kidzrevil

So... in other words... another junk camera that can't really be used on any client facing work or serious projects. Wonderfull. 

Sure 8 bit will fit in 10 bit and, 10 bit in 12 bit, on and on. Is 8 bit better than 10 bit, no. And the graph below shows why more bits counts. Can we afford high bit rate cameras, well hell no, not a lot of us LoL. We might rent one, operate one, but..
Rec. 509 fit into Rec. 709, and it still does on old re runs on TV shot 40 years ago. But 509 ain't 709, and 8 bit ain't Rec. 2020.
But you are right Kid it will all look better even though it is not true 2020.
 

It doesn't make great output from 8 bit cameras bad. Fuji seems to have figured it out moving colors around. It is what we have been using for years. Until the GH5 it is all most of us ever have and can afford like I said.. Who the hell even heard of HDR a year ago, or thought we could ever shoot it. Now we can see it on a Cellphone.
And sure you can have a wider color gamut, all kinds of gamuts. Hell look how many are in Photoshop, Premier, etc. but it can Only have 256 colors in  them in 8 bit. You can bend them to endless configs, but not like 10 bit or up. 10 bit is a Hell of a jump in color possibility's. And 16 bit, well shit.

My understanding is that they sent him one for review and he loved it so much he bought one. He's produced some beautiful stuff with it - for a cinematographer he's a pretty tasty stills photographer!
But seriously, @webrunner5 - film is dead? Fujifilm cameras are crap? Did someone steal your car this morning or something? There are no rules when it comes to creative endeavour. People will use whatever realises their creative vision the best - for them. There's really no need to shout people down and disrespect their creative choices.

The rendering times with Neat video NR applied is very long, especially if you use it on 4K footage. With the built in NR function in Davinci Resolve studio you can have  almost same results, but with much much faster then Neat. Everything else is possible with Resolve Lite.
@Mattias Burling will you do a 2018 edition video about the 5D Raw with 4K? I loved your last one about the 5D
 
Edit: currently im testing the built in NR on underexposed a6300 iso12800 SLOG2, and the results are insane...

This might help. Our old friend. Well he is not old, well no he is not, I guess, no.
 

This is still experimental so i dont recommend yet to use it, first get used to the 14 bit processing. 10/12bit is tricky if you are not using MLVFS, the black levels are off, and the blacks going pink. 
You cannot force the DNG to show the picture profile, but there are possibilities where you can debayer in different color/log spaces. 
It doesent matter, trust me, BMDFilm is perfect starting point and you have the grading skill to get the most of it. If you have lack of knowledge in Davinci Resolve, or you want to use hyalinejim's (thanks again!!) beautiful Ektar 100 LUT then you should transform color spaces.

Here my first actual piece i shot with the filter. I have to admit that I am quite pleased!
 

Yesterday I received mine and i did a quick & dirty comparison:



I am quite pleased but I need to do some outdoor shots this weekend. The filter looks a bit like leica glow without loosinh sharpness however.

I find a bit more difficult to focus without an EVF on my GM1 - maybe i need to upgrade to GM5 :)

So I bit the bullet over the week and bought the filter. From what I had read the filters work by spreading the light around the image, which is different to simply using a low contrast lens I think. And besides that, I don't want to add another lens to my collection when I already have three superb ones.
 
I started with Ultra Contrast 3. It had good effect but I thought I'd go further so this morning I received the #5.
 
The filters have an immediate effect of making the image look way more filmic. The reason for this is that really do spread the light around the image - but it's not so simple. They take in more ambient light and thus ambient colour. The result is that you get a much more balanced picture in terms of colour and tonality. These filters really are something magical.
 
I have been shooting a fair bit with them over the past few days and will be putting together a video, but for now here's a few images:
 
No filter, Standard iDynamic:
 

 
With FilmConvert:
 

 
Tiffen Ultra Contrast #5 (no iDynamic):
 

 
With FilmConvert and some additional saturation.
 

 
Each filter costs just over £100 for the 77mm sizes. I do recommend getting the strongest one (the #5). After further consideration I think the #3 is a better choice because the #5 washes out darker midtones too readily.

