kidzrevil

I think it is normal that you lost details in motion - it should be more obvious if you have so much detailed image as produces NX1.

The jerky motion could be caused by lens stabilization, especially since you say it's not dependent on shutter speed.
As for the sharpening, that is kinda the normal behaviour of simple spatial sharpening. If you take a blurry picture and apply x amount of sharpening, the effect seems to be small. Take a sharp picture and apply same sharpening and the effect seems very strong.
Therefore the jerky motion + sharpening will accentuate the jerkiness even more.

Uh oh! John Franklin Rosevelt has come forward with a accusation against the filmmaker of insanity!  
Insanity, my dear community.  Let's shut this thread down immediately before it gets out of hand!  Need to go back to hiding in the wood works!
A member of 34 pluses and 153 posts and One star.  A golden beautiful star.
Gotta check how the camera looks above 3200 ASA because that's what we all test - that's the main way we are shooting - in the dark.  With no light - no ambiant light.  Never once have any of us shot in the daylight or, heaven forbid, shot a scene at night using lights!  
Oh my, okay, on it right away!

Well, since there is basically no useful info on the net about video smart range on these cameras, I made a quick test with my nx500.
Basically the exposure is lowered by about 0.4-0.6 stops. So let's say I set shutter to 1/50. With dr on I get iso 250, with dr off I get 400. Now there is something odd about its behaviour. With dr on the clip starts darker but it gradually gains brightness, in about 5 seconds to about the same brightness level as dr off. A bit brighter even I'd say based on my 2 quick tests.
But the highlights gain less brightness than the rest. Based on my initial impression you get a bit flatter image, and I haven't noticed any bad side effects. I didn't test in challenging conditions that might create banding (so the question remains if this method is better than reducing contrast or not). This is with nx500 which doesn't have gamma dr.
I wouldn't write it off just yet, may be pretty useful for nx500 users.

Hi guys, the magic lantern workflow on the 5D does seem a lot of extra hassle even tho the images are great. In Ireland they hold their value as well.
I actually owned a BMPC and sort of regret selling it, I had it with the original firmware and had to return it with some dead pixels, plus the poor screen and battery life was a bit of a pain. Once it is rigged up it works fine but I did not invest in it, so moved it on. I loved the prores files it produced and sometimes used raw... great for grading but for the way I work I prefer having a cam that can shoot top stills and video plus good erogonimcs. Thats why the NX1 is tuning my head and also I am on a tight budget. If cash was not to much of a concern I would probably looking at one of the sonys... A7r II, full frame, 42mp and IS looks the business.
As mentioned none of the cameras are perfect and a bit of talent can make any of them shine. We are in lucky times that there are good options for any budget, in reality all the camera mentioned are dam good. The GH4 I have is cool but I do like some of the footage I am seeing coming from the samsung.
 

Ya, I seen a link to this crazy deal but they don't ship outside of Switzerland:
https://www.digitec.ch/en/s1/product/samsung-nx1-body-black-28mp-cameras-2759475
Its so weird they are getting out of the camera business with such a great product., who the hell knows whats going on. But the deal Mattias mentioned with the lens sounds great? Need to sleep on it!

shooting magic lantern on the 5dmk3 with sharp and fast primes and using the greatest sensor height you can (ideally the full 24mm height), alongside 2x anamorphics for a 2.75;1 delivery is about as close as you gonna get.  however you'll not be able to match the out and out field of view since most projection anamorphics are not designed for wide angle use.  
 
at the moment the closest thing you gonna get to the look of ultra panavision 70 is an a7sii in full frame 4k mode with a iscorama 54 and a fast 45mm taking lens.  this will get you pretty darn wide and with a 2.66:1 ratio and less pronounced oval defocus, as well as fine grain from the 4k low noise sensor.    

