kidzrevil

Glad to hear you like the a7rii. I've been debating getting a sony a7sii because some of my lenses look better on the full frame mount (canon fd). With that being said I would disagree with some of your statements (not trying to be argumentative). Although i havent shot with the a7rii I've only shot with the a7s I can say I never experienced the issues you have with motion cadence. I would go as far as to say it has the best cadence to my eye when compared to the gh4 & a7s I owned. I don't think any motion shot in 24 fps would look "natural" on any camera when some people eyes cant destinguish anything over 60 frames per second. Some people can distinguish frames beyond 60 and thats scientific fact. Point being I think the motion of any of these cameras are unnoticable to the user and will not make or break your aesthetic and this is coming from a guy who doesnt mind going up to 1/4000 second shutter at 24fps. The nx1 doesnt have the jittery effect however the fine detail can be a bit too much and adds to the "electronic" feel that may be a turn off for some. I tried shooting with diffusion filters with no luck cuz the camera just cuts right through it, has got to be how it downsamples from the 6.5k sensor. Anyway back to motion it compresses motion blur very well...the xavc codec from sony is notorious for generating macro blocking because it cant handle that motion for some reason clueless as to why. As far as nx1 dynamic range is concerned it has plenty...especially for the fact the codec is 8bit. Shooting log with an 8bit codec is nonsense to me. Not enough bits to spare....not enough color data to spread around like that. With LOG the camera dedicates less and less data with each stop it renders...food for thought. This is why you see all the artifacting and banding on people insisting on shooting LOG. Over exposing slog footage two stops to avoid the noise it gives you kinda defeats the purpose but whatever. The NX1 has alot of detail hidden in shadows and to get maximum dr underexpose. That simple. Damn thing is almost noiseless 1600 and under. Besides in general when it comes to DR if you are not shooting on actual film your gonna have to prioritize your highlights or shadows. NX1 color straight out of the box is mind blowing. Skin tones are very close to accurate. Sony shifts their yellows towards green. This wreaks havoc on skin tones especially caucasian skin. And last but not least the infamous sony blue channel clipping makes it just about unusual in city scenariou with neon lights and events such as concerts. full frame is overrated. APS-C is closer to motion picture full frame is 35mm photo equivalent. Full frame doesn't add mysterious magic to an image and with certain lenses crop will cut out the problematic areas of the imaging circle. overall they are both great cameras. I prefer the nx1 over the a7 series

what lens adapter are you using and does it have infinity focus ?

I've heard a couple of you guys talking about contax zeiss lenses. Are they better than the ZF lenses ?

its all subjective...plus you have to factor in lenses used during his tests. Lenses I own that look great on one camera body don't look as good on another. I've had that issue before. The BMCC does have a great image as do the sony's. How the Sony's render certain colors (yellow, green) gets on my nerves but you know that stuff is subjective. Right now I prefer the colors from the GH4 & NX1 and I know a couple of people who would disagree. As far as the XC10 is concerned nothing about it appeals to me from specs to image...especially in comparison to cameras such as the 5d mark iii and even t3i

smart move bro ! Glad you're willing to save yourself the headache of shooting with a failed experiment

I heard that camera sucks. Would be great in the 1990's but sucks by todays standards. F5.6 in telephoto mode are you kidding me ?!

in camera settings. gotcha ! I'm permanently going to leave contrast at default, just need to find the right saturation settings. I'm going to leave the saturation at default for all profiles for my next test and see if I can use the impulz lut to bring them back into a usable range. Should work in theory. The issue with desaturation in camera is that low saturated areas will suffer as they lose too much color information. That is BAD for post work especially when using LUT's. A visioncolor LUT for example will desaturate areas of high saturation and boost low saturation areas. I think you see what I'm getting at here....

