Juxx989

We'll as I see it the two websites that were champion of NX1 was EOSHD  (it earned its own hack forum here) and DP Review (they prob got paid by samsung) 
article looking back at what was and what could have been.   After reading the article check comment section is quite interesting.  All most 300 replies in 24hours.  
https://***URL removed***/articles/3890465710/tbt-the-samsung-nx1-is-still-impressive-three-years-later
 

We'll as I see it the two websites that were champion of NX1 was EOSHD  (it earned its own hack forum here) and DP Review (they prob got paid by samsung) 
article looking back at what was and what could have been.   After reading the article check comment section is quite interesting.  All most 300 replies in 24hours.  
https://***URL removed***/articles/3890465710/tbt-the-samsung-nx1-is-still-impressive-three-years-later
 

Here is a quick comparison between the anamorphic lenses I have.
The goal is to compares the flares and sharpness.
Hypergonar Hi-Fi 2
Dyaliscope Champion
Singer/Sankor 16D (uncoated)
Elmoscope 1
Isco Ultra-Star
Schneider Cinelux.
All shots with :
BMMCC
Mitakon Lens Turbo II
Helios 44-2
Focused to infinity, using a +1 close up diopter (Hama) except for the cinelux which used the Rectilux Hardcore DNA
(Sorry for the misaligned Cinelux shot, didn't see it until edit.)
Shot in Raw 3:1, edited and graded in Resolve. Applied the same color correction to all the shots.
I chose this lens, so that every anamorphic adapter would not show vignetting.
Equivalent focal length is 58 (Helios 44-2) * 0.72 (Lens Turbo) * 2.88 (BMMCC) = 120mm (FF)
The flares from the Hypergonar and Dyaliscope are just epic. 
I really like the subtle flares of the Elmo I
The flares of the ultrastar and cinelux are very muted, as expected.
The Singer (Sankor) 16D shot is just to show what happens if you want to uncoat your lens  
What do you think ?  

DPR wasn't paid by Samsung in anyway
Says so very clearly in more than one video look at the description on youtube
 
This is a DPReview production made possible with the support of Samsung and Amazon. For more: dpreview.com/sponsored <----
 
 
Some of the comments were ok....
"Still the best camera I've ever owned..."
"Hurts a bit. Should have bought during the firesale for $1000. Now they go for $2k used." (not sure if this is true)
Some good but there is alot of toxic comments tho...
CTB Approved?
 
 

We'll as I see it the two websites that were champion of NX1 was EOSHD  (it earned its own hack forum here) and DP Review (they prob got paid by samsung) 
article looking back at what was and what could have been.   After reading the article check comment section is quite interesting.  All most 300 replies in 24hours.  
https://***URL removed***/articles/3890465710/tbt-the-samsung-nx1-is-still-impressive-three-years-later
 

I think Max Yuryev is doing some great work, and certainly deserves more subscribers/views:
https://www.youtube.com/user/Maksimyuryev
 
The Royal Ocean Film Society post some great think pieces, and film criticism:
https://www.youtube.com/channel/UCWq-qJSudqKrzquTVep9Jwg

I'm also partial to these guys, specifically the dude on the right:
 

This guy gets a lot of stick (probably for his young age) from the NoFilmSchool trolls and facebook camera police, but I have to say he brings up much more interesting knowledge and talks much more wisdom than the majority of other camera / filmmaking Youtubers. 
Simon Cade of DSLRguide:
https://www.youtube.com/user/DSLRguide
The channel has these qualities: 
Doesn't talk very much at all about camera specs and new gear, more what you do with what you've got.  Gives his own insights into his thought processes and inspirations.  Gives well illustrated creative and technical tips to his "beginners / enthusiast" target audience. Doesn't bullshit and is very open about the purpose of his Youtube channel. Very genuine and authentic fell to his content. and many more..... He also still films on a t3i / 600d - and does a bloody great job of using it for his Vlogs. He raises the point that he doesn't need another camera yet and would rather spend the money on other areas of his filmmaking. 

