levisdavis

Maybe Apple should withdraw REDcode support from FCPX and MacOS until this is resolved.

I heard at NAB 2017 from a BM rep that Resolve 14 is partially created by an individual who co-created Apple Final Cut Pro 5-6-7. More specifically, one of the most prolific individuals from Final Cut Pro 5-6-7 has moved onto to Blackmagic Design DaVinci Resolve.
In my opinion, it's worth your time to study the program. For example, 2 - 3x faster render times in Resolve than w/ Adobe Premiere. Admittedly, there are some issue, if you become an expert, but they all appear to have a resolution, whether a new software iteration or a user group that facilitates productivity.
Personally left Adobe just over a year ago, before Resolve 12.5. I actually enjoy editing now; specifically because I feel like I know exactly what my hardware is capable and that "that capability" is almost always delivered.

I'm so far done with Canon. Have been for years. Y'all have fun still giving a crap because I sure don't. I've gotta go to work every day with my gear, and as long as you know your gear, you can do good work. Is it nice to have all these features? Sure. But at what price? As long as you know your core camera functions and how they influence exposure/motion/color/texture/etc, most modern cameras will do fine. 
Alas near as I can tell, there are two truly innovative features out in the last few years, both related to single-op use:
DPAF: for all your non-hunting autofocus needs
Electronic Variable ND: Smart Transition Lenses For Your Camera (tm)

4k crop mode aimed at the sky.

Here is the crop in 1080P.

Don't worry, even I (self proclaimed "King of Canon Haters") own a Canon DSLR as well

A Canon 50D! :-o Which I picked up for NZ$50 (which is about US$35 ish).

Here is the crop in 1080P.

I've sent DNGs to Blackmagic as of 5 minutes ago. Waiting to see what they say. They're not a dealkiller for me as they are pretty faint. Hard to see on a single frame. Motion is what really reveals them. But I can also confirm what Rich101 says. I have similarly exposed shots from the BMPCC that don't exhibit this at all. I went back to check and compare. Even given proper exposure, they reveal themselves in any part of the frame that dips into shadows which is going to be a part of most shots.

I'm optimistic that if BMD can fix the Ursa Mini 4K's "cold start" noise issue (and they have) then they can fix this. If they can't, then I'll likely go back to the Pocket as my A camera and use the Micro for slow motion and more precarious rigging (like car mounts, etc). 

Might be able to get a composite signal out of the BMMCC while shooting 60P.
As of now, HDMI output is the same FPS as what's being shot. There is no option in the menu to change the output settings like most of the major mirrorless / DSLRs on the market.
Looking to test the resolution of the composite to see if it's even worth shooting at.
While testing, I switched to 60P to see what it would look like and I lost the video signal on the Zacucta EVF Pro. I had no way of resetting the FPS. At that point, I had to connect the BMMCC to a television to rest the FPS back to a recognizable video feed.
Shooters need to be aware of this before embarking on an epic journey only to accidentally change frame rates and loose their video feed permanently. I wonder if there is a way to program a Custom Setting and simply hold the power button and another button at the same time in order to reset user prefs? If not, what are BM waiting for?
 
 

I was slightly considering this as a C-camera but I think it will just collect dust. 
I do love the monster specs from Sony, however there are many annoying issues to go with that as well. 
It would be ace to get a mirrorless or DSLR camera that shoots 2.5k, 10 bit, has high quality slow motion, decent DR. Lovely colour and a flexible mount. (Almost a Blackmagic!). 
I feel that top quality, affordable 1080p has been skipped for brittle, low bit-rate, marketing grabbing 4K. 
Little gripes aside, I think some people will get some great use out of the A6300.  

