? Why not trying to help him with a recommendation within the m43 universe, so he could save some money and time? Why even speculating on Canon cameras to come in 1/2/3 years?

A vast majority of profitable photography jobs are NOT glamorous at all. It's much more funny to shoot hot chicks with HSS and modifiers on sunset at F1.4 (at least the first 5 times) but it doesn't bring bread on the table - unless you do paid on location "workshops" with 10+ participants who admire you and your models. There is no job being at 100% glamorous. There always are routines and some boring activities you must fulfil daily. Even billionaires have to accept unglamorous daily routines... Work / Lifetime balance is hard to get right. And mostly you pay with your own health. Is it worth ? No clue...

I have to disagree here. Just try to separate visual from financial aspect - "think with two brains". Nothing wrong when getting financial compensation for good and hard work. Getting bread and butter on your table with passionate work is fine. Much better than pseudo appreciation with likes, views and thumb ups - because noone can eat this shit. The most valuable and objective appreciation of your visual work is the status of your bank account. Anything else is a matter of personal and subjective perception. Everyone makes his own luck. But working for stock portals is mostly a modern form of online slavery. That's the result of listening to propaganda puppies of the parasite industry, people who want others to work nearly for free while maximizing own profits. @User Just read this article on "stock photography parasitism" too: https://petapixel.com/2018/02/27/beware-500pxs-flexible-pricing/

People who shoot epic backyard flower/park tests in daylight, don't have to care about these issues at all. And at the end of the day, Sony and its henchmen will declare this "phenomenon" as feature and call people mentionning this absurdity as haters. So...

Probably it's a new "educational" feature: It permanently remembers mirrorless shooters to shoot predominantly front lit scenes...

Django, full ACK. When you shoot R&G you simply don't have the time for Sony-Settings-Tiki-Taka plus mostly you never get the chance for a retake. Personally, I'm not so enthusiastic about the A7 iii, as it seems to be the same lack of quality control as many other models: "Stripping"-issues in backlit situations...as mentionned here...third paragraph. Simply look at girls face - unbelievable...TIHS IS A SEVERE ISSUE! OK, for people who don't shoot club/concert or any other backlit scenes, this is not a problem. But as I do it, it's a dealbreaker for me. The Nikon DSLR dinosaurs still have right to live.

You can tweak this in your Sony camera settings: Go to your beloved video profile. Then get in the menue (eg. PP7) --> get into the settings --> choose "color depth". Here you can tweak every color separately by +/- up to your taste - yellow too. And it works quite well. Don't do this in a hurry, take time and consider side effects because of complementary colors. Use a calibrated color checker (for most accurate colors) and a humanoid model (for adjusting skin tones). The right WB is essential for Sony cameras (the A7R iii seems to be the best Sony till now in term terms of color accuracy and WB), specially in artificial light (interiors, night scenes, etc.).

That's you who tries to sell your opinion as fact. You get more and more ridiculous. 2+2=4 - that's math and NOT a matter of opinion. Just stop trying to redefine axioms. Even personal attacks don't make your crude theories become true.

@Mattias Burling Quoting a comment from: https://petapixel.com/2018/02/22/film-vs-digital-can-tell-difference/ There are some guys jumping on most current gear bandwaggon. After that and considering many empty wallets and bored audience, they jump on the film bandwaggon. Nothing wrong about this. Just don't say, how much better or unique it is. Even if you repeat this 1.000 times, it doesn't get true. You will get an unque feeling but never ever unique photographs. And rich/serious clients don't pay for your personal unique feelings, but for getting unique photographs, you can make with every modern nowadays digital camera... That's nothing but nostalgia hype.

My father drives a nice oldtimer. A very rare and nice one. It's a Mercedes-Benz. It's a very stylish and cool car. But for driving and transportation, it's far behind EVERY cheap Toyota at maximum of 2.000 $ you can get today. Driving this car regularly is simply a PAIN. The glorification of old film is BS. I have dozens of HQ (even on metal paper) prints proving this. Just say: "I like it!" Saying it's unique, is saying you are not able to get the same look when working with digital RAW out of a modern camera. And no, you don't need hours to get the same look. It's a matter of minutes. Just do a blind A/B test...

