CyclingBen

I think Jimmy is officially / unofficially a Canon guy, at least that’s what he is always seen using in the behind the scenes sections of those docs. Just made me think a Z8 or Z9 could be in his future. Bertie Gregory is one doc maker who I have seen use a Z8 out in the wild, he’s also a RED user so that makes sense. I’m sure there are many others as well Bertie is just the most recent example. It seems like Nikon really is going to transform their whole company with the RED acquisition, they will always be a photo / optics company first but all of the hints are there that they are going to hitch their wagon to the cinema / video star and either thrive and come out on top or fail and be bought out and sold for scraps to Sony / Canon and private equity. Nikon, it appears, is showing us they didn’t buy RED to settle a patent issue. Nikon bought RED to refocus the whole company.

@Jahleh I didn’t think there would be a very noticeable difference. On a 4K Sony OLED TV in HDR those Nikon shots just look like a whole other level. Whole video looks great, but is amped up to 11 with the Nikon. The highlight roll off and color gives the image a larger than life feeling. Watch Jimmy Chen slowly come to the Nikon side for his upcoming docs with Alex Hanold.

I’ve been contemplating some of the ideas posited in this article for the last few weeks: As time passes I’ve also read other “research” from a specific political party in Germany from the 30s and 40s that came to some similar conclusions. 12-24 fps is similar to how our brain dreams and when we are at rest with no threats around. Normal or lower heart rate and blood pressure. 30-48 fps slightly heightened awareness. Your brain is primed for something to happen, good or bad. Increased respiration and heart rate. 50-96 fps our brains enter flight or fight mode. Increased heart rate and blood pressure. Threats perceived. 100-180 fps our brains sense something isn’t right and we are primed to act. I don’t post this to say that one frame rate is better than another. I found it interesting from a creator perspective and also from a parenting / health perspective. Most sports are at 50 or 60 fps and our brains are primed for and expecting something exciting to happen. What about cable news that is at 60 fps? Is that why so many people get addicted to it and enraged by it? Video games are generally 60 fps to 120fps is that why I personally have trouble falling asleep after playing? Most animation is 12 or 24 fps, is that part of the reason why old Chip n Dale cartoons calm my children down? My wife didn’t seem to care about it, I thought all of you might find it interesting.

I was thinking we do categories as already suggested. Something like: 1. Shot on smallest camera 2. Shot on smallest lens 3. Smallest kit 4. Best overall

I wish I thought of this before the new year… Is anyone interested in doing a weight loss challenge for camera gear? My thought was we would start February 1st and everyone would do a 5 or 10 minute project with the lightest camera gear they own (no phones tablets or phablets) before the end of the month. In your project post show us your normal gear and what you used to shoot the project. Winner will be crowned the EOSHD biggest loser. Any takers?

You have to set peaking to a custom button, once you do that you have to press it before you hit record for the peaking to work. Took me forever to figure out why peaking wouldn’t work with my vintage lenses. It’s in the movie menu under the customize buttons setting.

Correct. It records correctly so I'm not worried about it any more.

Thanks for your responses. After some testing I realized that it is only before hitting record. After that it goes to the correct ISO. Really weird, I checked the DR and Flog settings and both were at 100 and off respectively. Maybe it's a "Live view" setting. At any rate if it records correctly then I'm confident using it in Auto ISO.

Question for the group and maybe I'm just missing a setting... On the X-S10 why is the auto ISO lower limit at 640? X-T3/4 does not do the same thing.

"However, there are other attributes that could falsely appear to alter the perspective. These occur when the already-2D image is warped or distorted. In other words: when the 3D projection onto a 2D plane remains unchanged but the 2D image is warped. This could give the false sense of a different perspective." Maybe that's just it, the large format lenses being used are creating "distortion" that make the perspective appear different, even though it should mathematically be the same... hmm.

@EthanAlexander "It doesn't have to do with the FOV, which you could match with a longer lens from far away, it has to do with perspective, which changes when you get closer. People know, even if only subconsciously, how close the camera is to the subject." That's a bingo. At least for me it was while reading through this. You can tell how far away the camera is as an audience member, though not as accurately the further the camera gets from the subject (think ball on the football pitch, you know it's far away, but can't tell exactly how far). Even though film is a 2D medium, our brains still try to make it seem 3D by recreating the missing information based on our past experiences. The examples that came to my mind right away, were those interviews in The Office television show and those talking head YouTube videos. Your mind can physically sense where the camera placement, and even it's the same FOV/equivalence your mind makes a fairly accurate guess where you (the viewer) is compared to the subject. It's our own minds recreating the 3D that should be there based on what we're looking at. I think the magic from large formats comes from the more realistic perspective our brains create. I think the magic in large formats comes from the ability to recreate the perspective our brains are used to in the real world for a given situation. For a conversation between two people across a table, you're generally about 1.5 to 2ft apart. It's almost impossible to have a MFT camera this close to someone in an interview situation and even if the field of view is the same as the large format, our brains know that the large format camera is closer to the subject... All right brain, back to looking at formulas on a spreadsheet, you've had your fun for the day. Excuse the rambling

For the event your doing, I would personally not worry about grain at all as long as the colors look decent. If the venue is going for that medieval, dark and gloomy look, embrace it and shoot as high of ISO as necessary to properly expose. Like @thebrothersthre3said, up to 8000 should be fine, I'd even push it further if you need to get someone's face. Obviously I don't know the exact venue or what the client wants, but if they want to show what their venue really looks like, I would use natural light as much as possible, save for the band. Using the X-T3 for a friends wedding I found up to 10,000 still acceptable during the darkened reception and live band scenes. I'd opt for shooting in 10-bit as much as possible. Good luck, sounds like something fun to be a part of.

