Drew Veeneman

Luca, the mailman delivered the NXL a minute ago. I finally got it! Yeah!
Thank you

Luca, the mailman delivered the NXL a minute ago. I finally got it! Yeah!
Thank you

Hey gang, got another Carry Trainer Episode! Tested Slow Mo on the NX1 for a Gun Review:
We had a variety of cameras for this video. For the main interview style talking head footage, I used my dual camera setup on a tripod. The tighter shot is the BMCC 2.5 with the 50mm Super Takumar F/1.4 and the Mitakon Lens Turbo II adapter(this speed booster is new, not in previous videos). The wider shot is the NX1 with the Super Takumar 35mm F/2.0... this was used for the close-up cutaway shots of the gun as well. (The corner sharpness sucks on this 35mm lens. I made it look good, but I need to swap it out for the F/3.5 Super Tak version.)
The opening of the video has hi-speed footage from the NX1, recorded at the 1080p 120 fps setting(really 119.98 fps). In post while trans-coding, I stretched the footage out 500%, which perfectly fits 23.976. 23.976 is the standard 24 fps frame rate commonly used, and the base frame rate for Carry Trainer videos. Note, there is raw slow motion footage in the Bloopers at the end of the video (Go to 13:28) if your interested. In the bloopers it's literally straight out of camera with no adjustments other than re-timing it to 23.976.
I wasn't present when the range footage was shot. That was recorded on Mickey's fancy Samsung cell phone, which amazingly recorders 4K... BUT AT 18 FPS. Lol. I just loaded this into DaVinci resolve and flipped the Optical Flow frame blending switch.That did a good enough job.
Technical Notes: On the NX1 audio dropped out completely from one of the interview clips. For me it didn't matter because I wasn't using it(had a Tascam external recorder on the Lav), but I thought I'd report the glitch. My first clue was that the audio levels weren't moving at all while it was recording. The NX1 did fine recording after that.

Hey gang, got another Carry Trainer Episode! Tested Slow Mo on the NX1 for a Gun Review:
We had a variety of cameras for this video. For the main interview style talking head footage, I used my dual camera setup on a tripod. The tighter shot is the BMCC 2.5 with the 50mm Super Takumar F/1.4 and the Mitakon Lens Turbo II adapter(this speed booster is new, not in previous videos). The wider shot is the NX1 with the Super Takumar 35mm F/2.0... this was used for the close-up cutaway shots of the gun as well. (The corner sharpness sucks on this 35mm lens. I made it look good, but I need to swap it out for the F/3.5 Super Tak version.)
The opening of the video has hi-speed footage from the NX1, recorded at the 1080p 120 fps setting(really 119.98 fps). In post while trans-coding, I stretched the footage out 500%, which perfectly fits 23.976. 23.976 is the standard 24 fps frame rate commonly used, and the base frame rate for Carry Trainer videos. Note, there is raw slow motion footage in the Bloopers at the end of the video (Go to 13:28) if your interested. In the bloopers it's literally straight out of camera with no adjustments other than re-timing it to 23.976.
I wasn't present when the range footage was shot. That was recorded on Mickey's fancy Samsung cell phone, which amazingly recorders 4K... BUT AT 18 FPS. Lol. I just loaded this into DaVinci resolve and flipped the Optical Flow frame blending switch.That did a good enough job.
Technical Notes: On the NX1 audio dropped out completely from one of the interview clips. For me it didn't matter because I wasn't using it(had a Tascam external recorder on the Lav), but I thought I'd report the glitch. My first clue was that the audio levels weren't moving at all while it was recording. The NX1 did fine recording after that.