Hope these images sit within reason... May need to convert the H265 4k to something like a CineForm / ProRes / DNxHR 2K. These codecs might actually edit / process quicker than H265 and/or H264; particularly ProRes.
The grade is a single node:
Shadows at 50. (Kinda pushing it far... But, not too much to create halos.) Highlights down to -25. Midtone Detail is set to 40. (Kind of far here, too.) Saturation at 70. (Need the extra with raised shadows IMO) I threw in a simple curves adjustment, particularly aimed at the midtones. 1. Data Levels.

2. DaVinci Grade.

3. Video Levels.

Hope these images sit within reason... May need to convert the H265 4k to something like a CineForm / ProRes / DNxHR 2K. These codecs might actually edit / process quicker than H265 and/or H264; particularly ProRes.
The grade is a single node:
Shadows at 50. (Kinda pushing it far... But, not too much to create halos.) Highlights down to -25. Midtone Detail is set to 40. (Kind of far here, too.) Saturation at 70. (Need the extra with raised shadows IMO) I threw in a simple curves adjustment, particularly aimed at the midtones. 1. Data Levels.

2. DaVinci Grade.

3. Video Levels.

Premiere doesn't like the default "data levels" of the H265 "fish tank" file. There is actually more dynamic range available in the shadows than what has been posted. In fact, DaVinci Resolve really brings the image to life if you input the file utilizing "data levels." Maybe I don't know Premiere well enough. Or, I'm just frustrated with Adobe?
Have never seen/graded NX1 footage before. Really excited to see this development take place and also frustrated to think how much tech is in the NX1 / NX500. Why is this tech being laid to rest by the manufacturer. Strange times, right!
From what I gather, this new bitrate is producing a natural response from the lens-sensor-processor-codec combination. It looks like it was shot at about 1600 ISO. Professionally speaking, this new bitrate may enable a new standard for accurately capturing an image without having to deal with random processing variations in the shadows/midtones/highlights. Hopefully, right.
Personally, I used to have quite a lot of issues with the GH4; specifically with regards to the lens-sensor-processing-codec algorithm. Eventually, I just went back to 1080 P DNG.
I'm impressed with render times with H265. First time for exporting an H265 image. Woohoo! DaVinci is exporting this 4k footage at nearly the same rate as the BMPCC 1080 DNG. It's possibly 1 - 2 frames faster with 1080 DNG pushed to the max 13 stops of DR and a light application of noise reduction. Then again, it's also only 1 - 2 frames behind 1080 DNG without the noise reduction. Kind of a nice balance, one with a serious bump in native image resolution. Does the footage need noise reduction? That's kind of what I'm thinking about here. It might actually need a fine layer of grain placed on top to reach a truly great image. But, who sees that stuff anyway?
Based on what others have written, over the past few pages, in regards to how h265 transcodes an image, I see the noise floor appear and also slightly disappear in this footage. It's nothing serious. IMO, I'm over analyzing the image. I feel that this was shot with contrasty glass set to a 5.6 in a room that reads somewhere closer to a T2.8 at ISO 800 on a LOG picture profile. Quite frankly, this combination is a challenge for any camera, especially when shooting with standard picture profiles, right?
Anyway, thanks for posting the "fish tank" video.
Also, it's not just the bit rate that's gone up, it's the heart rate too! I think the heart rate is closer to 100 BPM! LOL
Cheers,

Hope these images sit within reason... May need to convert the H265 4k to something like a CineForm / ProRes / DNxHR 2K. These codecs might actually edit / process quicker than H265 and/or H264; particularly ProRes.
The grade is a single node:
Shadows at 50. (Kinda pushing it far... But, not too much to create halos.) Highlights down to -25. Midtone Detail is set to 40. (Kind of far here, too.) Saturation at 70. (Need the extra with raised shadows IMO) I threw in a simple curves adjustment, particularly aimed at the midtones. 1. Data Levels.

