kidzrevil

Here is kind of a workaround for a kind of similar whip pan effect in Premiere...but in After Effects to do this effect takes about 2 seconds and you get a much better result with much more convincing motion blur, which is mostly what these transition types are dependant on to appear convincing and smooth. You can see that for whip-pan transitions (and if not familiar with AE) Premiere is better suited at simply dissolving between two real whip-pans captured in camera. Any more elaborate transitions (especially punch zooms) I'd go straight to AE or Nuke to get transition results identical (or better) to the example video at the start of this thread.  
 

Effect can be done in After Effects...take the last few frames from shot 'A' and keyframe a quick zoom or whip pan type move, whilst parenting the move to the next incoming shot layer - revealing shot 'B' using a keyframed mask and/or simple dissolve that helps blend the shots together. Adding motion blur to the compositions layers seals the deal...as it blends (effectively smudges) the transition into a fluid looking shot continuation. Results work better when using 4k footage or higher (but not essential since post motion blur can hide 'blowup' artifacts) , as you can re-frame/zoom without revealing resolution jump when delivering for HD. Shots that purposely have real intro or outro camera moves work best (such as whip pans)...but it is possible to simulate that in post.  You could kind of do a simplified version in Premiere using inbuilt effects, but it may not look very good...best to do these effects in After Effects or Nuke where it's easier to control motion curves and animate masks etc.
You can see in the frame grabs below where the incoming shot is being quickly dissolved to or being revealed with a custom mask, whilst the post zoom or pan is happening...enabling the motion blur on the parented layers blends everything together.
 

You can do it in two ways....
1) In post you ramp a post zoom in and the cut to another shot that is zoom in and stops (in 4k you won't see degradation of the zoom in)
2) You do it in each shot. Typically what people do is shoot a clip and then zoom out. Take it again, zoom in. Take it again pan left, then again pan right. Tilt up and then down. Then you have all options to work with in post.

yeah, there are a few masters of this style, it does look awesome. a lot of cutting on action, a lot of zooms in and out in post and messing with speed, some wipes, especially between the last few shots. I'm no pro, but that's what I'm seeing. feel like good resolution 60p would be pretty invaluable for this style while shooting, along getting a wide shot and then a closer shot of the same thing. and then a fair amount of motion tracking in post.
might be like a digital zoom on both clips along with a fast dissolve transition?

Very interesting. I would like to test this, could you please upload telnetd since the samsung site takes forever to download?
 

Just did a small video on some shots I had lying around, still testing rendering, but rendering in 4k def. makes it a lot better, still highly compressed though. Anyway hope you guys like it, not much love was put into grading on this one, unfortunately.
 

Marco, the edge of the NX1 is that it has been out one year and a half before! Use your camera to make great videos and forget about "spec competitions"!

I was pretty sure it was to do with some in body noise reduction or something. like it's insanely clean at low isos because of it, but higher isos it just stops helping and starts hurting. feel like you won't see that on all h.265 compression codecs from here on out. a shogun or other recorder may help this I've heard? - lettinging it keep it's grain throughout, more like a gh4. pretty uninformed though, so don't take my word for it. it is an issue of the camera though, not just vimeo or transcoding, I don't think

Hey guys,
Yesterday I did some grading to relax- it´s still cold ouside, so nothing better than to enjoy some tea in front of Davinci:)
I came across a very underexposed and wrongly white-balanced shot. Filming was done with the Panasonic G6 in Natural all -2 but color at 0.
I think, quiet amazing, though some posterization and false color cannot be ignored! So I bet GH4 would be a fantastic camera in many ways and
natural is a tested and well received profile.

 

Here is a still from a 4K shot on the NX1 with the Leica 100mm F2.8 macro Elmarit-R:
Original 4k:

80% Crop:

 
 

Canon FL 100mm 3.5 - 1960's era. LONG focus throw. This example looks like it had some fungus cleaned from an internal element, it's a little "scarred" looking when you shine a penlight down the barrel. Little metal tank, 48mm filter thread. $15. Love the colors, detail, and softness-where-you-want it. All from 4K grabs, shot wide open. Minor grade in Photoshop (just upped the blacks a bit) and a touch of sharpening, about what I'd normally do for non-people shots.


In particular, there's some really lovely stuff going on with greens and blues. I've played with the FL 35mm 2.5 ($20), 50mm 1.8 ($20) and 19mm 3.5 R ($200, a real legend of a lens, almost zero distortion and hard to find) and they all render similarly. Looking for an 85 next, but that's a highly regarded lens to find this cheap.

I could really see doing something narrative-short, fashion-beauty or music video with these. You could build a full set of primes, including the $15 adapters, for a couple hundred bucks (minus the 19mm which usually goes for $350 and up). Lens range also includes a 28mm, 58mm, some of the normal glass in 1.4 and 1/2 variants I believe, a 135mm 2.5(?) and a 200mm f3.5 or f4.

And honestly, I really like the GH4 image better than the NX1. I think it is undeniably more cinematic than the NX1. Don't get me wrong, I love what that camera can do, but for that "movie" look, the GH4 is better... Hands down. 

