teddoman

I'm looking for something to do LUTs in too. I saw that PowerDirector has a standalone application called ColorDirector. Kind of think it'd be nice if I could apply a LUT to all of my day's clips in a batch process overnight and be able to look at the LUT version as my starting point.

Haven't personally shot video on Oly cameras. A friend showed me an E-M5 and for the brief time I played with the IBIS, it was pretty stunning to me. Haven't played with my PZ zoom much but based on a very brief impression of the E-M5, the 16-50 S doesn't have the same level of stabilization. It makes a huge difference, but on the E-M5, it almost felt like the lens was floating in honey. If Oly came out with a good video camera, it'd be very tempting. The more realistic option for me is an A7Rii at some point in the distant future when it's not $3200.

Keep in mind NX500 only has crop 4K, so you have a crop factor of 2.6x or so in full frame terms. Since the full sensor isn't used for 4K, you're not getting any sensor size improvement in video by moving up from m4/3. You'd have to move up to the NX1 before you get normal APS-C crop factor and lower noise from readout of the full sensor. To balance all of the interests, maybe you should consider 1 video cam for home movies (where size doesn't matter) and a lighter setup for going out. What I do is use the NX1 as a dedicated video cam, so I have recently figured out how to rig it up with bracket, microphones, preamp etc. It's huge. I use it at home plenty, but being huge is no biggie when you're at home. This helps avoid the noise penalty when you're shooting in dim conditions. But for a lighter setup for when out and about, there's really isn't a perfect hybrid 4K camera yet at a low price point. You'd have to drop $3200 and get an A7Rii for video AF and super 35 4K. I don't expect my NX500 to be able to do what I can do with my NX1 rig, but for the price of the NX500, I consider it a bargain that I can get detailed 4K footage like that in such a tiny body.

Just ran across this article. Thought you might find it interesting. Seems to suggest a passive adapter can work with wireless mics, I guess wireless has its own power source to provide a strong signal http://www.dslrfilmnoob.com/2012/02/16/dslr-audio-interface-you/

I am testing out the Juicedlink DT454 preamp adapter right now. It has this feature where it can record to the camera with noise to the right channel and send the signal from both mics to the left channel. In post, you delete the right channel and copy the left channel to the right channel. I was just playing around with it and turned off the right channel noise. Afterwards in Audio Director, I noticed that the right channel seems to be picking up some of the signal still. Even with the right channel switched into the left channel, there is a separate right channel recording a very very faint copy of the audio that's in the left channel. Anyone know why this might be?

Yeah, I've had NX1, NX500, 16-50 S, and the 45 for about a month now, sweet little cams

For a 16, 30 and 45, you're probably right around the price of the S zoom. Maybe there are still some on closeout in Europe? Don't forget that the S zooms allow you to take photos at a lower shutter speed. Marketing specs say 4 stops, I know I can get at least 1 stop going from 1/125 (my standard for unstabilized lenses) to 1/50, and that's being totally lazy and lackadaisically shooting with the LCD. If I was actually trying, shooting with the EVF, maybe I could get those 3 extra stops, but I've never tried to push the envelope and shoot at 1/8. And that's just photos. You're not going to change your shutter speed in video, but you'll just use the OIS for smoother handheld video. I got along just fine with unstabilized lenses before, but the stabilized lenses sure have a way of sucking you in and making you lazy

Cameranu.nl is only the retailer, right? What about warranty service by Samsung, or whatever is left of it in the EU? Those bands look very wrong to me, like an electronics defect.

I have had the same problem and I knew I had probably set it wrong but hadn't quite stumbled into the answer. Nice tip.