"Samsung has profitable growth, but it is currently collecting the fruits of work and technology developed in the past years."
These Samsung statements are also in line with the success of Samsung NX cameras that are still current despite their technology being stays at three years ago.
With the arrival of the new CEO, I hope that Samsung will reflect on the possibility of sharing with the production of NX cameras.
https://www.ndtv.com/business/samsung-electronics-ceo-kwon-oh-hyun-to-step-down-1762342

Oh! Didn't actually read through the entire update log! My bad! However I'm currently in the process of buying the Studio version so I can check that it's indeed the case. Might just be another bug from them as there seem to be a lot of them...

Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon.
I was walking past a classic repair shop and found these subjects...  I put mega film grain on it trying to match that Yedlin look.




 
 
 
All Hand held stuff. 
and if for some reason you want the 1.8 GB output from resolve (not sure why) its here
https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8
 
Next Test I got a Tiffen Ultra Contrast Low Light....

Ok, so how does that all add up? Simple, I started reading Andrew's site a few years ago and learned everything I needed to know about the Samsung NX1 and SLR Magic Anamorphot 1.33x adapter. I decided to use them on our first feature film. After numerous film festivals and special events our film, Black Luck, signed an International distribution deal with Indie Rights. Yes, we probably would have done the film without this knowledge, but I'm not sure it would have had the same look or feel. The camera and adapter worked amazingly well and proved that a no budget indie thriller can still have a high production value. I can't thank Andrew enough for educating me and so many other filmmakers about the possibilities of shooting a feature film with these great tools.
Cheers!
David 
P.S. If you want to check the film out, it just launched on Amazon Prime. Read the reviews as well. This isn't some masterpiece of cinema, but it is a satisfying movie created with passion. 

https://www.amazon.com/Black-Luck-Garrett-Sheeks/dp/B0764KD2K8/ref=sr_1_2?s=instant-video&ie=UTF8&qid=1507185936&sr=1-2&keywords=indie+rights
 

Hey guys here's a quick edit I threw up yesterday, filming racing is something i'm hoping to get into more in the future. GH5 with a couple different lenses, good ammount of slr magic 25mm .95 in here. Graded with filmconvert
 

No screen grab its buried somewhere in the nether realms of one of my hard drives and quite uncompelling 
"Dynamic range depends on the situation and your exposure, and whether you shoot raw or Prores.

Shooting raw, for normal as well as lower light/lower contrast situations I expose for ISO 400. In very low light you might even expose for ISO 200. By doing so, you basically assign more stops of the dynamic range to the left from middle grey, towards the shadows, and less to the right of middle grey, the highlights.

On the contrary, in bright sunlight for example you might want to expose for ISO 800, to have more stops of dynamic range right from middle grey to protect highlights.

I rarely shoot Prores so someone else might have an advice there."
 
 
http://www.bmcuser.com/showthread.php?20634-Dynamic-Range-BMPCC&highlight=bmpcc+light
This is the thread
 

Check out this little Video i shot on the GH5, Metabones Adapter and the old Sigma 30mm 1.4. (that kendy one :-) ) and the Panasonic 20mm pancake.
Most of the Grafitti stuff was Shot at HD at 120 FPS. I should have used the 4k 60 FPS instead to keep the Quality with the digital zooms and reframes... 
Editing in Premiere. Just a fast Grading with Lumetri Looks.
 

This camera has detail to spare. I upscale to 4k upload to YouTube it looks much better at all rezes  
And I was cruising the BMCuser forms and there is some discussion about the black art of shooting low light some say shoot raw @ 400 in  low light and there is room to bring it back in resolve if you import it right. I tried it with my bedroom w/ Canon FD 1.4 and it did look pretty good

Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon.
I was walking past a classic repair shop and found these subjects...  I put mega film grain on it trying to match that Yedlin look.




 
 
 
All Hand held stuff. 
and if for some reason you want the 1.8 GB output from resolve (not sure why) its here
https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8
 
Next Test I got a Tiffen Ultra Contrast Low Light....

Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon.
I was walking past a classic repair shop and found these subjects...  I put mega film grain on it trying to match that Yedlin look.




 
 
 
All Hand held stuff. 
and if for some reason you want the 1.8 GB output from resolve (not sure why) its here
https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8
 
Next Test I got a Tiffen Ultra Contrast Low Light....

Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon.
I was walking past a classic repair shop and found these subjects...  I put mega film grain on it trying to match that Yedlin look.




 
 
 
All Hand held stuff. 
and if for some reason you want the 1.8 GB output from resolve (not sure why) its here
https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8
 
Next Test I got a Tiffen Ultra Contrast Low Light....

Hi All,
let me introduce myself, I'm a professional photographer and film director, been working for the last 20 years and assisted before.
I come from film, some of our video productions were shot indie, some with proper budget and some in super35 film.
Few opinions about the eva-1 footage. I was expecting more, and if this is not the final product they should have waited a little bit more to show footage.
In specifics, the DP either messed up the exposure (hard to believe as it's a panasonic infomercial) or the camera, when exposed to the right, has a bad response on shadows?
Otherwise it would not make any sense having those almost clipped highlights. Unless that's the way this camera handle the DR on the highlights.
I feel that all pros and movie lovers that in order, want a cool toy to experiment or a tool to be able to properly start into visual story telling, need a machine that handle well highlights and deliver a motion that resemble film. 
If documentary/occasional narrative is the goal, then the c300MKII, or the newly c200 (fantastic raw footage, great toy) it's the best choice.
We can all agree that the reference camera for narrative is the Alexa (not a fan of Red even if dragon is better than the past). In fact I was having this conversation with my DP, and good friend, who helped Arri in the Alexa development from the d21.
The conversation was about the fact that very few cameras produce a footage that resemble film, the makers seems not to get, or care, that highlights handling and motion should be the priority.  
This camera, in this first clip, seems to fail to give that organic (as they call it in all this forums) look necessary to recall 35 or super 16. 
The last little camera that was delivering that feel i played with was the little black magic pocket, it felt like going back to the sr3 years on 500 film.
I was more impressed by the flexibility of the c200 raw footage. You can edit in mp4 and then proxy the raw footage.
About the eva, they probably don't want to kill the LT market which is barely 6k more expensive, but a real pro level camera.
Have a great weekend all,
Best
 

Doesn't work for me.
I'm arguing with the developer of the forum software as we speak...

So now that you can "react" instead of just "like".. does a "confused" reaction, for example, still contribute to the reputation points of the member who made the post? Just curious; seems like it probably shouldn't work that way.

A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like 
 

Hey Ed, maybe do the test again? Even one scene where everything is constant (except camera) would be good.

Testing all these cameras out against each other - the ursa mini did quite well!!

Sony F65 vs Alexa Mini (Arriraw) vs Ursa Mini Pro vs Red Helium vs Red Dragon
All shot at their highest resolution!
Testing skin tones and motion cadence and highlight handling!
 
Using filmconvert profile kodak 250d, also lowering exposure on it cause it blows out the highlights.
 
SPECIAL THANKS TO:
Public Record (for the RED DRAGON)
No Frames (Mikko) for the Red Helium
Adam Uhl for the Alexa Mini!!
And Viewers Like You!
WHICH CAMERA IS WHICH??
The results will be posted below.
But first!
A quick announcement!
Shot on Zeiss 100mm standard speed - at T2 - I think. I don't remember.
Did I shoot with glimmerglass1 or not - I don't remember. 
Shot over the course of a month, in a poor scientific matching way on all fronts.  No chip chart.  No measured distance nor t stop.  
This test is a mess.
 
Sony F65 - 4k Raw Lite 3:1
Red Helium - 8k 5:1 compressoin
Ursa Mini - 4.6k 3:1 compression
Alexa Mini - Arriraw 3.2k
Red Dragon - 6k 5:1 compression