Santiago de la Rosa

Question 1:
I live in PAL region. I recently acquired a camera that can shoot 1080 at both 50p and 60p. I wonder if that 10 frames really make significant or obvious differences in terms of video smoothness (especially for fast action, for example, panning)?
 
Question 2:
The reason I asked is because I realized nowadays most of the PC monitor, or iMac for example, running at 60Hz refresh rate by default. I tried to watch both 50p and 60p clip from them. I found the 60p looks silky smooth, while 50p looks a bit, I don’t know what to describe (maybe jerky?), not as smooth as 60p. I wonder if that difference is caused either by the monitor refresh rate, OR that 10 frames?
 
Question 3:
I have tons of other footage at 25p/50i from other old cameras. Should I compromise for that 10 frames and shoot all the way at 50p from now on?
Question 4:
Further to Question 3, if I am going to mix and edit all the footages together in future, will 60P conversion to 50P/50i/25P become nightmares? If yes, I should sacrifices that 10 frame and shoot my master raw as 50P.

Many thanks for your comments!
Arno

I've been doing inkjet. But now ordering a book from Blurb. It's 8x8". 
Here's some tests, but these are all from Prores HQ.
EDIT; Wow shitty autofocus from the iPhone, the measure tape is in inches.

I'd also agree that the manual focus on the 16-50 S lens is really smooth. Doesn't feel cheap or jerky. And the auto focus is great too in single auto focus mode. I have not had much luck using it in continuous. But I love tapping the screen and having it focus exactly where I want.

The sigma 18-35 works nicely on the NX1. Really sharp, great lens. Fotasy G adapter with aperture control ring is decent and inexpensive.

Adobe Premiere Pro CC was updated today to support H.265 files  I imported several NX1 H.265 clips directly into Premiere and they play and edit beautifully without any glitches or lag.  I even tried multiple transitions and LUTs on my clips and it slowed it down a little, but still no problem editing.
I have a Windows 10 PC, I7-4770K, 16GB ram, GTX970 4GB, separate SSD system, work and render drives.
Adobe After Effects and Media Encoder were also updated to support H.265.
Thank you and great job Adobe!

Just started shooting a music video this weekend, only test shots though, grading isnt final either, here are a few : 


 

Thx Kidzrevil, my NX500 arrived yesterday. I will test it this weekend wtih your settings.

Folks, I had a chance to cover a stage event last Sat and used NX1 and NX500 for a two-camera shoot. Both were at DCI 24p, with NX1/Samsung 16-50 covering the whole stage and NX500/Canon 70-200 the center. Thought you might be interested in how these two gems capture the image and how much flexibility 4K gives in reframing when outputting in 1080p. Comments/critiques welcome.
 

First, original with Andrew's recommended settings, second graded with M31 vision6, then upped exposure (0.2) contrast (3.3) and vivid (7.3). What do you think?

Thanks. I have no idea what I'm doing but I find this camera a lot of fun
There seems to be a lot of ways to get a natural look out of the NX1. I like these settings too ... 16-50S .. Gamma DR, Contrast -5, Master Black Level +10. Sharpness was either at 0 or +5 ... can't remember but was too high either way. My wife's hair looks pretty bad as a result. Great fun experimenting anyway. 
Exactly same settings here but used FilmConvert over the top for a very non-natural look ... 16-50PZ ... Arri ... Alexa ... DCIP3 ... KD5207 (Andrews suggestion somewhere along the line)
I'd also like to start shooting more street stuff with the 16-50PZ ... while the 16-50S seems perfect in every way, the PZ seems to have a nice less clinical look and it makes the NX1 a totally different cam to use because it's so light and nimble with nice stabilisation especially when teamed up with DIS and the cams AF abilities. I like the PZ lens

Curious what peoples settings are for the NX1. I've been hearing some say they only shoot in Gamma C which surprises me. I know that Andrew's log solution is also a great one. This is the one that I have found personally excellent.

Haha. Is Arri LOG on the Alexa dynamic range hype in your book as well then? Same principal.

