Santiago de la Rosa

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

Interesting take on noise in the context of GH5 expectations:
 

One more for the new year :-) 
Wondering if B&H will stock these soon... 
 

That would explain it.
Panasonic think I am a girl!
Maybe I need to shoot my parkour and dogs before EOSHD can get a pre-production unit.
Remember when they gave me a GH3... and a GH4... and invited me to feedback sessions... This time - nada.
Maybe it was the Panasonic CM1 smartphone review?!

But will I be able to use my Blackmagic Pocket Speedbooster on this one like with the GH4?

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...

Can I just start by saying a massive thank you to Otto k for the work he has done on the NX500, 
Massive thanks also to vasile, you guys are so clever and talented.
And well done to everyone looking at the different sections of code, interpreting them for us, and creating this hacking scene.
Props to everyone who tests out the hacks and reports back.
So ....
Can we prioritise what we hope the guys will achive with the NX500 hacks.
Maybe someone knows how to make a poll.
I know this most probobly wont affect how the guys work, but it might be interesting to find out.
Following it here and dpreview is riveting . I'm checking the forums all day, everyday.
I'm hoping for .......
better slomo in 1080,
and for vasile to make his announcment in due course.  
 

Blackmagic Design have announced a new camera, which they added is already shipping and available in all major retailers from midnight.

I take it you're activated now?

here is a video i shot last week with my hacked nx500 180mbs 45mm 1.8

Hey guys - I haven't been here for a while so I'm not sure if the new Sigma APSC Art zoom has been discussed much yet, but I just got one yesterday and thought I'd share my first impressions.
I haven't done any technical tests but I'll start by saying my first impressions are it's a superb piece of glass with the superb sharpness (even wide open), character and build quality that you've come to expect from the Art line. 
However there are a few things those of you interested in adding it to your kit might like to be aware of - especially if you're thinking of it as a companion to the now classic 18-35mm 1.8.
1. It's HEAVY, and pretty big. The 18-35mm feels like a modest MFT lens next to it! It's not exceptionally long but it's got a lot more heft to it and is quite front heavy, meaning it's probably a bit unweildy on a hybrid camera. On my C100 Mark II it's OK to hand hold, but only just.
2. Focus breathing is EXTREME. Personally this isn't a big problem for me but it does impose a certain style on your focus pulls, so if you don't like that look take note. It's going to take a bit of getting used to for me.
3. While the 18-35mm has minimal focus breathing it is not parfocal, which can be annoying at times. The 50-100mm however appears to be parfocal (or at least very close to it). I don't know if trading breathing for focus consistency was an intentional choice by Sigma, but it is another difference to the wider zoom.
4. I read somewhere that it was effectively as quiet when autofocusing as an STM lens. This is not the case at all - not with my copy anyway. It's at least as noisy as the 18-35. Of course this is only really an issue if you're using it on a Canon DAF camera or a6300.
The 18-35mm has been my go-to lens on my BMPCC and GH4 (with their respective speedboosters) for a while now. The relatively compact size of the lens was a big part of this. Now I use a C100 size is not such an issue, but if you're hoping the 50-100 will make a great partner for the 18-35 on a smaller camera as a full walk-around "prime" kit, you may be disappointed. It's so heavy in fact that Sigma's included lens case comes with a shoulder strap! Even on the C100 I'm going to be using it on a tripod most of the time, as the longer, front-heavy focal length makes footage pretty shaky. Of course the flipside of this is that the extra weight helps with reducing micro jitters and with a bit of practice focusing and holding it, it may be useable handheld. 
I'm happily holding on to the lens because the image quality is superb, it's made really nicely and the convenience of having prime image quality (minus the breathing) in two modestly sized zooms is invaluable for my work. In most cases I'll be using the 50-100mm as a portrait lens for interviews, so in general it will be on sticks and this negates the weight issue. It's by no means so huge and heavy I don't want to put it in my kit bag. 
If you want to keep your kit small and think you'll get by with one or two fixed focal length lenses and value compactness and ease of handling, I'd weigh up the pro's of sticking to primes before shelling out $1000 for the 50-100mm.
 

That's awesome, Otto!
Things are going fast!
Hope we can have an option to choose different aspect ratios like we have on the Magic Lantern.
I'd love to use my 2x anamorphic adapters on a NX1.

Here you go
http://***URL removed***/forums/thread/3979382#forum-post-57446956

Walkthrough for removing time limit. Might redo this in english.
 

In Windows I use Divx better than VLC to play H265 files.

Hi Friends.
I have made this spec ad with a Sony A7s, Gopro 4 and Lumix LX100. Hope you enjoy it. 
 

Yeah flew under my radar too, sounds brilliant

It's embedded now ?

Sorry can't figure out how to embed from my iPad ...
 

Thanks, project was shot in ProRes Film Mode and colored from scratch in Resolve (No Luts used). From my experience with the camera RAW introduces more Aliasing and Moire, which is why I shoot ProRes unless I NEED the RAW workflow for color temperature or maximum dynamic range.
 
Truth is though ProRes imo is my preferred method of using the camera as I feel the compression eliminates Moire and Aliasing by a lot compared to Raw.
 
Dynamic Range, Richness and Color of this camera imo is amazing and no other camera in its class is even close.......
 
 

Bang for buck the best image your can buy. Doesn't matter if Samsung goes out of the camera business, the NX1 will still be a great piece of kit.

https://www.blackmagicdesign.com/press/release/20151223-02
Boom!
What’s new in DaVinci Resolve 12.2
Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on OS X Support for HDR Hybrid Log Gamma using Resolve Color Management Inclusion of Hybrid Log Gamma conversion LUTs Updated ST 2084 HDR color science ACES IDTs for Canon C300 MkII clips Import support for NewBlue Titler Pro titles using Media Composer AAF sequences Reveal in Media Storage now supports mattes ProRes 4444 with alpha channel now defaults to straight mode Power Window opacity and invert settings are now retained when converting to Power Curve Windows Improved QuickTime render performance on Linux

Unfortunately, this Avenger movie hardly features one pure recording. One that allowed to draw comparisons or conclusions. You can't tell where the Pocket was used and why. Unlike Nicolas Winding Refn's Drive. It was shot with Alexa and 5D. 5D obviously for the shots inside the cars.
However, having sold the Pocket (after 18 months of use, many hours of test shots, one ambitious doc and two weddings) and being back to prosumer video (I own no camera anymore, my buddy hates BM and has an FS7), I begin to see the virtues. The richness of colors is unrivaled in this price class.

I'm a huge fan of the bmpcc.  It's the ONLY camera that fulfilled the needs of my FORBES70 prototype camera in terms of DR, low light performance, resolution, compatibility with adapted specialist lenses, solid codecs, etc.   since the bmpcc's release there has yet to be anything that comes close to its overall performance when paired with fast modern c-mount lenses.
 
The sheer number of so-called high end cinematographers interested in FORBES70 but who disregard it based on that fact that the internal camera is a BMPCC is amazing.  Also those who complain about anything the camera does visually are asking far too much.  £800 for the best picture available from any camera in the price bracket where re-mortgaging isn't required to make a purchase.     
https://vimeo.com/136554487 password : fbs
 I hope the bmmcc does the same amazing job and better!

Well, the NX1 can dress up well for a night on the town, can't it? Big old 28-70 2.8 Nikkor, lovely glass.