Today I shot footage for two more upcoming episodes. This time I had the BMCC and NX1 on a tripod for interview style talking-head video. I'll have more info on that later in the week. Meanwhile, I've worked out a good system for backing up video archives...
Low Budget Video Backup Solution
For the Carry Trainer video series essentially all my footage is stored on two large hard-drives. That works pretty well. Internal hard-drives are cheap these days and with a USB 3.0 connection the speed is good enough. I've never had a hard-drive fail yet, but it happens. Sooner or later hard-drives fail... they aren't designed as a long-term storage solution. I've been thinking about a off-site backup solution.
Due to the sheer size of the footage I shoot, Blu Ray seemed like the only plausible solution. I don't even want to try pushing 6TB+ up to the cloud.
I checked out Archival Blu Ray discs, and they were a bit too expensive. Then, reading the specs on a regular Blu Ray - R discs, I learned the regular shelf life for those is pretty good. I forget the source, but they are rated at 20-30 years. For my YouTube Channel that's good enough. I want something that lasts about 10 years that I can easily store off-site.
Once I settled on Blu Ray Recordable Discs, the next challenge was a system for spreading data across many discs. I break up my footage archives by Episodes. Episodes 1-5 are grouped together and roughly 450 GB. Initially I tried CDBurnerXP, which has a nice disc spanning function... that didn't go well. The program would choke on the individual DNG files from my BMCC. Perhaps 450 GB was just too big for it? I let the program go for three days non-stop with no success and had to move on.
Then I tried WinZip, which in combination with ImgBurn, works great. With WinZip I can take large projects and break them down into chunks for each disc. The WinZip program is powerful and fast. There's even a setting for "No Compression" on WinZip, which is perfect for video files(where everything is usually already compressed). My Episodes 1-5 directory broke up nicely into 22 files. Now I'm using ImgBurn, a good disc writing program, to write one file to each disc. I prefer ImgBurn for archival purposes over the default Windows Tool, because it thoroughly verifies each disc after writing it.
This topic is a bit boring, however as video makers it's important to have some system in place if you're working on valuable stuff.

Today I shot footage for two more upcoming episodes. This time I had the BMCC and NX1 on a tripod for interview style talking-head video. I'll have more info on that later in the week. Meanwhile, I've worked out a good system for backing up video archives...
Low Budget Video Backup Solution
For the Carry Trainer video series essentially all my footage is stored on two large hard-drives. That works pretty well. Internal hard-drives are cheap these days and with a USB 3.0 connection the speed is good enough. I've never had a hard-drive fail yet, but it happens. Sooner or later hard-drives fail... they aren't designed as a long-term storage solution. I've been thinking about a off-site backup solution.
Due to the sheer size of the footage I shoot, Blu Ray seemed like the only plausible solution. I don't even want to try pushing 6TB+ up to the cloud.
I checked out Archival Blu Ray discs, and they were a bit too expensive. Then, reading the specs on a regular Blu Ray - R discs, I learned the regular shelf life for those is pretty good. I forget the source, but they are rated at 20-30 years. For my YouTube Channel that's good enough. I want something that lasts about 10 years that I can easily store off-site.
Once I settled on Blu Ray Recordable Discs, the next challenge was a system for spreading data across many discs. I break up my footage archives by Episodes. Episodes 1-5 are grouped together and roughly 450 GB. Initially I tried CDBurnerXP, which has a nice disc spanning function... that didn't go well. The program would choke on the individual DNG files from my BMCC. Perhaps 450 GB was just too big for it? I let the program go for three days non-stop with no success and had to move on.
Then I tried WinZip, which in combination with ImgBurn, works great. With WinZip I can take large projects and break them down into chunks for each disc. The WinZip program is powerful and fast. There's even a setting for "No Compression" on WinZip, which is perfect for video files(where everything is usually already compressed). My Episodes 1-5 directory broke up nicely into 22 files. Now I'm using ImgBurn, a good disc writing program, to write one file to each disc. I prefer ImgBurn for archival purposes over the default Windows Tool, because it thoroughly verifies each disc after writing it.
This topic is a bit boring, however as video makers it's important to have some system in place if you're working on valuable stuff.

I shoot with a dual camera setup using the BMCC 2.5(RAW mode) and a Hacked Samsung NX1. 60% of the time I like the BMCC image better. It doesn't have as much resolution, but the dynamic range looks really, really good. To see the original bmcc in all it's glory, check out my YouTube production diary thread here: 
 
NOTE: The crop factor is awful, I think the MFT version with a speed booster is a MUST.

Here's the big monster video from last months shoot.
 

Here's the big monster video from last months shoot.
 

Even if you could get H265 4k video into Resolve, I doubt it would play smooth. That codec is really demanding on a cpu in playback... And could you imagine after you graded it?
I use Resolve(the FREE version) as part of my work flow after trans-coding it to DNxHR HQ. Aside from chomping up hard-drive space it works fine. I'd recommend using that money to get a good toaster (External USB 3.0 HDD dock) and some extra drives rather than a Resolve dongle.
H265 is great to shoot 4K onto your SD Card in a compact fashion, however once get back to your computer you'll want to convert it to an edit friendly codec as fast as you can.

