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Matthew Hartman

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Posts posted by Matthew Hartman

  1. 20 hours ago, Juxx989 said:

    I have a filter I enjoy using 90% of the time and I started thinking... what if I just cut it perfectly and popped it in front of the sensor (not thinking permanent) 

    I have a NX1- and it seems to have the clearance to do so from the back of my S- lenses to the sensor... (my Rokonon 12mm is not tho the rear glass is bulbous and protrudes out quite a bit Guess its how they made it so wide but still can take a screw on filter)

    Its seems like it would solve some problems of not flaring as much and I can rock any lens.... 

    I have a NX 10 collecting dust I could use as a test subject 


    this guy did something similar but made his infrared (and said he destroyed its ability to shoot normal) 

    I was just thinking I could put it and remove it with Tweezers 



    Main worries are if a little piece of sand gets in between them some how it will become sandpaper and grind the sensor

    and wtf would happen if I triggered the Manual Shutter  (could switch to e shutter)

    I have an INTP personality so im always thinking of crazy shit...

    any thoughts on this one?



    I've thought about this too, except in a slightly different approach. Entertain me for a second. I'm a fellow INTP. ?

    You know those macro extension tubes sold cheaply on line? Well, they actually maintain electronic control with native NX glass and could be a perfect candidate to retrofit a diffusion filter inside whilst gaining macro ability and keeping AF/Aperture communication intact. 



    I would be very leary of putting any other material besides glass close to the image sensor. I think that's asking for trips to the camera repair shop for frequent sensor cleaning. 

  2. 14 hours ago, Kisaha said:

    It isn't for sale, it isn't ready yet.

    They have difficulties with Apple's operating system.

    They say that Android version and hardware is ready, but nothing is certain with KS.

    I work with devs who code on multiple platforms and as of late, Apple did something with the last two versions of iOS thats causing our apps a lot of issues. On the other hand Android has really opened up their platform. I can understand the slowdowns. No one wants to release a crap v1 app right out of the gate, so the wait is most likely worth it. 

  3. 12 hours ago, MountneerMan said:

    What Rec709 LUT is everyone using?

    I have two free ones that I don't mind but are certainly nothing to write home about.

    I use a customized Rec709 developed specifically for the NX1 by Casey Wilson/DP, who uses the NX1 sometimes for big brand name commericals. ( Yes the NX1 is used for top-level work, sssshh ) 

    I would share them here but he gave these to me personally so I don't feel comfortable distributing them without his permmision/blessing. 

    I will say that it's a less aggressive LUT than your typical Rec709 for other brands because even in gammaDR mode the NX1/500 produces a3 contrasty image like you already explained. 

    Casey taught me that the NX1/500 already produces a good image in-camera and the secret is to grade lightly, which is certainly true for grading any 8bit compressed file. However, The NX1/500 needs a little extra care than other brands.

    Samsung took a heavy-handed Apple style, "we know whats best for you" approach, as this camera skates that consumer/prosumer line.  

    You'll also see similar contrast ratios in their computer monitors and televisions. The thing is, your average person finds this type of image highly pleasing. 

    Here's Casey's website:


  4. 15 hours ago, kidzrevil said:

    @Matthew Hartman honestly bro thats the way to go. Scale back, trust me. It’s good that you are trying to future proof your content (so am I) but these gear reviews will make you think what you have is obsolete. A friend of mine told me “you really think what you have sucks because something new came out ?” that made me feel silly as hell ?

    I have a LUT for this a LUT for that and it all becomes overwhelming. Now I shifted my focus to treating my camera like “film stock”. I use the picture profile that brings consistent results without tweaking and get as close to the final product as possible. Now when I grade I just need to make minor adjustments to an image and I get the same result with less steps in between. 

    Scale back and focus on technique and watch how much better your work is going to look. Trust me

    Well said man. We need more guys/gals like you being the voice of reason. 

  5. 57 minutes ago, kidzrevil said:

    I think netflix requirements is a quality control thing. They are future proofing all of their content. Besides would you really want to shoot something for netflix without something high end and a team of people for post production? I wouldn’t worry about these things if you shoot for youtube or vimeo like most of us do. Personally my focus right now is building my lens collection over focusing on new cameras and camera technology. In my opinion a lens makes a bigger difference. 10 bit from a crap lens is going to look worse than 8 bit from a lens with exceptional color and contrast. All cameras process their image from a 12-14 bit raw image processor. It’s best to have your cameras settings set to get as close to the final image as possible to take advantage of the 14 bit processing before compression @Matthew Hartman

    Sounds like an excellent plan you have there. I'm looking at a few options myself, trying to wrap my head around anamorphic right now. I think ultimately I'm just trying to up my game and maximize the output if the tools I already have, while weighing out pros and cons of going various directions. I might be taking on too much at once and just need to cool my jets and scale back. 

    Of course, regardless of whatever direction I go in it's going to punch me in my wallet as anything relating to filmmaking is expensive. I should probably switch my information channels as ingest a lot of gear review channels and it just makes me thirst for shit I can't really afford right now. 

    I always had a knack for getting more out of less and I probably just need to return to that and not worry so much about keeping up with the Jones. Thank you for your voice of reason, it's been helpful.  

  6. On 11/11/2017 at 3:05 PM, Daniel Galli said:

    anyone got a c-log s-log o any lut like gammadr2slog from andrew for nx500? 

    I think we're trying to apply the methodology of other brands, Panasonic, Sony, Canon to Samsung's color science and that's a wrong approach for this camera. 

    I think a better approach would be adding a little flatness on top of getting your exposure as close to desired in-camera and then applying a less aggressive Rec709 LUT, and then adjusting from there in post. I think the key with Samsung HEVC footage is subtlety.  

    When you get aggressive with the grade with this footage it does not hold up well. That being said, Samsung's in-camera color science already produces some damn good rich color and contrast. It's Samsung, not Sony. 

    Let's not forget what flat profiles are for in the first place. If your image looks good, whether that's in-camera or in post, that is the final goal isn't it? Yes we all desire post control, but that's not always possible. 

    I know we all want to avoid crushed blacks and clipped highlights. A lot of that can be helped with proper lighting techniques or avoiding scenes you know the camera doesn't preform well under.  I give everyone permission to feel okay with that, because it is okay. 

    Another option is using diffusion and low contrast filters, which offloads that process away from the sensor itself. I'm currently exploring this option myself and hope to achieve some viable results that I can share here. 

    As suggested, the difference between normal and gamaDR is notable. It's Samsung's basic version of Log. I'm sure had Samsung continued with cameras a firmware update would have given us a proper Log, maybe even onscreen LUTS, waveforms, false color, etc.  

    Make sure you have Smart Range + on under the movie tab of the menu. There's two "triggers" for that feature. One for photos, one for video and they are separated. 

    The hack mainly helps with reducing macroblocking, not DR. 

  7. On 8/26/2017 at 6:32 PM, andrgl said:

    Actually, ignore my first post, Andy's stuff isn't good for us.


    Here's basically the LukiLink (Android only) available on Amazon:



    The app itself hasn't been changed much yet, I guess the OEM provided them with the source code for the apk, but I hope Frank can add all the stuff he's promising on the Kickstarter page.


    Amazon link goes to a removed page. I'm guessing the project went belly up?

  8. 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


    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? 

  9. 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. 

  10. 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. 

  11. 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? 

  12. 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. 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" ? 

  14. 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:




  15. 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 :glasses:


    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. 

  16. 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. 

  17. 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. 

  18. 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? 

  19. 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. 

  20. 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


    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:


    (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:


  21. 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. 

  22. 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.


    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?



    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.   

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