Nice looking images; confirms my experiences with the EM5II.  Out of the box you're not going to get the ideal motion picture images from it, but a little manipulation in cam and in post you can make it look very respectable.
I dunno.  I've found it more than capable.  Others not so much.  
As for the film...I want to know what's in the case.  It's Marsellus Wallace's soul, right? ;-)

That is indeed a real pity.  Definitely political.  

I point you to some of  my thoughts:
http://***URL removed***/forums/post/57013879
I don't have a gh4 so I don't know if the difference is big enough to justify a jump.
But the Nx1 is dirt cheap right now and here in europe I get the sense camera shops just
want to unload the gear, so you may be able to talk them down. Many camera stores have used samsung gear as well.
As I point out, I got my nx1 and both S lens for less than the cost of an A7rII body.
The detail with an Nx1 is just insane. I find the footage relatively easy to work with and get cinematic results. I would never buy
a camera just because its resale might be good. I want to use it for a long time. If I do ever sell it, I will sell the entire system.
If I was to advise I would get just the samsung lens your shooting would require for all the auto focus and the rest. Fill in with
canon or Nikon manual lens with  adapters. MF works brilliantly on the nx1.

I still really like your Vivid settings. I have been mostly using the G7 lately but I had the NX500 out the other day and that Vivid with contrast at 0 looks sweet. 

Exacly the same settings and lut as I posted earlier.

yup lowlith is its weokaness but it bet it could be improved if they didn't apply that heavy NR.

It's not perfect, but in motion on my 22" editing bay HDTV (UHD transcoded to 1080 prores) the compression really looks very good - I really don't "see" it if the shot is compelling - and the noise pretty much disappears. And this at 1800+ iso's.
Not an Alexa killer by any means, but for a $1000-ish DSLR body, it kills anything I've used to date in that range. (OK, this week NX1 prices in the US shot back up to release-date levels, oddly enough). I do a lot of small-biz/startup work that I'd turn down if I had rental expenses, and I've generally owned APS-C Nikons or Canons for those gigs. I find it to be a ridiculous leap in quality for that market, and I'm in the midst of a no-lights corporate gig where I expected to be waiting hours for neat video renders. Footage is, in a word, "damn pretty", and I consider DSLRs my "pretty" cameras vs. my do-it-all, small-chip broadcast cameras that I use for corporate events, etc.
Certainly you can get way better high-ISO performance when you get past $2k, but for real-world business clients that usually want 720 web delivery and a 1080 file for the trade show screen or the 60" meeting room TV? It's a fantastic little tool, and if you can properly light a shot, it's pretty killer. Very surprised it's actually useable at high ISO's is my overall point.

Wow that promo video is going to take some beating for wooden model movements. She behaves like a cyborg.
The dirt under my fingernails contains more life than is present in that video.
The yellow-tinted clipped highlights are similar to what I get on the FZ1000 for $700. You'd think for $2500 they would have sorted that out.
This camera tarnishes the Cinema EOS brand.

Does not seem interesting at all to me - especially at that price...

Bang for buck the best image your can buy. Doesn't matter if Samsung goes out of the camera business, the NX1 will still be a great piece of kit.

Leonardo Dalessandri's work is just a good example of craft.  I know it wouldn't matter what camera you put in my hand, he'd still be able to make a better travel video with a GH3 than I would with an Alexa.  
So, I use that sort of stuff as my personal benchmark.  If I can increase my skill level to exceed the IQ of what he can do, then I'll consider getting a better piece of gear.  'Til then, I'll roll with simple consumer gear too for my own projects.  Hey, if it's good enough for him, right?
I've been lucky enough to travel around the world on assignment over the past decade.  I can watch that video and reflect that my own library has about 80% of the same type of footage.  Is it shot as well?  No.  Is it edited as well?  Oh, god no.
That's my perspective.  Gotta learn technique and craft; get solid there, I'm still lacking.  I ask myself, "You got a paint brush?"  "Yes.  Well, then paint."  Worry about the bristles only when your skill demands it.  I'm not gonna gripe about refinements that I can't even begin to take real advantage of.
...So hard to do when all I want is to acquire and play with a A7s!
More on point to Andrews charting of cameras, ergonomics, etc, I gotta say, the EM5II, after some getting used to, now really agrees with me for some reason.  I just like shooting with it, taking it out of the bag and getting footage.  
Like many machines, some just jibe, others don't.  Don't know how to explain it.  It's like a car or a motorcycle...

