tokhee

a short doc shot with the X-T2. looks great.
 
 
 

Hi Pavel, yes IS work, this last work revolutionary the Samsung nx camera users.

Luca, you're reviving the interest for the nx line. Samsung should hire or pay you.

I wonder, is AF really a high prioritized feature as he stated in the video? I know, you could use it for gimbal work, but other than that, I thought it's more a feature for soccer moms. I think even with DP-AF it's not always focusing in the speed you want and it still can't read your mind. The longer the take, the higher the probability, that AF will ruin it. Isn't stopping down the lens still the preferred way to capture moving objects? Because I am still skeptical regarding AF for video it wasn't a feature I was looking at, in the first place. That said, for stills it was an important feature and I am completely satisfied with its performance.

i use Filmcovert. you can add softness (i do about 20%) and also some film grain (30%). looks beautiful.
 

Man KIDZ....
Your sense of style just gets better and better.

I haven;t been around here much lately because my NX1 is just WORKIN'. Ya know what I mean?
I put in Andrew's whole LUG-LUT settings and post routine, and it's just been GREAT. So nothing to report.

But RICARDO...
Boom! You've really tapped into an interesting recipe here.
I've put in your settings and shot a few things and I agree - very nice.
A different feel than the EOS Log-LUT thing, but I like them both. Once I've shot a bit more with Ricardo's set and got to know it better - then I'll have two distinct looks out of the NX1.

I think the NX1 screams with the Sigma ART lenses, but boy I'd still love to have that 16-50S lens to really finish the deal.
And I was RIGHT! Back when the camera got knocked out of production, I KNEW the prices for those "S" lenses were not going to come down....
Oh well...at least you DO get what you pay for with them.

~Cheers all!
 

No hack. it's only Samsung NX1 with NXL and Canon 50mm 1.8

thank you so much for the kind words everyone. All i had with me was the nx1 body paired with 16-50s and a very unstable and cheap tripod, had to upgrade it btw cause i missed a lot of shots because of it. Sometime i used the tripod folded as a rig for better camera grip and stabilization. In terms of settings i have used Normal Gamma with sat -5, sharpness -10 and contrast -3. I had MB at plus 9. I did the edit in Final Cut Pro X where i just tweaked the exposure wherever was the case and apply an m31 LUT at 50% and warmed the overall look and feel by a notch. that's all i did. Thank you again for the support and the nice feedback. i put my heart to it and it seems that got to u which makes me proud. cheers.

So far it can only do 720p

It ships in 3 years
 

I take back what I said in my last post. I just did some side by sides with my Nikon D5500 on the Flat profile (which i've previously described as having as much DR as the C100 II) and the Fuji is actually as good or better. 
Attaching screencaps. Some extreme dynamic range tests.
Here's the D5500 with Flat profile

The Fuji at 1080p with ProNeg Standard profile, -2 shadows and highlights, -4 sharpness.
+1 stop of exposure compared to the Nikon (because the Nikon is brighter at the same exposure settings)

The Fuji at the same exposure settings as the Nikon:

Now with contrast at -100 using the Lumetri panel in Premiere Pro:

These were all at 1080p. At 4k there is even more headroom and the colours tend to be noticeably nicer.
 

Personally I switched from the 5Dmkiii with Raw to the 1DC. And honestly I was a bit underwhelmed. Its a nice image but not that much better than the ML Raw. And not enough imo to justify the extra cost and lack of video features. Not a fan of the ergonomics either, comfortable grip but annoyingly tall imo.
But... I didnt use any of them for stills. If you shoot alot of stills the 1DC is a monster just like the 1DX. 
I also had the a7sii but again, rather have a 5D. Would choose the 1DC over the a7sii as well.

