Matthew Hartman

On 8/25/2017 at 3:46 AM, Andrew Reid said:

It's pretty normal on KickStarter for people to contract out the engineering work to, erm, engineers! Digital Bolex did it.

evgenymagata's point here was that an off-the-shelf product is being relabelled and sold as original, which is simply not the case, as the circuit board, capabilities and app aren't the same and have been contracted out to engineers by the people with the ideas, which is exactly how KickStarter is supposed to work.

Even if I KickStarted my film, I would not do every single role myself and play 5 acting parts

Unless it was called The Room!

I work in tech, its common even in companies like Microsoft to bring in outside talent for a specific project. I know this because I contracted with Microsoft several times in my career as a UX Designer.

Notable projects:

Xbox One

Windows Hello

HoloLens

This is standard stuff, no one should be interpreting this as something suspicious or nafarious.  

Whats the latest on this project? All my research leads to their KS campaign which has been well closed by now. 

Is it for sale, and if so where? 

BTW, did you shoot this anamorphic? If so, what is your setup? 

I'd say you've definitely taken a marketing angle with a smaller production. Good for you man. 

In the spirit of sharing, below are some frame grabs for a pilot project in Seattle. (Currently being cut) 

2 hours ago, لطفي بوعكاز said:

Thanks everyone, the 10 bit isn't what's making me upgrade, there's little difference anyway, it's really 14bit and above that you start to see some real difference which will be worthwhile for color grading giving you extra headroom so you don't need to worry too much while shooting if you're exposed correctly or not. 

it's really high framerate at 4k.  even my output is in 1080p, the 4k downsampled to 1080p gives you 4:4:4 pixel sampling which is the highest 1080P you can get. however because it's limited to 25fps, in music videos which is what I do most, it's not great. music videos need quick cuts, and there's only so much you can film, so we always need to slow down the action so we can fill'up time. 

Clients find me from my previous videos, they like what they see and they expect the same or better. I've never had a client ask what camera you use, because I deal with the artist directly so they have no interest in the technical bits...they just want you to take care of it all and talk the least tech language as possible. This video above, her previous video was made by a production company with Cinema Camera and Jib and all and she paid 5 times more, yet the result was disappointing for her so she came to me after that. (they could only film her in 1 location because the gear is big and bulky to move around, camera movement was limited, no story it had to be shot all same'day) When I work with Agencies, they do ask what Camera and lenses you use, I tell them it's 4K DSLR and give them a link to the videos I make, and tell them if they wish for Cinema Camera, it can be rented but because they're usually on a deadline and small budget they prefer I use mine. 

I enjoy the limitations and the challenge, it's fun :D 

 

here's another one with NX1. note that every interior scene required 2 x 100W LED lights with diffusers.... exteriors no lights just daylight alone

 

Ha! Limitations? Looks more like strengths looking at the video above. ?

The diffused lighting is really helping to tone down the aggressive detail of the NX1 sensor and help rolloff gradients a bit smoother. It's a good look in my opinion, 8bit or otherwise. This could definitely hit a distribution channel like Netflix. You've definitely earned a new fan. ?

It also looks like there's some attention given to wardrobe/set color coordination? 

I've always had a propensity towards pulling the most out of less and challenging conventional wisdom where I feel it's misplaced or dogmatic.

Not to dismiss the obvious lush and creamy images of say a RED EPIC or Arri Alexa. But as much as they are awesome, they're equally uninteresting, if that makes sense? 

There's a certain, "Go big or go home mentality" I'd like to see get challenged because I personally feel filmmaking should be accessible to anyone who has a passion for it but may not neccsarily have the funds to match.

I really get annoyed at those filmmakers who use top gear as a barrier to entry and job security. Even if they're very skilled, I feel they have lost their way.  

I remember starting my interest in filmmaking as a young kid shooting with VHS camcorders. I didn't think at that time that my little films didn't look like what I saw in the movie theater (not even close) but I do remember learning about other things like creative lighting, and fun and interesting ways to frame the world I see. And having fun with friends creating scenes. 

I was focused on improving my craft with each time I picked up my camera. I actually took my camcorder to bed with me. I was totally hooked. I'm sure I wasn't alone. (Before the interwebs)

Maybe it's me but I don't see a lot of articles talking about those magical formative years. I do see tons of articles professing over this camera, or that camera and their respective specs. There is a forum for that, don't get me wrong. But it's a bit less magical and relies heavily on convention, which sometimes comes off as arrogant and a bit jaded.