It's more about the codec actually.
H.265 effectively doubles your bitrate due to 2x greater efficiancy.
70 = 140Mbit/s
The NX1's codec is able to hold onto more detail, where H.264 on the a7R II goes a bit muddy due to compression.
The RX10 II's codec is muddier still, probably due to a cheaper processor.
So in short... definitely more 'real' detail on the NX1 compared to the A7R II and A7S II.

I shot a video for an artist called Vesperteen (check them out on Apple Music, or here). Shot 75% in V Log 10 bit, and 25% with C100. Check out some of the V Log stills below. Haven't worked on a final grade yet. These are just Cineon to Film Contrast LUTs applied.

The only problem of the LX100, besides the "penis-factor" ;-) is that it's zoom is short (size does matter sometimes!). At Iso 1600 (which is pretty clean) and f2 you can work even the darkest shows. The OIS will help too! Of course there are much better solutions, not under 800€, everything else will be compromised too!!!

Hey Guys,
 
Wondering if anyone who still shoots ML RAW would like to discuss and give suggestions on their workflow?  I've been shooting RAW on my 5d2 with a VAF for a while now, mainly for personal projects.  It's so much work but it's fun for me because there's so much more to play with.  It's intimidating, but that's why I only use it for my own projects, not for any of the freelance work I do.  Right now, I've been using MLRawViewer to view files, and cr2hdr to export to .dng files.  I don't use Resolve, so my workflow is importing each sequence into AE where I grade/apply LUTs, export to ProRes and edit in Premiere.  It's a pain, because once I start sequencing together I notice the subtle differences in the grades.  Then I have to go back to the clips in AE and re-export.  Is there any way to speed this process up?  I tried using dynamic link to edit my first test below, but playback in Premiere with a ton of linked sequences was almost impossible.  Also, what LUTs would you guys recommend?  I've been using visioncolor and they seem to be pretty nice.  I just have a hard time being consistent with my grade when I have to go back to ACR and make subtle tweaks (not knowing what the result will be once the LUT is applied).
 
Thanks for any help!
 

I have one pre-ordered from a place that Aaron Green recommended. I'm most excited by the global shutter option. There is something about the way it renders motion that makes a subtle difference. And of course, I look forward to shooting raw and prores without the need for an outboard recorder/monitor. I've been running around with a GH4 and Odyssey 7Q+ and it can be a bit unwieldy when I'm on my own.
I have assembled everything I need to shoot with it collecting in a box. some purchased, most I already had -- cage, cards, cables, 502 monitor, speedbooster, ND, follow focus, tokina 11-16, sigma 18-35 + 50mm, and Rich at Dog Schidt Optiks is crafting a Trump 58 set with the 38 and 88 attachments for me which i can't wait to pair with the bmmcc. Hopefully it ships this month.

I also picked up this fantastic monopod by Sirui. bought it for the Micro but have been using it with my GH4 in the meantime and I love it.
 

BMPCC - definitively better than D5300 (I've done a low light side by side and the Pocket trounced the Nikon). A speed booster and fast lens helps too of course. Also if you shoot RAW you can lift the shadows a few ISO and clean up very dark footage.
It all depends if your friend wants an easy life or not though ...

ISO 400 is the worst. Shoot 800 or 1600 and expose a bit to the right. It looks a little noisy in the shadows ungraded, but it's corrected by adding a LUT. I've found that the Varicam LUT is not good at all. The 2 best are Impulz Cineon to Film Contrast 1, and FilmConvert V Log profiles.
I'm not opposed to that but what are you looking forward to with GH5 that's improved over GH4? Only thing that I see them adding as a bonus is 4K 60p, and HD 120fps. No way they'll add 10 bit 4:2:2 in camera. The camera that I hope Panasonic makes is the FS7/Cx00 competitor.

Cooke!!
 
But the Sigma 18-35mm F1.8 is my current favourite S35 lens for realistic prices

I was very excited about V-Log, because GH4 is a great camera (the one I use most of the time), but really needed a flat profile such as the BMPCC. 
But, for my experience it is very difficult to obtain great results inside a room with lights or in natural light: I had a lot of noise. Way too much for my taste.
Outside it's slightly better, but I had some difficulties focusing.

In my opinion it is something not comparable to the amazing BMPCC's ProRes flat file, but I would be more then happy if you have suggestions that could change my opinion. I love BMPCC files, but I really don't like the working process on it, so I end using always GH4.