The blue thing looks like a Beachtek MCC-2 passive adapter. (Can you tell I've been researching these too?) haha I am buying 2 old active adapters to test out (I'll resell 1 of them), the BeachTek DXA-SLR and JuicedLink - DT454. They can be had for 50-100 on ebay, and a few years ago they were sold retail for $250+ but are now discontinued and replaced by newer better models but the reviews on them are pretty decent, especially considering the money you pay today. I figure it makes sense to start with hand me downs since I have absolutely no idea what's what at this point. This is one of those situations where you can only learn what you need by jumping in. Biggest difference between these and the one you're looking at is: Better mics usually require phantom power. MCC-2 doesn't provide power. (Another option: some mics can get phantom power from their own battery.)Active vs passive. Active adapters have preamps and can boost the signal 15 or 30 db before it reaches the camera. If the preamps are good, the camera will get a strong clean signal without noise (and overwhelm the camera's AGC which otherwise will try to raise the volume together with the noise, resulting in a hiss). If you get the MCC-2, you should get something like the Rode Videomic Pro which has its own strong signal, since the MCC-2 doesn't have any preamps.AGC gain disable function. Active adapters I'm buying can turn off the in camera AGC gain by sending a low frequency sound into one of the stereo channels to trick it. You're limited to the other channel then for actual sound. Reason for this feature is AGC cannot be disabled in camera, except for a handful of cameras. AGC is one reason in camera audio is usually poor, because it raises the sound of the noise.The bigger active adapters I'm looking at are mounted under the camera instead of on a hot/cold shoe like the MCC-2. I decided to start out with XLR cables because it's only slightly more bulky but you get less noise interference through the cable, which could become an issue if you ever have a long cable run. All of the better mics use XLR connections so using unbalanced mic jacks also forces you to use bulky adapters anyways (which may degrade signal). That's cool if you're gonna go wireless. It looks like that's what everyone is doing with lav mics now. I don't think I'm going to have a big use for lav mics, but I bought a cheap used Sony ECM-77B (wired XLR) to try out (which some reviews call an industry standard). Maybe at some point I'll get a recorder for the omnidirectional lav mic, but I just decided it was unrealistic for me personally to sync all audio. I'm mainly trying to find the right mic to put on camera now. Apparently shotgun mics are for outdoors and they recommend cardioid or hypercardioid for indoor rooms which cope with reverb from hard surfaces better.

You should submit a takedown request under Youtube's More Actions, Report, and then Infringes My Rights. It will automatically disable the video anywhere it is embedded if your request is approved.

The smartphone idea might not work for me. Looking at mics on B&H's awesome website, I could see that the mid-range $60 lav mics require phantom power through the mic jack, and unlike the recorders, smartphones don't provide any phantom power through their mic jacks. I'm def learning that preamp is in the secret sauce. My Rode Videomic has zero preamp, and apparently part of the trick with AGC is to preamplify the signal so that the camera's AGC doesn't try to boost the signal because it'll also boost the noise...creating the low hiss I hear all the time despite turning on the high pass filter. Apparently this is the trick on the Rode Videopro microphone. It preamps the signal before it ever reaches the camera, which helps trick the in camera AGC into not trying to boost the sound. But that's really just a hack. Without being handicapped by a camera's AGC, a better strategy seems like a recorder with decent microphone + good preamp + manual gain control + lossless recording format. This review and this review were helpful because of the commentary on the quality of the preamps in various under $400 recorders. Now all I need to do is find the right microphone preamp recorder combo as my first upgrade from a Rode Videomic without dropping $3K on a Sound Devices 552

I imagine that a lot of what you're paying for there is the wireless capability, and I just can't imagine wireless is as reliable as wired. Found a good explainer that lists some smartphone lav mic apps http://photography.tutsplus.com/tutorials/use-a-lapel-mic-and-your-smartphone-to-record-audio-for-video--cms-24328 Wavepad, the Android one, allows you to record in wav/pcm (which is not a lossy compressed format like mp3) in 24 bit (and apparently even in 32 bit) at 44.1 kHz. Of course a proper lav mic on a smartphone would be optimal, but it'd be interesting to compare the built in mic of a smartphone placed a few feet away from your subject vs a nice shotgun mic 5-10 feet away to see which wins. Smartphone might also have the advantage of recording lossless 24 bit compared to whatever quality a camera is recording at.

