neosushi

Hi Nougat, in the original H.265 Clip I have almost no macro blocking. I experienced macro blocking with both Wondershare and iffmpeg. I don't know about this Rocky mountain but will try to use it and compare ! Thanks for the tip. EDIT : And of course I recorded to the best quality possible (Pro setting). Also I can answer your question on GH4 users as I am one too: I usually edit / grade directly from H264. Unless I edit on FCPX where it converts to proxy in software.

Thanks Herb - and I agree I can't remember when I last saw macro blocking in white zones... It's really strange... And it's not the first time I saw that. I got a master shot for a client (I can't publish the video unfortunately) with a large white wall, and I ran into the same troubles.

​Haha ok ^^ Well anyway its still a little out of reach for a lot of small budgets :/

I thought it was 32k ??

Hi Andrew, I'm using iffmpeg

Hi guys, I am working on color grading the Samsung NX1 footage - after converting to PRORES. I love the picture I can get out of the camera, and with some slightly tweaking. But a lot of time I have to deal with heavy macro blocking. Here is an example. As I have previously seen in some of my footage, most macro blocking occurs in white areas. Please check for yourselves in this video. Although the youtube conversion is responsible for some of it, I still get some heavy macro block from the PRORES files. I compared Color grading (mostly Osiris LUT though) with Prores standard ans Prores 4444. Will be waiting for your comments Please watch in 4k http://youtu.be/Wx97gcTiMPA

Interesting ! Im working mostly on mac but im still interested in any transcoding app that could make things faster !

I'm interested in the NX1 users settings for transcoding to Prores. When I used wondershare I really needed to use the 4444 settings to get the best results. I'm getting different results with iffmpeg. I don't seem to have much difference in quality between light / standard / high quality. Although the bitrates are much different - so is the file size - I can't seem to notice much difference. In blind tests situations I can't tell which is the best. Have any of you tried to blind test different settings ? EDIT: For now I'm using standard profile (PRORES). It does give me a x6 bigger file size... Cheers

Yes.

​I don't know if its as good, it does look a bit different. It is quite hard to describe. I guess it would be in between RED and Canon. It also depends how you set it up in camera, but then again I personally don't advise people to tune everything down. I think that some cameras are made to shoot super flat / raw type images, and others just produce damn nice colors right off the bat. So you save some time in post production for grading. But you have less flexibility than a A7s with log. But then again I'm not sure if I don't prefer Samsung colors rather than Sony (never thought I'd say something like that lol).

​Agreed.

Nice! And I agree with you Andrew we need an option to turn around this "stand by mode". For example an inverse standby mode - gets u to photo mode when u press it. A better focus assist with the ability to move around the mf assist. And I would sell all my m43 stuff if samsung gave us 60fps UHD !!! Come on guys !!

​Hey Ed, I have been following your work with the NX1. I just used the NX1 around the world for one of my customers (have been shooting in NY, Brazil, Japan, South Korea and Paris with it. We will make a 4K projection in a few month using only the NX1 (and maybe a few FS7 shots but very few). So fare I can only say that I am much more confortable using the NX1 than the GH4. I wouldn't compare it to an Alexxa though. But what would be the point ^^ EDIT: Considering the whole debate here about technology, I should add that IMHO the NX1 gives you this 4K look, that I just didn't really see with the GH4 (looked more to me like "ultra HD ready" or 2.5k). Also it is a question of color science. I just couldn't get what I wanted from the GH4. And then the autofocus - especially with the 16-50mm S. For me it is a game changer. Makes my life so easier.

​Wow seriously you need to take a break...

​From my experience with the NX1, I can definitely say that Andrew provided the most unbiased review out there. Where everyone was bashing the newcomer (Samsung), he treated this camera as any other new camera from a respected professional brand (can't say the same thing from cinema5d though). Maybe you should grab a 1DC and try for yourself - or not. Although I don't think there is one perfect camera, but Andrew never stated that the 1DC was perfect - on the contrary -, and if you read his review he was quite harsh on this camera at the time.

Its personal but between noise and skin I choose 10 times skin. But it also depends how clean your camera is. Had tons of issues on the GH4, haven't asked myself this question once with the NX1.

Tried with the GH4 to get rid of the nasty noise. Turns out blown out highlights makes your video looks even more digital. Plus you don't have that great of a dynamic range either. But thats just from my experience ! I think ETTR is a technique that depends on the combination of the camera hardware (dynamic range, sensor), its software (compression codec, picture profile - log for ex.) and your expectations in post production. Personally I wouldn't recommend a systematic use with any camera. What is best is to try to remember that it is difficult to expose perfectly a picture. So you need to think about what your subject is. And if your subject is expose correctly, well thats more than a half of the job done. But our digital cameras don't have such great dynamic range. Its definitely good but not great. Not because of the wide range of the dynamic. But because of the way digital cameras handle noise in shadows and blown highlights.

​Interesting ! Can anyone confirm that for premiere export ??

Thanks for the info Patrick !

But its not as much about NLE support than hardware decoding support :/ Although I would love it if final cut were to transcode h265 when importing in project...

But will they have AF and IS ... :/

Don't expect any miracles from a 5k imac on this point. As I mentioned on iffmpeg post, it is as fast (or as slow) as my 2013 macbook pro retina (15inch). And I got the imac with the upgraded processor and gpu.

​Thanks a lot for this straight and clear answer I never used AF for video before the NX1. But now I'm really in love with it (for certain situations). I'm probably going to stick to the 16-50mm for wide angle shots as the I'm not sure of the big difference between 16 and 12mm (16-50mm vs 12-24mm). Also I'm going with the 85mm 1.4. Seems like a great lens and although it doesn't have IS I wouldn't use it handheld (for video) at such long focal.

Of course this list will upset tons of people. I can't speak for the 1D-C, but I think the main problem of this list is that the picture quality will vary depending on the context of the filming. However I think its fair to place the NX1 above the GH4 (as owner of both).

​Thanks a lot for your comment. Agreed. In fact from the dozens of hours spent on testing the GH4 (cineD) and the time spent reading about log curve on a7s, I am definitely not interested in flat profiles on 8bits camera (especially with such compressed codecs). I think you are much better off getting your in camera image as close as possible from your post prod image. From my early tests I am going to continue shooting with one of the standards profile (standard or retro) with the contrast at -5 and maybe saturation at -2.