Laser Blue

1 hour ago, currensheldon said:

Just saw that this camera also has timecode in/out - HUGE. Outside of an internal ND, there isn't much else I'd ask for in this camera. 120fps in 4K would have been nice, but there aren't many cameras that can do that at all under $15k (just Z-Cam?). 

With 400mbps All-I 4K and Timecode, this may be the first mirrorless camera actually approved by the Netflix/Amazons of the world. 

Could that little hole in the lens mount (by the red lower left video record button) be to enable an adapter with an ND inside? That hole is not present on the S1...

7 minutes ago, Andrew Reid said:

Thanks for that post, very interesting.

Were you aware in 2006 of the Russian Kinor camera with similar sensor to the RED ONE at the time?

Same question regarding Pavavision's development of the Genesis, or was that only started later on?

How about the very early digital cinema work with Lars Von Trier of Anthony Dod Mantle who pioneered digital cinematography in the industry. Peter Jackson didn't, in my opinion. Anthony Dod Mantle did. Was RED and Peter Jackson's approach novel in light of the cameras Anthony Dod Mantle used? I can't say as not a patent lawyer but food for thought.

How about the Sony Cine Alta range. F35, etc.?

Panavision Genesis? Early Panasonic stuff?

SiliconImaging?

Kinor?

I agree with you, Graeme Nattress and the team deserve credit for disrupting the market.

We want affordable compressed RAW and open source codecs to play nicely in the same industry alongside RED and they aren't keen on it happening, so that loses them some support from me, as I am, writing EOSHD and waiting for the Nikon Z6 raw firmware update.

What about Cinema DNG 3:1 as it is under the 6:1 minimum compression in the RED patent... Can't that pass without infringement, I wonder?

Magic Lantern 10bit lossless maybe?

Or even just plain old 1080p uncompressed RAW?!

Must be a way to give us something in the current cameras, without having to pay RED for the license to do so.

Interesting take, cheers.

Well, the F35 recorded to HDCam SR tape (we had an SR VTR, but used it only for finished master content ingest for its 12-channel surround  never as source media ingest,) Panavision Genesis was 1920x1080 (sub DCI 2k) resolution too low for high-CGI films, Panasonic DVX-100 and Sony CineAlta cams were also basically HD res...

In my view today, dCinema technologically = digital recording non-tape media, not film, 4K resolution and visually lossless. P2  was digital media but HD res, CineAlta was tape and HD res. Panavision was HD res...

As for Von Trier vs. Jackson pioneering, I defer to you.

And while I sympathize with ATOMOS, I want internal RAW recording.

16 minutes ago, newfoundmass said:

Someone correct me if I'm wrong, but this goes way beyond just compressed RAW; compressed RAW is merely what Apple is concerned with. 

As I understand it each patent builds upon RED's previous patents, so in theory if those initial patents were found to have been obtained through deception then every patent that built upon those initial patents would probably be illegitimate. 

That's why it could affect everything from REDCODE to their Mini Mags and other "proprietary" accessories. If you compare it to a house of cards, if you take one card away you risk bringing the entire thing crashing down. 

It's a very fascinating case and the implications are quite huge given it has given RED a significant advantage over their competitors. 

My understanding is that patents deemed improperly filed or invalid result in the patent concept becoming public domain and permanently unpatentable in perpetuity.

Having been present at NAB when RED was first introduced, it seemed at the time to be “pay no attention to the man behind the curtain” vapor ware. I worked in cinema advertising at the time, specifically post production. The Quantel eQ and iQ Pablo 4K I used to create content captured up to 4K left eye/right eye uncompressed in real-time with real-time (no render) color grades and parallax adjustments.

The Pablo cost $440k. It wasn’t portable. It’s drive arrays were 10 gig Ethernet SANs.

In 2008, when dealing with .r3d files, import into Quantel workstations allowed for one-light color grading on import with white balance and ISO control among other typical RAW parameters.

There was nothing like RED in terms of a capture device in 2008. NOTHING.

Whatever the legalities, Sony, Panasonic, Canon and anyone else made nothing like it. RED was an upstart. It killed Digital Intermediates (scanning film to DNG for dust busting, color grading and editing, then outputting the sequence of final DNGs back to film for theatrical exhibition on film projectors.)

Now, cinema projectors play back encrypted Digital Cinema Packages, containing JPEG frame sequences, made from graded and edited RAW files. Digital end to end. The entire motion picture industry production, post production and exhibition industries all transformed because of RED.

While I kinda want RED to lose the patent fight with Apple much the same way as I want generic medications to replace brand name due to the expiration of patents and the resulting cost savings—RED deserves credit.

Just not enough credit to be aggressively litigious, and be the sole beneficiaries of the compressed raw concept forever.

Let Nikon and Panasonic users benefit from internal compressed raw without owing RED prohibitive licensing fees. (But don’t let Canon or Sony because I don’t like them.)

My 2¢.

