Parker

I always use the hack. Big improvement, especially in 120p. I feel like it holds fine detail in the shadow areas a lot better, but where I really notice it is on a gimbal, with a wide angle and deep focus... I mainly shoot weddings, so that means lots of trees, fountains, small, detailed and busy backgrounds with lots of movement. At the much lower stock bitrate (especially on the NX500, which only offered 60mbps as opposed to the nx1's 80mbps pro setting) there is a huge, noticeable difference for me. 
I always shoot my b-roll without sound anyway, since it's all 60p or 120p and I know I'll slow it down, so I usually shoot at 200mbps, and drop down to 180 or 160 with sound when I shoot interviews and talking heads. The files still aren't that big. Why not use the best image quality possible, all the time? 
That's my advice though. If you really want to see the difference, point the camera at a fountain, or run down a road with big, leafy trees gently blowing in the wind, and I'm sure you'll notice a difference. 

I always use the hack. Big improvement, especially in 120p. I feel like it holds fine detail in the shadow areas a lot better, but where I really notice it is on a gimbal, with a wide angle and deep focus... I mainly shoot weddings, so that means lots of trees, fountains, small, detailed and busy backgrounds with lots of movement. At the much lower stock bitrate (especially on the NX500, which only offered 60mbps as opposed to the nx1's 80mbps pro setting) there is a huge, noticeable difference for me. 
I always shoot my b-roll without sound anyway, since it's all 60p or 120p and I know I'll slow it down, so I usually shoot at 200mbps, and drop down to 180 or 160 with sound when I shoot interviews and talking heads. The files still aren't that big. Why not use the best image quality possible, all the time? 
That's my advice though. If you really want to see the difference, point the camera at a fountain, or run down a road with big, leafy trees gently blowing in the wind, and I'm sure you'll notice a difference. 

I saw this yesterday & yes, the sound was way too loud - so loud it felt that my eardrums were about to burst. I think the problem is definitely with modern sound mixing - there is too much contrast between the quiet & loud sequences. But in modern cineplexes, they have to raise the volume to drown out the air con, which i could still hear, and the other films, which i could also hear at times - real shame.
The film itself was great Sci-Fi & my reasoning is that 24hrs later i'm still thinking about it - something i can't say about most Hollywood films ATM. There is so much detail in this film that most of the comments concerning this film have missed or ignored. I do believe that the original has been put on so high a pedestal that most people have overlooked the fact that it is a deeply flawed, imperfect film - it looks great & the story is ok. But.....it's very simplistic considering the original source material, which is rich with ideas & provokes so many interesting concepts - what great Sci-Fi should do since its a comment on our present society. But what really bugs me about the original is which version is everyone putting on a pedestal? There are how many versions? Personally, the Original version & the Final Cut are both great, but have slightly different ideas running through them & I have always regarded them in equal admiration - 2 for the price of 1.
SPOILERS, BIG ONES!
There's so much in this film, it's difficult to know how to unpack it all - the end seems as good a place as any to start. The fact that the daughter (the best freelance memory creator) has manipulated replicants in order to facilitate her search for her father is absolute genius. The falling snow on K's hand & then the cut to her creating the snow memory live, makes you realise that K really is her Pinocchio. He's her puppet that she's been manipulating, through her implanted memory of the horse story, along with the other rebel replicants who all think they are the miracle baby (or should that be Messiah - a common Sci-Fi concept) at some point in their journey towards manipulated enlightenment.
The similiarites between the 2 films is also interesting: in the first, the replicants are striving for immortality & the meaning of mortality, which is a common human trait & Sci-Fi concept (the first reconisable Sci-Fi story, The Modern Prometheus aka Frankenstein dealt with issues of immortality/mortality & replacing God with science etc.); in the second, they can live as long as the buyer likes, but have been altered to become selfless to the requirements of humans (Asimov's laws of robotics), thus eradicating selfishness - a very human flaw. The replicants aren't "More Human, Than Human", that is just pure advertising - they are flawed precisely because their makers are flawed.
I thought the best concept in the film was the interaction between the K & Joi - 2 AI's trying to communicate/interact with one another. Again the Pinocchio theme, when Joi supplants herself onto the body of the prostitute & it appears like she is a puppeteer, placing her hands on K. But what is most interesting about this relationship is that Joi is the one that feels & craves to be closer to K - she rents the prostitute, she feels the rain & most importantly, she says "I love you". K is not fully formed (his programming prohibits him because he is physically present), he's not a real boy & it is Joi that is trying to teach him because she hasn't had those emotional traits surpressed (she's a hologram designed to alleviate loneliness). Again, there is also the question of whether Joi is just a construct being used by someone else (the daughter or Wallace Corp) to manipulate K. Finally, this interaction reminds me of that recent discovery when programmers let 2 AI's talk to each other & found that they created a new language in order to communicate with each other more easily/effectively - begging the question of what would happen if they hadn't stopped the experiment.
I could write about this film for hours, it really is such a rich film with so many interesting concepts that have been presented from differing points of view.
Predictions for the future - if the film does well enough, they have left the door open for another film (probably a big action blockbuster), but as it is this film will only get more interesting with more viewings.
 