..hmmm....that's interesting dude. If you don't mind send me whatever info you have on those findings with the nx500. Shouldn't be that far off from the NX1. I'll look for the nx500 test on cinema5d

I'm thinking that could be it ! Well Ken Rockwell praises the Canon FD L set I use to be sharp and contrasty (which they are) but idk they have a different characteristic than modern lenses. It's a mystery. But yeah default settings across the board ! I'm going to try to use the standard profiles but with the gamme DR things that looked saturated to my eye were not oversaturated when I looked at the scopes. I threw impulz visionspace LUT at it and it brought the superwhites and deep blacks into a usable range revealing that this camera has a lot of hidden data in both extremes of the histogram. Agreed though...I am living by these vintage lenses...I don't even use diffusion filtration anymore to control my contrast with the nx1 I think that cinema5d test was flawed as fuck to be honest. They went with -10 contrast (big no no) AND included the smart dr thingie in the test. Dude every filmmaker knows to stay away from those in camera settings that promise extra DR. I haven't done cinematic tests but I think my DR in gamma DR mode at default settings is giving me something equal to sony a7s cine2 & 4 profiles. The standard picture profiles are equal (to my eye) to the a7s autumn picture style that people are using now. Only so much you can do with 8 bit's anyway. Again that cinema5d test is flawed

the NX1 is the real deal for me. I had an a7s and it was cool with the high iso's and all but I hated the color and how it clipped the LED's in concert lights. Made it unusable for city and live performance scenarios. This NX1 though ? Killer. And the more I figure out how to expose with it to avoid noise and macroblocking the better it gets. It also makes vintage lenses sing...im blaming that on its exclusion of an anti aliasing filter. vimeo.com/kidzrevil

I brought the Canon FD L's out to play. Left Gamma DR at default contrast and saturation with -10 sharpness and wow. Realizing some of these profiles were meant to stay at their default settings...well at least for my grading workflow. I rather reduce saturation than to add on this camera. Even with standard at default settings (-10 sharpness) viewing the camera histogram showed that it wasn't even clipping any color channels but things look vivid as hell ! All the color and highlight info was there just had to be pulled down in post ! Anyway I am getting less banding and stuff out the gamma dr profile even without neat video. The softness of the image is coming from the super 16mm grain with FILMCONVERT btw. Helps reduce that super sharp image from the nx1 that makes fine detail and look almost aliased. Love the softness reminds me of a diffused look. Really made my wide angles sing

hahahaha I think I get it ! Have you tried the NX1 yet ? Aint no anti aliasing filter in the thing ! These old lenses take on a whole new look. Hell of a thing how a sensor could alter the look. Andrew Reid has been using a mount lenses...he sounds like he's getting good results. I've yet to try m42 lenses even though I have 4 takumars in storage, maybe an m42 mount lens would give your images character

take it from a guy who went from canon,panasonic,sony to samsung...if a camera is giving you a look you want and its east for YOU to work with by all means stick with it and master it ! I too have noticed the differences in lenses don't "jump" at you like they do on other bodies. I really believe its how the image is processed (for video) in camera because the raw stills look gorgeous and you really see the nuances that give different lenses character. I gravitate towards the lenses made for film because optically they weren't perfect and those imperfections help build the look. The filmic look you're referring to is the flat "smooth" contrast you get from the panasonic & canon cameras ?

the balance of the older lenses are amazing ! Even when you get into the 85mm range the camera is still balanced and the weight is manageable for hand held work. I haven't heard the sigmas as being heavy which is good cuz I worry about putting too much weight on the mount.

yup thats what the charts show, especially at the center of the lens. You know crop sensor is gonna exaggerate that even more ! Resolving 6k is more of an issue with stills for me at least. Downscaling even relatively softer kenses to 1080 created an incredibly sharp image for me, like ridiculously sharp. When you think about it the camera is downscaling 6.5k to 4k then your taking that and putting it in 1080...thats ton's of resolution being crammed into a 2 megapixel image. I would still aim for lenses with character over resolution if you can't afford the sigma

absolutely ! I shot a fountain at f8 and there were so much motion and fine detail from the water droplets that the camera literally said fuck it and gave up. Macroblocking EVERYWHERE. But...that was probably a situation that would bring any compressed camera to its knees

looks damn good dude ! Im interested in picking one up to compliment my nx1. Hey does the a7sii have the same blue channel clipping as the a7s ?

