kidzrevil

Back to basics. Default Gamma DR settings with sharpness at -10. MBL = 0. 16-235. Film Convert (Arri / Alexa / Rec 709 - Astia 100). I love using this camera. I know they are exiting but I wish they gave us one more FW update for it as a parting gift (VERY doubtful). NX1 & both "S" lenses.




 

The love for the 5D RAW video image quality seems to underscore what the Imaging Science Foundation has been saying for years - resolution matters far less than other aspects in the overall picture quality:
http://www.trustedreviews.com/news/isf-contrast-still-the-most-important-aspect-for-picture-quality
Their top 4 attributes:
1) contrast ratio (dynamic range), 2) color saturation, 3) color accuracy, 4) resolution.
I'd easily give up the 4K resolution of my A7R2 if I could get 1080p raw with the quality of the 5DmkII / III.  I don't know if I would give up the size, portability, and ease of use features like autofocus of the a7 system for it though.  Just give us some tech from 2008 in our new cameras already..

Regarding batteries - I've used the various Amazon aftermarket batteries for years on Nikons and big Panasonic broadcast-style cameras. Zero problems.
Still, if the NX system is truly dead, don't be surprised if the aftermarket stops producing accessories. I'd consider grabbing some batteries (I don't feel comfy without 5 or so for any camera). I'd also suggest getting the genuine Samsung charger (that SHOULD HAVE SHIPPED WITH THE DAMN CAMERA), for 2 reasons - 1, the aftermarkets are direct-plug so tough to have on a desk; and 2, they're about as cheap as a charger can get. They're all the same base with snap-in plates, and my plate is already falling off when I take a battery out. (Ever have a multi-day gig out of town and go to sleep in your hotel with a dozen batteries on a dozen chargers??)
I'd also think hard about what glass you may want someday, and possibly grab adapters while they're plentiful. Think you'll ever do a music video and want that crazy helios look? Get an M42. Who knows, maybe this stuff will be manufactured for years, but a $12 (or $30) adapter isn't going to get much cheaper, is it? And buy a spare for your favorite glass. (When I shot canon, I just bought adapters and rear caps for most of my Nikkors, really sped things up since the Canon adapters were a fiddly pain). It's gonna suck if you still love the NX1 three years from now and can't stick your glass on it...

To ettr the g7. Set the Zebras to 100% and avoid them on any highlight of importance.

nice! can't wait to see some shots from that combo. 

not just the nx1 sensor obviously  used the 28-70 2.8 on my a7s and it was beautiful.
anyways this thread has been enlightening. i'm in the process of finding where i like the settings and recently did a test with 2 very contrasty scenes (interior and exterior) and I'm blown away with the shadow detail that this camera retains... it keeps it much cleaner than on the a7s (which is why we'd always ettr).
don't judge me too much! these were scenes designed to push the video capabilities in post, and see what kind of image I could recover, not necessarily to be beautiful.
here are a few screen grabs:




 
settings are as follow:
gamma dr. sharpness -10, contrast -10, sat -4, black level +10
internally, this might be a bit aggressive. there is some banding on the walls of the interior shots (which were heavily underexposed btw), but i'll test it again with the shogun on saturday and see if the extra 422 helps with that.
the lenses were second gen sony cinealtas... and are almost too sharp with how much this camera sharpens. i should add to try and mitigate some of that i shot through 1/4 HWBMF
 

Maybe I'm unique, but my must-haves were pretty simple for an affordable DSLR. I would have spent up to $2-$3k for:
APS-C/Super 35 sensor; At least 2k, pref. 4k (reframing for low-budget, 1 camera shoots and being able to pull great keys are huge for me); Ability to take a wide range of glass; Image with decent enough DR to be able to "light for the sensor" - I don't need 14 stops, I can light for 10. Audio meters, manual audio control, some sort of usable 1080 slowmo. I really wanted to love something from Black Magic, but those sensors meant Speedbooster, and the 2k cinema camera meant speedbooster and SDI monitoring. I really need at least 60p@ 1080, too. And freaking interchangeable batteries that last 45 minutes or so.
The NX1 really hit the sweet spots for me, and then some. I don't take a loupe to shoots anymore for chrissakes. Technically, the image is superior to the Nikons I've been shooting for client work. Aesthetically - my D7100 is still "prettier" in some ways, and it's got nothing on BMC at their best.
OK, find some tech guy to contact Samsung, license their tech, and create a reasonably priced cinema camera for pro, semi pro, corporate and enthusiast market. Give it Prores 422 to the card or an SSD, boost the DR and gives us some output options for raw or bit depth. 
There is a market - assuming it's Nikon or Canon's market is the big mistake forum posters here and otherwise make.
I live in Dallas, which has a lot of well-employed people. Not just the rich, but those with expendable income.
I'm really used to seeing the soccer-mom, the hipster dude, the dorky dad, the "I'm a big fan of live music" 20-something, all rocking nice cameras at shows or outdoor events. Look close and they have the mid-level zooms (not the 2.8 stuff but not the kit - fairly chunky F4 stuff in the $800 range). And the strap.
For this market, the strap is of vital importance and equal to the physical size of the lens. It absolutely must say Nikon or Canon. I don't recall ever seeing a Sony or Panny strap on those shoulders.
Can't tell you how many times I've chatted with such a camera owner - "Oh, I have that body" and you find they're shooting it 100% program/auto. They're getting the exact shots they'd get with a little mirrorless rig. But man, they look so legit!
This, and semi-pros concerned with lens ecosystem is likely what did Samsung in. I've yet to take a single still with the NX1, but on my third paying gig with it. I'm a drop in the bucket market-wise though.