I've read that a lot of people use plural eyes or woowave sync so it sounds pretty painless to add good audio. I've also been trying to figure out what's important in an audio solution so I can get a good value, but it's like audio has its own language (that I don't speak yet). Specs-wise, it seems like some differences are: XLR inputs can be locked vs 3.5mm which can'theadphone jack for monitoring vs none320kbps vs 128 kbps bitrate 24 vs 16 bitstereo vs monomanual gain control vs (in camera) auto gain control Sampling frequency in HzBacklit LCD displayBoot timeT markRecording format It'd be helpful to know which of these is really important vs optional, and maybe there are other important things to think about that I didn't mention. Also, if you don't need one of the physical options like XLR inputs, can't a lot of these features be replicated by attaching a small lav mic to a smartphone? Wonder if there are any good audio apps that give you the same features as a recorder.

Whatever you think of the price, it seemed like a well written sales pitch. Had enough of a corporate feel to convince a reader that these guys could actually produce what they're claiming they will.

At the very least, the video AF looks like it'll be great for casual purposes. There's a focus priority sub setting of accuracy that seems to help. I also switched from face detect to zone focus. Have only done a few test videos but it seems pretty close to the A6000 with these changes. Plus 4K frame grabbability (is that a word?)

Why not run 2 mounts in parallel? Produce fairly hollow mirrorless bodies with F mounts for the pros who don't want adapters. Meanwhile, produce NX mount bodies for those who want smaller bodies with smaller lenses. As NX mount becomes more mature, some F mount users will slowly transition over. And Nikon could continue to support F mount for decades really, it would transfer new lens development to NX mount. In the meantime, they'd probably have pro Nikon shooters who buy both, one for work and one for play.

Fascinating organizational insight in that Steve Jobs interview, I'd never heard that before but makes sense intuitively. But with photography companies, you'd have to understand the specific organizational process of each company. Because it seems to me that marketing would likely play a role in specifying cameras specs. After that, engineers are tasked with producing a product which meets that spec. Somehow I doubt that engineers at camera companies are these garage geniuses that come up with great products all on their own. Product development is too complicated for that. They have so many considerations to account for before the design is even made, like manufacturing capabilities, supply partners, etc. If anything, product design is probably a very iterative team process from across the company, which makes Jobs' explanation seem a bit simplistic.

I replied in the other thread. Yes apparently, and it's not firmware, it's just that apparently the sensor 4K is actually 3840x2160 and it's just digital conversion somehow to produce 4096x2160. I'm curious if the same is true for the NX500, which only offers 24p in 4096x2160. The native 3840x2160 is only offered in 30p on the NX500.

Yeah, if you're a pro, you might need commercial insurance. My insurance gives me some coverage outside the home although it's only a small percentage of my total contents coverage. Just call your insurance agent and tell them what you're trying to cover and ask them what's the best way to cover it. Unless it's part of insurance you're already getting anyways, I'm not sure it'll end up being worth it. There are lots of ways to get screwed by insurance companies.

You can get it as part of your homeowners or renters insurance. You may have to select "blanket coverage" for camera equipment where you don't have to itemize in advance. You get a rate for that class of items (cameras/lenses). Price might be $2-4 per $100 of coverage annually.

Does Super 35 mm​ mode (that is oversampled 4K without pixel binning) mean it uses a sensor area that is directly equivalent to a Sony APS-C body? In which case all of the E mount APS-C lenses could be used?

Nice little ode to nyc, as seen from the rearview mirror. Great mood. I may find myself reposting this at some point if and when I ever leave the city.

An NX500 with the same video specs as the NX1 at half the price was a bit too good to be true. This sounds like a reasonable way to differentiate the models. Now there is really nice vs really really nice.

This review says the A5100 has full sensor readout. No idea how reliable that info is though.