vaga

I was actually very interested in the 2D/3D lens. Not only is a good lens, but it also has that extra feature.

This is an upcoming Indian film called Theri. I just love the color palette and the overall feel of the images. I was curious what cameras were used on this, so I looked up the cinematographer on twitter. Turns out most of it is filmed with an Arri Alexa, parts of it with a Alexa Mini, and at least some part (probably some action sequences) using a Red Epic on a strange gimbal where the camera is above the handles (I've at least never seen anything like that before for such a heavy camera) and some drone shots. How do I get my short films to look the way this does? Right now, I shoot with a T3i, but I'm planning to either upgrade to the NX1 or a6300. Of course, a lot of this has to do with lighting, makeup, lens selection, and color grading. But the best tips and tools you have would be great! Thanks, Vaga

Hey, read speed may be important as well. On my T3i, I can record video at 48Mbps (with magic lantern) I believe but I can't properly play it back in camera. Also, ScanDisk or SanDisk?

Yea that would be great! These JPEGs are stills though right, so there should be more dynamic range in them than in the video (hence why we often use flat codecs are LOG to get the full DR data in the video frames)?

Interesting that the number of bits per 25 still 4k frames is less than the amount vasile has been able to unlock for 1 second of HEVC. Does the bitrate of the video include the audio track as well? How is the gradeablility of those JPEGs?

It'd probably be fine even in an a7 size body

@kidzrevil et al, what is your opinion of usingC/Y Zeiss lenses on the NX1 for stills and video? Is it sharp or do you see any digital oversharpening in the video with these lenses?

Wow that looks really nice! I think the video must have been shot in 1080p itself, because there are basically no rolling shutter artifacts when the car is driving through the frame. Many of the scenes look definitely beautiful. I think the cinematographer must have been using the Video IS feature (or perhaps tried to stabilize some shots in post) because there a few shots in the car where you can see that there is some visible jitter in the frame. How did you come to discover that this documentary was shot on the NX1?

The before shots already look pretty nice I would say!

I would like to see a video zoom function similar to Sony's clear image zoom. Basically, the zoom would be available from the full oversampled frame of the sensor down to the cropped 4k 1:1 readout of the NX500. The idea is that you should be able to digitally zoom to anywhere in that range without losing resolution. Obviously it is more intensive to implement this versus increasing the bitrate but it is a feature that I think others have also asked for.

@Otto K, if you makea change in settings using prefman (such as shutterspeed for example), does it reflect the change in the camera ui?

2 things: Why would you ever need the alpha channel? Also, JPEG doesn't do transparency, so you could get full RGB, YCbCr444, 422, 420, but not 4444.

you could probably get it to run on the camera itself

Interesting, the N is designed for full frame but you're using it on an MFT system. Is it a pretty light lens? Seems like there should be a lot of glass, meaning the image formed should be quite bright.

I love the sky details in the first one. Agreed. The colors look pretty nice in the second.

Best option is to downsample the 4k to 1080 then? How's the slowmo tho? Does it suffer from the same problems as the normal rate 1080p?

@SMGJohn I've seen your video before . I like the look a lot. What's with the blockiness on the shot of the helicopter alone in the sky? Even back when NoamKroll reviewed the NX1, it was pretty obvious that the camera could have some good information if you protected the highlights and underexposed slightly. That's a camera characteristic that should be independent of the codec. While you could raise shadows before and see some detail, you'd see a lot of smearing because of the coding trees. Now that the bitrate is higher, from what I understand, HEVC will dynamically end up making smaller coding trees to produce more data without the smearing. (I hate that it's now inaccurate to say macroblocking!). Thus the information is now less blocky and more deliverable.

Is the Mount the same for all?

Nice Trailer!

I was planning to buy the 80-200 too! Lots of god deals on Amazon. Can someone clear up a few doubts I had? I see that Contax has a Contax G line that has autofocus (I am assuming from pictures of the mount that the 80-200 doesn't have any pins to interface with the camera in the first place). Is there any smart Contax to Canon EF-S or Contax to Samsung NX adapter that can carry the autofocus signal to this lens? What other differences are there between the Contax C/Y mount and Contax G?

@levisdavis are you posting your graded version anywhere? I'm curious to see how much you could recover. Also, any tips on getting Resolve not to crash (it crashes a lot on my computer, which I admit is not the most powerful)?

You would have to somehow overclock the sensor itself and/or cache; the processor would not directly contribute to rolling shutter.

There are still some blown out highlights, but looks like an awesome amount of shadow detail can now be recovered without macroblocking, so that is good. So I guess protect the highlights and then pull up the blacks in post.

I tried some basic adjustments in VLC and then screenshotted (I tried Resolve, but it crashed on my computer when it saw 4k footage).

Looks like pretty good highlight recovery too