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Happy Daze

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Everything posted by Happy Daze

  1. 2 available. Might interest someone??!! I took a Kecay Tamron-NX (for Tamron Adaptall 2 to Samsung NX) mount and customised it by fitting a lens collar with tripod mount. Some of the Adaptall 2 lenses are heavy and I made this to take the pressure away from the camera. I have used this successfully on my NX1, NX300, and NX3000 without a problem. There is Youtube video below that shows me assembling them. https://www.ebay.fr/itm/233112857952 https://www.ebay.fr/itm/233112862831
  2. Selling some Samsung NX lenses, bodies and a Flash: https://www.ebay.co.uk/sch/pauloffrance/m.html?_nkw=&_armrs=1&_ipg=&_from= All in very good condition and at reasonable prices, will send within European Union. Cheers.
  3. Hi Fletch, "Flashing", "Reinstalling" same thing. Before or after firmware flashing did you reset the camera? You will find "Reset" in the fourth Menu (The Cog). I would suggest that the best practice for any firmware upgrade is to reset the device before and after flashing, can't hurt to try. If this does not improve things then it is probably a hardware fault and from what you say it is most likely that the Mode switch at fault (as reported by others around the inter-web). Some say squirting switch cleaner under the dial has helped but I have serious doubts that the fluid will reach the right place and instead run where it shouldn't (even though a decent switch cleaner should evaporate). Likely the camera is sealed at this point to fluid intake anyway as part of the weather-proofing, so best advice is don't try it. Good luck, and I hope that the Samsung customer service comes through and does not continue to disappoint NX customers with their apparent complete lack of support. It would be nice to hear about a happy outcome so please keep us up to date.
  4. Hi Fletch Seriously, why not try resetting and re-flashing the firmware? Are you actually looking for a cure? It could save you a lot of unnecessary pain and grief. I can pretty much guarantee that if you have to send this camera to a service centre this is likely the first thing that they will try. It's very easy to do and would eliminate software as an issue and may point towards a hardware fault for which you will not find a cure in this forum, regardless of how many tests you undertake or videos that you produce. I don't get why you ask for help and then completely ignore advice that you are given.
  5. Personally I would reset the camera and then re-flash the latest firmware 1.41, it seems that you have a software glitch that hopefully this will correct. https://matteverglade.com/cameras/nx-firmware/ Good luck.
  6. You are correct Pavel, as far as negative RGB is concerned highlight control is a problem. The histogram shows that the highlights are well within range but they are in reality clipping at a lower level than 255 more like 235/245 that's why everything above these levels is a flat grey.
  7. My Observations. This is just my take on the colour boost setting. I set up a small high contrast studio scene to judge the affect of full colour boost and have come to this conclusion: At colour boost 1.99 (with -1 exposure compensation) compared to 0.00 (standard exposure) the highlights and Blacks actually increase fractionally, therefore decreasing the dynamic range slightly. To combat this I have set the colour boost to 1.90 and the Master Black Level to +5. I still expose at -1 stop which has centred the histogram with no clipping for the scene that I created. Now the weird part: with these settings I am able to to turn the exposure compensation way down (-2 to -3) without it appearing to affect the blacks/shadows too badly, it only appears to mostly affects the whites/highlights/gamma. This means that I can achieve a massive dynamic range by exposing for the whites and not worrying too much about the blacks. There is also the added benefit of gaining more stops with this method. Please tell me that I am not the only one! These are my settings: R, G & B 1.90 Contrast -5 Saturation -1 Sharpening -10 Master Black Level: +5 Luminance Level: 0-255 Exposure compensation: Expose for whites (0 to -3.00) All else standard. I must of course be wrong, as I can not see how this is possible, it's a complete mystery. I would be grateful for your feedback with the above settings/method. Cheers, Paul.
  8. Yes, but I only tried it briefly, much prefer the standard colour gamma.
  9. Yes you are right. As I said in an earlier post the highlights are actually blown/clipping but at a lower level than 255, even though the scopes appear fine. I believe that the method of lowering the color settings and increasing exposure is failed, BUT in reverse: take color settings to +1.99 and reduce exposure (-1, -1.30) then this proves to have benefits, which you can read from the other posts in this thread. I normally adjust colour as well to be different form standard as I found some colours were just over the top, so sure you can vary them slightly for the same benefit. But I have found that the colours improve when on full +1.99 and I find the colour variance is now not necessary. It may be April Fools day, but think of this as an Easter present, much better than an egg.
  10. That is exactly what happens. You get 1 extra stop which reduces the ISO required for the same exposure and the noise reduces accordingly.
  11. Very pleased that you like the discovery. It may be my imagination but I am also noticing an improvement in auto-focus speed/accuracy and a reduction in cadence. The colours for me are a definite improvement and there is most surely an improved dynamic range. A much more pleasing picture in many respects. I feel like I have new camera, weird!!?? The exposure compensation varies with lighting conditions, but I do find that -5 contrast is also quite flattering. Cheers, Paul.
  12. Testing outside using the new profile, it's very overcast here at the moment, I found my self switching between negative 1.0 and 1.3, but compared to the same scene with Picture Wizard off there is more dynamic range. Also there is at least 1 stop more to be gained which could prove invaluable in failing light. I hope that you test this and share your results. I have not tried adjusting any other settings which I have left at standard. This may also work for the gamma DR profile as well, more tests are needed. I will be using this profile for the next few weeks just to see if it is reliable.
