Hitfabryk

Also Ivar, before you return the NX1, you do realize the new firmware allows us to remap the REC button. That's huge. Maybe you should reconsider your decision.

Ivar, the workaround for the NX1 is never to pan and never to tilt. And you can't dolly either. Crane shots are out. Stedicam won't work either. But as creatives we shouldn't be limited by such things, if we can't tell our stories with fully locked down shots, then the problem is with us, not the NX1. 

Hi Jimmy, I've only ever used the FS700 with the internal codec. I've used it countless times, but haven't experienced the full potential with the Odyssey. 
The dynamic range is superb though on the FS7, you can pull it around quite a lot in post, if exposed correctly. I didn't maximise the dynamic range as I slightly underexposed the image to retain the highlights in a location with bright light and dark shadows. It isn't raw though. 
It's much better than the FS700, however, don't think that this camera is a quick setup, small kind of thing. A lot of work needs to be done on set with profiles such as Slog3 and it also gets a bit heavy on the right arm after a while. My back & arm was destroyed after the shoot, had to get the girlfriend to rub it better! The FS700 is a lot lighter although a pain in the ass ergonomically.
Also, if using the Extension Module - you really need another person to help out. Once you add that thing on, this ain't no one man band!
 
 

Lovely guy. He bought my GH4 Shooter's Guide last month

Intresting
 

Shot this tonight - frame grabs:
http://eddavid.tumblr.com/post/107859567039/screengrabs-from-upcoming-film-shot-on-samsung-nx1
http://eddavid.tumblr.com/post/107859626819/screengrabs-from-upcoming-film-shot-on-samsung-nx1
http://eddavid.tumblr.com/post/107859682869/screengrabs-from-upcoming-film-shot-on-samsung-nx1
Very excited by it's night capabilities.
 
and in two weeks with the new firmware - will be even more amazing.
added grain and heavy grading.
 

You can just shoot in SLOG and use a log LUT that you like. Doesn't have to take that long. Or, just shoot in rec 709 and avoid grading completely. You can do this just fine.

The FS700 buttons+UI are also over complicated and inefficient to use. However, the UI itself is not slow. While I'm sure the FS7 is improved over the FS700 (IMO the A7S looks better than the FS700 in some ways), it would be helpful to see the FS7 compared to the FS700 shooting the same scene to understand exactly what has improved. I haven't used my FS700 in a while- have been waiting to see how the FS7 looks and if it's worth $4+k to sell the FS700 and upgrade. In one test comparing skintones, the FS7 did really well against the C300 and A7S (though IMO in a few shots the A7S had the nicest looking skintones).
 
 
Here's a humorous test I found which also shows decent skintones with the FS7. Regarding your motion cadence comment: guessing you are referring to timing regularity between frames? For example, always 1/23.976 seconds between frames, with no variance or appearance of dropped frames / stutter? Toward the and of this test video (1:17), there's significant stutter, guessing they did this in post (24fps played back at around 12fps). Could you explain more by what you mean by 'video cadence'?
 
 