 

I didn't see anybody on the forum talking about this amazing-looking new camera from DJI. 4.6k at 60p, records to C-Fast cards. Poorly translated page suggests 16 stops of dynamic range. More specs and info here: http://dronereviewsandnews.com/dji-october-11th-reflections-guess-1-zenmuse-x7/
 
Supposedly this thing is supposed to be announced on October 11, but somebody got a hold of the details early. 4k sample footage here: 
 
What do you guys think? With an Inspire 2, as well as paired with an Osmo, this could be a pretty formidable combo. 

An Edelkrone Quick Release One might help, makes the camera sit an inch or so higher up on the plate.  I've had the same problem with some of my smaller cameras, plus it's a convenient product. 
 https://www.bhphotovideo.com/c/product/1210400-REG

It wouldn't be too bad to jerry rig a wireless charger to the back of the phone, connected to a power bank, if your phone supports that kind of technology (which mine does!  ) 

V2 has a built in quick release system, shorter handle and different batteries, payload is the same as v1. I think it's a pretty universal consensus that the crane is easily the best pistol grip gimbal around, bar none. 

When the NX1 came out Philip Bloom bought it but didn't use it very much as he said the dynamic range was limited.
I thought it was a bit limited too, turns out we were both wrong...
Here is the effect of Fast Colour Corrector in Premiere changing output levels to 16-235 for NX1 clips recorded in 0-255 RGB range mode.

Original file - blown out clouds...

And here is an additional 1-2 stops in the highlights from enabling Smart Range + in-camera -


I'd put this camera right up there for image quality now... Right near the top of the pile.
Both sample images shot with the superb NXL adapter by the way with Canon 50mm F1.2L full frame FOV and DOF. Thanks Luca

@meanwhile, have you been a member of this forum before and have you been an exited and avid Canon Ti shooter with
interest in lens modding?

Ricardo is always posting such gorgeous framegrabs in this thread, so I wanted to give his settings a try for myself on my latest project... I'm really liking the way these are looking. (Graded with DeLuts and filmconvert) 

V2 has a built in quick release system, shorter handle and different batteries, payload is the same as v1. I think it's a pretty universal consensus that the crane is easily the best pistol grip gimbal around, bar none. 

Here's a project I just finished shooting. I tried playing around with some different settings than I've used in the past, and I'm pretty pleased with how the color came out in a lot of the shots. The whole thing was shot on a bitrate hacked NX1, almost entirely in 120p, with the NX-L speedbooster and Rokinon 50mm T1.5 used for most shots, though there are a few shots with the Roki 85 and Sigma 18-35 as well. All the gimbal shots were the NX500 with a Rokinon 12mm on a Zhiyun Crane. 
 
 

Here's scenes from a feature I'm shooting on the NX1.  All using the tracking autofocus.  I hope this camera lasts a LONG time, because even after all these years, its footage and capabilities are gorgeous and unmatched.
https://vimeo.com/225352203

I've had the NX1 for about 6 mos or so. The images it produces has become one of my favorite. 
Mostly shot on Nikkors  Ais and Rokinons. 
Gamma: Normal, -3 Contrast, -2 Sat, -10 Sharpness, 
16-235 for some and 0-255 for others. 

