kidzrevil

i'll look into it. A month or two from now the prices will plummet

love your looks dude. What lens ? The wide angle shots look killer

i havent shot with a tripod in 4 years. 0 stabilization, all hand held. I refuse to partake in proper film making your work has been quite comparable to the pro's so you're doing a good job ! The more I learn about grading & compression is the more I get out of the cam, any new findings I have I will be sure to post em. How is the 16-50 btw ? Found a guy selling his for $800. Is it comparable to the nikons when it comes to manual focus or does it have that "electronic" focus by wire feel if u kno what I mean

man I don't trust these 8bit to 10bit LOG Luts ! Did you notice any compression errors or weird stuff going on in the shadows ?

do you notice any macroblocking in the shadows when using such a high master black level ? Shots look good bro the standard and vivid profile gives great results. idk if it's the internal codec or the curve they use but it hates areas of low contrast !

absolutely. I have diffusers for when it's absolutely necessary to do it in camera. It helps the compression. I pushed the cam to it's limits shooting a water fountain at high aperture, it couldnt handle that detail. Since then I've been using tiffen black diffusion fx in strong grades. Only downfall to that is idk how the footage looks on a big screen !

The NX1 is very sharp. Too sharp. I wonder if this is beneficial when blown up for viewing in theatres or big screen TV's ?

the size is just...nuts. A file went from 120mb to 1gb !

you are right ! Im settling on using the nx1 for documentaries and things that require quick turnovers. No complaints about the quality I just know we can squeeze out a little more in terms of performance lol. Gonna get the 5d3 for projects that I can put some time and effort into the grade

Debating on getting a shogun assassin for this thing but I haven't seen anyone mention any gains in quality from it. Gonna take @Geoff CB advice and transcode / downscale the in camera files to 10bit prores and see if it will improve the quality of the files. Tried it before with gamma c and raised master black levels and it was a disaster in deep shadows. Had to crush the macroblocking away. fingers crossed

cause it was emotional !!!!

the final episode almost made me cry dude lmao I had to tough it out

cowboy bebop was dope. Definitely a genre blending masterpiece with an art style to die for

??

good God that shit looks AMAZING

the camera could easily do 100+ mbps but it's capped at 80 for compatibility with their tv's smh. I know there is a way around this...we pretty much have to expose to reveal as much shadow detail as possible or crush the shadows in post (mainly the very deep blacks). I've already beat the camera's in camera sharpening/edge enhancement with the right diffusion filter. That's already a better use of the camera's bit rate now I just have to tackle those pesky shadows and come up with a suitable post production workflow

I tried converting to prores 444 at 1080 and still getting horrific macroblocking. Idk I think this is just something we are gonna have to deal with when it comes to the h.265 codec unless someone makes some type of breakthrough with these picture profiles

You gave me an idea when you reccommended using rocky mountains movie converter. I am going to use gamma dr or any profile where I can capture a scene completely "filling" the histogram. I will put it in the movie converter with an impulz lut that converts the image to cineon and output the 4k file to prores 4444 at 1080. This should essentially create a 10bit file in a cineon log colorspace. Visioncolor's lut's does a good job of pulling info from the shadows and highlights that I personally couldn't see with my naked eye. Hopefully this creates that middle ground you spoke of

if this is truly the case then we shouldn't raise the master pedestal because it takes bits from the low end of the codec. 15+ master pedestal is essentially 16-255

I was playing around with the camera today and noticed at the same exposure settings when using 16-255 and especially 16-235 the camera doesn't display the same highlight clipping as it does when using 0-255. My overexposure guide (zebras) were going nuts then I switched to 16-235 and poof no more clipping at the same exposure. Has anyone else noticed this ?! From my understanding you are not supoosed to be gaining any DR by switching the luminance I am very confused right now !

awesome ! Gonna do some experiments this week. I see rocky mountains lets you add a lut to the conversion, that sounds VERY promising

It just dawned on me. Isn't pro res 16-235 ? Would it be better to shoot in 16-235 if you have to convert to pro res ?

no do it all in one go. Denoise,grade,render

yeah and make sure you export with max rendering and bit depth to take advantage of it

Thanks alot guys ! Do you feel as if the files grade better after you convert to 10 bit prores ?