New EOSHD setup guide gives Samsung NX1 LOG capability and more

[M Carter]

Anyone know if the NX1 setup guide is current for the latest firmware?

[Liam]

Anyone know if the NX1 setup guide is current for the latest firmware?

Andrew answered on the "Is Samsung Shutting Down their Camera Business" thread a little bit ago:

"Still valid. The guide was done on V1.3.

V1.4 didn't change the picture profile settings much."

[M Carter]

Thank you sir.

[Peter van der Wel]

Thanks Andrew! I did try your workflow and apply the built in REC 709 LUT in FCPX to the EditReady converted clip (with your NX1 log) but the exposure is way washed out after I applied any of the built in LUTs. Of course I can adjust the exposure in the Color Correction panel later.

My workflow:

1.I convert the original H265 file to ProRes LT in iFFmpeg (as I don't have the purchased version of EditReady) 

2.I use Lututility to apply your GammaDR2LOG LUT first to the original NX1 video clip (with your video setting in the guide) then stack another LUT (Sony Slog2 to Rec 709) on the top

I just wonder if it is the same as your workflow in the guide.

Also please tell me where can I find or purchase the EOSHD Canon 1DC LUT you used in the introduction video.

Thanks!

 

John

Hi John. I had exactly the same 'problem'. I convert the original H265 file in EditReady with the EOSHD LUT. After this, I tried in FCPX to convert the video to Rec 709 with the standard tool FCPX is given. Exposure is a problem with this approach.

I have now download the free LUT loader of pixelfilmstudios --> http://store.pixelfilmstudios.com/plugin/fcpx-lut-loader

With the standard LUT provided in this plugin, the exposure is excellent! 

Peter

 

 

 

[M Carter]

I purchased an NX1 - and the guide - last week. Decent value for the guide at $20, but it really should be updated to reflect the current firmware if people are still buying it. There's a few minor changes, but one huge one - the guide states that camera control is completely locked up when HDMI is used. There are some limitations (and oddities) with HDMI but overall it's very useful. (No peaking or overexposure guide, but the histo is still there. Some funkiness regarding getting MF working with native lenses).

PG 6 "Manual focus is tricky" - assign the AF button to the delete key. When you go into video mode, drop your thumb to delete, and right-arrow to MF. Not optimal but becomes second nature.

PG 5 "when to shoot 4K" - the internal 1080 is much improved now and not massively different than resized 4K.

[Marco Tecno]

Carter, if you use the log lut, could you then advise on which luts you will use on top of it?  And which basic adjustments? Thx!

[kidzrevil]

Carter, if you use the log lut, could you then advise on which luts you will use on top of it?  And which basic adjustments? Thx!

you get better results using visioncolor impulz luts visionspace or film conversion luts. You cant convert 8bit rec709 to 10bit log. I recommend impulz with deluts on top of it

[Marco Tecno]

Kidz, not sure I understood correctly. You suggest using those LUTs instead of Andrew's one? If so, starting with which basic settings in NX1?

[kidzrevil]

Kidz, not sure I understood correctly. You suggest using those LUTs instead of Andrew's one? If so, starting with which basic settings in NX1?

yeah use the impulz luts better highlight roll off and still in a rec709 space. Again you can not magically get the benefits of 10bit log when the source file is 8bit rec709

[Marco Tecno]

That's for sure, but having a log like lut should help putting other luts (created for log videos).

 

Anyway, which out of camera settings do you suggest to use with those ImpulZ luts?

[kidzrevil]

That's for sure, but having a log like lut should help putting other luts (created for log videos).

 

Anyway, which out of camera settings do you suggest to use with those ImpulZ luts?

that's debatable. Using luts intended for LOG even if you flatten can introduce some serious banding and color inconsistencies BUT if it has worked for you in the past then by all means use it ! I use any of the impulz filmstocks in their visionspace mode. Its a flat gamma but its in rec709. I've stacked this with deluts which is an extremely intense suite of LUT's and the color and contrast came out perfect. It still leaves plenty of room to be tweaked.