On my first shoot with the Sony FS7 - I was very impressed with the image out the camera and the ergonomics, but I was very disappointed with the performance of the firmware. It was slow, glitchy and hard to use. (The video is out Jan 29th - edit this week). 
I chose the FS7 again for another shoot as the client was adamant on 4k and slow motion. I agreed and received a brand new unit from my rental provider. Things were a bit different this time, as the body had the extension unit and battery bolted onto the back, plus a Vocas railing system underneath. I chose ProMist filters to diffuse the skin of our lady pop star with a matte box, locked off on a Satchler tripod. 
I shot the video in XAVC-I 4k 25fps and slow motion in 1080 150fps, SLog3. I had plenty of lighting such as Kino Flo, Arri and Dedolights so I could light the vast location which was a decadent seaside theatre room. 
I have to say, the dynamic range wowed me even more. Lighting the large interior was a smooth process. Detail is very impressive. The zebras and peaking are very good. Noise looks minimal. Motion cadence however does look a little 'video', although I can't judge this fully until the grade. 
Handling the camera was fine on the tripod, as expected. An annoying issue with the extension unit is that it gets in the way of the HDMI port. You have to really force it. We didn't get it to work in the end. May have been an issue elsewhere, so we used the very good LCD throughout. 
Firmware wise - the camera performed better than before. I'm not sure if the unit before was a bit faulty, as it was slow and crashed a lot. Still - it wasn't as responsive as I'd expect. The menus are dreadful and over complicated, it takes so much time just to change the most simple settings. As a user experience - the firmware performance and user experience is very poor. I've got used to it, but it really does need a complete overhaul. 
The button layout on the side of the camera is also slow and fiddly. They really need to come up with a modernised way of button layouts on these types of cameras. Finding where to play a clip was a nightmare, until I found a little button called 'Thumbnail.' Not the best name! 
Another issue was the Speedbooster. Changing aperture on an EF lens was terrible, as the aperture setting would go crazy and go from f2 to f16 with a slight dial. Metabones and Sony need to chat. 
With these issues aside, the camera is great to shoot with and delivers a lovely image. It makes the FS700 look like a toy. For the money, it is fantastic. I much prefer using this camera compared to a RED Epic and Blackmagic CC. I do miss the quicker setup times with a DSLR/DSLM camera, but you gain quality features for a better picture. 
I will definitely use it again and can't wait to edit the 2 music videos I've shot. When they are released, I will share! 
Here is me and the camera: 
 

I'll do a detailed image comparison between the 1D C and A7S soon on EOSHD so look out for that.
Even after owning the 1D C I can't argue with some of the ways the A7S is superior, but most of those relate to it as a 1080p camera.
When you rig it up with an external recorder for 4K it becomes something rather different ergonomically. It isn't a small mirrorless camera with EVF any more. In fact you can't use the EVF at all whilst it is outputting 4K. It just didn't deliver what I needed. The screen visibility and battery life of the Shogun became a pretty big issue for me, whilst as a 1080p camera I had neither problem, at least with the battery grip and a few spares!
So here I was in a predicament. The Shogun on the one hand was a fantastic piece of technology and I'm going to get some more use out of it for sure, once I solve the issue of seeing the screen outdoors and powering it properly, and the ergonomics of rigging it to such small cameras.
But the main predicament was that although I had quite a few beautiful images coming out of the various cameras I owned, they all had practical flaws.
I wanted the colour, dynamic range and full frame loveliness I was getting with Magic Lantern raw video on the 5D Mark III, but the file sizes were even larger than the 1D C for plain old 1080p. Reliability also an issue, I found the 1000x komputerbay cards kept going through slow phases (possibly due to file system fragmentation) and especially at higher ISOs the recording would keep stopping. The problem with 1080p is it isn't a future proof format. It will be consigned to the dustbin. Not like Super 8 or 16mm or film which creep back over time for their artistic qualities. 1080p will just go to the grave I feel, like 720 and SD. If it comes back as a retro format it will have a particular look like VHS in the future and so be very niche, not like super 16mm film which is more flexible in the way it looks, so can be used for a broad range of filmmaking even in 2015.
The NX1 and GH4 shoot 4K internally but their images are a little too compressed. The NX1 holds onto a lot of fine detail but doesn't have a grain character to speak of in plain shaded areas. However the image isn't so much the issue - it is the lack of active Canon EF adapter to NX mount and the lack of low light performance once you get past ISO 1600. I will still be using my NX1 when I need the smallest file sizes and super 35mm sensor in good light, and the upcoming firmware will be very interesting. Good b-cam. As is the GH4, will be keeping that, just not for low light!
The A7S ticked the most boxes overall, great in low light, S-LOG with minimal banding, but the need to shoot at ISO 3200 in bright light using strong filtration, the need to add a lens adapter for Canon EF lenses that still doesn't always work right, the need to add the recorder for 4K on a wobbly HDMI cable... all this weigh heavily against it for my purposes.
So to the 1D C, now at around the same price I can sell my GH4, 5D Mk III, 5D Mk II and 7D for which effectively it replaces (although I'll definitely keep the GH4 anyway) it solves a number of problems. First it replaces the 5D Mark III as a stills camera so I can finally get rid of it. It shoots 4K internally and is weather sealed. It has a native mount compatible with my best glass. It works well with the IS on my Canon lenses and no bugs. It is ultra reliable. The image maintains a fine noise grain. It is capable of matching or maybe even exceeding the dynamic range I had from S-LOG2 on the A7S and ML raw on the 5D3. It has colour which is easier to get right from the flat profile (Canon LOG) much like the D750, so takes less work to grade. It especially has better colour in the standard rec.709 picture profiles. It has less moire and aliasing in 4K than the A7S to external recorder, possibly due to stronger OLPF. Yet it resolves the same amount of actual real detail minus the false detail and 4K is enough detail to last me almost forever anyway. It lacks the niceties of the mirrorless cameras though but makes up for it with heft and build quality. No EVF but I've added one without radically changing the form factor or adding too much unbalanced weight. No peaking or focus assists whilst recording but again that is solved by adding the EVF. No mirrorless mount so I can't use my Cooke PLs but these don't cover full frame anyway (so corners would likely be soft in 1.3x). I will use my NX1 for those. Very good internal 1080p in Super 35mm mode and to Ninja Star, but the full frame 1080p isn't as good as the full frame 1080p from the A7S. Those are the things I miss and the banding can rear up sometimes especially at low ISOs in C-LOG but generally I feel there's some logic behind it now at £5k, whereas there wasn't before with so many promising other cameras that I thought would supersede it. They haven't. And the main logic failing of the 1D C was always the price not the image, and the fact they didn't add enough video bells & whistles.