Functions are identical in both modes, just cropped, everything including eye AF and so on is fully functional. Stills are 18mp in crop mode. I have crop and FF lenses for the A7rII, mainly the 10-18 and the 16-50pz to use on a gimbal that I'll be buying soon. I've been debating getting a speedbooster to use smaller lenses in APS-c mode with less crop. 

. Yes and in my opinion that's horrible. the a7rii have more options for recording, less rolling shutter in FF mode, who cares if the ful lreadout is crop? you can use more lenses and use the speedbooster, are they even aware of the speedboosters ? it is dissapointing that a7s is not better in video. At this point, after seeing all the test shots, I am disappointed and have to absolutely agree that a7s ii was rushed, and not needed. It is simply a rip of for the guys who bought atomos. Moreover this camera doesn't offer anything more from the a7rii but a bit better lowlight (really in all the tests i ve seen, unless you want to shoot in moonlight, which you still can with the a7s mark i) and the 120fps in 1080p which is still not that stellar. i am dissapointed, rebranded sensor for 2899USD with a major sunspot issue ? WTF SONY ?! they should have waited, bring out a mature product , and separate it from a7rii with video completely like 10bit, (i dont care if the current processors do not support it, change them) so that we dont need to hesitate between those two. oh god sony why ?! 

my understanding is both settings record the exact same information. what you are changing is the flag that tells your NLE how to display the image data -- across the full range (0-255) or across the broadcast legal range (16-235). but I don't think it inherently changes the data captured by your camera, only how that data is mapped out when you're looking at it. and as andrew noted, when you have a file flagged to mapped the data across the full range and an NLE that overrides that flag to adhere to broadcast values of 16 to 235, it's going to clip 0-15 and 236-255.

I shoot 16-235 because everything I produce has to adhere to broadcast standards. if I didn't things would look pretty effed up on blu-ray to television. one of the reasons I love media composer is the full control you have over the luminance range (data/full vs video/broadcast) when importing clips.

Smaller file size, especially for 4k, or better quality at the same size, playable by any - decent - pc.
For me h.265 is the new standard.

At first I thought (as Pavel said), that only H265 decode hardware (not encode) is on new high-end video cards from AMD and nVidia. E.g, the AMD Fury.
However this thread indicates nVidia at least has both encode and decode support for H265, but the only software I've seen is the experimental command-line tool mentioned here: http://forum.videohelp.com/threads/370223-NVEncC-by-rigaya-NVIDIA-GPU-encoding
Note this "GPU" acceleration of H265 is not really the GPU but a logically separate ASIC that is integrated into the same assembly. A traditional GPU cannot effectively accelerate either encode or decode of long-GOP formats like H264, MPEG-4 or H265.  See discussion here: http://www.eoshd.com/comments/topic/18574-a-story-about-4k-xavc-s-premiere-and-transcoding/?do=findComment&comment=123689
Use of these features is not automatic -- the software must use specific APIs which are unique to either the AMD or nVidia video card. AMD's is called VCE and nVidia's is called NVENC.
Skylake CPUs have enhanced Quick Sync which does support both encode and decode of H265. However I don't think any software takes advantage of this yet. FCP X uses Quick Sync for both encode and decode of H264, and it makes a huge performance difference. It also avoids the requirement to have a specific video card. I hope they add similar Quick Sync support for H265 soon.
Some versions of Handbrake on some platforms can use Quick Sync for H264 but not yet H265.

Big news for us nx1 users indeed! Dare I say the native h.265 files look better/more detailed than the transcoded ones?  I'll have to do a side by side comparison. But wow yeah these files play super smooth and edit perfectly on my system.