@Tim Sewell That's a legend. I know extremely skilled people, capable to digitally replicate everything you want. No exception. And in no time. (for photography)

I'm shooting the Nikon F5 for months now - very intensively. My conclusion: IQ wise, nothing you could NOT get with a modern digital camera. It's more the pleasure and the hype than rational reasons - at least when speaking of APSC / FF. And it's about deceleration of a photographers work. Putting reflection, lighting and composition in the center of our work. At least in my eyes... "Discovery" and promotion of an alleged outdated technique is common nowadays, as people are oversaturated and bored with permanent new camera releases and latest specs and bells & whistles. So - in my eyes and experience - a nice entertainment claiming "mojo of old film". The truth is, there is no special mojo when it comes to image output of film photography. Nothing a skilled person could not do quite fast when post processing digital images. For myself, I'll put my F5 back in the shelf and spend my time on keeping improving my Photoshop skills, when it comes to making and post processing photographs. And I am not the only one coming to this conclusion: https://petapixel.com/2018/02/22/film-vs-digital-can-tell-difference/ Thanks for sharing your thoughts!

@markr041 Thanks for sharing! Two questions: Which camera did you use to shoot? Is the footage graded in post or as it is out of the camera?

The most recent rumor says, Trump will soon resign from his US presidency and will convert to Islam. When announcing this officially, the White House event will be shot exclusively on the NX2 - and brought to American people in TV by an Iranian broadcast company.

BTW @jonpais, just curious: Which MFT prime (long focal distance + fast aperture) is considered at the moment to be "bokeh king"? I mean lenses without adapter or speedbooster usage - just lenses designed and built for MFT usage.

@Frank5 Put your subject with his/her back 6 meters away from a black (dark), non-illuminated background. Apply to your subject a three point lighting with a strong backlight. And voilà, you will get a separation, even with MFT and f4 at 80-100mm. OK, I have to admit, there are much more comfortable possibilities to get there, but...it's still possible. @Kisaha A separartion is possible, yes. But "tremendous" ? Physics is not about opinions or taste. Physics is a science...

Transforming a ordinary farm horse into a racehorse will not work, even if you put him on a diet. That's true. But the crucial question is, if the audience outside of a cinema theatre and the 200% punch-in obsessed gear heads universe, would even notice the difference between the two animals. Probably not. There are people out there, very sad about the fact, that the IQ of an expensive production/cinema camera doesn't differ so much as it should from much cheaper "prosumer" cameras, when it comes to what you see nowadays on ordinary PC-displays, TVs, smartphones, etc. No need to justify horrendous expenses for ordinary (=non Hollywood) footage delivery. It's fine. But it is NOT a necessity. Disclaimer: If heavy keying, VFX, extreme grading etc. needed, there would be a completely different matter.

@webrunner5 I don't own a Fujifilm camera (mainly because they don't offer dedicated video cameras at the moment), but I worked some days with a X-T2 and compared with my Sony and Nikon hybrid cameras. More than that, end of 2017 I've done some polls on German language Social Media sites to find out more about colour preferences of my audience. The results were for me - as a NON-Fuji-owner - quite astonishing: About 64% of the 16-25 years old spectators say, thy prefer Fuji-Colors (not graded, out of the camera color science) by far more than Nikon, Sony or even Canon. Period. The 25-40 years old German spectators prefer mostly more neutral / cool colors out of a Sony or Nikon. Then Fuji, and Canon is on last place (lol)... The 50-65 years old spectators prefer with 58% the Fuji color science... Plus exceptional build quality + a very good customer care and (repair) service (speaking for Germany) + a nice and affordable lens collection. Fujifilm is miles ahead from the crappy Sony hybrid playticky cameras image capturing devices - which I own and shoot (mainly because of their dedicated video cameras offerings and insane low light capabilities of their A7R / A7S xyz line). Last but not least: It's a pleasure (for me) to shoot a X-T2. Unlike holding the Sony hybrid shit in my hands...But as I need their dedicated video devices and beeing in the Sony lens universe, I will have to keep shooting crappy Sony hybrids...

This! Years after retirement, there would be many NX legends out there. The NX1 is a great camera, without doubt. But different attempts to inthronizate it as victim of Samsung mismanagement or victim of different (more or less) negative reviews are simply BS - and useles BTW. Alternative facts... If anything, the NX series is a victim of REALITY...Not the self proclaimed reality of the parallel online world, but "real reality"...

@IronFilm Exactly this! If Samsung managers were clever, they should know, that this market is economically a disaster, as there will be more digital imaging companies to die during the next years. Plus they completely shut down the service infrastructure after retiring 2014 - one of most important (and expensive) factors in nowadays consumer world. Though, even in the automotive industry, many companies develop prototypes or concept cars never going out to market. They simply use one or more top technologies to put them in other cars/parts brought to markets.

