NX1user

It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

Is there?
 
Most of the music videos on which I have worked were basically a bunch of flashy images cut together frenetically.  Unless one is shooting a narrative music video, there is no "motivation" for the lighting, so anything goes.  That is the fun of shooting music videos.

color wise: i quit from M43 because of colors. I could never get correct colors from GH4, photo and video both. Sometimes picture is nice, but collors are wrong. Espetially in photo mode. Ive investet in Cilkipix and all other possible converters without any big improovment. And i tried everything, and i loved M43 format and concept, and i had All the best M43 lenses, and i had some other Panasonics and Olympus. Final  breaking decission happened when Panasonic involved 20mp trend instead of 16mp development on its sensor... And also M43 AF system Olways stresset me in a bad mood...
I will take NX1 with me in a grave, because now i have COLORS and features. Sad on manufactor decissions only...

It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

Uploading a large ProRes master to Vimeo also helps to reduce motion compression artefacts.

I just want to share my experience with getting rid of the blocks artifacts especially on a sky, I've found out that it's all to do with ISO value! when using the gamma DR profile and a low iso this introduces very ugly blocks or artifacts on the blue channel so I tried with a high iso either 500 or 800 and turns out it reduced this by a large margin if not completely.
however high iso means overexposure, so ND filter must be used, if you're shooting a talent then you'll need to reflect light on your subject too.  The picture shows you the difference, look at top left corner, I've maximized the color grading to be able to see it. I also tried adding grain to the 100 iso image but that still didn't fix the blocky image.
The blocks are due to the compressed 8bit only video quality and the nature of h265. 

Quite old but maybe still worth of posting here... whole with NX1 and bitrate hack.

Simple Music Video I Did Last Month With Over 1Million Views Already.  Lens Used [16-50 S]     {Song is in Spanish}
 

Was walking to my local Starbucks to study. A dj was playing in the street at night all I had was my nx-1 and my super beat up $20 canon fd 50mm 1.4 all hand held  found the song on a Creative Commons website. 
 

Today I shot footage for two more upcoming episodes. This time I had the BMCC and NX1 on a tripod for interview style talking-head video. I'll have more info on that later in the week. Meanwhile, I've worked out a good system for backing up video archives...
Low Budget Video Backup Solution
For the Carry Trainer video series essentially all my footage is stored on two large hard-drives. That works pretty well. Internal hard-drives are cheap these days and with a USB 3.0 connection the speed is good enough. I've never had a hard-drive fail yet, but it happens. Sooner or later hard-drives fail... they aren't designed as a long-term storage solution. I've been thinking about a off-site backup solution.
Due to the sheer size of the footage I shoot, Blu Ray seemed like the only plausible solution. I don't even want to try pushing 6TB+ up to the cloud.
I checked out Archival Blu Ray discs, and they were a bit too expensive. Then, reading the specs on a regular Blu Ray - R discs, I learned the regular shelf life for those is pretty good. I forget the source, but they are rated at 20-30 years. For my YouTube Channel that's good enough. I want something that lasts about 10 years that I can easily store off-site.
Once I settled on Blu Ray Recordable Discs, the next challenge was a system for spreading data across many discs. I break up my footage archives by Episodes. Episodes 1-5 are grouped together and roughly 450 GB. Initially I tried CDBurnerXP, which has a nice disc spanning function... that didn't go well. The program would choke on the individual DNG files from my BMCC. Perhaps 450 GB was just too big for it? I let the program go for three days non-stop with no success and had to move on.
Then I tried WinZip, which in combination with ImgBurn, works great. With WinZip I can take large projects and break them down into chunks for each disc. The WinZip program is powerful and fast. There's even a setting for "No Compression" on WinZip, which is perfect for video files(where everything is usually already compressed). My Episodes 1-5 directory broke up nicely into 22 files. Now I'm using ImgBurn, a good disc writing program, to write one file to each disc. I prefer ImgBurn for archival purposes over the default Windows Tool, because it thoroughly verifies each disc after writing it.
This topic is a bit boring, however as video makers it's important to have some system in place if you're working on valuable stuff.

It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

I've been really inspired by some of the work done on this camera...Just wanted to create a topic where any NX1 owners can upload their latest films...If you like, feel free to share anything you think helped you get the image you arrived at...lenses used, LUTs used, etc.  
Here is my latest.  Rokionon 35mm and Sigma 18-35mm lenses.  Osiris LUTs.
 

Thanks, yeah the ducks was quite friendly that day. And Gunpowder is smashing, good as new 

Gh5, a7s2, i know that i m totaly crazy but...last week...i've buyed another nx1 body with...16-50 2-2.8...all of the other cameras have somenthing better than my sam...but..i really love the image that i can obtain with this "old" piece of electronic...

Apology to everyone including John Brawley - 
The Ursa Mini 4.6k from reviews is looking amazing .  They seemed to fix the various problems.
I'm going to do a skintone test on thursday with the sony f65 and red epic mx and canon c300 ii.
 

Yes, for grading and getting rid of compression noise in fine patterns and shadows, 180 is worth it. I never noticed any difference above 180 and that seems to be what others have said too.

Use something with two handgrips. While not heavy by itself, you will exhaust your wrist quickly with most single handed gimbal. Especially if you are using the 16-50s lens.