@Trek of Joy So true, great comment.
@timmyturntable "glad I bought it, nothing else is worth trading for it yet" class here too...
Like @lucabutera said, after the mobile phones exploded in poeple's pockets and coats what happened? Samsung increased its profit in the mobile department! If they offer that spec list (that will never happen, we are just having some fun here) for 3.000$, tell me who isn't going to consider one of those? Instead of the , let's say, the new 90D that barely will have 4K..
Come one, NX1 was an unbelievable machine, in more than one senses (continuous 78 minutes video, for some this is significant), no over heating in the worst conditions (I know!), unbelievable ergonomics (subjective, but not really!), great JPG engine, colors, AWB, DIS and DUAL IS with some lenses, the unique workhorse S lens and dead cheap very sharp pancake primes, etc. What you were buying back in 2014? 16mgpxls GH4, 16m,gpxls Fuji (not even doing any video) 70D, and 7D, and a6000.. Come on people..
All I can say is, glad I bought it, nothing else is trading for it yet, and now I am spending money on other stuff, rather than consider buying my 3rd or 4th camera after I abandoned NX1 (or never bought it!).
P.S actually I bought a 3rd and 4th camera. A NX3000, NX500 and another NX1! Guess what, I do 3-4 camera low budget jobs, I give the smaller cameras to all my relatives to take pictures, and everyone is happy (me too!).

Unfortunately, I predict that due to Samsung "abandoning" NX system in the past, that IF they released a NX2 in the future it would get less market traction than the NX1 did :-(
What about those in the middle ground between the two? :-D
I've never owned a NX1, but I do own another NX system camera (sitting right here next to me as I type! Closest camera to me at the moment, only because the BMPCC is on the other side of the desk. Oh wait, does the iPhone on charge count instead as the 2nd closest camera? :-P ), because I got it cheap on eBay as a potential future  B cam to the NX1 which I was seriously considering buying as my next "main camera". 

I know without a doubt the IQ on this camera will be better than Sony in my opinion. Sony is sticking to their guns with their color science for the most part, and it just doesn't excite me. Even though the a7Riii is such a wonderful camera. 
I wonder if they will be able to fit 4k at 60fps on this camera? Probably not..

Nowdays: no frame drops at 1080p 25p 14bit.
Possible to use 10/12bit mode with almost no penalty (ok, deep blacks can show some banding with +5EV push), there is lossless compression which allows to save card space.
In fullframe 1080p 24/25p mode there is live view with peaking or focus assist with focus confirmation, sound recording, real time histogram/ETTR hint for proper exposure.
Post process workflow: you can post process your files without transcoding... The MLVFS (magic lantern file system) fuse based app simply translates your MLV files which contains the raw images and the sound to you Davinci resolve or After Effects. If i remember correctly, Premiere CC can handle .MLV files out of the box.
The camera with the hack is now rock solid, and you can easily use it for payed gig.
I have tried BMPCC and the ease of use compared to 5D is night and day... and the 5D is the winner. (however the BMPCC is clearly a winner in dynamic range)

That last frame looks like a RAW still from the 5d. Wild.
I can't remember the program, but isn't there a paid version that lets you bake out c-log footage? You can preserve highlights there.
Edit: Also the straight REC709 out of that program looks amazing as well. You can't really use it in extreme lighting scenarios though.

Resolve has the amazing highlight recovery tool that has saved my ass in some high contrast shots. Plus if you use Resolve as an intermediary, you can export as ProRes and still have plenty of wiggle room to grade in Premiere. 
For instance, using the Raw Histogram with ETTR Hint I took this shot that I did a quick transfer to ProRes using the Footage App (which I like a lot)...

With the sun behind his head, it was just too blown to correct. Now I processed the same shot through Resolve using the Highlight Recovery and... voila...

I do agree with Seku, Juan Melara’s linear to Log-C method is really cool and works beautifully. 