I can't imagine a young child just getting into this field and reading, "No kid, you're nothing without an Arri Alexa". That's a horrible message. 

There's a handful of children's filmmaking workshops that teach aspiring young minds the art of filmmaking using smartphones and simple household tools I couldn't be supportive enough of this movement. 

Sorry guys, I know I ramble a bit. Hey, I'm a 44 year old single father of adult children and get a bit lonely at times, especially during time off from work. I'm surrounded by professionals who work with million dollar budgets and get whatever equipment they request. It gets boring always talking about how this gear allowed this or that. 

I'm done now. 

4 hours ago, Kisaha said:

Personally, I am investing in other equipment right now. I will re-access the market after I have seen all the players and most of the trends. HDR is definitely one (and 10bit is part of it) but we are a couple of years away, from being a couple of years away, from it being a delivery standard.

I think this is a wise approach. I always favor caution over expediency when it comes to technology, because I work in the tech industry.

Unfortunately, a lot of half baked technology is pushed on consumers as selling point marketing, which is usually decided on by someone in a high position in a given company that doesn't necessarily care about the quality of the product, the hard work team's invest in it, nor of consumers outside the realm of their pocket books.

I speak from direct experience of the countless times various teams and I worked months, sometimes years to develop something innovative, all to be squashed within two seconds time by a higher up whom is completely out of touch with their demographic, and interjects way too much personal preference, often uninspired and outdated. Layoffs usually follow. 

4 hours ago, keessie65 said:

Yes Matthew, all the people(and everything) are thin. You cannot desqueeze that in your screen of the NX1 like the GH5 can with 2x anamorphic. But it's Okay.

Does this then make it difficult to frame your shot, say using the golden ratio or rule of thirds?

Are there any third party attachable viewfinder's that could offer desqueezing? 

13 minutes ago, لطفي بوعكاز said:

Thanks guys, it's really not my best work with this camera because it was done on a run and gun basis we didn't have enough time for filming but it's a combination of experience and really this forum what made me learn about this camera.

I use Gamma DR with -4 con -4 sat and -10 sharpness and +7 master black level with 16-235 color space... I learned never to shoot when the sky is clear blue to avoid banding, so as you can see lots of clouds is good idea, I avoid plain walls in the background to avoid microblocking "even using higher bitrates" my ISO never goes beyond 250 this is my own tests shows skintones tend to become plastic and loss of details above that especially in 1080p so always 250 iso or under, if it's dark then you've got to add more lighting. also I have noise reduction turned off in camera, this is because I do my own noise reduction in post but it's up to you. 

white balance is very important, it's always custom mode or chose a preset, never chose auto because it'll keep shifting and changing and ruins your color grade.  when it comes to color grading, I slap on an LUT built for rec-709 one of them is Aspen by Ricardo in this forum which I really  but the M31 Lut for rec 709 works great.  but some adjustments are needed, an LUT supose to just help you as a base, then you've got to build up on it by tweaking highlights and stuff depending on what you do. I find that in adobe premiere having to reduce the LUT to 80% when you start to see the grading too harsh and shows microblocking (yeah 8bit  ) 

this camera is okay with under-exposed footage just not over-exposed, avoid blown skintones at all costs. 

I usually have two grades for a single shot, for example I want the singers face to be brighter than the background so I add a mask of grading just on her face this makes her stands out from the background and the back dancers. 

I shoot 1080P slow mo only in bright places or daylight, but always for close'ups because the quality of 1080p is degraded so in wide angle shot of a person the skintone becomes mushy and muddy so as you can see in the video it's almost always medium to close'up. I try to use as much 4k downgraded to 1080p as possible and use as little 1080p out of the camera as possible. 

if the nx1 had clean 1080P at 50fps I wouldn't need to upgrade it's an amazing camera...but now since slow-mo is what my clients always ask for I'm having to upgrade sadly to GH5 with 4k at 50fps  

 

 

Great tips! I can see the logic behind all of them. I actually have the same settings, except Ive enable Smart Range + (in the movie tab) which gives you a little more DR.  

Are you using the birate hack by chance? 

Also, I'm curious, how do your clients perceive the quality of the work you're giving them? Are they mentioning the flaws you address personally here? What's driving you to feel the need to move on to other systems? I'm very curious. I'm going through similar thoughts myself. 