@Mark Romero 2 - here are my thoughts for shooting architecture / interiors, etc. with the A6500/NX1 (!). My claims base on own experience with some famous (and extremely picky about detail and resolution) architecture's offices and luxury real estate dealers, possessed by by "Gigapixel mania". These guys seem to have invented the pixel peeping... I own and use the A6500 and the NX1. As you know, these two cameras are exceptional in 4K when talking detail and sharpness - much "sharper" than even much more expensive dedicated video/production cameras. But...there is a price to pay for this sharpness - and the "micro-jitter" or "stroboscope effect" is one of the disadvantages. Sometimes, when shooting 4K even on tripod and panning with A6500/NX1 and stopping down the lens to f5.6-f11 for a maximum of sharpness and resolution, you will encounter the stroboscoping (jitter) effect. Let's take a look a the different use cases: 1. Panning When panning, try to pan smoothly, personally I pan with these two cameras a 90 degree angle in 12+ seconds - not faster. I do it this way when shooting with gibmal, but also when using the cameras on tripod 2. Using a motorized gimbal Today's gimbals are phantastic. But still, even people who claim to be "very experienced" do often a superficial balancing and calibration. Spend a lot of time on precise balance and (micro) calibration of your gimbal, you will see a huge difference when done right. As you might know, the Zhiyun or Moza DO NOT counterbalance vertical shake. Therefore, please put a piece of mousepad (cut in the shape you need) between camera and gimbal plate. My piece of mousepad is about 2mm thick and it helps a lot avoiding jitter - because it seems to be quite efficient when buffering vertical shake (when runnung, stepping, or running stairs) 3. Practice running with gimbal You might say now, this is a trivial advice. It's not! Most guys believe they do it the right way. They don't. Two months ago I payed 600,- EUR for an 10 hours seminar / course with a gimbal and steadyshot pro. It was great, because there I learned I was a nob. It could take even years to some users to learn to use a gimbal / staedypod properly. You have to move and walk like a ninja, to use your hands and arms independently from your body, etc. it's not as easy as it might sound. 4. Frame rate / Shutter speed This is essential. You are based in a NTSC country. As you shoot interiors / property, you don't need to shoot 24fps. Shoot 30fps. As seen in your video, you usually use 3-6 seconds takes for your video. When shooting 30fps in NTSC, you can even slow this a little bit down in post, by putting your shot in a little bit faster timeline than initially shot.... So, when you shoot 30fps, try to keep shutter speed at 1/50. This will make each frame more "blurry" then when shooting at 1/60 - and will diminish the "stroboscoping effect" / jitter substantially. Put a ND filter on your lenses, don't try to reduce the amount of light by increasing your shutter speed. Increasing the shutter speed and panning will accentuate the stroboscoping effect. 5. Use OSS / IBIS if possible...but test the same takes WITHOUT...there are some cases, when micro jitter disappears with IBIS off...Just test... 6. You have to rethink the term "interior video" When you shoot interior, (mostly) nothing will move. So, why do you shoot video? Shoot stills! Let me give you some example out of your video: The takes 0:20s-0:25s / 0:25s-->0:28s / 0:51s-->0:58s / 1:19-->1:24, etc. WHY do you shoot video? Why? Shoot stills and create the pan / zoom in effect IN POST... Shoot on a tripod. Shoot 3+ exposures (depending on contrast and DR expectations) for each take and RAW at base ISO (100 for the A6500). When shooting like this, you could get a unbelievable amount of DR and great colors within 5 minutes. Blend your shots and apply luminosity masks in post, if necessary...You will get a DR you could never get within the baked in h264 when filming... Now...Your 10-18mm Sony lens is great...But it's a 15mm on the crop A6500. You have a FOV of 76 degrees vertically, this should be more than sufficient....You have a horizontal angle of view with this lens at 99 degrees. IF you need a wider angle (=more FOV) - my picky customers refuse to accept wider angles (FOV) than about 120 degress, because they find it "unnatural" - take more photos by panning and stiching in post. When talking 120 degrees field of view, we talk about 3 horizontal takes. BUT: use a panoramic tripod head (here in German from 130 - 190 EUROS) for this, you have to get the proper nodal point before stiching...If needed, shoot vertically, but you need more takes to stich in post...There is plenty of cheap or almost free stiching software out there. Then import your post processed photo (after sing RAW post pro, blending, stitching) in your NLE and create the pan / zoom effect in a spectacular resolution and DR....NOONE will know, it's not film... BTW: Shooting f11 with the 10-18mm on the A6500 is NOT useful, as for most APSC cameras, f11 is where difraction starts to kick in (in stills quite visible). At this wide angle (10-18mm), f8 should be enough to get maximum of sharpness and resolution. Have fun!