2. DaVinci Grade.

3. Video Levels.

Hope these images sit within reason... May need to convert the H265 4k to something like a CineForm / ProRes / DNxHR 2K. These codecs might actually edit / process quicker than H265 and/or H264; particularly ProRes.
The grade is a single node:
Shadows at 50. (Kinda pushing it far... But, not too much to create halos.) Highlights down to -25. Midtone Detail is set to 40. (Kind of far here, too.) Saturation at 70. (Need the extra with raised shadows IMO) I threw in a simple curves adjustment, particularly aimed at the midtones. 1. Data Levels.

2. DaVinci Grade.

3. Video Levels.

Premiere doesn't like the default "data levels" of the H265 "fish tank" file. There is actually more dynamic range available in the shadows than what has been posted. In fact, DaVinci Resolve really brings the image to life if you input the file utilizing "data levels." Maybe I don't know Premiere well enough. Or, I'm just frustrated with Adobe?
Have never seen/graded NX1 footage before. Really excited to see this development take place and also frustrated to think how much tech is in the NX1 / NX500. Why is this tech being laid to rest by the manufacturer. Strange times, right!
From what I gather, this new bitrate is producing a natural response from the lens-sensor-processor-codec combination. It looks like it was shot at about 1600 ISO. Professionally speaking, this new bitrate may enable a new standard for accurately capturing an image without having to deal with random processing variations in the shadows/midtones/highlights. Hopefully, right.
Personally, I used to have quite a lot of issues with the GH4; specifically with regards to the lens-sensor-processing-codec algorithm. Eventually, I just went back to 1080 P DNG.
I'm impressed with render times with H265. First time for exporting an H265 image. Woohoo! DaVinci is exporting this 4k footage at nearly the same rate as the BMPCC 1080 DNG. It's possibly 1 - 2 frames faster with 1080 DNG pushed to the max 13 stops of DR and a light application of noise reduction. Then again, it's also only 1 - 2 frames behind 1080 DNG without the noise reduction. Kind of a nice balance, one with a serious bump in native image resolution. Does the footage need noise reduction? That's kind of what I'm thinking about here. It might actually need a fine layer of grain placed on top to reach a truly great image. But, who sees that stuff anyway?
Based on what others have written, over the past few pages, in regards to how h265 transcodes an image, I see the noise floor appear and also slightly disappear in this footage. It's nothing serious. IMO, I'm over analyzing the image. I feel that this was shot with contrasty glass set to a 5.6 in a room that reads somewhere closer to a T2.8 at ISO 800 on a LOG picture profile. Quite frankly, this combination is a challenge for any camera, especially when shooting with standard picture profiles, right?
Anyway, thanks for posting the "fish tank" video.
Also, it's not just the bit rate that's gone up, it's the heart rate too! I think the heart rate is closer to 100 BPM! LOL
Cheers,

Hope these images sit within reason... May need to convert the H265 4k to something like a CineForm / ProRes / DNxHR 2K. These codecs might actually edit / process quicker than H265 and/or H264; particularly ProRes.
The grade is a single node:
Shadows at 50. (Kinda pushing it far... But, not too much to create halos.) Highlights down to -25. Midtone Detail is set to 40. (Kind of far here, too.) Saturation at 70. (Need the extra with raised shadows IMO) I threw in a simple curves adjustment, particularly aimed at the midtones. 1. Data Levels.

2. DaVinci Grade.

3. Video Levels.

I was all in with MFT from the AF-100 to the GH cameras. I sold my GH4 and all my MFT lenses last year. The A7 Sony cams just had me. I feel noise was a issue and not liking what ISO1600 looked like made me move. Hopefully Panasonic can clean up the image in the next version because I really feel that is more important than resolution.    

As you say, let's hope they get the codec right.
If it is 8 bit 4:2:0 with a low bitrate, then it is almost wasted tech.

The Ursa Mini 4K is using the V2 sensor that is from the Ursa 4K not the BMPC. That's why there's 60fps in 4k and significantly less FPN. Also, the moire is most likely related to the fact that they shot using a Sigma 18 - 35. That lens is capable of resolving somewhere around 25 - 30 MP. That resolution is far beyond the 8.3 on the Ursa Mini. It's best to always use filtration with a lens that is that sharp.
I too was surprised how good the sensor was in low light. 60fps in a club scene on a BM global shutter? That's amazing. 