Hi everybody.  I was at CES today and at the Samsung CES booth where they had some NX1 cameras mounted around a photo booth with a couple of models in a living room setting.  I happened to notice that the Samsung people did not have the NX1 SD card slot glued shut so I slipped in my own SD card and made some video using the Gamma Normal, Gamma C, and Gamma DR profiles that is in the 1.2 pre-release firmware.  I thought that I would share them with all of you.  Before I made the video, I performed a RESET ALL on the camera so I would be shooting with pristine default settings.  Attached are the screen grabs of the video playing in KODI/XBMC of my MacBook Pro.
Take note of how the black colors in the picture frame that is on the bookshelf to the left of the model's head perform under Gamma DR and Gamma C, and Gamma Normal.
 
You can get the raw H.265 files from my MediaFire file share:
https://www.mediafire.com/folder/63s4q7yuwp7nk/CES2015_NX1

I get in my second NX1 camera today and it was having the exposure drift problem so after setting it to the same settings as my other one i found the one thing that is making the problem a extra menu of items with one setting that needs to be changed..
Here is what i posted on Facebook
Look at the back of the camera lcd you will see a arrow at the top of the screen in the center. Tap on it and turn off auto display brightness.. that was the only other setting my older camera had changed and now with auto display brightness turned off it no longer has a exposure problem no more jumping up and down and this fixes the recorded video to..

This is an incredibly interesting camera, shame there isn't much footage online (and most of what's available is rubbish). 
I think I might just buy it and film loads of music videos, I have the feeling in my gut that when the camera is pushed at a professional level, there is going to be some very special sauce in there somewhere! 

I found this posted on facebook it was shot all using the NX1.
Starting to see more and more nice videos short films shot using the NX1 now. I still think its the Underdog camera many are missing the potential of.
My second one will be here tomorrow.
 
Wish they had a Vimeo version
 

Wait for andy lee, he will tell you.