I’m pretty pleased with my S1s. Paid like $1800 for one body and it just smokes so many other cameras for the price. If Panasonic adds CFExpress and internal ProRes RAW to card, keeps updating video capabilities via firmware like Samsung NX did, I’m pretty happy.

Never much cared for Sony anyway. Panny and Samsung I like.

I get the sense that Andrew has been spending time with tech disrupters (focus device prototype guy and others.)

I don’t want to see the photography industry die either, but I feel like manufacturers HAVE been upping the ante in terms of pace of offering new features accelerating, larger feature sets for a given price, AND aggressive discounts on new models.

1 hour ago, Video Hummus said:

B&H is also running a $400 credit upgrade program for the S1 as well. So, they will give you whatever they think your GH5 is worth plus $400 in credit for a S1.

The current promotions are: free 3 year warranty with registration, $199 film makers firmware upgrade for free, $400 trade in discount plus value of trade. That puts my second S1 body at $1647 with my trade. Yessssss.

On 6/18/2019 at 11:16 AM, BTM_Pix said:

Looks like its real and will be shipping at the end of June and at $249 its cheaper than I expected it to be.

I'm disappointed they haven't actually shown it working stacked with their E to Leica M AF adapter but they do say in the comments of the video that it does work, albeit a bit slower obviously.

They haven't answered the question someone has posed about it working stacked with the Sigma MC11 which would give EF compatibility as well so thats one to keep an eye on.

As I've no real interest in buying new Z lenses, I've been waiting on this as it makes the Z6 a whole lot more interesting to me as its now adaptable to have full F, EF, E compatibility as well as AF for manual focus lenses.

As does the tumbling price of the camera itself !

http://techartpro.com/product/techart-sony-e-nikon-z-autofocus-adapter-tze-01/

 

Richard Wong tested the two adapters stacked. Best results with telephoto Canon EF glass and EF mount Sigma prime. V 1.0 Techart firmware.

5 hours ago, Skip77 said:

You're the wife that says "hey honey I saved 80%" today and the alpha male says "but how much did you spend"? The S1 might be ok but it's like any of the new cameras with everyone questioning the roadmap and how long the will be around. Lens selection, AF performance are a few thing that come into question. Plus with the S1H you have to ask why? The S1 is $2,497 on BH right now.

If I go with Lumix and the S1 or S1H I want what's advertised and that is AF. No more GH5 AF garbage. 

Some people don't have a camcorder to trade in........how long have you worked for Panasonic Mr. Blue? 

In all my years at Panasonic, I shot with: Sony Betacam SP/SX/Digibeta, various DVCPROHD, Samsung NX1, Sony A99, Canon 5Dxxx, 7D, 60D, Panasonic GH3/4, Nikon Z6 and now the S1. Ya see there, junior, I’m what you hipster douchebags call “brand agnostic.”

And after many years restoring, wrenching on and roadracing formula cars and motorcycles (some of which I destroyed and sometimes walked away from,) few who know me think of me as the wife in your snotty, presumptuous and frankly obtuse little narrative about a stranger to you.

Go pay too much for an instantly obsolete EOS RP. The adults are trying to share vital information for their budget conscious peers who might be in the market JUST as an amazing camera (fuck the brand fanboy shit) happens to have heavy discount incentives.

Enjoy your crow. Bony going down, no?

41 minutes ago, Jordan Garcia said:

Where can I find that deal Laser blue>

Adorama offers the S1 body with firmware upgrade, $400 trade in credit and offers the most credit IF you trade in a camcorder with XLR inputs. So, trade in a camcorder with $450 camera value + $400 trade in value = $1647 for body or $2547 for body + 24-105 f/4. Including 3 year warranty and filmmaker firmware update.

I have the S1 and plan to buy a second.

Here’s my reasoning:

I preordered then purchased at full price the S1 body/24-105 “kit.” The overall build quality of the amazing body and lens, BASE (pre-July firmware) specs and overall still and video performance justified that price. Plus, I received $300 off lens full retail when purchased as kit. Add a free $87 battery and $347 grip (improves portrait ergos and triples shoot time) and you have an amazing deal ($734 savings so far.) Add free warranty extension for two additional years and — wow! Add $199 film maker firmware update for FREE and I’m effing GRATEFUL! Add a second body for $550-$850 off with trade in and bonus (total) AND free film maker firmware AND 3 year warranty AND...

Total discount (not including value of 2 3-year warranties) when compared to buying all items separately:

2 S1 bodies, 2 firmware upgrades, 1 24-105 f/4, 1 extra camera battery, 1 S1 battery grip.

Retail total $7123. My total $5044!

And, we can expect 1600MB/s CFExpress compatibility at 1tb capacity.

And I have in hand passive legacy glass adapters for Nikon G, Nikon F and Minolta MD.

And Sigma native primes are coming.

And Kipon makes a Mamiya MF focal reducer.

Nothing YET from Metabones, but just imagine what they’ll offer based on prior offerings...

I could go on.

Seriously. How can everyone not be buying S1s?

Wind1414, I call FF sensor with RAW out professional too.