I quote @Panther
"In 2014 the NX1 did already what no other camera has done since. They downscaled the complete 28MP sensor into 4k video. Even many years later Sony has massive problems doing that with 24MP and other brands are not even trying.
The NX1 was so ground breaking, that you could release it today as an X-T3 or A7000 and it would be a huge step up."
and I quote @secondhalflife "They should rather deliver a firmware update for all the quirks in the original model."
The first one show NX1 as it was, a technological marvel, with soul (like @Andrew Reid described above, the camera feels good in the hand and has great color science with full adjustability), and the second(halflife) show it as a massively flawed try from a TV, air conditioner maker. Obviously the first is closer to reality, because the camera has no software flaws.
Funny rumor though.

@kidzrevil : yeah, i think Resolve really is worth the "trouble". I recommend googling Juan Melara for getting some grading ideas and to get your mind blown.
btw, if you don't like binning, be sure to try out crop mode. it's the reason why i bought my 16-35mm back in the day. no more binning, just damn sharp 2.5k ... or even 3k 21:9 if you are pushing it. Beware tho that at those resolutions, the buffer might fill up after 6-7 seconds. The footage is gorgeous tho.
 

@kidzrevilnot sure about the need of fighting pixel pinning. There are few avid 5diii raw shooters around here. Ask Glenn @mercer for sure!
Also @Volker Schmidt, I think can tell a big deal about best settings and filming parameters. Andrew Reid knows a big deal about the image of the 5Diii and if it would need diffusion to fight any digital nasties. Wouldnt assume so from the great examples on vimeo. But that is an assumption only:)

Hey !
Glad to see you’re enjoying the image, it is indeed so nice ! I think you don’t actually need stronger diffusion. I’ve shot many things, including establishing shots with lots of details that didn’t show any moire and maybe on rare occasions very mild aliasing. My humble guess is it has more to do with the processing of the dngs. In after effects or resolve, you can achieve exceptionnal results (more so in AE but the workflow is a pain!). I don’t know how it works with premiere but i guess there must be some pre baked presets that aren’t optimal in term of sharpness or dynamic range... Anyway, I just wanted to let you know that even if it yields more cinematic images, technically you don’t need diffusion to avoid moire or aliasing !
Can’t wait to see what you do with the 5D !

Yes, that was my feelings exactly after trying out a 70D.
Although it can't do 1080p (almost) the color depth and the flexibility of raw is magical.
I would choose it over super crisp cheap 4k without a doubt.

@kidzrevilIt is super fun to use. I think you will enjoying it messing around with all that rich oil paint and awesome brushes and canvas. Try it!!

nice looking stuff
i'm no longer shooting on 5d RAW, but my workflow was rather easy:
1. Mount the MLV files in MLVFS (this mounts a new virtual hard drive where all of your files miraculously transferm into cinemadng in real time)
2. Import the files from the virtual drive into Davinci Resolve. Transform the RAW into linear, then linear to Arri LogC.
3. Cut and grade at leisure.
4. Export as dxnhd or your preferred codec

Hah, i'm not quite prepared to pay $750 for filters. These Tiffen ones are "just" £100 and seem to do a great job.
 
I'm sure there will be a day where I will upgrade to cameras that shoot in better formats (RAW or ProRes) but for now I have to stick to what I've got and get the best image I can out of it. Besides, it's not just h264 users that use these filters. Even guys with 5d RAWs do

 
I'm based in the UK. Why do you ask?

In the last year Vimeo has moved a lot of their focus to business use (white-label and Sony Ci-like video proofing) which will not be counted since they're on private pages. In addition, most video is viewed in Apps (mobile) and increasingly on TVs. As such, their public numbers will likely decline even if their viewership increases. Alexa is a poor measure in this area. I think Vimeo's move towards business is a good one. We dropped Ci and are now paying Vimeo more than $1000/year for proofing and video hosting for our TV apps (multiple accounts). There's a lot more money to be had for them here than in hosting personal passion projects. 

So... if I switched to youtube, my biggest concern is I feel like I'd never be able to get my videos even close to the right audience or be able to discover other decent filmmakers in the same way. Tips on how to use youtube more like vimeo in that sense? Is there an equivalent to "groups" that I'm not seeing? On youtube I just always feel like the views I get were accidental clicks by people looking for.. you know, bad videos.