I am always researching long and hard to see what equipment might improve my enjoyment of filming and the quality of my product (wedding films). I take my time over decisions as there is new gear coming out every month =)
As I am running a business, whenever I get excited by new gear I ask myself the following questions:
– Will it make my work flow more efficient and therefore save me time/money?
– When will I see a return on my investment?
– Will my clients notice the difference in quality, and therefore is it likely to secure me more/better jobs?
Last year I filmed nearly 20 weddings with a GH3, GX7 and GH2. Unfortunately after 3 years my GH2 has died so I am in the market for a replacement as I find 3 cameras essential for certain parts of the day. I could get a GH4 as my new main camera, another GX7, the rumoured EM5 MkII for IBIS if Olympus can finally deliver a great 1080p codec, or I've even thought I could go for the Canon C100 MkII (partly so I could finally see for myself why so many people fuss over Canon!).
From a technical perspective I'm not sure the speedbooster + sigma will improve your image quality much, unless of course you find yourself needing to use high ISOs in the studio and therefore the speedbooster + sigma at f/1.2 would help.
Ultimately I would try and make the decision based on your business goals. You might decide your clients are happy with what you produce now and you can invest the money differently!
Hope that helps =)

Was just messing around with what (if anything) I could do with 4k video (FZ1000) on an iPad2. Surprisingly, I could import the 4k footage via Apple Lightning SD card reader. I figured IOS would downsample it to 1080 but it didn't. It stays 4k and plays back fine. 
The trouble is editing. iMovie doesn't support it, but a couple of other ones will at least let me import in, change frame rate, do a very basic "grade" and resave as 1080. Then it can be imported into iMovie, etc. 
Anyway, almost kinda cool. The iPad2 appears to be robust enough to handle low-end 4k clips, but the apps aren't there to at least do basic cutting and 4k output yet.

Hitfabryk- in my tests PP4 works best in lower light conditions (as does PP3), PP5-7 in brighter light conditions. In their examples, IMO the A7S looks best in a few cases: color & noise.
toxotis70- I found this test via a search. Here's the full info: http://www.keyframe.tv/wp/2014/sony-fs7-alpha7s-and-canon-c300-color-science-comparison-part-1/, http://www.keyframe.tv/wp/2014/sony-fs7-alpha7s-canon-c300-color-science-comparison-part-2/
 
 

Had to pick up the Nikon ED AF 80-200mm f/2.8D from the post office today... Wasn't at home last week (still 2014), celebrating new years in London and all, so I was quite excited to get my first piece of 2015 filmmaking gear when I saw the post office notification this weekend telling me to come pick it up next work day.
Wasn't expecting to pick up another little piece of Nikon gear as well...

For some reason, last night I was just surfing around on the web... and then some wave carried me to a site I would browse for a bit when suddenly I stumbled upon a very very good deal (MediaMarkt is celebrating 25 years anniversary over here). The Nikon D5300 with 18-55mm II for 499 EUR with additional 50 cashback at checkout, coming in at 449 EUR total! That's a very sweet deal, considering I checked Geizhals.eu and getting this combo would normally set me back at least 628 EUR excluding shipment. I saw they still had it 'in stock' at my local store, couldn't resist and ordered (paid) one! Logged in there this morning to see if it wasn't in fact a dream and really a this good of a deal. Yup. There it was sitting in my purchase history for 449. However, I did notice they were advertising it a bit differently all of a sudden. Now it advertised the kit being 499 AFTER applying the 50 cashback, listing the camera for 549 (still a good price though). So, before they would cancel all the already placed orders (not sure if they can just do that, but I imagined they could), I just went ahead and picked it up. So a little more than 24hrs ago, I still had no idea, that the Nikon lens wasn't the only bit of Nikon gear I was going to pick up today. I've been recommending the D5300 to people looking to buy an entry-level stills camera for quite some time (can't really recommend them the 700D, now can I?) and had a secret little crush on it myself, but was never really tempted to get me one. But now that I have the 28-70mm f/2.8D & 80-200mm f/2.8D, already have the Nikon mounted Tokina 11-16mm f/2.8 and Sigma ART 18-55mm f/1.8 lying around, actually because of the aperture controle possibilities when combined with a regular adapter or focal reducer/speedbooster/lens turbo and mainly the GH4 and BMPCC; it actually kinda made sense. It will be my first steps into something bigger sensor sized than micro four thirds. Since I'm a hybrid shooter, I'm sure the D5300 will be great for me and can't wait to try it out as stills & motion camera.

