Happy Daze

7 hours ago, Caleb Genheimer said:

I've just received a new Lexar SDHC UHS II 2000x 300MB/s card, and it seems to not work well. even at standard NX1 bitrate settings, it gives me max record times of just over 7 minutes a clip. I bought the 32GB to test things out because it was cheaper (they're quite pricey cards), and the only difference I can see between the 32GB and the larger (64/128GB) cards is that the 32GB is SDHC and the others are SDXC. Is that what is causing my issues? My (ancient from GH2 hack days) Sandisk Extreme Pro cards will record straight on through in one long clip until the card is full. Am I missing something?

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.

A few hours spent on the Normandy coast. NX1 and Tamron Adaptall legacy lenses.

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!

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!

Just now, Cary Knoop said:

Not really, most rights holders now simply monetize any video that has their content, but there are exceptions.

 

 

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.

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.

@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.

4 hours ago, sandro said:

Could you post some comparison? -15 contrast sounds really extreme. Anyway can't you just go back to 0-255 in premiere even if shot at 16-235? 

-15 contrast is not extreme, it just restores the original exposure value in a premiere timeline when shooting with 0-255. The only need for this measure is that Adobe is at fault for not recognising the 0-255 footage correctly and sticks on the timeline as though it were shot at 16-235, this is so wrong and it's about time Adobe did something about it. I now use Davinci Resolve which can handle 0-255 footage without a problem rendering no clipped blacks or burnt highlights.

Why shoot at 16-235? There are a lot of complaints about 8 bit video recording which basically gives you 256 shades of each colour and then some go ahead and reduce that further by removing 36 shades of each colour (red, green & blue) thereby losing over 14 percent of the possible gradations and then worse still they stretch out the resulting footage (220 shades) to 256 shades thereby introducing banding. Makes no sense. Capture at maximum colour and then render the footage to the correct medium afterwards, it's not like you are going straight from camera to TV so the output can be reduced to 16-235 if you must, but modern equipment can handle 0-255 fine.

8 hours ago, لطفي بوعكاز said:

thanks to the tip for "brightness -3 and contrast -15"

I did notice that VLC plays the 0-255 while all other players didn't read the superwhites in 0-255 so that could be an issue. 

I am pleased that this has worked for you.

I have VLC but I find playback more reliable with MPC-HC another free media player. https://mpc-hc.org/

Cheers.

8 hours ago, kidzrevil said:

@Happy Daze I convert to 16=235 before I grade in premiere because premiere does not render 0-255 correctly and the issue is still there. At the default master pedestal level the black level is extremely low and some details do not get recorded. I've tried lowering contrast but that effects more of the midtone area more than the shadows do. It's only when I started using master pedestal did I notice that at +15 MP deep blacks were slightly above 0 in the 0-255 range were as at 0 MP there was information in the shadows that were lost

Strange, I almost always shoot slightly underexposed at -2/3 of a stop and I never suffer clipped blacks unless contrast is extreme like shooting with the sun in the frame.

If by converting to 16-235 you mean adjusting the output levels slider in "Fast Colour Correcter" then I find that this does not work, and it's about time Adobe fixed it so that it recognises the 0-255 correctly. I solved this issue by moving my editing to Davinci Resolve 12.5 the colour grading is much better IMHO and of course it's free, the only down side is that the free version does not support H.265 but it's worth it to me to convert the clips first to Pro-Res.

In Premiere try this instead: Import your clip in to the timeline: add this effect (it MUST be this one) Video Effects: Color Correction: Brightness & Contrast : set contrast to -15 and brightness in the range of -3 to 0. This will bring it to near enough the same level as you would get if you were to capture a still from a movie in camera and then load that still into Premiere.

Try the Premiere fix above and I'll be very surprised if you don't start seeing some shadow detail instead of clipped blacks.

Cheers.

18 hours ago, kidzrevil said:

1250 is the ceiling for me. I try to stay away from 1600 if possible but have no problems using it if need be. Master pedestal however is the tricky part. I assume samsung decided to crush the blacks cause consumers like the contrasty saturated look and also to help mask the NR. Thats my theory

Hi Kidzrevil

I've seen you mention this many times about "crushed blacks" but I do not understand why you say it. I have never had crushed blacks with the NX1 so can you please explain.

I am wondering if you are talking about blacks in Adobe Premiere as there is an issue in that Premiere does not recognise 0-255 correctly.

I look forward to hearing from you.

Cheers.

I have captured many 0-255 scenes in H.264 and never had clipping in Premiere. It has only happened since using HEVC so I honestly believe that Adobe has made a mistake with this codec and that it does not recognise the correct luminance range.

A simple test: take a frame capture in camera, bring the resulting capture in to the Premiere timeline and there is the correct tonal range, bring in the clip and adjustments will need to be made, can't be right. I use the Brightness & Contrast filter on an adjustment layer: Brightness -3, contrast -15, this seems to bring the scene back close to the original point if comparing to a single frame capture, some use Fast Color Corrector and adjust input/output levels but I find that colours still appear to be over saturated.

I have mentioned this previously on other forums, the H.265 codec profile used within the NX1 is limited to 160,000 kbps, it's MAIN - Level 5.1, to go higher you need to change the codec profile. To get to 10bit the NX1/NX500 needs the newer version of the codec without which it is impossible.

https://en.wikipedia.org/wiki/High_Efficiency_Video_Coding

Anyone tried Tamron Adaptall?

I have several Tamron Adaptall 2 lenses, some of which are much better than others but one of my favourites as the 80-210 (103A) which can be purchased by the lorry-load for very cheap. I shot this entire video in 1080p using the Samsung NX1000 and the Tamron lens (no sharpening in post).

I now use the Tamron lenses with the NX1 but as mentioned already in this thread I was concerned with weight of the lenses and pressure on the mount so I bought a cheap lens collar and made it fit the lens adaptor (AD2-NX) and now the adaptor takes the weight.

I did try this but I found that strong colours remain over-saturated compared to the original footage, it may be because it only affects luminosity and not chroma.

Shooting in 16-235 is not an option for me because (as you mention) I am not prepared to lose tonal information during capture.

There appears to be a problem with the H.265 codec within Premiere. Blacks are being crushed and highlights destroyed, but it's not permanent, the footage from the NX is just being interpreted incorrectly and a weird curve is being applied.

I have found that applying the brightness and contrast filter to all clips using these settings brings them back fairly close to the original exposure: brightness -3, contrast -15. (Video Effects, Color Correction, Brightness & Contrast), I use these settings on an adjustment layer.

I have found that "Brightness & Contrast" is the best filter for making a difference and returns the clip to almost original settings.