The first video from this shoot is now live. Check it out for a point of reference.
Concealed Carry Belts: 
Please forgive some of the camera shake... I was testing out a dual camera rig. Although it got the job done, the rig needs improvement and... more importantly, I need more skill wielding it. Between the two cameras here I was able to cover most of my mistakes and got some interesting Dutch Angles. The NX1 was simply mounted to a magic arm off the rails.
The tighter shot was the BMCC 2.5K with the 50mm F/1.4 Super Takumar and a cheap speed booster. Stopped down to about F2. With the backlighting it was flare-tastic! ... I should have put on the matte-box, but we were in a hurry.
The wider shot was the NX1 with the MIR 37mm at somewhere around F4. Somehow, although Sang and Mickey where standing next to each other, I really only managed to get Sang on the left in focus. That's user error. I tried to cover the mistake up with Luma Sharpen in Resolve... good enough.
---
Alright, lets try picking up where I left off. Grading...
The Samsung cameras put out a solid image with plenty of detail as you would expect. I used Andrew Reid's Flat LUT on the front end in Resolve as I was setting levels. After that I dropped on Hook's Luma Sharpen... and then the Super Film Stock powergrade from Color Grading Central (oddly I don't see his Luster Grades pack for sale online anymore). I've been using that same powergrade since the beginning Carry Trainer videos. Lastly, from there I tweaked the base colors on the levels layer... nudging the reds and blues a little to my taste.
Coming out of Resolve, I rendered the video in uncompressed 10-bit 4k for finishing on Sony Vegas Pro and final output to YouTube. Vegas is much nicer for audio... and it's just what I'm use to. In case your curious, the opening was done with some simple shots feed into the Prolost Handcrank plug-in in After Effects.
It could just be the lenses, but I did like the image from the BMCC better even though it had less resolution 2.5k vs. 4k, but with 4:2:2 maybe that's debatable. 12-bit RAW still has it's advantages. They were both good, but the BMCC just looks richer with it's own kind of film grain. Once my NXL speed booster arrives, I'll try using the same 50mm Super Takumar 1.4 on both cameras. With the variation in sensor sizes, that should work-out perfectly and be a better grounds for comparison... As you can probably tell that's my favorite lens these days.
Meanwhile, with my amateur shoulder shooting I could definitely see jello issues with both sensors.
The thumbnail/cover image for the youtube video was a Macro shot with my my NX1 and the Canon FD 35-70 Macro zoom. I had the belts inside one of those light tents common for product photography.

My first Shooting forum post! 
 
It's all Samsung NX1 (except for a couple of  drone shots) with the Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.

What's it about? 
What do you call a ghost town that still has people living there? This documentary is a peek into the world of some folks that live in what others call a "ghost town." Haunted kewpie doll, boot fence, dream cowboys, custom caskets, and stories of healing are all there in the Dreamworld.

Hey gang, over the last month I upgraded my camera gear to 4K with a used NX1 and NX500 (replacing my old trusty GH2 and a6000). Since I regularly make videos for the Carry Trainer YouTube channel, I thought I'd start a thread here to share my experiences with these two camera's.
First, I tried both versions of the Samsung firmware. The Kino-Seed hack worked on my NX500, but not my NX1. Anyway, I settled on Vasile's nx-on-wake mod... it is worth the little extra work to install.
For the picture profile settings, I am generally following the recommendations from Andrew Reid's guide. For the NX1: Gamma DR, .95 Green 0-255 Luminance Level. On the NX500 I don't see any video controls... the picture profile is set to standard. As Reid suggested, I set resolution to 3840x2160 with a 24p frame rate.
Getting started testing my gear, I found my Fotodiox adapter wasn't triggering the sensor on the Samsung camera mount. Since I only use vintage manual lenses, I decided to just super glue the mount sensor down and avoid any future hassle (see attached photo). The glossy spot with the glue on the bottom of the mount is covered by the adapter, in case you were wondering about my sloppy work.
I did my first shoot with these cameras last week, Dec. 19, 2016... filming a few new Carry Trainer episodes. I work as a one-man band on multi-camera shoots, usually running two or three cameras. The classic Blackmagic Cinema Camera 2.5K remains my A Camera. The NX1 is now my B Camera... and the NX500 is the C camera. Anyway, on set I quickly discovered my NX1 couldn't handle the 210 MB bit rate. I dialed the NX1 back to 180... then it worked flawlessly for two hours. Battery life was good. Surprisingly the NX1 was only down to 50% battery at the end with 100GB of 4K video on the SD card. Meanwhile, the 64GB SD card on my NX500 filled up really fast. I was only able to use that for about half of the filming session.
I'll wrap up this first post with my transcoding experience. I do my editing with the free version of DaVinci Resolve, so transcoding the H.265 is a must. I used After Effects to line-up all the clips and rendered them to HQ DNxHR (I use windows). 98 GB of video off my NX1 SD Card grew into 433 GB worth of DNxHR footage. As a point of comparison, I came away from that same filming session with 370 GB of RAW footage on my BMCC. So serious 4K video eats up a lot of hard-drive space.
In my next post I'll talk about how the NX1 footage looked in the grading process...

Thanks!
Kinoseed bitrate hack (180mbs), using Andrew's Gamma DR profile. Lenses: Samsung 16-50 S, Rokinon 12mm and 85mm, plus some lensbaby. I used a couple LUTS (8690 and 8181) by luts.iwltbap.com and FilmConvert in post. Filmed in 4K converted to ProRes for editing in Premiere. Yes, I know Premiere supports H.265, but I've had nothing but problems with H.265 files since the last update. Exported to 1080.