Ah...  http://www.nikonusa.com/en/About-Nikon/Press-Room/Press-Release/i49ohklf/Inspired-Photos-with-Flair%2C-Ready-to-Share%3A-New-Nikon-D5500-DSLR-Helps-Creatively-Capture-the-Moments-that-Matter.html
So let's see... monocoque structure... touchscreen... flat picture control... $999.95. Sensor... processor, AF system etc seems still the same though.

DigitalEd, are you happy with the dynamic range of the NX1 for video? What turned me off the most was when I put the NX1 besides the Gh2(hacked) and to my eyes the NX1 is clipping before my gh2.
And I have been looking at Philip Bloom, Andrew Reid and others post A7s clips and I love what they are getting with that camera. I wouldn't get the shogun, 4K is light years ahead for the icelandic market(the government owned station here, like BBC in Britain, is still broadcasting in SD! Only selected shows on HD(720p) on special channel.  I don't need 4K, but I wouldnt say no to a nice camera that shoots 4K internally, as I was thinking with the NX1, My web computer game program is SD on the webpage that hosts it, but we release HD versions on youtube.
And for bigger projects with budget, I rent cameras(C300, Red Epic, Alexa etc.)
You guys think I'm doing a mistake? I think I want the more cinematic character of the A7s.
Please if you guys have any opinions of the matter please feel free to tell me. You can even call me an idiot if you think it's relevant to my returning of the NX1, I wont get offended
P.S. Peace and love guys, great forum and great forum guests.

After playing with my settings a lot i can now not reproduce the problem have testing it over 2 days just inside the house but i am now not seeing the shift i was seeing.
I am using a custom setting with color and sharpness set -5, Framing off, Smart range off , Center focus point, Touch AF on when i want AF so when i touch the screen it locks the focus on that area its faster then Manuel focus and locks it so it will not drift focus then push AFON to release it and touch to refocus on something else taking a bit to get used to but works well.
When in Manuel focus i turned off the focus zoom in feature I find that to be more of a pain in then then being help full the focus edge detection works very well in the full screen view so i can see the full area i am shooting..
I am taking the camera with me in just a few and will shoot some outside today and see if it still keeps working right with no up and down changes. Will play with the 120 slow mo today to.
I still think the NX1 VS the A7S and GH4 is the better camera for over all video quality just look at the HD quality VS the other two. I do plan to shoot a lot in 4K but not all the time for some basic things just to save HD space.
From what i have been reading people saying the A7S has no real SLog i think it is when shooting 4K out into the Shogun and the HD quality is not very good compared to the NX1 HD and the GH4 is not as clean as the NX1 or as detailed of a image and the HD quality it not so good on it compared to the NX1. I think at this point in time we are are the best they can be in this price range but it will get a lot better in the next version of each camera. So what lens do you want to invest in and body. The A7S has no 4k inside recording so add on another 2k and your at $4500 just for the both and 4K recording thats to much for a camera like that. The GH4 i hate the crop size of that not for me so the NX1 is the winner for me and the lens are ok and more should come but use any with a adapter in manual focus.
I hope i do not see the exposure shift today as that would leave me with not wanting any of the 3 cameras then i would send it back and just buy a cheep HD camera till the next wave of then come out. Will post back later as to how it worked out.

