kidzrevil

I recently bought a Samsung NX1 after I sold my a7s and I am loving it ! I am currently using a kit full of Canon FD L glass but I am looking for anything both modern and vintage designed and optimized for super 35mm sensors to use with the NX1. Any ideas ?

I think he's just experimenting at this point. I've been like that having sold a gh4 and an a7s which were both good cameras. I think the NX1 has a lot of potential but again we just need native support from Adobe and Final Cut to see it's potential. Now more than ever you HAVE to get as close as possible to the final look in camera. If you try to go flat by lowering contrast and saturation we're kinda being counterproductive. The selling point of the camera is the contrast and beautiful colors....hope I didn't go off on a tangent LOL

this is quality work dude. You're really making the NX1 sing

honestly Albert Fast's work with the NX1 is the best I've seen hands down. Convinced me that leaving my A7s for an NX1 wouldn't be a bad decision lol. I am constantly doing real world tests with mine but I am waiting for Adobe to support h.265 natively before i release anything. I feel like transcoding the footage isn't giving us the "real" performance of the nx1.

I am currently using an NX1 with Canon FD L series glass and I am getting amazing results. Sharpness from corner to corner and some serious contrast. Renders beautifully on the NX1

couldn't agree more ! however I think the banding and macro blocking we are seeing is a result of these transcoding apps....im impatiently waiting for adobe premieres native support of the h.265 codec. I think we will see a jump in quality in post production I feel like with any camera it's really the camera operator than the camera. I think that is the reason why we are seeing so much crappy NX1 footage. Also you really have to learn how the camera processes and renders the same especially when it comes to exposure and compression. I personally think SLOG2 is over hyped being that it was made for 10bit cameras but stuck on one that shoot 8bits and can't render the entire color gamut that sgamut is supposed to bring. I was shooting with cine1 and cine4 with my a7s with better results than the SLOG2 footage I see. Most people expect a camera to have a wide dynamic range with these log profiles but they don't know what the hell to do with it lol. Rec 709 is fine especially on the Samsung nx1. The way the Samsung NX1 is an iso invariant camera as pointed out by dpreview. They have gotten the same looking image by shooting at iso 100 and pushing the shadows up like 5ev vs. just shooting at 1600. What this means for us as I've tested while grading is that it's best to underexpose to capture the highlights and then push the shadows. I under expose 0.6 of a stop and received that "filmic" look you are talking about with a surprising amount of shadow details hidden in that codec. Try it out

that's precisely what happens. It looks flat but all you are seeing is the usable data in the shadows being chopped off. Essentially your pushing the 0-255 luminance to like 16-255 creating a ton of issues in post. Its best to leave MP alone and use the entire 0-255 range. Im getting the best results with -4 -5 contrast and -2 saturation at 0-255 luminance

Does anyone else have an issue with their NX1 evf being soft / lacking detail in stills mode but becomes super hi resolution in movie standby Mode ? This issue makes it totally hard to land critical focus using manual focus in stills mode

Question : when shooting with the 200 all-intra feature on the GH4 am I the only that is getting files with extremely low bitrates ? Im getting bitrates as low as 36-42 mbps ! With all intra thats the equivalents of 18-21, meanwhile 1080 at ipb is getting bitrates on average of 85mbs

thank you ! Im excited to see what new updates you guys find with your experience in shooting with this camera !