Hi, I´m a young DoP in Asuncion, Paraguay. I have done many tests with the NX1 and have been using it for many commercials and resently for the feature film „Saber Crecer“ (To Grow).
Trailer: https://www.youtube.com/watch?v=a6iQ3mQI9CA
This film has been shot entirely on my NX1 (except the drone shots) using the bitrate mod (160 Mbit/s) and the NXL speedbooster by Luca.
Please let me know what you think

I got an NTG-2 on a sweet deal a couple years ago, and I was a little disappointed... until I ordered a Triton Audio Fethead -- 27db's of clean gain for $100-- and it turbo-boosted my NTG-2 to such a degree that I haven't felt the need to buy any higher-end shotguns since. Even with a lowly DR-40, combined with the fethead, the NTG-2 puts out a really hot signal, I can record dialogue around that -12db target at a gain of around 20 on the Tascam, compared to 80 or 90 without, avoiding all that crappy pre-amp noise. Good option for the budget minded, especially if you already have the rode.
http://tritonaudio.com/fethead.html

 

I hope so. It really pisses me off that my phone, Samsung's Galaxy S8, doesn't work with their own company's camera line, defunct though it may be. 

I use one of the (apparently now discontinued) Lexar 2000x UHS-ii cards. I generally record 4k at 200 mbps and 60p and 120p at 180mbps. Keep in mind however that I am usually recording with the sound off, using manual focus, and at a low-ish ISO (I mostly shoot weddings so sound is not needed for the type of work I do). It is my understanding however that the higher the ISO or more processor-intensive tasks the camera is performing, such as autofocus, DIS, etc., the more likely you are to have your recording stop at those extra-high bitrates. If I do record sound or use autofocus, I usually do drop the bitrate to 160, just to be safe. 

As far as conclusive tests of solving macroblocking with the bitrate hack, if I recall, @kidzrevil posted a whole bunch of tests a while back, when the hack was first getting going, that showed off the results, especially in busy scenes with lots of detail and motion, like a fountain. They're probably buried somewhere in that massive original NX1 hack thread.

I use one of the (apparently now discontinued) Lexar 2000x UHS-ii cards. I generally record 4k at 200 mbps and 60p and 120p at 180mbps. Keep in mind however that I am usually recording with the sound off, using manual focus, and at a low-ish ISO (I mostly shoot weddings so sound is not needed for the type of work I do). It is my understanding however that the higher the ISO or more processor-intensive tasks the camera is performing, such as autofocus, DIS, etc., the more likely you are to have your recording stop at those extra-high bitrates. If I do record sound or use autofocus, I usually do drop the bitrate to 160, just to be safe. 

As far as conclusive tests of solving macroblocking with the bitrate hack, if I recall, @kidzrevil posted a whole bunch of tests a while back, when the hack was first getting going, that showed off the results, especially in busy scenes with lots of detail and motion, like a fountain. They're probably buried somewhere in that massive original NX1 hack thread.

@Andrew Reid Awesome! Can't wait to see what you do with the NX-L. Since I got mine I really haven't been tempted by any other cameras. Shooting wide open on a fast lens with the speedbooster, I haven't needed anything faster than ISO 1600. Having basically full frame 120p in high bitrate h.265 really gives this camera some legs. 

I am super impressed with what Luca has done with the NXL.
He's sent me one for review!
It is super sharp and cinematic. Has the full frame look completely. Trying it with the Canon 35mm F2.0L IS but will also use it with the 50mm F1.2L... Big low light boost to the NX1!

Nice colors!
 

Here's a project I just finished shooting. I tried playing around with some different settings than I've used in the past, and I'm pretty pleased with how the color came out in a lot of the shots. The whole thing was shot on a bitrate hacked NX1, almost entirely in 120p, with the NX-L speedbooster and Rokinon 50mm T1.5 used for most shots, though there are a few shots with the Roki 85 and Sigma 18-35 as well. All the gimbal shots were the NX500 with a Rokinon 12mm on a Zhiyun Crane. 
 
 

Here's a project I just finished shooting. I tried playing around with some different settings than I've used in the past, and I'm pretty pleased with how the color came out in a lot of the shots. The whole thing was shot on a bitrate hacked NX1, almost entirely in 120p, with the NX-L speedbooster and Rokinon 50mm T1.5 used for most shots, though there are a few shots with the Roki 85 and Sigma 18-35 as well. All the gimbal shots were the NX500 with a Rokinon 12mm on a Zhiyun Crane.