Although, I won't be getting a GH5. But I'm interested to hear your experience with it coming from an NX1. 

I feel like 8bit is suddenly becoming demonized now that manufactures are promising 10bit under $3000. All major distribution channels are still 8bit so it will be interesting to weigh the perceived value of having a 10bit system against real world application. 

Just looking at the thumbnail of the video you posted, I seriously doubt any general audience is going to perceive that as anything but professional quality, or what we're all used to seeing on screen. 

When I was watching your video I got into the woman and her raping and started to identify and relate to her, forgetting about the technicalities. THAT is exactly what you want.

13 hours ago, keessie65 said:

It depends on the anamorphic lens. In Adobe Premiere I set the clip for example:

- the height at 73,3% and width at 110%, with sequence 3840x1600, (a bit cropped in width) or

- the height at 67,7% and the width at 100%, with sequence at 3840x1440 (here you will have the full 1,5x width)

But there might be other ways to get the same and more sequence settings

Maybe I wasn't clear. What I mean is while you're shooting. Isn't your image on the camera's screen "squeezed" ? 

13 hours ago, keessie65 said:

I agree Matthew, the prices of anamorphic lenses can be redicilous, but... there a lot of families that are cleaning the cellar and attics of their lost granddads and they have no idea what a lens should cost. I have seen Iscorama 36 in priceranges between $500,- and $4.000,-. If you buy from an expert, you will pay the highest price. You only have to be smart with searching. But it is nice to see when you have a combo with a lens over 40 years old and the NX1.

 

You're my newest best friend here. ? 

I was looking at the Rokinon XEEN series but at that point as might as well just buy an Alexa and sell the blood of my first born child. ?

I've done a general search for anamorphic on a PL mount online, but since I have little experience with anamorphic I really have no idea what qualities to look for. I'm finding a lot of affordable anamorphic projector lens, but I'm assuming that won't work? 

I really like the look and quality you got with your Bolex, but I don't know if thats unique to the wider format or the properties and characteristics of that particular lens? You definitely have the most experience with this that I've come across online. 

I'd love if you could share some of your knowledge, like requirements to get the NX1 to conform with anamorphic, what systems are valued as the gems, what systems are considered acceptable, which ones to avoid.

I wish we lived near eachother, I'd love to talk shop and explore NX1/anamorphic setups with you, because above anything else I've seen in terms of making the NX1 produce a more filmic quality, I think you are onto something with the biggest potential. 

I'd like to see some results with some diffusion filters on the end of your Bolex lens, as well as shooting faces with diffused lighting. I think this trifecta is the 3 combo power punch into filmic quality on the NX1. 

And then there's this photo:

And a recent shoot using faux cinescope in Premeire:

10 hours ago, Juxx989 said:

Im not sure but I like the look...

My Director friend is always Giving me grief because I don't mega crush the blacks. I guess Ive been hanging out here too long... We go through all that effort to capture as much dynamic range as possible and then throw all the low end away?  

I Have my blacks just touching zero on most shots.

One thing about this Shot is its Normal DR... Perhaps I could get more with GAMMA DR enabled or it could be severe overkill

Also this is straight from the H.265 file in resolve

Perhaps I could squeeze more quality out if I convert to Prores SQ or HQ 

As far as a matte box im going to try to snipe one thats worth $150-$250 brand new for around $75 on ebay... patience is key...I have more time than money. 

Generally I feel January is a buyers market... a lower percentage of people are shopping because most blew their financial wad on holiday spending. 

My Christmas is just beginning 

 

Ah yes, directors. I generally don't like working with directors who have little working knowledge of camera operating and grading/color theory.

The last one I worked with was completely clueless of these things and I felt like I was constantly pushing back on ideas that I knew would destroy the image or make for a less than ideal shot. I approached it lightly, with a lot of patience, and good faith for future partnership.

Then after the second day of the edit, she was absolutely destroying the image in grade and reframing every shot out of any acceptable realm of composition.

I spoke up to explain the merritts of exposure values and the rule of thirds, and then I was told, "Don't tell me about when I'm breaking cinematography principles anymore, it's ruining my flow". 

Nope...I'm out. Aint nobody got time for that. Quit right there and then. Get a friend to hit the record button for you next time. 

The sadest part is I cant use her cut for my demoreel, it's that horrible and makes me look like I don't know what the hell I'm doing as a DP/Cinematographer.

She literally selected the worst shots, even setup shots out of the tons of great footage I captured for her.