If you want to shoot stills and video with one camera then a hybrid sounds like the best tool for the job to me!!

#2 is interesting. I hadn't thought of it like that before. I've always pretty much stayed away from the MP. 

i use sandisks extreme pro 128gb 160MB/s and they never let me down.
They write 1080p raw 24/25 fps with NO stops (from 5d3, they are much more relialiable than komputerbay 1000x which i also have but not using now). You can also continously record 50 fps raw with 2,35:1 aspect ratio (with lower vertical resolution but very usable). You can do 65 fps for about 6 seconds, you can extend this time by reducing resolution (you can set whatever you like in multiple aspect ratios). With full 1080p quality with 2.35:1 aspect you can record 10-11 seconds at 39fps.
Back to the cards - having two of them where each one gives 23-25min of footage and copying takes about the same (~70-75MB/s with CF, ~20-25MB/s with SD) gives almost continous recording. I would say that having 3 or 4 would be just perfect. And those cf cards gets cheaper and cheaper (1/3 price drop from the last year). In my nexto i can swap HDD drives very easily, it supports up to 2TB so you can take couple of these with you It has an internal battery which lasts for copying about 400-500GB but can be also powered from te wall, car lighter or cheap USB powerbank The current model ND2901 can also make the second copy to external USB 3.0 drive. How cool is that?
CFast cards are still so damn expensive and devices like nexto which supports cfast cards are over 2000$.
If you need any information go to magic lantern forum
http://magiclantern.fm/forum/index.php

Yep that interview was also conveniently less than 3 min  

Yes absolutely, they should have stuck it out. Good post.
They had NX on the market for about half a decade, trying to do what it took the rest the best part of half a century to achieve.

It depends on the 4K though doesn't it...
On mirrorless cameras it certainly beats all the 1080p internal stuff, even if you don't need the resolution there's more in the file because of the lack of pixel binning.
4:4:4 sampling and 10bit luma in theory when you squash it down from 4K to 1080p, although compression muddies that picture, quite literally
XAVC SLOG does fulfil a purpose... file sizes, longer recording, cheaper media.
But we need to start having more choice in our codec from the major manufacturers. No reason every mirrorless camera can't have ProRes like a BM Pocket Cinema Camera is there?

Of course they are, raw2CDNG, MLrawviewer, MLVProducer, MLVFS (for mounting MLVs and using "virtual" CDNGs - no need to unpack). I work on a PC and there is everything I need for comfortable work.

Not to mention that the XQD can support >1000mbps... 
They could have revolutionized BOTH the photography AND the videography fields by implementing 4K compressed raw at 24p. Even with a crop. 
But given the 3min limit, that sensor has severe heat problems and I believe they are trying to protect the long term usage of the camera. 
P.S. My dream D5, other than shooting RAW 4K, had an EVF when the mirror flipped up similar to the hybrid viewfinder of X100T.

Yeah, that 5D video is stunning.  I have messed around with raw on my eos-m (obviously not in the same league) and have learned that there are a lot more programs now than there were back when the II was in it's heyday, is the workflow less tedious now for 1080p raw?