Not to get too political but kinda very political, but since 2017 I've been in the camp of "write it off, write it off and write it off again" because the IRS under Trump is far less likely to audit you or deny a deduction. I don't agree with his tax policy, but if I can keep a few dollars out of the concentration camps, I'm going to go for it. Basically, depreciate your camera assets using bonus depreciation (lenses, cameras) and use normal depreciation for computers. For my 2018 taxes I got $9K back without an audit by putting my Fuji camera purchases (x-t3 and x-h1), lenses and a used iMac pro. Maybe I'm nuts and just screwing the future but when the US elects racists and facists to office I want to take full advantage of their regressive policies and during democratic administrations pay more taxes to support the policies I agree with.

Had an emotional moment this morning... finally broke the seal on my like new NX1 to install the hack because my workhorse camera after hiking for a week in Austria started acting up (after stopping recording it would freeze and when shooting on the medium burst mode it would continuously write to the card). Glad I made this thread because I never wrote down my settings. Hopefully it’s just a memory card issue, but I kinda doubt it. At any rate, 4+ years of rock solid performance in all conditions is nothing to sneeze at.

Wow. My wife has been working with LiDAR for an autonomous military vehicle and one of the first questions I asked was "how does it communicate with the cameras?". That was Wednesday. Not only is @BTM_Pix a skilled technician, he's also a mind reader. Well done!

Like Andrew I also have two of them, one I got off eBay for $400 as a backup in case my main one ever gives up the ghost. When I want ultimate quality in video I always go for the NX1. Its simply the best and really only Fuji comes close to matching it, but with that one touch video option vs Fuji’s dial / touchscreen control, the NX1 beats it out in terms of usability. I have my NX1 hacked just to give unlimited recording, and have never experienced the green issue you described. Could it be related to the stage using some type of LED that pulses at a weird or uneven rate?

In full auto mode you have to use the default Samsung settings. You can use "P" / Program mode and use the custom color profiles and still have the camera auto set the shutter speed, F stop and ISO.

I’m not using the shutter priority mode, sorry that was possibly confusing. The S or Samsung special mode on the dial, it has a whole bunch of speciality shot options like the light trace and the baseball swing detection.

I haven’t used the NX1 much for personal use. Now that it’s been liberated from work I’ve been testing it out on one of my passions, shooting the northern lights and a few days ago tried the light trails mode. Whatever voodoo Samsung put in this camera makes it shoot perfect northern light photos with this setting, without having to do anything but point the camera in the right direction. However I cannot find a way to make the intervolameter in the ‘s’ mode work at all. Do any of you know if there is a menu I’m missing or if there is a work around? Since the NX1 will automatically make a 4K video in camera I’d love to set it up every night for the next month while the aurora activity is high and hopefully capture the lights without really having to think about it. i can’t recommend using the light trails mode enough for the northern lights (or southern lights coming up in a few months). Every and I mean every shot is perfectly exposed and the colors are incredible.

Beam me up Scottie

For my work at a US based cycling company in Waterloo Wisconsin our team uses the X-T3 for pretty much all of our road cycling and cyclocross shoots since it came out. I don't even remember the last time any of us picked up the C100 mkII, even as a back up to the back up NX1 (we also use an X-H1). The X-T3 is what I would recommend, especially if you're looking for great color out of camera and minimal grading. Kisaha had another good recommendation for the Panasonic if you don't want an interchangable lens system. The big downside is the smaller sensor. I could see the Canon 1dxii if you're going to be doing a ton of bad weather and mud shooting because that thing is a beast that just won't quit. Otherwise, save some money on the body and get the X-T3 with the 10-24 for wide shots of riders coming over the crest of a hill, the 50-200 or 50-140 for tight zoomed shots and maybe even the 18-135 if you need the best stabilization Fuji offers for OIS lenses.

Nice work @mnewxcv. I really didn't think the OLED changed anything either until I just started willy nilly changing every single setting I could think of. It's not a 100% perfect match, but very close. Thanks for doing the more complete test.

Yes normal gamma. I also thought the OLED setting only applies to the monitor but it seems to shift saturation in the actual recording to my eye and also to the monitors in FCPX. For the Hue, I had never adjusted it prior to trying to match the two cameras, but found the eterna profile to shift much cooler than the NX1. I’m sure the same could be accomplished with altering the white balance as well. I think the Fuji cameras have comparable white balance to the NX1 but it trends a little cooler. overall I love the match I found. I haven’t tried matching in premiere or davinci yet. I’d use it on a job for work if I had to.

Hi Gals and Guys. I've been trying to match the NX1 to the Fuji Eterna profile in camera for a couple weeks and think I finally have it dialed in. Here are my settings: OLED color - ON Picture Wizard - Custom Color Green .95 Saturation -3 Sharpness -10 Contrast 0 Hue -6 Using FCPX and color match I'm able to get it to match perfectly in a click or two. If anyone has other ideas or better settings I'd be happy to try them and post results.

The X-T30, due to its smaller size (thus smaller heat sinks) and only having a single UHS-I card slot, video specs are affected. 4K 30fps @ 200Mbps instead of 60fps 400Mbps on the X-T3, no H.265 (HEVC) so no internal 4:2:0 10-bit (8-bit only), 10 min limit on 4k video, 15 min limit on HD 1080. There is 4:2:2 10-bit, but it is for external recording only (although no time limit) You're right, it's not Canon, but for Fuji it's pretty lame.