kidzrevil

I think it's also super important to light it well. I think for the 120fps mode you want ISO 100 - 200.
I'm slowly grading my Spain material and I see why people could judge the NX1 too sharp when downscaled to 1080p. I think I'd rather have only 1080p / 2.5K resolution but more color bit depth. What a pity that we directly jumped to 4k and now discuss 6k/8k but never even got really good quality Full HD (10bit 422 thick codec) on a wide front.

I tend to agree. Other than the aliasing, I see bad highlight control & plastic skin tones. I love Fuji for stills, but for using it for video ? No way. I could live with the sub-par quality of E-M1 because of the class leading IBIS, but for me Fuji offers nothing in the video department. Is it AWB that is so important? I cannot see the pleasing colors that Fuji stills have. And if it is the filters that are nice, I already made LUTs that get you there if you want to.  
Its nice that they improved the video over previous Fuji cameras but they still have long way to go. 
Anyway, to each his own.

Vimeo seems to be run by disorganised hippies.
I hope they listen to content creators who want viewing quality at a premium and work out a workable model to continue a platform that is not as cluttered and commercial as YouTube. But I fear since every man and his dog now wants to stream 4-8K and UHD content, the costs that are involved are forcing a considerable squeeze on Vimeo's revenue.
I often encountered buffering issues in the past when streaming 1080p content on Vimeo (over average internet connection)...but I've simply paused and waited it to fill to resume. I don't think the YT crowd would accept that as much, and it seems that Vimeo see the future as a rival to them...rather than focus on their main appeal to creatives - a quality, uncluttered platform without obnoxious ads all over the place. 
Vimeo was like Betamax, a far superior viewing experience...but is losing out to VHS (YT) because it's cheaper/ better resourced/ better promoted by its owner (Google) and more recognisable to the dumb masses. Unfortunatly the quality squeeze that is apparent with Vimeo will only get worse, unless they radically rework their income methods or get bought out and made into a paid subscription service for one of the big boy streaming services.
I used to send clients private Vimeo links, now I use frame.io - as it is a very slick method to communicate and share a workspace for creative projects. Highly recommend this to those who often send clients WIP's or viewing copies for sign off of feedback rounds: https://frame.io/

What about a custom button (either a physical one or one always on screen) that just brings up the resolution and frame rate menu?

Minor update, still doing what Im doing, still digging and documenting what changes Im finding in the firmware, have started to explore with telnet and the camera. Its looking good. Have a few ideas on how it utilizes firmware updates but nothing solid yet. But I like how both stages are progressing. Although i wish I had more to show haha but dumping c isnt going to have a point! I should have a major update in a few days though!

You break out your Samsung NX1, and say, we can do that!
 

Some new stuff im working on :
 



All videoframes, im thinking of probably starting that stock footage thing sometime near.

Not many clients ask for either.

Lol! No kidding. I agree but again, as boring as the camera is...its been a workhorse. 
Fair enough. I need to get my hands on one and do a test myself. My buddy just got his so maybe he can let me borrow it. If the XT-2 has 4k and more video centric features, I think that would be a great cam to get. 

^^^^ completely agree 100%
im personally looking forward to getting a used 5d3 later this year if nothing that i like better comes along before then. the work that i need it for wont start until the fall so i have plenty of time to see whats new around and after nab 

As far as image, I've yet to see many cameras, including professional high end - surpass what the Mark 3 does raw.  It clips gorgeously within the 11 stops, the color is something it has that most don't.  I don't think I've actually seen any camera do what the ML raw colors on the Mark 3 do to be honest..  Other than that, it's still a hack and the idea of dropped frames is something that makes me second guess it when I've scheduled and paid a crew and a cast to be somewhere.  People may not have problems with it, but I'd have to test it thoroughly before I trusted it.  Besides that, I've always loved the 1DC.  Out of the current C-line, it's my favorite image.  That said however, I would hold out to see what's coming at NAB, or the Mark 4 for that matter.  Then I'd make a decision.

I have the 5D mk III and A7SII. Both have pros & cons... But in fine, i use more the A7SII for its Quality/space ratio... 5D mkIII RAW is just wonderful to work with... true... Convert your mlv to dng and boom !!!! Resolve and you got it graded in only few minutes... Mixed lights ? No problem... (not too much...) Errors on set with white balance ? No problem...
A7SII is a different animal : don't like at all mixed lights and don't like AT ALL when you put the wrong, or average White balance... and i'm not mentioning white balance with Nds etc... which needs the right correction (I love you Sekonic C700...)
For me, after using these two beasts, i can say i do love my A7SII. And i only like my 5DIII Raw. (Video speaking only...). Files are waaaayyyyyy smaller and the dynamic range looks superior on the A7SII. I admit, colors are difficult to work with... but taking care of it on set and you have your post production more or less effortless. And to the advantage of the A7S, shooting by night is just a pleasure : deep depth of field even in dark conditions... Time saving when you have to stay focused on a moving subject... You have strong enough isos to be pushed to close your lens... For me (and my focus puller) it's been a pleasure to use... in almost every light condition...
 