I have to agree with Aldolega. I predict the Sony will have a thin, brittle image. I loved my a5100, but that color was just not right. The GH4, which I have told you a bunch of times, is the sweet spot, in my opinion, of your portfolio. I can only imagine that it with a speedbooster would be a perfect match. If you're looking to test it out on the cheap, pick up the G7 and the XL... Andy Lee is getting some great results and swears by it. 
Do they really make the image/lens infinitely better?

If you are trying to get the better optics by speedboosting, the gh4 and the xl are one of the most interesting combos. Not sure it'd be better than just a larger sensor under there. Would be better high isos than like an nx1, though. 

As usual, the Sony has some flashy specs, but the Panasonic will be more usable.

I could live without 6k.
Want high DR.
And 4K RAW to the Shogun instead.
Otherwise I would probably buy it.
But the NX1 sounds pretty close to it. A NX2 would be nice, if they pick it up again.

Hahahaha! That's them totally NOT UNDERSTANDING what you're telling them!

"No, no, no dude...there's no 'technical difficulty'...everything's working fine. But the way you've just changed it to work is not the product I signed up and paid for!"

Head...brickwall...head....brickwall...

Great topic guys. 
Vimeo started this shit almost 3 months ago and have changed nothing significant. In various topics on their forum, I have posted over 15 times stating my unhappiness with the current system. First in kind words, later in more clear language. And lately just fucking rude but who gives a shit. I'm bored with them and the fact that they don't take their paying customers, like me, seriously.
They have put fingers in their ears and are singing 'lalalala, Adaptive Streaming is great, lalala'. In their latest update they even say literally 'STUDIES HAVE SHOWN THAT AS IS GREAT'. Lol. Just a big lol.
We all agree on the flaws of this system and how it can harm us video producers, but you know what's even a better argument? They are actually already experimenting on our business for the last 3 months. Without any notice or offering any alternative, they just implemented this shitty system. 
Still the first 10 seconds of all my video's start in 360p. Still, sometimes DURING playback, the resolution changes to 360p. 
Why didn't they test this system on their own shitty video's first and implemented it when it was 100% functional? Nope, they just wanted to test it in the field I guess. On my films.
It's outrageous, really. Everbody, cancel your subscriptions right now. Stop the auto-renewal of your membership right now. It's the only way how they might ever consider changing some stuff back and giving us some control back. They don't listen to our words but they will listen to money.
If you want to make a point, stop your membership right now. It has more effect than just complaining. Believe me, I tried.

Thank you very much for you hard work.... I think this is definitely best summary related to possible hacking of NX1! 
Let's hope that someone else will be able to continue this way to higher bitrate in NX1. 