For a 150mm or greater tele-photo, I wouldn't use a speed booster like the NXL. The wider field of view would be counter productive to getting longer reach... and at that focal length shallow DOF isn't a problem.
If you REALLY want the NXL on a long tele-photo with vignetting, medium format lenses would be a sweet solution. To learn more about those, check out this old blog post by Frank Glencairn: https://frankglencairn.wordpress.com/vintage-zeiss-glass-on-modern-cameras/

For a 150mm or greater tele-photo, I wouldn't use a speed booster like the NXL. The wider field of view would be counter productive to getting longer reach... and at that focal length shallow DOF isn't a problem.
If you REALLY want the NXL on a long tele-photo with vignetting, medium format lenses would be a sweet solution. To learn more about those, check out this old blog post by Frank Glencairn: https://frankglencairn.wordpress.com/vintage-zeiss-glass-on-modern-cameras/

For a 150mm or greater tele-photo, I wouldn't use a speed booster like the NXL. The wider field of view would be counter productive to getting longer reach... and at that focal length shallow DOF isn't a problem.
If you REALLY want the NXL on a long tele-photo with vignetting, medium format lenses would be a sweet solution. To learn more about those, check out this old blog post by Frank Glencairn: https://frankglencairn.wordpress.com/vintage-zeiss-glass-on-modern-cameras/

For a 150mm or greater tele-photo, I wouldn't use a speed booster like the NXL. The wider field of view would be counter productive to getting longer reach... and at that focal length shallow DOF isn't a problem.
If you REALLY want the NXL on a long tele-photo with vignetting, medium format lenses would be a sweet solution. To learn more about those, check out this old blog post by Frank Glencairn: https://frankglencairn.wordpress.com/vintage-zeiss-glass-on-modern-cameras/

The GH5 looks really good but I'll be sticking with my NX1 and NX500. I prefer recording 4k in H.265 recording format and APS-C sensor size.
The 400 mbs All-I frame recording sounds a little scary. 10-bit 4:2:2 is huge though...

The GH5 looks really good but I'll be sticking with my NX1 and NX500. I prefer recording 4k in H.265 recording format and APS-C sensor size.
The 400 mbs All-I frame recording sounds a little scary. 10-bit 4:2:2 is huge though...

Ok gang, I've got a new Carry Trainer video out. There's a different lens on my NX1 here.
This video was shot on my shoulder rig using the BMCC and NX1... again, the wider angle shot is the NX1.
Here the NX1 is using the 24mm Super Takumar F/3.5. At the start focus is soft on the NX1 until... around the 30 second mark on the video when I nail the focus. The NX1 produces a really nice image. Putting aside my shaky shooting with the shoulder rig, I'm really happy with the footage here.
Cheers
P.S. I saw the posts above about sd cards. Good information. If I order another sd card it will be the lexar 2000. 

Ok gang, I've got a new Carry Trainer video out. There's a different lens on my NX1 here.
This video was shot on my shoulder rig using the BMCC and NX1... again, the wider angle shot is the NX1.
Here the NX1 is using the 24mm Super Takumar F/3.5. At the start focus is soft on the NX1 until... around the 30 second mark on the video when I nail the focus. The NX1 produces a really nice image. Putting aside my shaky shooting with the shoulder rig, I'm really happy with the footage here.
Cheers
P.S. I saw the posts above about sd cards. Good information. If I order another sd card it will be the lexar 2000. 

I agree, RAW is not the easy road... if you enjoy color grading it has some nice benefits though. I enjoy the luxury of slow turn-around on most of my projects, so it's workable.
Putting the absurd consumption of hard-drive space aside, if you take the RAW straight into DaVinci Resolve it plays smooth and works well. Once inside the editor, I can't tell the difference between RAW and a MP4 as far as playback is concerned... and my computer isn't that fast. I'm running the old 8-core amd and a somewhat modern radeon graphics card.
Camera gear aside... framing your shots and lighting are certainly the most important for good looking shots. Also, audio is more than half the battle. I worry more about audio quality than anything else.
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On a separate note, after tinkering and testing, my NX1 seems to record stably at the 190 bit rate. Again, that's on manual with vintage M42 lenses, so no auto-focus/image stabilization, etc.
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Lastly, I'm working on the next Carry Trainer episode now. The NX1 footage with my Super Takumar 24mm F/3.5 lens looks impressive right out of camera so far. I'll have more on that soon...

