Geoff CB

It definitely can't hurt to have a 4K camera. Despite the fact that we're still largely in a 2K world, in 5-10 when 4K becomes universal, it will prove beneficial to have a 4K master backed up. However, a little knowledge can be dangerous. I know for a fact that those same producers who demand that you use a 4K camera, even a cheap one like the GH4 or Black Magic 4K would gladly take an Alexa, even though it shoots 2K ProRes (I know it can do Arriraw but practically nobody under a seven-figure budget does). Because all they need to know is that it's the camera Avengers was shot on. Status is everything.

I think this is the perfect place to say that I just bought a samsung nx1 and I'm pumped for it!

​Good time to ask then.  If it is, how so?  
Because most stuff here is gear talk.  I always thought EOSHD was mostly (not all) for people that were trying to do low-budget cinema with this new era of consumer cameras; so very tech-centric.  I mean, I don't mind that, but threads about the artistic side of things don't seem to generate much discussion.
Seems more about the technical craft.  After all, talk about dynamic range and skin tones on some upcoming new camera and a 10 page thread is likely.
Hey, if I'm wrong, no problem.  Just curious to hear from the head honcho.

Fuzzynormal, you should have known better than to try to tell the alcoholics that they don't need alcohol anymore. Just look at the addict-levels of denial and rationalization above.
The first step is admitting you have a problem. 

I fully agree
but at the same time, we are mostly cinematographers, not directors on this board.  And DOP obsess over lenses, filtrations, film stocks, etc etc etc - I can't stop obsessing myself while I should be doing my comedy writing.  
 
ARGGG it's hard - this internet and these boards have so much information floating around that no one in my normal life ever wants to talk about .

This is related to the film making tangent going on in the motion cadence thread.
I like new cameras.  I own way too many of them.  But, I also like to remind myself that the camera doesn't really matter all that much.  We can accomplish more by worrying about the storytelling craft rather than the technical craft.  And I really enjoy the technical craft, but it's not expression.  It's engineering.  Sure there's certain creativity there, but I'm now trying to be more of the architect.  (not succeeding yet, but trying)  
As indy film makers I believe too many of us strive for technical achievement at the expense of the other ingredients.  This website is aimed squarely at jack-of-all-trade sorts of people, but ironically focuses it's editorial content mostly at gear.  Not a bad thing, mind you, it is what it is for practical reasons.
Still, many new film makers don’t need motion picture cameras at all.  This is a cool evolution of the craft that is happening more and more as we move deeper into the digital era.  Some directors are so creative and inventive all it takes is their imagination —and a lot of time locked away in their bedroom in front of a computer.  Well, okay, the camera is a requirement for some of the work, but it’s not the priority.
Has anyone been following the film making career of Don Hertzfeldt?  His films are gems of emotional existential storytelling.  Hardly any of his techniques rely on fancy camera gear.  Rather, using lush soundscapes and crudely drawn stick figures the guy is able to make narratives that are completely engaging.  It’s decidedly low-fi film production, but by no means does it lack in sophistication.  Quite the opposite.
On the other end of the spectrum are technical achievements such as Erik Wernquist’s “Wanderers”
It’s a CGI masterpiece.  By Hollywood standards it’s not CGI that’s an overwhelming violent spectacle, but it’s spectacular for so many other reasons.  His images, familiar narration (a famous scientist), and storytelling prowess, combine to create awe and inspiration.  Images used to create his short were mostly from NASA.  With a large dose of patience at the seat of his 3D software he’s created an extremely memorable film.
These are just two examples that I’ve been impressed with over the past few years, but many many more are out there.
When it comes to films wherein the motion picture camera is not the primary tool what are some of your favorites?
It's such an exciting era of film making!

I came here to read about Nikon raw and end up questioning about forum policy.
Honestly I like this forum but calling someone an IDIOT because he said that the topic title is misguiding is simply offensive.

​There is PIX-E5H from video devices for $1195 that record 4K/UHD.. and a 5" 1080p monitor as well

Wanted to reply about the idiot stuff but changed my mind. 
Edit
On topic: go hacker's go!

