neosushi

Well it's not just supposed to be... It is the same sensor! 

Those editing get faster every year... by 2020 only robots will be able to watch anything that we produce... Just because the attention span is shortening doesn't mean we have to make everything faster and/or shorter. Well that being said I'm going back to watching some Kurosawa's movies...  Great job anyway  

This must really be a taste thing, because I've seen lots of comments both ways on various forums saying the Kinefinity or the BM had better color. It's not a very definitive comparison; we don't know enough about the settings and conditions to draw any hard and fast conclusions. Also, keep in mind that the 6K sensor only captures the full 16 stops of DR when downsampled. The full 6K has slightly less at 14 stops. 

Personally, I think the Kine color looks a bit richer while the BM is more neutral. Kine has nicer motion, BM has cleaner shadows. Kine has higher resolution, BM has less rolling shutter. 

There's some amazing footage out there from the Kinemax, whereas the 4.6K...it looks good, but has yet to really wow me from an aesthetic standpoint. I'm excited to see what we get from the 5K, as that seems to be the more comparable sensor to the Ursa Mini.

I think you've done a great job, but...I preferred the little sections in the middle where you weren't really trying to emulate the style of other videos like this. The wooshes and swoops kind of take me out of the action a little bit and I'm left thinking, does this fastly cut interwoven style work for your subject, Cuba? I don't know, I've never been, but the feeling I got from your actual shots was a more laid back lifestyle, people seemed to be taking their time, life looks more sanguine - could you capture that?

Otherwise on an aesthetic level the colours are amazing and your movement is lovely. You also seem to great way with the locals, they let you get close and film them which is always pretty challenging. I guess I'd just like to see more of the human side come out of it.

You can get great results with any camera - then it's a matter of tastes, budget and workflow. For a lot of users coming from the "GH" world, the NX1 feels like a great alternative - but we're all entitled to have different tastes  

If you need great colors I would rather go for the NX1... (you also get great AF at the same time if you use NX S lenses)

If you need great colors I would rather go for the NX1... (you also get great AF at the same time if you use NX S lenses)

If you need great colors I would rather go for the NX1... (you also get great AF at the same time if you use NX S lenses)

If you need great colors I would rather go for the NX1... (you also get great AF at the same time if you use NX S lenses)

I was wondering that, perhaps, the best way to 'hack' nx1 would be writing code for it. I mean, instead modifying the existing fw, why not just leave it as is and write new routines to be summoned from sd at startup? That should be possible as shown by those who have done something for this camera, till now. And these routines should 'intercept' some parameters and change them on the run. Eg. When I select video pro quality, set a higher bitrate. Or: when I set 120fps, run at 240fps and so forth...

I love how these posts always become a question of my character.  
If you think I'm pompous and hypocritical and misinformed, and dangerous and blasphemous, and a harm to other impressionable people, that's pretty interesting to me.
I assume everyone is guilty?  Again, no, because I assume one person is not.
There is no middle of a road in any argument, no matter the common saying.  No matter if both parties are wrong.
There is no middle road.
The middle, compromised road allows the people in control to keep controlling all of us.  And allows the people at the bottom to not be able to move forward.  
I know a lot of people started to hate me after I took a stand and supported two women's viewpoints over a popular videographer and test-maker, and that's fine.
I asked for that, honestly.  It wasn't that I supported them, it was how I went about it.
Now the same emotions came up from a user over my comments about "Making A Murderer" and how it reveals how broken our criminal justice system is.  Systemic broken.  Then that user asked me again about the B&H case.  That was reported in the NYTimes and Al Jezera - major news outets.  The ones that broke the story on Amazon and their worker abuses, and nail salons in NYC, and many more investigative journalism.
I should stop.  And I will.  It just wastes so much time.  Besides, I don't know any of you.  And you don't know me.  All I know is that there is rampant corruption in our planet.  All we can do is shed a light on it?
And am I part of this corruption?  Yes I am, and we all are.  But the difference between me and a lot of people, is that I want to talk about it, address it, try to help make the world a more just place.  I do more than just post on message boards