I cannot afford an external recorder in this moment (I just bought a 3 axis gimbal), so probably I cannot have great results because I record on the SD card.

Wich LUT do you use for V-LogL?
Thank you very much Aaron
 

Photoshoot Sesion BTS, with GH4 and Optex Anamorphic adapter.
Comments are appreciated

Hi everyone, I started running some tests on the new Samsung Firmware 1.2 for the NX1 camera.
As a lot of users I was very impatient in testing the new Gamma DR curve, seeing if it would improve the dynamic range of the camera.
So far in my first tests I cannot say that I have seen real improvement between Gamma DR vs Standard profile in terms of dynamic range.
It is very hard to measure the dynamic range of a camera - especially when you don't have the facility/tests procedures. And I don't. So my tests are definitely not scientific. Furthermore I don't have images to share yet (hoping that will come soon and please feel free to share yours).
Now there are 4 settings that can affect the dynamic range in the NX1:
- Profile mode (standard, gamma, etc.)
- Contrast value (-10, +10)
- Master pedestal value (-15, +15)
- luminance level (0-255, 16-235)
From my early results what I can say is that going to an extreme setting (gamma DR, contrast -10, MP +15) result on losing skin tones and might increase macro blocking in bright areas. I had much better results with almost the same settings, but putting contrast at -5. But you'll also notice that if you take the standard profile and tweak the contrast at -10 you will have comparable results. Also setting the master pedestal at +15 increases the details in the blacks, but you also lose details in the brighter areas (and you might find an actor's face to have some light reflections, and you might lose those details). However it can be useful in situations where you will need a lot of details in the blacks. For instance I had the experience of filming a music video featuring a black actor dressed in a black suit - and very little lighting. This is typically the kind of situations where the master pedestal will come in handy (and good lighting also). I noticed that a lot of people rely on the master pedestal to give this "film look" and personally I don't recommend it. It is often underrated how soft highlights participated in the film look. With a master pedestal at +15 you will lose some of that imho.
So these are my findings so far, I know that illustrating with videos would help a lot, but I don't have this kind of time right now so apologies to the community. I will be very interested in learning from your experiences with the new firmware. 



 

We did some just for fun:
The Walkind Dead tribute in 2012, with a Panasonic SD700 camcorder, lot of mistakes but it was very fun to do it, and I learn a lot (I´m the zombie :))
And an english homework for my little cousin class, my first training with the BMPCC:
 

As it's almost Halloween I thought it would be fun to start a thread for everyone to share their own horror short films.
Mine is a a three-chapter Lovecraftian miniseries titled "The Crawler in the Dark". The story is about two scholars who discover an ancient artifact with which they can psychically explore across space and time, but leaves them unwittingly exposed to a malevolent psychic traveller:
Chapter 1: Eplilogue
http://www.youtube.com/watch?v=5cOycfQFZPM
Chapter 2: Old Friends
http://www.youtube.com/watch?v=OBtZBIV_o7s
Chapter 3: The Traveler
http://www.youtube.com/watch?v=SeuQpYDs5JI
And here is a film I shot last year, but recently re-released in it's original 4K resolution. Titled "No Face", it's about a supernatural entity lurking inside a survival horror video game.
http://www.youtube.com/watch?v=_aJLKKjUYUc
Both films were shot mostly at YouTube Space Tokyo during their Jidaigeki (period film) and House of Horrors limited programs for local YouTube creators. Most of "No Face" with the GH4 and SLR Magic 10mm Cine bolted to a custom helmet rig, and "The Crawler in the Dark" was shot anamorphic using the GH4 with the SLR Magic 1.33x Anamorphot adapter and Sigma 18-35.
I hope you enjoy my horror films, and share yours as well!

Not exactly "horror" but recently we did a Halloween themed episode of our YouTube show called Boxmac: The Search for the Best Box of Mac and Cheese. We shot the cinematic parts using the GH4, vlog, and the Ninja Assassin. It's a parody of Crypt Keeper tales, so we were going for that TV horror feel complete with a 4:3 aspect ratio.
http://www.youtube.com/watch?v=gEL4y6ZJdgs