Cool list! I too am excited about what Samsung might bring in the future. They might be the company that has me go invest in 4k, unless Canon does otherwise. As far as jumping on the 4k bandwagon- the GH4 4k didn't convince me to switch, and I am tempted by the A7S low light capability, but I agree with the issues of color that was mentioned.
I want to try a 1DC, but in America, I still see them around $10K on average, if I'm not mistaken.
I disagree with the D750 recommendation though- I took my 5d3 against my friend's d750, and what holds true on other online tests is that the 5d3 has much better low light iso in video, and better controlled moire. 
So for my work the 5d3 is hard to beat because of its lenses, full frame, and low light performance- still making it truly the best "all around choice." And I don't even have to shoot RAW for my pro work. As a matter of fact, I just discovered one of my favorite shows thats become popular recently, lends its elegant cinematic look to being shot on 5ds and 7ds! It wasn't until after 2 seasons did they switch to the Arri.
And finally, I was never bothered by the 5d's "softness." It allows me to control how much sharpness I want. Maybe for people who shoot landscape all day, they should definitely shoot with a GH4 or something "sharper." But last month I started shooting videos of LA agency models with my 5d, and damn- just adding +15 sharpness, it's too sharp!  On close-ups I can clearly make out eye lashes and fine skin details, so I actually don't sharpen it too much. It's perfect for people. Not to mention the skin tones!
So yeah, the 5d3 is great- but I agree, I am still somewhat disappointed with Canon. I was hoping my 5d3 would be my B cam this year as I waited for the c100m2, hoping it would improve with 4k options, or at least a better 4K to 1080p capture via internal high bitrate 4:2:2 codec. But my only hypothesis is that Canon is attempting to lead the consumer market when 4K becomes the *absolute norm*
Interestingly enough, I'm now a full convert to using the Sony Alpha series of camera for my photography, and even though I have access to RED and GH4's, my 5d3 is my dedicated grab and go video camera haha
 

If you're pretty good at shooting stills (looks like you appreciate light) and just transitioning to motion pictures, I think the option of having 5-axis stabilization is actually a valuable tool. 
I found it incredibly nice to be able to grab steady video shots while spontaneously holding the camera in awkward positions...and not have to fret about the video being distractingly shaky.  In that sense, it's a lot like just "grabbing a shot" when doing stills.  Want to hold the camera high above your head with one hand while standing on a chair?  You can make it work quickly and easily. That's not to be underestimated.
I just wish Olympus' video was a bit more advanced as my main client is slightly more demanding than what Olympus video delivers, but even if it less than most, it's still quite decent.  I used one of their cams for a month on the road and found it a lot of fun.  That's saying something.  For me, it's a camera that encouraged creativity by offering the ability to quickly get shots I would't get otherwise.
Not sure if you've considered that aspect of motion pictures, but it can be a great tool depending on how and what you're trying to shoot.
A lot of people go on and on ...and on and on... about sensor quality in forums such as these that focus almost exclusively on the technology  --it's almost as if we forget around here that there are so many various aspects of motion picture production that go into making good video and it's not about having the greatest sensor.  
Not even close, in my opinion. Andrew Reid has even posted examples here of a young filmmaker working with a 5 year old Canon ti camera who's films are more interesting and visually engaging than the most advanced production companies with the latest and greatest gear.  Meanwhile many of us gripe about the indignity of having 12 stops of dynamic range rather than 13 as if our professional lives depend on it.   
As I'm sure you're well aware of, since you're making great photos with decent but not great consumer gear, a successful image is NOT always about the sensor IQ.
However, if the best available IQ on a budget is a top priority for you then, yeah, you'd probably look elsewhere.  I have a GX7 I've been using a lot. I like it.  I dig small cams.
(man, I'm on a coffee rant...)
Aside from that, what's with your shop?  Not allowing you to shoot in store with your own SD card?  That's kind of obnoxious.

Both the little E mount power zoom 16-50 OSS APSC kit lens and the APSC E mount 50 1.8 OSS are cheap and ok for video use in APSC mode on an A7s and both stabilized.
A bit low res for stills on the a7s.       More useful for stills on the higher res A7 cameras.

​Advantages - small, light, sharp, AF for stills
Disadvantages - expensive for a 35mm 2.8, more than a Sigma 35mm f1.4! Fly by wire manual focus is trickier. No advantage to AF for video.
I prefer the FE 55mm F1.8. Should have stabilisation for that price though and the Sigma 50mm F1.4 is as sharp, if not even sharper! Bulkier though.
Don't get too heavily invested in sony glass if you might buy a different system later. Canon & Nikon mount Sigma 35 / 50 1.4 will come with you and these lenses will die with your A7S.