The Ursa Mini 4K is using the V2 sensor that is from the Ursa 4K not the BMPC. That's why there's 60fps in 4k and significantly less FPN. Also, the moire is most likely related to the fact that they shot using a Sigma 18 - 35. That lens is capable of resolving somewhere around 25 - 30 MP. That resolution is far beyond the 8.3 on the Ursa Mini. It's best to always use filtration with a lens that is that sharp.
I too was surprised how good the sensor was in low light. 60fps in a club scene on a BM global shutter? That's amazing. 

I've been following Mirrorless Rumors and that lead me to EOSHD... I heard about the upcoming firmware and how it hasn't happened. Seems now that there are talks of an entirely new firmware. Myself, I own a couple GH4s and am just about ready to jump ship. I've known about V-Log since November and I'm frustrated after waiting nearly 6 months...
In the meantime, I have called Samsung and asked them to take a request to make a Log picture profile. I feel that the GH4 and the A7S are going to have a serious advantage and therefore, I can't buy the camera of choice, the NX1 (with Adobe H265 decoding). I got to admit, Samsung was happy to take my suggestion about adding a Log picture profile. They were genuinely excited to hear customer / potential customer feedback. It's easy to say that I respect that and that I appreciate their business.
Meanwhile, I've called Panasonic twice. The first time took me 45 minutes to explain to Tech Support that I am interested in testing V-Log L. After 45 minutes, they told me that their engineers would contact me within 24 - 48 hours. 96 hours later, I called them back. Next, they told me they would call me back in 24 hours. It's now over 36 hours later. The first conversation was a waist of time. The second conversation was a waist of time. In my opinion, they could care less.
So, for fun, I started searching for a new camera that's less than $1500 and has a high megapixel count. I called Nikon to talk to them about their D5500. The camera has 14 stops DR, crazy-low rolling shutter, and has a clean 1080P image with a Flat Profile. However, if you're like me, you know that Nikon's Flat Profile is basically what the GH4 has had for the past year and the NX1 has had in the last couple of firmware updates. It's no Log profile. So, I asked Nikon's tech support group if they would take a suggestion to allow the shooter to create their own picture profile settings using an adjustable Gamma Curve. Nikon's answer was, "We already have it. It's called Picture Control Utility. You can create your own Picture Profiles based on current Picture Profiles and then apply your own gamma curve. Next, you'll save them them and add them to the camera." WHAT? On Friday, I'll give it a test and make my own Log profile for the D5500 based on the Flat Picture Profile. Why wait around for these 4K DSLR companies to release firmware updates when they don't even tell you when they are coming?
Hypothetically, if 30 out of a 100 people can't tell the difference between Full-HD or 4K, but 50 out of a 100 people can see the difference between 14 stops and 12 stops latitude, then maybe the latitude of the image is where I need to be? And for what it's worth, the D5500's "theoretical 14 stops" may only cost 60% of the $1500 consumer 4K DSLR. Why not shoot with a Log profile to an external BM 5" display or an Atomos?
Currently, there is not much quality control in the business. It seems like one product is totally awesome in one respect or another, but then totally fails in another respect. It's about time we came together. These cameras are awesome tools in need of some serious upgrades / suggestions from their users. For sure. Where's the 2.5K? Where' the 48 FPS? Where's the Log? Where's the Raw? Why are we reminded every time we switch to 4k that it requires this? Why can't we chose which areas of the sensor we want to record and see how that affects frame rates?
Long story short, thanks for making this NX1 list. It's awesome to read how the NX1 actually performs from individuals who use the camera and understand how it works. I think I am a lot like you in the fact that I am looking to invest my time, energy, and money with a tool that continues to evolve and push limits.

It's now available for download - - http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html

It's now available for download - - http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html