Have you used the A7SII enough to judge it to its real potential ? Colors are a bit of a pain to deal with but with the right tools it can be ok. The only big problem i can see with this camera is the rolling shutter that produces that big jello effect... Can be a pain in some cases... Shoulder rigged with no stab for example... and some fast pans too...
Why don't you LOVE it ?

1DC as it stands, but I'd keep that sort of cash until the NAB announcements

The way you use cameras, seems like it could definitely be worth trying the 1dc. For stills and 4k and if you dislike the a7sii, 1dc for that price would be awesome. You wouldn't use your nx1 in the same circumstances?

I would use the 5D mk3, now looking for a good price. With Sony, my battery died last thursday on a paid gig, switched to a new battery but lost a must-have shot. Also I don't like the colors, I don't like the buttons which make you change too easily the aperture or shutter speed (back and front dial). 
With a 5D mk3 and a 35mm f2 IS, I'm happy
The only problem with the 5d is the workflow. I remember having to convert all the files and taking so much space, which slows down your creativity. Now apparently there are new tools so you don't have to convert anymore. 

Hair, fabric, buildings. When sharpness locks on it's damn detailed. But not in a brittle way. Colors, mood, works. Nice.

Chant said he might look into increasing resolution and maybe bitrate for the MJPEG, honestly I think the focus should be more on the MJPEG rather than the HEVC which is just painful to work with already and any higher bitrate will make it even more painful to work with than it already is, so instead of having a thorn in our bums, MJPEG would be the better pick here for easy editing.

Andrew, bitrate has been hacked at 2.5K by Vasile. Need him to get back to tell us the method to do so. What I'm curious about is how is the rolling shutter in that mode? 2.5K + Samsung Color + great rolling shutter performance is a dream camera.

The differences between UHS-2 and UHS-1 are vast. In looking into what card slot the nx1 contained there was quite a lot of info on how they run. The UHS-2 has 8 or so extra pads to do the data rate it is designed for. There could be numerous reasons for the failure. But the max datarate of UHS-1 is 104MB/s So UHS-2 is a must for any of the firmware mods I am going after. More testing is needed though for sure. See how close we can get to the max of UHS-2 write.

Effing gorgeous... The lenses look okay too...haha. I assume this is with the NX1?

over the past 2 years I have bought and used every make of speedbooster that has come out , and without a doubt the KING DADDY of them all for shooting on a 4K Panasonic camera is the Metabones XL - that x.64 glass is amazing , giving you a Super 35 field of view back to your lenses and gets rid of the 2.3 crop factor totally - the Metabones XL turns the 4k Pannys into a very serious piece of film making kit - so much so Im uing 4 Metabones XLs on 4 Panasonics G7s to shoot the feature film I'm DOP on - its that good!!

I think Samsung will reassess too.
Sony has shown the way with their sales figures for the full frame mirrorless cameras. APS-C is not where it's at. Samsung should return with a full frame mirrorless camera and that requires a completely different set of lenses.

I figured the cat would've been the princess. They're usually such divas. They're equally cute though.
And... true! I was thinking about these or Leica R. But it seemed although the Leicas are gorgeous, sure, they perhaps just have a bit more of a specific look, whereas it appeared the Contax Zeiss ones would have a bit generic look to 'em (which is not a bad thing). And you're right on! They're reasonably affordable and yet so up there in quality. It's like they are on that line of realism and really have that 3D pop <insert laugh-tape - reference joke>. But seriously though, they do have something special about 'em. There are some good reads and recommendations out there regarding these. Even in comparison with the big boy Zeiss optics. Of course it too helps that andy lee stands behind them! I guess the 21mm would be the one to get on the wide end, but I think it roughly sells for more than the ones in the other ranges combined. Ouch. Nah, in that case I'm good with 25mm being the widest I guess (wishlist). And focal reducing is still a thing if you're commited to small sensor cameras.

I finally got new GBs for my Vimeo (speaking of downsides to vimeo).
So I could upload my test video which had a lot of grain in it, and again compare to youtube.
IMO, Vimeo does a better job.
 
 

"He a little player," ha. Great footage... And damn you have a pretty steady hand. If that was my video, you'd have motion sickness. 
The Zeiss look amazing. 
The footage must be crazy sharp without the black satin.