Disaster. You live, you learn. 

9 hours ago, kidzrevil said:

@Matthew Hartman you are good with your NX1 bro. The thing about our cameras people are overlooking is that the single gets converted and compressed from a 12-14 bit source ! The camera then as you know changes it to the 8bit file we see. Most displays are 8 bit srgb and some dont even cover the full srgb color gamut. Most real world colors with the exception of neon light falls within the srgb color gamut. The 10 bit of data is for HEAVY grading like vfx work and stuff. 

 

Thanks. I actually agree with your school of thought but we seem to be surrounded by many that do not agree and are heavily pushing a 10bit workflow as if this has suddenly been the standard for decades.  

Although, if you look at Netflix's content requirements they do not accept anything in 8bit (as far as shooting anything for their own productions) and as an aquisition format.

Also, their list of approved cameras is pretty short, the GH5 not being on that list. All Canon C"000" are on the list as well as the Ursa line.

Of course, you have your usual suspects, Arri, RED, (even the RED ONE) the Sony production cams, Vericam and I'm sure the EVA 1 is coming in an update soon.

There are no DSLR/DSLMs on the list. Interesting enough, no Kinefinity products either. 

That's not to say however they won't accept mastered 8bit content from outside their own productions. Anyone who streams Netflix knows not everything has pristine IQ.

As far as I know they don't stream/distribute anything in 10bit. Why would they when we still don't have wide adoption of consumer UHD 4k in 8bit?

I use the example of Netflix assuming other streaming productions, i.e. Hulu, HBO, Amazon would be similar in requirements. I also like to reference real world world stats as opposed to camera manufacturer's marketing material. 

And honestly, how many general audiences are really going to care anyway whether there's some slight banding in the sky or not? I believe if they're noticing those details then they're not properly engaged in the actual story or subject matter. I know I don't spend $20 at the theater, or $20/mo for online streaming to pixel peep. 

Thanks for the sanity check. I'm sure a rash of GH5 owners are going to troll you for posting this bit depth comparison video.

And for what I do I would never grade that aggressively. In fact, I lean more on the flatter side of things aesthetically speaking. 

I like the take away from the video which to me is work with what you have instead of always jumping to the next best thing. Some of us cant afford to be jumping from one product to another and its nice to get some type of validation that it's okay if you can't, you still have options. 

4 hours ago, MountneerMan said:

Nope, I have a 128GB Lexar card. I think its 2000x but can't remember for sure and I use it all the time.

I always format my cards in camera.

 

Well sob! Ive been lied to! ?

29 minutes ago, BopBill said:

Did you know that HEVC works only in paid Studio version of Resolve?

Yes, and it's still not working for me. I tried it a few weeks ago, so I'll try again. I really want it to work. 

God, anamorphic and the NX1 looks so damn filmic and very complementary. I want! 

I can't believe you guys have access to such awesome pricey glass. But it goes to show you what good glass does for an image.

I'd rather drop 2k on a good vintage anamorphic lens than 2k on the next camera with incremental improvement. 

On 11/27/2017 at 5:55 AM, Nocturnes said:

 

What is your closest focus without diopters?  Waiting for the next batch of HCDNAs

It's funny, this place looks a lot like where I live in Western WA state. We even have a Braverian village too. 

On 11/8/2017 at 4:25 PM, Jonesy Jones said:

I am super new to the anamorphic world. Well, I never owned or used one and am just now looking into them. 

Anyway, your footage is among the best I've seen. It has that cinematic quality without trying too hard. Thanks for posting.

Any information you could point me toward would be awesome.

So how do you "desqueeze" your image during production? 

23 minutes ago, keessie65 said:

Hi Matthew, Thank you for your feedback. I do not know if I had an ND filter on front. It was one of the first tests and a frameshot of it. I now have the variable ND filter in 86mm at front of my Hardcore DNA. And it was also the first with the NXL adapter.

 

 

 

 

Fair enough friend. I've seen some of your anamorphic tests and they're great. There's one with a small dog in it and I love it. Wish I could afford anamorphic glass, the stuff is ridiculously expensive. 

1 hour ago, Juxx989 said:

 

Hey Thanks im glad it helped you... No to much action anymore here. I come every day to check this forum and this is the first post in like 5 days!