I second with Mattias decision for a red one mx .  I own two of them, and three sony f35 - about to put up a test - f35 vs f3 vs red one mx vs a7s ii
 
The Red One MX,  Ebrahim, has a pretty good sensor.  I also think of it as 12 stops.  But has really good resolution.
It also has the best looking skintone out of the bat in daylight than, in my eyes, the Red Dragon sensor.  I think Shane Hurlbut did a comparison of how each optical low-pass filter affects skintones.
I haven't done tests to see, but I notice that the motion on the red one mx feels better than the Epic MX - also David Fincher agrees with me and Mattias, he said he prefers the look of the Red One MX over the Epic - on his interview for AC about girl with the dragon tattoo.
I used the BM4k and wasn't a fan of its highlight roll off - the CION doesn't look that appealing to me.
The Red ONE MX is a workhorse.  Mine has been going for over 2 years now after going thru some long, intense shoots.  In -20 F weather in north Alaska.  Also it has less fan noise issues than the Red Epic.
It's compression is pretty good - it's clean and sharp and has nice motion.
Red Customer support is HORRIBLE!  If you break anything, even a SSD reader, they won't do anything but charge you.  And reduser - a lot of them including the President are really mean to people on their boards.
So they are a mixed bag.
I still want to do a red one mx vs  alexa mini vs fs7 vs f55 vs ursa 4.6k test vs c300 ii test if I ever have time or money - maybe someone else can do it.
 

Award of the most useless post of the year !

Award of the most useless post of the year !

Award of the most useless post of the year !

Award of the most useless post of the year !

Award of the most useless post of the year !

I find that the NX1 can be very tricky to grade especially for the sky. From my experience there isn't much to do, it's just a matter of being soft on the grading. The image of the NX1 is so clean that it breaks down a bit sooner than a GH4 for instance. It's worse if you have a scene that contains tons of details, then the compression can be stronger -> and you have macroblocks even sooner. 

Not mine, but a wedding shoot on the NX1.

Wow such great response  I too was impressed, this is my fav grading so far, its quite filmic, with enough punch, it looks quite good when playing !
I used Gamma DR with the settings above. I do underexpose, not by a lot, but just enough to save all the highlights without having any clipping. I dont look at the metering, I just set my exposure by eye, so I dont know if I do by 1 stop or 2 stops, just make sure you're not clipping those highlights.

The Scarlet-W looks like the best camera they have made in a while. 
Again, don't preorder.  Wait for it to come out.  Do tests.  Rent it.  Use it against other cameras.  Then decide.
Pre-order a $10,000-$20,000 piece of kit is perhaps the dumbest thing in the world to do.  
Find out what surprises can happen with their camera.  How it handles dynamic range, etc etc.  How its fan works - all that stuff.
Early adopters always get burned.
I ususally wait a year after the camera is out to buy it.  And in the meantime rent it for gigs and test it.

Yeah, this couple was lovely, easily my favorite couple so far (havent been doing this for too long), and they seem to be very inlove, which makes everything easier to do!

adobe premieres latest update supports native h.265 clips from the nx1

You have to use fast color corrector and raise the black to 16 to get the same result as the conversion to prores.

Anything goes for music videos for upstart bands; but my mortgage gets paid by business/corporate videos. So no PVC pipe rigs. I have a couple DIY HMIs but they look like commercial units. And I've had zero issues shooting with any DSLR, but I generally have it on rails with a matte box & FF. Several times a client has had to squeeze by the camera in a tight setup and say "I'm being careful, I know that cost more than my house!" Amazing what matte box flags can do… 

Funny, corporate clients - if they've seen your work and it's good - don't really care about the gear the same way getting hired by an agency or media group to operate or DP do. Even so, I've had situations where someone knowledgeable raised an eyebrow at, say, an APS-C Nikon with a Series-E 100 on it. I usually say "look through the VF" and the next thing, they're snapping off phone shots of the lens - "Less a hundred bucks??!? That's my next lens!!!"
I really like using my Kessler as sort of a "fluid tripod" so when all else fails, just rig that sucker up… until someone makes a cast plastic sleeve that fits over a DSLR with a big "Arri" logo on it...