  13. OK, so I strongly believe that you can gain an extra whole stop in low light by using method 2. Profile settings: color R G B +1.99, contrast -5, Saturation -1, Sharpness -10 (the contrast, saturation & sharpness are to taste but I find the contrast at -5 produces flatter more realistic results). Once you set the profile you can achieve a similar exposure to standard by using negative -1 exposure compensation. Note how the ISO drops as a result of the negative exposure compensation yet when scenes from standard and this custom profile are compared there do not appear to be any disadvantages just lower noise! Obviously you will need to adjust exposure compensation for different scenes to protect the whites as much as you probably would in standard exposure but you will need around an extra stop of negative exposure using this profile.. Next to test externally.
  14. Method 2 is producing some surprising results indoors. Just for fun turn the color in the profile to full 1.99 on all 3 colours. Now use a negative exposure comp to bring the scene to the same level as would be the standard exposure profile. The ISO for capture is much lower and the noise is much less using the custom method compared to standard exposure. Anyone else?
  15. I have just had a chance to test outside. It's very overcast so contrast between ground and sky is wide. What I have noticed is that the highlights are still clipping but at a lower level than with standard exposure which seems to fail the process. BUT.... Try turning the colour controls in the profile to a POSITIVE figure +1.20/1.30 (or whatever) and then use negative exposure compensation to protect the highlights. This give a smoother curve than both the first method and standard exposure. The shadows appear brighter whilst the highlights don't appear to burn and the scopes look smooth. There might be a sweet spot somewhere, so I am going to carry on playing for a while.
  16. I have lately been experimenting with video capture settings on the NX1 and I have been exploring a method of increasing dynamic range which I don't think has yet been touched upon. It's really no big deal and I am not making any great claims but it may be of interest to some so I produced a quick video How-To. Take is as fun, I have done very little real-world testing and it may be of little use, but over to you.
  17. If you are editing your NX1 files in Premiere then your blacks are looking crushed because it is expecting a luminance level of 16-235 and there is no way to inform Premiere that this is not the case. You can compensate for this by changing the levels at both ends or I have found that applying the brightness and contrast filter to all clips using these settings brings it back fairly close to the original exposure: brightness -3, contrast -15. (Video Effects, Color Correction, Brightness & Contrast). I now use Davinci Resolve which allows you to stipulate the luminance levels of a clip which it adjusts accordingly. Why this is not a feature of Premiere still puzzles me. Of course if you are not using Premiere then you may find a similar issue with your editor of choice.
  18. A random/chronological selection of over 200 video clips that I have captured with the NX1 over the past two years using an assortment of legacy Tamron Adaptall II lenses. Looking back through terabytes of clips was great fun, I hope that you enjoy this selection. https://www.youtube.com/watch?v=YRPGebe80l0 My other Youtube channel - WTF - What's This Fing? https://www.youtube.com/watch?v=In5kFNd6g2E
  19. I suspect that the card is formatted in FAT32, this limits file sizes. The consensus appears to be that formatting the card via your computer to exFAT is best for the NX1, it certainly is the case with my Lexar cards.
  20. A few hours spent on the Normandy coast. NX1 and Tamron Adaptall legacy lenses.
  21. Just a bit of fun for Christmas. I shot this a while back but have only just got around to the edit, if you enjoy it please pass it on!
  22. Captured on the North coast of Lower Normandy with the NX1 and Tamron Adaptall Lenses. Includes footage of the fascinating swing bridge at Port-en-Bessin-Huppain. https://www.youtube.com/watch?v=ohW9EgGtJ-k Technical: Shot with Samsung NX1 and Tamron Adaptall lenses: 44A 28-70mm & 46A 70-210mm. Footage captured in 4k and edited in Davinci Resolve (Free version), to 1920 Full HD. Normal profile: contrast -5, saturation -2, sharpness -7, 0-255, black level 0. 4K 24fps 180mbps with Vasile Hack. Cheers!
  23. In my experience, not true in a lot of cases. Also, monetisation only applies to youtube, if a video were to become popular then it would not find airtime on any other platform as it would break copyright, so best to do it right in the first place. I would not encourage any budding film-maker to use copyright material without permission in the hope of success, it could be a very expensive lesson that is easily avoided.
  24. COPYRIGHT!! You will regret using music tracks to which you do not have a licence to broadcast. Youtube will close you down. There is royalty free music available around the net, find it, read the licence terms, use it correctly and your videos will live on.
  25. @kidzrevil @vaga The whole idea of 16-235 in the first place was because in the old days cathode ray tubes (TV's) could not handle the complete dynamic range of an 8 bit signal so programming suppliers had to supply media that had a limited dynamic range. Nowadays modern TV's can easily handle the full 8 bit spectrum so the need for shooting in 16-235 has long since gone. Adobe Premiere seems to be stuck in the mud in that it is assuming that media dropped to the timeline (at least in the case of the NX1/500) is shot at 16-235. The problem lies in that although there are workarounds as I have previously described, the curve that is applied to the 16-235 footage to bring the levels back to black and white is almost impossible to reverse completely so everyone is assuming that the camera is clipping blacks and whites which is simply not the case. Let's consider a hypothetical situation and take this to extremes. Instead of shooting in 0-255 let's try 123-124 the resulting clip would have no dynamic range and just two shades of each colour, the fact that 16-235 does not appear to show this is that all editors apply a curve to this footage to bring the 16 back to 0 and the 235 back to 255, it appears seamless because that's what the editors do but there is no doubt that you are losing dynamic range and colour gradation. Try installing the free version of Davinci Resolve and you will see no clipping on 0-255 footage, surely it can't hurt to try it, and honestly the colour grading is so much better than Adobe premiere. But... having said all that you are all welcome to your opinions and I know this is one of those subjects which carries controversy and will continue to do so until the end of time or more likely the common use of 10 bit shooting which negates this whole conversation. Good health to you all and cheers.
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