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Matthew Hartman

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Posts posted by Matthew Hartman

  1. 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 ^

  2. 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. 



    All Hand held stuff. 

    and if for some reason you want the 1.8 GB output from resolve (not sure why) its here



    Next Test I got a Tiffen Ultra Contrast Low Light....


  3. 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)



    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. 

  4. 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. 

  5. 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? 

  6. 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.  


  7. On 12/19/2017 at 7:11 PM, لطفي بوعكاز said:

    After 2 years Iam still in love with it, I won't buy new one now I'd probably wait for Canon 1DX mk2 to get cheaper on 2nd hand market until then I still do low budget music videos so the money is tight can't afford yet to get bigger better..at the end for normal people's eyes it's the story, framing, lighting that really matters not pixel peeps. 

    here's my latest video shot in London with NX1


    This is well done and a good example of what can be done with this camera in experienced hands. Which is true for most systems but the NX1 does have a certain character.

    Truth be told, sometimes I'm really partial to it, and then sometimes I'm very bothered by it when it's done poorly.

    Unfortunately, the camera wasn't around long enough to propegate the more pro circuit, so we see a lot of mediocre "test footage" developed by amatuers and enthusists of the camera. A lot of the more pro level early adopters jumped ship right after Samsung pulled out. 

    I don't mean to offend anyone but there's a lot more poor or unenthusiastic examples of NX1/500 footage online than compelling examples such as yours. 

    Your video captures all the great aspects I love about the camera and you seem well acclimated into knowing how to get a really professional grade out of its footage, which for most of us is where the image falls apart. Or, moreover where our inexperience really shows up the most. Color grading is a real skill set. 

    The community could really benefit from some of your technical process and I hope you consider sharing some of it here. 

    One of my problems with the NX1 is it's 8bit color space. Its easy to feel left out of the modern 10bit/HDR/4k 60fps wave that's happening right now.

    When the camera was released in 2014, it's direct competitors, meaning Sony and Panasonic, did 8bit as well internally. But now the NX1 has been far surpassed in that regard. It becomes harder for me to justify sticking with the NX1 system, especially when I see a lot of banding and artifacts in it's footage in some scenarios.  

    I sorely wish someone hacked or would hack the NX1/500 sensor to at least get those features with an external recorder. It would actually revive a nearly 4 year old camera into being an industry-leading product again without Samsung even having to re-enter the market. It would also give new life to a dying system and save us from the challenges the competitor's can't seem to solve well. I don't want a micro four-thirds sensor, even at 10bit. 

    Still, despite those limitations the NX1/500 sensor is still a solid option even in 2018. One may feel a bit of anxiety about spending money on a dead system, and the industry (not just Samsung) has all but forgotten about this camera even when doing comparison videos with older cams like the GH4 to newer cams, the NX1/500 hardly gets a mention. But even with all that I hardly believe anyone, be that a professional or general audience member, would question your video as anything but professional-grade cinematic. And if they did, they're just pixel peeping or bias, and who honestly cares about that at the end of the day? I'm sure your client was more than happy.  

    Let's face it, that's the look we're all going for isn't it? You've captured it and played to the camera's strengths. Please share with us your process? 

  8. On 8/4/2017 at 5:11 AM, Andrew Reid said:

    When the NX1 came out Philip Bloom bought it but didn't use it very much as he said the dynamic range was limited.

    I thought it was a bit limited too, turns out we were both wrong...

    Here is the effect of Fast Colour Corrector in Premiere changing output levels to 16-235 for NX1 clips recorded in 0-255 RGB range mode.


    Original file - blown out clouds...


    And here is an additional 1-2 stops in the highlights from enabling Smart Range + in-camera -



    I'd put this camera right up there for image quality now... Right near the top of the pile.

    Both sample images shot with the superb NXL adapter by the way with Canon 50mm F1.2L full frame FOV and DOF. Thanks Luca :)

    I think you got the order of the first two images mixed up?

    Amazing how much range was actually preserved. Smart Range+ is just for stills correct? 