I don't think I currently have the experience or time to successfully modify the NX1/NX500 firmware. I don't even have one of those cameras. However it would be a shame to let the interest in this die, so I guess I'll post some of my notes/thoughts about the firmware in hopes that it might help keep the ball rolling.
Note: if you aren't into technical minutiae, the only interesting part of this wall of text is the bulleted list at the end detailing what is and is not possible in my opinion.
Here are the files listed in the header of nx1.bin (version 1.4.0):
version.info:    offset=0x0          size=0x3F   (same as found in /etc/version.info)
linux image:    offset=0x0130       size=0x00624748
idk:                   offset=0x624878     size=0xD8E9
linux image:    offset=0x632161     size=0x3192E8
linux image:    offset=0x94B449     size=0x638518
idk:            offset=0xF83961     size=0x01FF10
idk:            offset=0xFA3871     size=0xB35140
rootfs:         offset=0x1AD89B1    size=0x117A89FF     (lzo compressed ext4 filesystem image)
opt:            offset=0x132813B0   size=0x58E91C   (lzo compressed ext4 filesystem image)
pcachelist:     offset=0x1380FCCC   size=0x7000 (PAGECACHELIST, preceded by a header, I think)
idk:            offset=0x13816CCC   size=0x35BCC44  (lzo compressed. header indicates swap image?)
Anyone with the skills to reverse engineer a camera could figure this out pretty easily, but it was fairly tedious so maybe this will save someone 20 minutes of poking around in a hex editor. If anyone knows what's up with the files I've labeled "idk," I would love to hear about it.
The checksum algorithm is fortunately unchanged from the NX300 as far as I can tell.
As documented at sites.google.com/site/nxcryptophotography/diy-firmware
"width=32 poly=0x04c11db7 init=0xffffffff refin=true refout=true xorout=0x00000000 check=0x340bc6d9 name="JAMCRC""
"jacksum -x -a crc:32,04c11db7,ffffffff,true,true,00000000 [file]"
The main camera app binary is (I'm pretty sure) located at /usr/apps/com.samsung.di-camera-app/bin/di-camera-app in the rootfs. It seems to access the hardware through a relatively high-level API with the /usr/lib/libmm* libraries. libmmf-camcorder.so is particularly interesting. The function I've focused my attention on is mmf_camcorder_set_attributes(), which comes from libffm-camcorder and is used repeatedly in di-camera-app. It conveniently (and strangely IMO) takes strings as identifiers for the attributes that are apparently being set (why not just an enum? I suppose I shouldn't look a gift horse in the mouth...). Some of those attributes include "target-time-limit," "audio-encoder-bitrate," and "video-encoder-bitrate." The guy who successfully removed the recording time limit on the NX300 did it by modifying the instructions that set the variable being passed along with "targe-time-limit." I found the control flow instructions he mentioned in that thread, so it should't be hard to get rid of the time limit on the NX1, provided the camera accepts the modified firmware. The NX500 is probably similar. The "video-encoder-bitrate" attribute also looks promising, though it would take some more advanced reverse engineering to figure out where the values are being set.
So from what I've seen and read, here is what I think is and is not possible to modify on the NX1 and NX500:
Remove time limit: Highly likely. Seems to be the same as the NX300. Pretty easy too, if there aren't any new security measures in place. Increased bitrate: Possible. Needs some real reverse engineering to find where the rates are set for each resolution and quality. Noise reduction and sharpening: Possible. Haven't seen anything that looks like it's controlling these, but if setting the bitrate works, this should be possible too. FWIW I think that increasing the bitrate would help with the noise reduction issues. H.265 tends to smooth things out a lot to achieve low bitrates. Re-enable 2.5k on NX500: Plausible but difficult. It depends on whether they just removed it from di-camera-app, or if they removed it from the underlying libraries as well. Either way it would likely require actually adding control flow to the binary, which opens a whole new can of worms. Beyond my current ability, for sure. Focus peaking for NX500 4k: Maybe? I have no idea, really. There might be a good reason they didn't include it, there might not. 4k crop on NX1: Plausible but even more difficult. We know the hardware can do it, but it was probably never implemented on the NX1, even in pre-production. Gamma profile on NX500: Plausible. Similar to porting the NX500's 4k crop to the NX1, I think. 6k 24fps H.265: Highly unlikely. The H.265 encoder would have to support frame sizes larger than DCI 4k and be able to handle twice the pixel rate (clock speed) of 4k. Furthermore it would require implementing a brand-new video mode at a very low level. I can't say for sure it's categorically impossible, but don't get your hopes up. 10bit H.265: Nope. The H.265 standard does indeed allow for 10bit encoding, but I highly doubt Samsung would include the significantly larger (wider busses, more complex encoding) hardware necessary to do it. It would be a miracle if Samsung had really decided to go to all that effort and not use it. 6k or full sensor 4k at more than 30fps or 1080p at (significantly) more than 120fps: Impossible. The image sensor simply isn't fast enough. If you hope for this you will just be disappointed! RAW Video: Not really. It might be theoretically possible to dump the live-view feed as in Magic Lantern. Who knows how fast the SD card interface is, though. Certainly no more than 1080p. I can imagine tricking the GPU into packing 12bit 4k RAW into 1080p 444 HDMI like Apertus, but consider that a pipe dream. Don't get your hopes up. Anyway, that was longer than I expected, but I enjoyed poking around in the firmware, so I don't regret it even if it comes to nothing. It's a shame Samsung appears to be dropping the NX line; they are cool little cameras.
p.s. If you know anything I've said is wrong, please correct me; I'm learning this as I go along.

I'm with you on the NX1, Andrew! It has captured striking imagery with an astonishing success rate for me compared to any other camera. It might not sit atop any specific quantifiable ranking of cameras, but what it's capable of is just short of miraculous. On the Ronin, that AF system is a dream come true, and paired together in the right hands, most any shot is possible. It handles extremely well, is reliable as heck, and it has good tech specs where it counts.

Brilliant! Thanks for explanation. 

This is pretty much exactly how it worked with the GH2 hacks.

Vitaliy got a hold of the firmware obviously when they released the first update. Then he created a GUI called "PTool" that loads in the firmware and has windows for you to enter in new values for just the relevant fields. 
Then the "PTool" GUI saves your changes in a file identical to the actual Panasonic firmware which then gets loaded into the camera in exactly the same way one would normally update the firmware.

You never "see" your new values displayed anywhere on the GH2. You just see the results and you can see the bit-rates associated with your new footage.

So this is considerably different from how Magic Lantern works, but everything we've learned so far points to the NX1 firmware functioning at least somewhat similarly to the Panasonic. 

So that's encouraging.

The easiest things to change will be the bit-rates (they've already provided for several ranges so we know it will work) and the removal of the 29-minute limit ... which is probably nothing more than a flag which can simply be removed like it was on the GH2.

Hardware. No hack will improve RS. The 1080p mode is pretty good in that regard, though.

5D has option for lower resolution "RAW" (it is not exactly the RAW becuase of resolution, but bit depth is same as original RAW). That is someting that NX1 does not have. Moreover - NX1 would need also electronic shutter to achieve "video RAW in photo mode". It would be complicated even for Samsung engineers...
Let's focus on bitrate first... (...crop mode, lower sharpness or noise reduction)