I've been getting atrocious macroblocking while grading...especially with deluts ! How do you expose with the NX1 to avoid macroblocking ? Im getting it in the highs and low of the image ! Definitely gonna have to change my style of grading to accomodate this smh. Samsung is lucky this camera is so damn sexy or mines would be on ebay after today lmao

thank you for your support ! Yeah dude if I was 100% certain the novoflex adapter controlled aperture I would've got the sigma art lenses over the nikkors. They resolve 6k WIDE open which is no small feat. It's cool though the nikkors stopped down 1-2 stops sharpen up nicely and they have character. My FD glass looked way better on my A7s... you should look into the sigma 35mm art !!!

idk about the last part because when I used to shoot with a t3i magic lantern came out with an absolute zero sharpness mode that worked wonders for me significantly reducing/eliminating sharpening artifacts. All the other points you made lets hope they keep us in mind with the nx2. If they cant up the bitrate they need to make it more efficient. Im finding that if I pull up or pull down to recover detail in highlights, shadows or areas of low saturation I am getting artifacts. I am going to try and shoot at each picture profiles default settings with only -10 sharpness and see if that aleviates stress on the codec. I know with other cameras they struggle with low saturation and low contrast areas (sony a7s log & technicolor log) due to the 8 bit color space. So im thinking maybe Samsung engineered these profiles to be so saturated and contrasty with their codex in mind maybe. I will throw a vision color impulz LUT to handle the complex saturation adjustments in hope of eliminating the banding/macroblocking. Short version : I don't think the h.265 codec can handle much changes to contrast and saturation. The NX1 needs all the data it can get from the beginning. Maybe Samsung can change this with more efficient encoding ?

I haven't taken on any jobs yet ! Idk if I told you but im currently active duty military. I wish I could post the stuff I shot on base ! I will have new work soon though don't worry, come April i'll start a new project. Been thinking about giving up the FD's for the Sigma ART line or waiting for SLR Magic's anamorphic lens set. Would be interesting to see some anamorphic footage coming out the NX1

totally agree with #2 ! A Samsung LOG would be the closest we can get to RAW performance or simply just better highlight handling 3) peaking on all the time & 2) choosing anywhere to view critical manual focus is much needed

Hey I'm putting together a wishlist of things I would like to see updated in the NX1 or carried over to an NX2 (if that is in the works) in hopes that Samsung will answer our prayers. The NX1 has been a phenomenal camera for video but it falls short in a couple of areas that most likely can be fixed via firmware update 1) higher bitrates : raise the bitrate for PRO quality to 100-200 mbs. The NX1 supports UHS-II memory so there should be nothing stopping it from getting all that data to the card in the name of better compression 2) macroblocking : FIX the macroblocking issue in deep shadows, high iso's and in the blue color channel. Possibly a higher bitrate can fix this 3) absolute zero noise reduction & sharpness options : gives us the freedom to totally disable noise reduction and or in camera sharpness ! The noise reduction could be the main culprit behind the banding. 4) faster sensor readout to minimize rolling shutter 5) better cropmarks : gives us the ability to use black borders for 2:35:1 framing instead of those thin lines used for the rule of thirds grid option. these are my top 5 requests. Lets see if we can get more in here and hopefully Samsung see's this and addresses these issues !

the Canon FD novoflex I had was a waste of 213 dollars. Falls miserably below infinity focus ! The novoflex nikon goes slightly past infinity but with amazing build quality ! The Nikkors are amazing, they actually have me debating whether I should keep my Canon FD lenses go figure

gotta try your settings. I set my saturation to -3 and contrast to -5 and had terrible results in the blue channel when adding saturation. Some of the worst macroblocking I've seen ! Boy im hoping the issue was lack of data in the color channel ! I've been getting some weird artifacting with the NX1 like detail that I intentionally clipped to black in camera suddenly appearing when a LUT was applied. This camera is becoming quite the mystery to me when it comes to post production