    Do you (or anyone) have any experience with either Tiffen's Black Pro Mist (or any of their diffusion line) or Schnieder's Hollywood Black magic filters, specifically with the NX1?

    I'm getting close to jumping to an Ursa 4.6k Pro but want to give my NX1 more exploration as far as pushing it to feel more filmic and creamy. I love the camera, it's weight, size, handling, features and menu are just very pleasant to work with. Besides, I have 4 NX glass. 

    Having that highly detailed 6.5k sensor gives me a lot of bandwidth, but I need the option of subtle detail where it matters and better rolloff in the highlights and shadows, which if you examine footage from say a RED you notice these features. 

    I've been applying a small amount of guassian blur to my footage to help in this effort, which helps with the over sharpness, but it doesn't solve rolloff, which is a big factor of high dynamic range and obviously why REDs and Arris and VariCams are king of the feature film industry.  

    I'm also currently experiementing with Neat Video to help with 8bit banding, but it's so proccesor intensive, at least on my machine. If I could use a diffusion filter in front of my lens, I think it could be an interesting and much less taxing way to go. 

  9. Man guys, I hate to sound pompous or harsh, but you guys are still thinking kind of small and insulated about this. You're estimating the rate of advancement from past and present models but this will not be the case in 5 years time. The delta is not a steady 45 degrees upward. The incline is more like 80, and reaching towards 90 with each day that passess.

    Forget 10bit, forget RAW, forget HDR, 8k, and all the current conventional buzzwords (which will become known as limitations in due time) floating around.

    When you add an AI to something, you crack open pandora's box and I don't mind sounding like the crazy guy sitting on the park bench because the probability of being validated in time is quite high.

    I've seen and experimented with tech that the public is not even aware exists. What you see released to the public is not the extent of all a tech company has to offer at that time. Oh no, they're sitting on bigger stuff, and dialing it in.

    There are some frightfully brilliant minds out there that approach and solve challenges in a very different way than most of us. They're usually doubted and sometimes even mocked until they break ground and us dum-dums catch up to the bell curve and finally get it.  

    Don't be surprised if what you know as "camera" today is vastly different in the future and to the extent of which technology enables us to be "super-human". 

    The only constant here will be the ability to tell a good story. But don't be surprised if an AI bot figures out how to tell a better one and in much less time. In some ways the technicalities of the physical aspects of the trade will be far more approachable and immediate, but you best keep that creative brain nice and sharp.  

    Anyway, enough preaching. Let's just get on with it. 

  10. On 12/8/2017 at 7:36 AM, maxotics said:

    A lot of Sony "zombie skin" is from filmmakers using LOG and de-saturated profiles where they shouldn't.  I've tried to be the "LOG police" on the Internet but will give up.  The desire to believe you can get pro-equipment/lighting quality in mirrorless is stronger than the simple fact of the matter--"film quality" (what should we call it?) is now moving well past consumer equipment.  The trend will only continue into 2023.  In other words, many consumer equipment filmmakers will always believe in snake-oil ;) (LOG, 10bit, rec2020 as a shooting CODEC, etc.)  Of course, all those shooting wild-color music videos and zombie movies will be as proud as peacocks with their mirrorless kits ;)

    I think is is a rather prescriptive way to view the challenges of today as being actual challenges in the future. There's nothing to say bit rates, codecs, LOG, RAW, ISO, mirrorless vs. mirror, rolling shutter vs. global, or shutter speed altogether all will even be factors to consider in 2023.  Personally, I think the paradigms and conventions in which we currently interact and think about technology are going to rapidly shift, even 5 years from now. The delta on this is greatly exponential and technology leaders are already thinking 5-10 years out. In some cases some companies are sitting on technologies today that would make most of us crap our pants either in joy or horror. Working in these sectors companies are working really hard to make screens become irrelevant. 

    On 12/8/2017 at 7:36 AM, maxotics said:

    The epiphany came for me while watching Netflix's "Abstract" series--on a 720 TV.  I thought it was done on something like the Canon C300, or even C500.  Nope, RAW-shootin' Red Epic Dragons with $10,000+ glass.  When this site was in its formative years ER (I believe) shot a whole episode using a 5DII.  It was good, but not as good as the professional equipment of the time (too much aliasing from spread out pixels on that FF sensor).  I believe a 5D4 is no closer to today's professional video cameras--farther even.