You're having a paranoid fantasy, Marco.  I design the Speed Booster optics, and my colleague Wilfried designs the mechanical mount.  Together we own the optical design patents and the "Speed Booster" trademark.  That's it - just two people.  We work with subcontractors to manufacture and QC the optical cells, and sell the those cells to Metabones, which itself is just a tiny company.  Any public statement from Metabones about Speed Boosters probably comes from me, so when you say that Metabones is lying you are essentially saying that I am lying.  There is no lying going on here.  I doubt that Samsung - which is a truly enormous company - was even aware of Speed Boosters, much less that its presence or absence played any role at all in their decision to leave the camera business.  No one from Samsung or Sony has *ever* contacted me about Speed Boosters, or anything else for that matter.
Wilfried and I looked at the Samsung NX mount on several occasions, and concluded it was just too much trouble to deal with due to the metal parts surrounding the sensor.  Based on our analysis, it would require several rectangular elements (similar to one of the Lens Turbo designs), which are much more difficult to make and mount accurately.  It would also require a substantial re-design of the Speed Booster optics, which have a unique performance advantage at extremely large apertures (read the patents if you want to understand this).  I personally had big hopes that the NX-mini mount would take off, since that was much more amenable to high quality focal reducer designs with larger reduction ratios - much like the BMCC and BMPCC from BlackMagic.  But unfortunately both NX and NX-mini have both become extinct except for whatever product remains in the marketplace.

Hallo Inazuma, no problem, I'm not offended.
I do not think Metabones has not been able to create the adapter, I think simply that their engineers have not even tried to manufacture it.
The reason is simple, they use a lens focal reducer support standards that can not be used on Samsung NX.
This standard support is used for all lenses by changing only the ring and the mounting flanges.
To create the NXL I had to shape the lenses and design a new type of support.
Soon the first supporters will receive their NXL adapters and they will post pictures and what is necessary to satisfy your curiosity.

I just did a series of tests for rolling shutter and noise. Uploading now. Will take a good couple hours. I will say the results look very good IMO. Cinema5d said in their preliminary review that the rolling shutter in 4k looks about average, which I agree with. So probably between 22 and 27ms.  In 1080p the rolling shutter is among the best. And the image is very detailed. Not as good as downscaled 4k but still very good.
As for the usability of this camera. There are a few problems beyond what I mentioned in my last post. First is that autoexposure is actually dogshit. The exposure changes very slowly and in steps rather than smoothly like Sony's and Nikon's. Second is that the colour profiles like to crush the blacks very quickly, so DR is limited. Although you can bring up shadows very cleanly in post. Third is that you can't change ISO while recording. All these things basically mean that you have to be quite mindful when recording.
If your style is run n gun you might have a bit of trouble with this camera but if you can deal with some of the quirks youll have one of the best images in a DSLR form factor for the price and size. 

Turn your Samsung NX camera to Full Frame!!
https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

Andrew, in my experience with the 1DXMkII rolling shutter had been a non-issue. 1080p is "Canon" 1080p. I don't think the issue is sharpness, it simply lacks resolution. Audio quality from the in camera preamps is very usable. And battery life is good.
The DPAF and 60p are well worth the price of admission. Granted I have had grips about the 1080p, as I know Canon could do better. Nonetheless, it's still the best... and only option for 4k @60p, in a DSLR form factor. I would wager this will not change when the GH5 is released. The camera saw extensive use during the Olympics, for both stills and video. It is a professional level piece of kit. Arguably the most appealing Canon camera available at present. The C300 mkii has heavy competition,  and frankly does not compete as favorably in its segment. The 5DMIV lacks the all important 60p option, and the crop is extreme. It's pity, as I had intended on adding one as a B-camera. If you do go with the 1DXMkII, it will serve you well for many years.  Comparing to my Sony A7Rii, I can tell you the 1DXMkII is the clear winner.  In my own my testing, while performing color grades on footage from both cameras with the same lens, the Canon's footage was able to be pushed to a much greater extent than the Sony, which became unusable when pushed to similar levels.  
C-Log - yes, it's would be nice to have.  But some might argue the need for log on an 8 bit  camera. I do think Canon should have thrown it in, but I can live without it in light of the other things this camera brings. 
DPAF - priceless. The best I have used by far. This single feature is reason enough to switch. Especially when you have this camera mounted to a gimbal. I cannot impress upon you enough how useful DPAF is. It's almost like cheating.
I've been editing my footage in Premiere Pro, as it now supports proxie files. Working with proxies actually takes away most of the pain of working with MJPEG. 
If you do get it, you will not look back.  The 4k is a bit different in feel to the 1DC. It seems to be of the more modern flavor that is becoming common in movies these days.  Cleaner, but not totally sterile. It seems a lot of new camera are favoring this look. Give it a try. In the end it's about telling the story. I know in my use the 1DXMkII proved to be a better tool for that job... because it worked, and did so without fuss. No need for a follow focus. Not even sure where my follow focus is, just haven't  needed it. And now I can use AF lenses. I mean I can really use them... and pull focus... and nail my shots. I'm not saying DPAF is perfect, but it's definitely usable in a professional setting. And frankly in many respects it does a better job than I can. The way it hold focus, even when working at f1.2 is crazy. 
 