WARNING!  WARNING!  WARNING!
I noticed one of my footage files from the NX1 dropped frames today. It was a single isolated incident. At first I thought my non-linear editor was crapping out... but I traced it all the back to the original H265 file from my NX1. I'll describe what it looked like for the good of the community.
It occurred during a 8 minute clip with my camera running at the 180 bit rate. At about 3:45, the white balance jumped in a weird way and then five seconds of frames dropped. I could tell because I had to re-sync the audio and patch the hole with my C camera. Following the glitch, the camera continued recording to the file without anymore issues. The NX1 only did this once during my long shoot with 13 clips and about 100 GB worth of footage.
My conclusion from this is the 180 bit rate presents some risk with my SD cards... My setup is almost reliable. I think I'll dial it back to the 175 bit rate next time.

WARNING!  WARNING!  WARNING!
I noticed one of my footage files from the NX1 dropped frames today. It was a single isolated incident. At first I thought my non-linear editor was crapping out... but I traced it all the back to the original H265 file from my NX1. I'll describe what it looked like for the good of the community.
It occurred during a 8 minute clip with my camera running at the 180 bit rate. At about 3:45, the white balance jumped in a weird way and then five seconds of frames dropped. I could tell because I had to re-sync the audio and patch the hole with my C camera. Following the glitch, the camera continued recording to the file without anymore issues. The NX1 only did this once during my long shoot with 13 clips and about 100 GB worth of footage.
My conclusion from this is the 180 bit rate presents some risk with my SD cards... My setup is almost reliable. I think I'll dial it back to the 175 bit rate next time.

Super Takumar 24mm F/3.5 - I like it but the reviews on this old lens are a mixed bag. Good Center Sharpness, but poor on the corners is what I hear... There is a build quality to old super taks that's easy to fall in love with the first time you hold one. That's what I experienced.
Until my Samsung cameras came along, I used the 24mm on my BMCC with great results. The BMCC has a massive sensor crop factor(i.e. more center sharpness)... so that may have been part of it. Anyway, I'll show the results with the NX1 in my next video.
 
(I'm not familiar with the Ensinor 24mm F/2.8 but that does seem to have a better price.)

Hey gang, over the last month I upgraded my camera gear to 4K with a used NX1 and NX500 (replacing my old trusty GH2 and a6000). Since I regularly make videos for the Carry Trainer YouTube channel, I thought I'd start a thread here to share my experiences with these two camera's.
First, I tried both versions of the Samsung firmware. The Kino-Seed hack worked on my NX500, but not my NX1. Anyway, I settled on Vasile's nx-on-wake mod... it is worth the little extra work to install.
For the picture profile settings, I am generally following the recommendations from Andrew Reid's guide. For the NX1: Gamma DR, .95 Green 0-255 Luminance Level. On the NX500 I don't see any video controls... the picture profile is set to standard. As Reid suggested, I set resolution to 3840x2160 with a 24p frame rate.
Getting started testing my gear, I found my Fotodiox adapter wasn't triggering the sensor on the Samsung camera mount. Since I only use vintage manual lenses, I decided to just super glue the mount sensor down and avoid any future hassle (see attached photo). The glossy spot with the glue on the bottom of the mount is covered by the adapter, in case you were wondering about my sloppy work.
I did my first shoot with these cameras last week, Dec. 19, 2016... filming a few new Carry Trainer episodes. I work as a one-man band on multi-camera shoots, usually running two or three cameras. The classic Blackmagic Cinema Camera 2.5K remains my A Camera. The NX1 is now my B Camera... and the NX500 is the C camera. Anyway, on set I quickly discovered my NX1 couldn't handle the 210 MB bit rate. I dialed the NX1 back to 180... then it worked flawlessly for two hours. Battery life was good. Surprisingly the NX1 was only down to 50% battery at the end with 100GB of 4K video on the SD card. Meanwhile, the 64GB SD card on my NX500 filled up really fast. I was only able to use that for about half of the filming session.
I'll wrap up this first post with my transcoding experience. I do my editing with the free version of DaVinci Resolve, so transcoding the H.265 is a must. I used After Effects to line-up all the clips and rendered them to HQ DNxHR (I use windows). 98 GB of video off my NX1 SD Card grew into 433 GB worth of DNxHR footage. As a point of comparison, I came away from that same filming session with 370 GB of RAW footage on my BMCC. So serious 4K video eats up a lot of hard-drive space.
In my next post I'll talk about how the NX1 footage looked in the grading process...