Andrew, I have read EOSHD quite a while now, and I like it - especially since you usually do not use the over the top sensational titles like many sites today do.
"Nikon hackers make progress with RAW video", "RAW video on Nikon cameras soon?" or something in the line of that would have been closer to what's going in the nikonhackers.org community.
I used to read nofilmschool in the earlier days too, but I kinda grew tired of that site, a big part of that being their sensationalism/content-less articles. What I'd personally like to see here on EOSHD, is if you keep on doing reviews just the way you've been doing earlier. In general your headlines and articles are spot on - and it's interesting to read your findings and experiences with cameras, softwares, methods etc.
Cheers!

​Wow. That was really uncalled for. Do you think insulting readers disagreeing with you is a good policy to attract new ones? Can't you simply reply in a civil way or ignore the critique completely?

​"Nikon Hacker discovers the possibility of RAW Video" might be more accurate at this point. 

Yeah getting a single from the image buffer is the first step, but nowhere near full video out. I wish these guys the best though and hope they pull it off, love shooting my D800 with their hacked bitrate firmware. Getting RAW on that camera would be a dream.

Yeah getting a single from the image buffer is the first step, but nowhere near full video out. I wish these guys the best though and hope they pull it off, love shooting my D800 with their hacked bitrate firmware. Getting RAW on that camera would be a dream.

Could not disagree more. It would be the second coming of the Megapixel race in pocket cameras for dumb consumers.
I give you an example as to why. Say you have a lens thats listed it as 40 mp on it. Yea it may resolve that, but hows the image? Bokeh? Chromatic Aberration? When sharpness becomes the main concern for manufacturers (more than it is now) then we all suffer creatively for it. 
As someone that uses Cinema glass on his GH4 you know that resolution is not the most important aspect of an image :)

I think now a days we can all shoot log - and we get lost in that log - we get used to that flat look - but rewatching monsters - it has a deeper s curve and dark black and nice raised midtones - it’s bolder - it’s more natural I think - more like the cinema that I grew up on.
It's hard to throw out dynamic range when you have it, but sometimes you have to - and you'll love it.  below I took out window detail to gain a pop that I enjoyed - maybe if I graded better I can do a power window and have it all!

Anyone test this yet? DP review says the HDMI out is 8 bit 4:2:2. I saw some early tests but I guess it wasn't working well, something about being limited to 30p or something like that. Have these issues been sorted out with latest firmware updates. Atomos has a set up guide on their vimeo page but no footage so far. I wonder if using an external recorder could help with low light macro blocking and noise. I'm still surprised there hasn't been more tests of the NX1 HDMI out.  

Could not disagree more. It would be the second coming of the Megapixel race in pocket cameras for dumb consumers.
I give you an example as to why. Say you have a lens thats listed it as 40 mp on it. Yea it may resolve that, but hows the image? Bokeh? Chromatic Aberration? When sharpness becomes the main concern for manufacturers (more than it is now) then we all suffer creatively for it. 
As someone that uses Cinema glass on his GH4 you know that resolution is not the most important aspect of an image :)

Could not disagree more. It would be the second coming of the Megapixel race in pocket cameras for dumb consumers.
I give you an example as to why. Say you have a lens thats listed it as 40 mp on it. Yea it may resolve that, but hows the image? Bokeh? Chromatic Aberration? When sharpness becomes the main concern for manufacturers (more than it is now) then we all suffer creatively for it. 
As someone that uses Cinema glass on his GH4 you know that resolution is not the most important aspect of an image :)

Not sure if the megapixel label on the lens is necessary, but 100% agree on the T-Stop. I used to wonder why the Samyang cine versions are slightly darker, but they have the accurate T-Stop instead of F-Stop listed, of course the cine versions let in the same light as the standard versions. T-Stop for videography is absolutely crucial. I'd be furious if i had bought the Canon F2.8 L for video work and later found out that the T-Stop is actually close to 4!!! Wonder how my Zuiko OM 35-80 F2.8 compares.
 

​This is my thinking, currently with my schedual, I only deliver my works in 2 months (max.) so 1 day wont make a difference.

The downsides on the NX1 are related to the new codec, those "problems" will soon go away, leaving me with a superior camera on the long run.

​Not if they do it out the USB3 port
Honestly, just hoping for better RS in 4K, center 4K crop, higher bitrate options in 1080p, and a 1080p HDMI out option.

​Not if they do it out the USB3 port
Honestly, just hoping for better RS in 4K, center 4K crop, higher bitrate options in 1080p, and a 1080p HDMI out option.