These days working with ML raw is a breeze. Reqired CF cards are much cheaper than a year ago. I have 5d3 and love working with raw. I have bought 2 sandisks 128gb 160mb/s and they NEVER gave me dropped frames. Never unexpected recording stop. NEVER. It is very reliable. 128gb last for about 25min 24/25p 1080p.
My workflow now is:
-put CF card to the reader - 2 seconds
-use  an app called MLVFS which "mounts" the files from the card and makes them virtual CDNGs - 128gb take maybe about 30 seconds
-open resolve 12 and import files - 30 seconds
Color correct, cut, do everything and export  - there is NO need for any conversions at all.
Thats it. There is some nice app, all-in-one solutions in the making right now  - called MLVProducer.
On shoot i had 4 CF cards and nextodi 2730 with 2TB HDD onboard. Archiving 128gb takes about 25min. Then i can take HDD out, plug it to the PC via sata cable and work straight from it. Memory is getting cheaper very fast. Instead of investing 2-3 thousands $ into new camera (and cry about 8bit etc) i rather buy 8 new sandisk cards for 1300$ and have 200 minutes available without a need of copying it on set.

Veydras are great. They don't have any funky stuff going with them which does make 'em consistent and have great resolving power. You can now user swap the mount to E-mount too. If you were to go up from that, without the need of fullframe, remember the Sony CineAlta set that has come down in price tremendously (as seen on: http://www.bhphotovideo.com/c/product/906631-REG/sony_scl_pk6_f_cinealta_4k_six_lens.html ). So you'd get a S35 covering set of 6 lenses, 20, 25, 35, 50, 85 and 135mm T2s for 2150 USD/each new. That's some proper glass! Still fairly pricey though, but I've seen 'em go up 2nd hand for 4850 GBP in the UK and 8500 EUR in France. And for that kind of money... that's pretty interesting for proper cinema primes.
Personally I'd like to mess around with some C/Y Zeiss next... see what all that's about for myself. I like vintage vibe, but usually I go for the extreme ones which tend to flare and create crazy bokeh, yet aren't really solid go-to lenses to just use for everything. Another interesting idea would be to shoot stuff exclusively on the BMPCC and get the Zenit Optars... http://shop.zenit-foto.ru/kinoob-ektivy .
Concerning Nikon Ai-s. The 28mm f/2.8 is a legendary one. Such a beaut.

Your FDs and your Nikkors should be plenty sharp enough. I just sold off my set of FD lenses because I didn't love them, but I didn't have the L glass you have. I found they favored green and I don't like the way my Samsung handles green.

I have no idea why they would perform differently (the filters). You canalways rent a modern lens and see if you need that kind of sharpness.

No problem!  The original points made in older resurrected threads like this often get pretty obscured.

Magic Lantern raw, 16mm film, RED One, Sony F35...
What do they all have in common?
They are all a pain in the ass!
All fantastic yes. But definitely a pain in the ass.
Magic Lantern fills up your 64GB card in 12 minutes. Sometimes it just stops in the middle of a shot.
16mm film is hardly a day to day practicality for most people.
The RED One takes as long to boot as it does to go through your brick of a battery!
Sony F35, don't even get me started on that hulking beast!!
----
What I would like is a bullet proof reliable camera which shoots with an image similar to Magic Lantern raw on the 5D Mark II but 10:1 compressed raw, runs on a small battery for hours and has a codec as easy to work with as the Red cameras.
Blackmagic are likely to get there one day but not just yet.
Then I want that putting in a C100 II or FS5 style body, with variable ND and the 5 axis IBIS from the A7S II.
Give it the low light chops to match.
Then we can finally at long last say... NO MORE PAIN IN THE ASS!!

It's awesome!
Awhile ago I had the much older nikkor 20mm 3.5 UD, and the copy I had was a bit yellowed and soft.
The 20 2.8 AIS is much sharper wide open and a perfect color match for all the other Nikon AIS stuff I have.
It fills a huge hole in my line up and makes me wish I had bought one sooner
If you find a one, grab it!

Another re-edit :

I realized, I stopped taking pictures almost completely, and instead use only framegrabs...The quality is simply outstanding, and quite honestly, the gap between photo and video has become so thin, its barely noticeable.

I currently have the 50 1.2 AIS and a 50 1.8 AF-d, and 55 2.8 macro
I've owned the older 50 1.4 S in the past.
1.8 and 2 are really pretty much the same thing. All of them are pretty sharp at f/2.
the 1.4 I had was pretty dreamy wide open and got sharp around 2.8 or so if I recall.
The 1.8 I have is sharp wide open and about the same at 2.8.
The 1.2 is very good wide open and really sharp closed down.
the 55 2.8 macro is just next level, edge to edge sharpness throughout it's aperture settings.
 
Unrelated to the 50s, but I bought a 20mm 2.8 AIS the other week and man is it nice. It's already one of my favorite nikon lenses