Having a bad day?
Title would be incorrect if I wrote C700 & XC15 announced.
Instead, I chose a title that is correct today, tomorrow, next week, etc.

after week long extensive tests, I finally come to conclusion that I'd use Gamma DR standard with -15 sharpness and MB15 for a uniform and flat skintone look, this look is good when the actor has no makeup but for more gritty look I use gamma C which gives more color depth especially on cheeks are more red than the rest of the face however I recommend makeup to smooth the face "BB CREAM" works nicely.
I didn't like -4 sat and -3 contrast nor -4 contrast and 0 sat because no matter what you do you can't return the pure black back on, if you adjust black level or contrast it affects the entire image, that's why GammaC is very good for darker tones, like horror, thriller, mystery but Gamma DR is good for comedy, romance. 
For nature, outdoor, buildings I prefer Gamma C, this is because it has much less macroblocking in the blue channels "sky basically" unless your sky is cloudy maybe you want Gamma DR. 
with Gamma C you want to expose to 0 this is because its blacks are darker, for Gamma DR I underexpose to -3. 
remember we are using 8bit color, professionals use 16bit color for flat profile because they have the headroom to do the grading, our cameras have to be adjusted as close as possible to your final look otherwise it will start breaking up especially walls, skys and flat surfaces where repetition of pixels occur. 
I also ordered a lens filter glass "Tiffen Black Satin 1" this is so I can smooth out the face's blemishes, because the camera is too sharp in order to reduce macroblockings which occur when there is too much details in sky, flat surfaces ect..you cant fix this in post it has to be fixed before the image hits the censor. 
Also thanks to this forum for my research, I tried all your settings, without them I wouldn't have come to my personal conclusion

GammaDR gives the most natural look and you can add contrast to it if you need. I have been shooting close to 100 hours this summer and when using normal or GammaC it's hard to manage scenes that are partly sun partly shade. I tried ricardos settings, but the colors were ultimately too fake and blend. It's not really fun to look image that is so gray. In stills it seems nice, but watching even 2 minute video with it is just exhausting.

I was describing the rental situation in my country. I can understand not a lot of C300ii being rent, as for most cases version i is just sufficient.
C100s are the clear leader in sales as most customers do not even care (or know that exist) about 4K.
Honestly, only in special occasions we rent a Sony for slow motion, in any other case, why would we?
I have the NX system for 4K, plus we use a JVC LS300, all the other cases it is C100i & ii and C300i. We still use 3 Canon markIII occasionally, but if I could convince my other partners they would have been replaced by NX1s instantly! For anything more, there is always a Red with a dedicated assistant for cheap (like 300$ per day), or Alexa.

Nikon 50mm f1.4, aperture f.2, iso 100, shutter speed 50. Original files.

I'd keep it... I'm still annoyed at myself for selling my 5Diii (with ML) in order to get the better spec'd A7s.
When you find a camera/image you love... better to stay with it.

The 1DC is a great camera. If I were in your place I would keep it and get my monies worth by using the heck out of it. But that said the 1DX Mkii is also great. Granted, the file sizes are nuts for 2016. But there aren't any other cameras in this format that can deliver the colors and dependability of the Canons. These things are tanks! Honestly, if they do not fit the bill you might need to look into a dedicated cinema camera. Blackmagic, Red or the long shot Kinefinity (still on my radar... cautiously). In any case, you have a great camera, shoot something. It will get you excited about it again.