I am working on my own tutorial for NX1 users that can be applied to other camera's as well. Impulz LUT's are a good base to start grading especially if you can avoid clipping important highlight detail and use a picture profile that doesn't oversaturate your color channels

[kidzrevil]

Never knew you were into anime. What season you on?

finished reading the entire manga ! Waiting for them to catch up to the manga *sigh* :'(

[kidzrevil]

I'm interested in seeing Cowboy Bebop. Right now I'm watching Samurai Champloo.

cowboy bebop was dope. Definitely a genre blending masterpiece with an art style to die for

[kidzrevil]

The issue is they don't have it on Netflix AT ALL. I mean come on! They do have Fist of the North Star on Cruchroll. I watch it from time to time. I still think the scene where Rei says, "Looking for these." is still badass.

the final episode almost made me cry dude lmao I had to tough it out

[kidzrevil]

Why would you cry for an anime show?

cause it was emotional !!!!

[sondreg]

Friendly reminder: Log capabilities, not blog.

[ReinisK]

Since there is no need to convert the footage for editing anymore, is this guide updated about the features now available?

I'm asking this because I got my nx1 only a month ago, so I have never gone the conversion way, but what I have found out is that probably in Premiere Pro the footage behaves differently. When I am watching it with VLC or WMP it clearly shows blown highlights, this happens also in Premiere, but in Premiere with a luma curve I can recover around half a stop of those lost highlights. Don't know how is this possible since it's not raw.

If I take a screenshot from VLC or WMP and try to put a luma curve on that, it doesn't do anything, but footage in premiere is able to recover some highlights. That gives a question, whether editready or other transcoding software was able to see those highlights before conversion, or they just got lost in it.

[kidzrevil]

Since there is no need to convert the footage for editing anymore, is this guide updated about the features now available?

I'm asking this because I got my nx1 only a month ago, so I have never gone the conversion way, but what I have found out is that probably in Premiere Pro the footage behaves differently. When I am watching it with VLC or WMP it clearly shows blown highlights, this happens also in Premiere, but in Premiere with a luma curve I can recover around half a stop of those lost highlights. Don't know how is this possible since it's not raw.

If I take a screenshot from VLC or WMP and try to put a luma curve on that, it doesn't do anything, but footage in premiere is able to recover some highlights. That gives a question, whether editready or other transcoding software was able to see those highlights before conversion, or they just got lost in it.

its weird dude ! Behaves the same way in the shadows as well. Push the image around a little and you end up with a ton of range that once looked clipped. I personally use impulz LUTS because they tend to recover that data. If you go through the ideal nx1 settings thread we have covered a lot of info regarding the nx1 and are still currently experimenting with it

[M Carter]

Two thoughts -

As far as converting - my old-ish Mac Pro is a much smoother editing experience with ProRes; if native H265 is slowing you down, try converting and see how it works. I tried Rocky Mountains but it's an oddball interface and the gamma changed - EditReady is a much better experience and the footage looks great.

But yes - highlights just up to the edge of "blown" have some data you can grab onto - on-screen they may look pure white but you can bring some back. I haven't tried to open shadows significantly yet, always seems to be a noise fest historically, so I've been shooting to open up the blacks.

Some testers feel you can safely get a stop or two up in the mids if you have to expose to hold highlights, seems reasonable, though exposing that way would also darken your blacks, so proceed with caution...

[kidzrevil]

Two thoughts -

As far as converting - my old-ish Mac Pro is a much smoother editing experience with ProRes; if native H265 is slowing you down, try converting and see how it works. I tried Rocky Mountains but it's an oddball interface and the gamma changed - EditReady is a much better experience and the footage looks great.

But yes - highlights just up to the edge of "blown" have some data you can grab onto - on-screen they may look pure white but you can bring some back. I haven't tried to open shadows significantly yet, always seems to be a noise fest historically, so I've been shooting to open up the blacks.

Some testers feel you can safely get a stop or two up in the mids if you have to expose to hold highlights, seems reasonable, though exposing that way would also darken your blacks, so proceed with caution...

im gonna try changing my luminance in cam and then convert to prores using rocky mountains. The whitepaper for prores says its an 16-235 codec anyway so I assume that is the issue. Speaking of the whites, i found something interesting in highlights when shooting 16-235 vs 0-255. For some odd reason I can go about 0.6 of a stop higher than 0-255 before the overexposure guide reads the area as blown. Maybe 16-235 on this cam is actually compressing the bright portion of the image that otherwise looks pure white on 0-255 as you mentioned ?