The first video from this shoot is now live. Check it out for a point of reference.
Concealed Carry Belts: 
Please forgive some of the camera shake... I was testing out a dual camera rig. Although it got the job done, the rig needs improvement and... more importantly, I need more skill wielding it. Between the two cameras here I was able to cover most of my mistakes and got some interesting Dutch Angles. The NX1 was simply mounted to a magic arm off the rails.
The tighter shot was the BMCC 2.5K with the 50mm F/1.4 Super Takumar and a cheap speed booster. Stopped down to about F2. With the backlighting it was flare-tastic! ... I should have put on the matte-box, but we were in a hurry.
The wider shot was the NX1 with the MIR 37mm at somewhere around F4. Somehow, although Sang and Mickey where standing next to each other, I really only managed to get Sang on the left in focus. That's user error. I tried to cover the mistake up with Luma Sharpen in Resolve... good enough.
---
Alright, lets try picking up where I left off. Grading...
The Samsung cameras put out a solid image with plenty of detail as you would expect. I used Andrew Reid's Flat LUT on the front end in Resolve as I was setting levels. After that I dropped on Hook's Luma Sharpen... and then the Super Film Stock powergrade from Color Grading Central (oddly I don't see his Luster Grades pack for sale online anymore). I've been using that same powergrade since the beginning Carry Trainer videos. Lastly, from there I tweaked the base colors on the levels layer... nudging the reds and blues a little to my taste.
Coming out of Resolve, I rendered the video in uncompressed 10-bit 4k for finishing on Sony Vegas Pro and final output to YouTube. Vegas is much nicer for audio... and it's just what I'm use to. In case your curious, the opening was done with some simple shots feed into the Prolost Handcrank plug-in in After Effects.
It could just be the lenses, but I did like the image from the BMCC better even though it had less resolution 2.5k vs. 4k, but with 4:2:2 maybe that's debatable. 12-bit RAW still has it's advantages. They were both good, but the BMCC just looks richer with it's own kind of film grain. Once my NXL speed booster arrives, I'll try using the same 50mm Super Takumar 1.4 on both cameras. With the variation in sensor sizes, that should work-out perfectly and be a better grounds for comparison... As you can probably tell that's my favorite lens these days.
Meanwhile, with my amateur shoulder shooting I could definitely see jello issues with both sensors.
The thumbnail/cover image for the youtube video was a Macro shot with my my NX1 and the Canon FD 35-70 Macro zoom. I had the belts inside one of those light tents common for product photography.

The first video from this shoot is now live. Check it out for a point of reference.
Concealed Carry Belts: 
Please forgive some of the camera shake... I was testing out a dual camera rig. Although it got the job done, the rig needs improvement and... more importantly, I need more skill wielding it. Between the two cameras here I was able to cover most of my mistakes and got some interesting Dutch Angles. The NX1 was simply mounted to a magic arm off the rails.
The tighter shot was the BMCC 2.5K with the 50mm F/1.4 Super Takumar and a cheap speed booster. Stopped down to about F2. With the backlighting it was flare-tastic! ... I should have put on the matte-box, but we were in a hurry.
The wider shot was the NX1 with the MIR 37mm at somewhere around F4. Somehow, although Sang and Mickey where standing next to each other, I really only managed to get Sang on the left in focus. That's user error. I tried to cover the mistake up with Luma Sharpen in Resolve... good enough.
---
Alright, lets try picking up where I left off. Grading...
The Samsung cameras put out a solid image with plenty of detail as you would expect. I used Andrew Reid's Flat LUT on the front end in Resolve as I was setting levels. After that I dropped on Hook's Luma Sharpen... and then the Super Film Stock powergrade from Color Grading Central (oddly I don't see his Luster Grades pack for sale online anymore). I've been using that same powergrade since the beginning Carry Trainer videos. Lastly, from there I tweaked the base colors on the levels layer... nudging the reds and blues a little to my taste.
Coming out of Resolve, I rendered the video in uncompressed 10-bit 4k for finishing on Sony Vegas Pro and final output to YouTube. Vegas is much nicer for audio... and it's just what I'm use to. In case your curious, the opening was done with some simple shots feed into the Prolost Handcrank plug-in in After Effects.
It could just be the lenses, but I did like the image from the BMCC better even though it had less resolution 2.5k vs. 4k, but with 4:2:2 maybe that's debatable. 12-bit RAW still has it's advantages. They were both good, but the BMCC just looks richer with it's own kind of film grain. Once my NXL speed booster arrives, I'll try using the same 50mm Super Takumar 1.4 on both cameras. With the variation in sensor sizes, that should work-out perfectly and be a better grounds for comparison... As you can probably tell that's my favorite lens these days.
Meanwhile, with my amateur shoulder shooting I could definitely see jello issues with both sensors.
The thumbnail/cover image for the youtube video was a Macro shot with my my NX1 and the Canon FD 35-70 Macro zoom. I had the belts inside one of those light tents common for product photography.