Spock is a charming philosopher. Guessing his photography might be less engaging than McCoy’s. Sorry Spock. LLAP.

Hmmm. Z6 sidelined for video... I have a huge Pelican case of vintage and modern Nikon-F glass that begs to differ. And Minolta MD. And Exacta. I can mount virtually any lens I want. B4, PL... Any look I want in terms of contrast, flare, lack of flare, glass-cutting sharpness of Nikon S glass.

Having shot professionally with: Sony, Panasonic, Samsung, Nikon and Canon, I’m not a fanboy of any brand. In a gen-1 camera, Nikon gives us: Full-width 4K readout. IBIS. Nikon color. Most legacy F mount Nikon/Sigma AF glass 10-bit 4:2:2 and soon ProRes RAW HDMI out. Eye AF (in May.) Atomos development collaboration. Weather sealing. Good battery life. Nikon build quality. An excellent touch interface. Nikon menu structure and customization. XQD/CFExpress speed, capacity and reliability (May.) Robust low light recording. Good tracking AF in 1.0 firmware...

Canon gives us crazy expensive glass (again), crippled features and weird fn slidy bar thingy “innovation.”

Panasonic gives us questionable DFD CDAF. The S1 is cool, until your bitrate is too low and your AF hunts and breathes constantly. Hmmm.

Sony gives us little robotic squares that do the job in 8-bit 4:2:0 like Mr. Spock, with all the associated charm.

I’m really more of a Captain Kirk guy. Gets shit done with flair and style. Reliable. Fun at parties.

Nikon has no cinema line to “protect” by making their RF/EF bodies suck. Nikon is free to innovate. More so than Sony, Panasonic—maybe all save Fuji. Canon. Meh. Idiots. Nice color science. Still, idiots to me.

Maybe once Sigma makes native Z glass and a smart adapter. Maybe one for EF glass too. People will look at the future and see Canon continuing to fall behind as B/C cams to Cxxx bodies. Maybe Sony heads in the same direction to protect Cinema cams.

My money is on Nikon Z. Literally.

Facts:

A. The RAW hack is real or not.

B. The RAW hack will be revealed April 1 or not.

C. Based on previous hacks, the work completed by others that benefits all NX1 owners will likely cost nothing. Just like NX-KS2 or MagicLantern. Both of which I am personally VERY grateful for.

Honestly -- please, please stop demanding proof, fabricating conspiracy theories, frankly being a cyber bully to a stranger, shut up and wait.

Until April 1, I know for certain that reading this forum (especially after PAGES of all this pointless drama) is no priority for me.

Leave the stranger offering a promising hack (real or not) alone. Observe outcome. Rejoice/lament said outcome. Move forward.

I personally try not to be a dick about free things to those offering free things before they finish free things that might otherwise no longer be free had I chosen instead to be a dick.

Andrew, Thank you for the test! It's my understanding that aliasing or softened detail can be made worse by smaller bitrates. Would the 120 fps image improve on the NX1 with a bitrate increase to say 160mbps from the standard 80? 96 fps on the GH4 lost detail relative to 60 fps at the same bitrate. Thoughts?

Hi. I facebook messenger messaged Luca. He replied. Asked him how to pay. Hasn't replied to that question. keessie65, how did you place the order? The crowdfund is closed. SUPER EXCITED TO PURCHASE AN NX-L (or two!)

Hi again. I followed the installation intructions for the Mod Pack. My NX1 is unchanged. I formatted the card to ExFat. Copied the .zip file to the card and unzipped. That left the folder "NX-KS" and the "NX-KS.zip" file on the card. I inserted the card into the camera and switched the camera on. No green dots on startup. Camera behaves as it always has. Do I need to drag the contents of the NX-KS folder to the root level so that scripts and the info.tg files are at root, or just leave them in the NX-KS folder? Should I delete the NX-KS.zip file before inserting the card into the camera? Is there a button sequence I need to press after rebooting the camera? Down-OK-up-OK-right-EVplusOK? What am I doing incorectly.

I had previously installed the NX-DEV.adj file and eliminated the recording limit.

Can anyone specifically guide me through the process please? Thanks.

Forgive my reading skills and attention span. And thank you.

Hi all. I've been reading these forums since I used Canon cameras. So FOREVER. I have a pair of NX1s I've eliminated the clip time limits on successfully. I'm attempting to install Vasile's bitrate hack script. It's ineffective for me (doesn't seem to work, no green dots etc.) Forgive my ignorance. Is there a specific post that outlines the procedure? I've erased the "#" in the line of code below my chosen bitrate and saved the file. No dice.

Thanks in advance.

Hi,

Hi, I ordered the shooting raw with 5d3 guide via Paypal on 10/23 and did not receive a copy by email. Was it sent?

Thank you.

Yes, I checked spam filters and junk folders.

Hi,

Hi, I ordered this via Paypal on 10/23 and did not receive a copy by email. Was it sent?

Thank you.

Yes, I checked spam filters and junk folders.