If interested here is some video grabs from NX-1+Tiffen Low Light Ultra Contrast

Its supposed to be a low light filter but I used it in Noonish sunlight... but check out that MEGA Green cast it puts on it.... This is out of camera

Grades nicely though

 

Its a pain using these without a lens hood and or a fullfleged Matte Box  Letting it get flared is bad unless that's your artistic choice

Im cheap so I found a used one of these

https://www.amazon.com/Cinetactics-MB100M-Rugged-protection-carrying/dp/B01GU8MAHG

I got mine for $20 but this one is $14 on amazon whats good about it is its light and it folds flat in your bag when you dont need it. it can also hold an 4x4 filter  If you have an S-Lens you need a 100mm to 72mm step ring to strap strap it too... Just tightens with velcro like a weight lifting gloves

Got my eyes peeled trying to find a cheap Real matte box  and getting a 4x4 Filter and be done with screwing on and off filters and rotating your ND filter just to have you cheap Matte Box upside down and have to fix it.

 

 

The green cast is more prominent than I imagined. But it is apparently pretty notorious on some of Tiffen's diffusion sets. You were able to grade it out pretty well though, so kudos on that. Was it difficult to tell if you had a good exposure using it? 

That issue aside, look how many stops you gained, I would at least say 1-3 easily. You were able to retain all the details in the shadows without any crushing, and your specular highlights particularly on his cheeks are not clipping. The rolloff seems pretty smooth too, but I'm not sure if this particular filter is attributing to that aspect. Diffused lighting will cause the same effect, its hard to tell. Cast shadows on the face seem pretty widely dispersed.

Overall, I'd say the filter is a success. Would you agree? 

As far as a matte box. I've gone through a few, including a cheap plastic one, and I would only reccomend one that swings away. Otherwise the effort of having to move it off the rail supports is probably just as involved as screwing off a round filter every time you want to switch a lens.

Also worth considering is your overall weight and footprint a matte box adds to your rig. It looks pretty damn cool and really helps cut out flaring, (with flags) but not the best solution when you want to be a bit more inconspicuous and nimble. I have both systems for various situations, which works out great, but it can get pretty costly. You don't want to cheap out in this area because you definitely get what you pay for. 

Here's the matte box I have which is on the cheaper end of the spectrum but not exactly cheap as in build and feature set:

https://www.googleadservices.com/pagead/aclk?sa=L&ai=DChcSEwju2t-k8qnYAhVFuMAKHeQOAc4YABAOGgJpbQ&ohost=www.google.com&cid=CAESEeD2UOS6SdwHGsCvTgYEXVax&sig=AOD64_0QpK1xICus5qTNgEKgBJHmElAslQ&ctype=5&q=&ved=0ahUKEwjS7tek8qnYAhXE5IMKHTZSBlQQwg8IOg&adurl=

(I paid about $50 more for mine so the above is actually a pretty good deal) 

Again, you'll need a rail/rod system, but that is fairly inexpensive and it gives you the option of also rigging up a shoulder mount/handle bar. 

There are cheaper options out there but you'll take a serious hit on quality and features. In my opinion that would end up being more cumbersome than helpful. 

There's also this, which would be a mix between round and square filter methods that attaches to the end of your lens:

https://www.google.com/search?q=tiffen+square+filter+lens+mount&sa=X&biw=412&bih=652&tbs=vw:l,ss:44&tbm=shop&prmd=sivn&srpd=7818347533224399528&prds=epd:1216066361220322567,paur:ClkAsKraX6_JxfmyXzAm_-A-FWEAvnkAYuT-Ts4kJdyU_GKHh8IKH8pS-PrNPUGfelZpdsqXxB6VEFlrX6LYdlfhZqivLv4tesWVhblTYZOuPMg33QElBaaNuxIZAFPVH71dIZ_GVDBOHebJKXEVdXGc5F_PNg,cdl:1,cid:2490656465789744560&ved=0ahUKEwiB16qq9KnYAhUTwGMKHWz_B8UQgTYIwQU

On 10/16/2017 at 12:28 PM, keessie65 said:

only two pictures with the NXL adapter. Taking lens is the Mamiya 55 f1.4 lens. Anamorphic lens Bolex 16/32/1.5x and Rectilux HCDNA for focussing. Soon a new short film with this combo. Screenshots, taken wide open.

ARGH, you totally blew out your sky! That's the number one complaint I see online from ppl that shoot with high end production cams about DSLMs, and we prove them right constantly. 

A graduated ND could have totally helped this shot. Other than no sky, I like the colors, texture and comp. 

On 12/16/2017 at 2:28 AM, kinoseed said:

 

Here's something done with NX500 + Rokinon 12mm + something which has: "made in USSR" 44mm, written on it + small LED panel
footage was shot at DC / 90Mbps / no audio

Happy holidays to all
 

Nice buddy. 

On 8/3/2017 at 3:20 PM, lucabutera said:

Direct By Pasquale Basilotto

It's so nice to see NX1 footage without a blown out sky. 

On 8/17/2017 at 7:09 AM, Waynes said:

Hi, I came across a NX500 body and am interested in getting better video out of it.

I've spent some time reading about the hacks, and have some ideas.  I realise the hack developers visit here, so maybe they might like to look at this?

It could be that the camera can not process data from the sensor fast enough to do 4k/UHD p50/60.  But sensors can often be windowed (the crop factor) to read an area out faster (among other techniques).  So, I wonder if up to a standard 2.39:1 wide screen cinema ratio can be read out faster, closer to p50 or p48?

My thinking is if p50/60 just pops over a threshold and gets rejected by the camera, a lower resolution window may work.

It would still look normal, with some black area above and beneath the screen.

https://en.m.wikipedia.org/wiki/Aspect_ratio_(image)

Along those lines some other things occur to me.  That the camera might be setup to process standard video modes better, and or, even divisions of it's maximum resolution.   So, taking the maximum width and height of the sensor and halving them, for example, might be more palatable and result in binning hardware being used, resulting in higher frame rates.  For standard resolutions, variouse resolutions are used in 4k and in UHD (3840x2160), and divisions of them may help, even of 8k/SHD.  Multiplications of 720p and SD modes are also worth trying.

It's possible internal firmware that has been mentioned is only presenting standard options, inorder to protect the camera from being damaged, such as overclocking the sensor.

Now, I'm also wondering if 10 bit or 4:2:2 video is possible, and if the lovely rec2020 color space supported in recordings, or DCI-P3?

 

Thanks.

I work around devs all day long and for a long time in my career as a UX Designer. Where there is a will there is a way. But brininging a dev to the will part is uniquely challenging to that personality type. 

Many, many devs will say, "No, it can't be done". But in my experience the true translation is all too often, "No, I can't or dont want to do it, but maybe another dev can".

You know the best way to fix that problem? Throw $$ at it and watch how all these "impossible" things suddenly become possible. 

Personally, I think it can be done and the internal processor is pretty powerful to boot. I wouldn't be surprised if some of those features were in the backlog and going to be rolled out in time. And I think that would have been enabled in the HDMI clean out channel because SD cards are just too slow.  

I think the biggest issue will be heat dissipation. The existing hardware structure could be limited and never built to handle extreme overclocking, and if thats the case there's a huge chance that people will be cooking their cameras in no time.   

On 8/30/2017 at 11:37 PM, keessie65 said:

Last summer there was an update for the mobile app. Will there be an update for the NX1 camerabody in the future?

I seriously doubt it. I think 1.4 was the last firmware we're going to see from Samsung. They had a proggresive firmware release schedule which has been frozen since late 2015 I believe. During that time there were still active devs transitioning to other divisions. 

We're better off getting the hack boys back on the hacks, even crowdsource them if nessecary. 

On 9/5/2017 at 8:07 PM, Kai Liu said:

no. because samsung no longer has the camera department. You can wish one day they decide to come back. just like their computer department. was closed down 2 year ago. Samsung decide to leave computer industry. But this year they came back. released some new laptop and pc. But I think for the camera the chance is so so so slim.

THIS ^

On 9/27/2017 at 12:51 PM, Juxx989 said:

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.

 

 

THIS! This is exactly the avenue I'm researching. Just look how much smoother the highlights are rolling off with the filter applied? You're not getting that harsh/high specular. Very creamy, and filmic.

Now try to diffuse your light sources and watch what happens. RED territory baby! ?

I'm looking at a Soft FX 1/2 / Black Mist Pro 1/4 combo right now. Amazon has the Soft FX in 76mm for $27 right now.

I'm so happy you posted this. 

Quote

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....

On 8/13/2017 at 2:51 AM, Happy Daze said:

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.

NX1 only accepts up to 64GB cards. 

On 6/28/2017 at 7:54 AM, Andrew Reid said:

I am enjoying shooting 160MBit H.265 with the hack. What's the highest people have got out of it for continuous recording?

Can people summarise the best cards?

Also does it actually reduce macro blocking and banding over large low contrast areas of the image. So far in my experience it doesn't but I await to be proved wrong

Would like to see your tests and will feature the best on the front page blog.

220Mbps 4k

400Mbps 1080 all frame rates (hack won't go higher)

Card:

https://www.adorama.com/idsdxpu264.html

Everything manual and no sound. 

I functionally use 180Mbps so I can keep files manageable in size and not tax the camera too hard and also use features and sound. Pleased with the results. 

I don't know about macroblocking, but it definitely feels like I can push black levels in lumentri a bit more before they break. That alone is enough for me to accept the extra file size of 180Mbps. (And it's a huge difference vs. 80Mbps native) 

One caveat, I had to update my computer system (Nvidia 1080 ti) to play the clips in Premeire on full preview. Before I did this, I couldn't even get smooth playback on 1/4. HEVEC is a beast codec to decode, but packs the same quality as Prores 444 HQ and 1/2 the size. 

Still haven't gotten Divinci Resolve to play nicely with HEVEC. All I ever get is just sound, which tells me it's corrupting the decoding process. 

On 11/14/2017 at 9:10 AM, lucabutera said:

It depends on what you need to do with the camera.
If you want to shoot a video with standard colors and sunlight, the advantage is minimal.
If you want to use the DR profile to get a better workflow in post production then the hack is highly recommended because it drastically reduces compression issues.

h265 200Mbps it's like a 400Mbps on h264 codec, my opinion it's that the h265 hack it's better, similar to 10bit ProRes.

Luca is correct. 

On 12/14/2017 at 11:23 AM, lio said:

 

hi there, has anyone had a chance to use the sound devices mixpre-3 or 6 with the nx1? 

if so, does the hdmi time code trigger function work ? is the mixpre able to see the incoming timecode from the nx1 ?

can't wait to hear about your experiences...

How would that run into the mixpre? Via hdmi? 

On 10/26/2017 at 1:38 PM, kidzrevil said:

Yup. 10 bit is overrated unless you are doing heavy grading i.e. vfx work. 8bit is more than plenty especially since the way people generally grade is by slapping a curve on the image and adjusting the levels. That is not an extreme grade by a long shot LOL. People are getting caught up in the more is better thing  so much they forget 8bit is an imperceptible 16.7 million shades of color and not 64 colors in a crayola crayon box

Tell me more. Because as someone who is stuck with an NX1 right now I really need a sanity check here.

Everyone is raving and ranting about 10bit this and 10bit that and it all sounds really legit and makes me feel like I'm way behind the curve, no pun intended.

I'm not going to denie that if I push my NX1 4.2.0 grade too far all sorts of artifcating and banding happens. The NX1 uses a distribution codec, although its HEVEC @180-200 Mpbs so it's holds up reasonably well as long as I don't get too extreme, which I don't really need to as I'm not creating the next Batman blockbuster. And I do have a 2.5k 10bit 27" Benq monitor, so I can actually see where 8bit breaks down. 

I'm actually looking for reasons to stay with the NX1 instead of getting caught up in gear aquisition syndrome. The ergonomics and ease of use for the camera is exceptional and it's native S-Line glass as good as any Sigma Art series lens I've ever seen. It has a 6.5k sensor that produces some pretty detailed full readout 4k and below, 120fps@1080. It has some redeeming factors that make it hard to give up.

But everyone is jumping on 10bit/HDR, I'm feeling a bit left behind and anxious. Also, some third-party manufactures have dropped the brand for obvious reasons. Thank you Fotodix and Rokinon for not! 

But then part of me feels like my efforts and resources would be better spent in trying to find external ways to produce better highlight rolloff with my existing kit, because I'm starting to understand what makes up a "creamy image". I'm looking at some Tiffen diffusion filters right now.   

Possible future contenders for me:

Ursa Mini 4.6k

Kinfinity Terra 5k

Used RED of some variety. 

Possibly the latest Sony mirrorless

However, going with most of these options I'm looking at upgrades to a lot of my current accessories, which are rated for a much lighter rig. 

Not going with the GH5. I do not want a micro 4/3 sensor at the end of the day. I'm fine with super35 and full frame and I don't want to have to rely on speedboosters to get better shallow DOF and ISO performance. I feel like Panasonic should focus on releasing a bigger sensor than doing tricks to improve ISO on a smaller one.