    Unless consumer cameras shoot essentially RAW quality (and it seems physical power limitations are preventing this because SD cards are now fast enough) then the cameras of 2023 will be as you describe.  Better than today's cameras.  Not as superior to the cameras of 2017 as today's cameras are from 2012.  

    All that said, one can get in the game, even with a G6 (what was his name on this forum that championed that camera?) that was IMPOSSIBLE when I was young and even a few minutes of 16mm film was $100 back then (never mind the camera!).  

    Some more proof that video has diverged is @Mattias Burling. He used to shoot RAW, now it's 8bit.  So I believe his YouTube quality has gone down, but seems I'm the only one (though it doesn't stop me from watching his videos)!  If mirrorless today is good enough then it should be good enough in 2023.  

    Other questions, are, will consumer available video editing/processing software and lighting get powerful enough to do David Fincher type work?  I'm certainly interested in your thoughts there Oliver!   I know this seems left field, but I've heard the iPhone X is selling mostly because of the real-time video emojis it can create using its face recognition post processing software/chips, etc.  That's what I mean about post technology.  Maybe computer visual processing will be more important than whether or not it's 8bit or RAW sourced.

    Filmmaking is not about the camera. And it never will be. The filmmakers of yesterday would (and do) argue the merits of celluloid film, because that's the technology they used to develop their art and passion for film. It becomes an emotional attachment of sorts. An identity. We are doing the same here with camera's associated with Hollywood level production because many of us have busted our chops using them. But if someone told you 20-30 years ago people would gravitate towards a platform were content takes an actual dip in image quality and compelling narratives, would you have believed them? I would have never imagined it myself. You're thinking about the future with the convention of today and that's a false pretense. Technology in five years will be five times the rate of speed that it is now. 

    The best advice I can give the more mature filmmakers among us is to be open and ready to suspend disbelief, else become irrelevant at the rate of 5x. 

  11. For me it's hard to tell. I work in the tech sector and there are a lot of technologies coming online that could serve the film industry particularly well. I think the bigger question for me is how will the industry react to new paradigms? I think in an evolutionary sense, the approach of filmmaking has stayed relatively unchallenged and unchanged as we have wrapped current technology around the current ways of how we think about filmmaking.

    But let's say for giggles and grins we get to the point of an having a tiny camera implanted into your eye that can transmit a signal, which btw does exist to aid the blind, albeit in rough form currently. (The video signal is projected on the back of the brain same as a functioning retina)

    Suddenly, you are the camera and the way you frame the world is immediate and you are the film and audiences tune into your perception? Or maybe they are the film and shape how it progresses using you as the container? Maybe audiences will reject narratives altogether and actually live out their dreams and fantasies instead of live them vicariously through someone else's vision of the world?

    Remember, film in it's original intent was an answer to the limitations of sharing visual stories in it's time. Just cave paintings were a limitation of technology for the caveman. What has now become an established art and craft, started out as solving a technological challenge for inartistic purposes. 

    If you're a filmmaker you should invest in the skill of storytelling, not the technology, because it's too unpredictable and exponential to rely on. What was fine to rely on in past decades will be less and less reliable as technology moves faster and faster. 

    In the immediate I definitely see a trend for smaller and smaller footprints with increased quality in output and more intelligent automation. Technology is already at the point where huge machines are not needed to capture great technical content. I see cameras getting ever smaller and crews getting smaller too. It's a really simple equation. If one could have Alexa/RED quality in a form factor that fits in the palm of your hand why would you ever choose to use a heavy and cumbersome machine that needs a ton of accessories and a crew of people to help give it the quality and fluidity of seeing the world through the human eye? If you have any sense and instinct about you, you wouldn't. Unless you're just a nostalgic fool and love the art of complication. (Some do, no judge)  

  12. On 3/12/2017 at 10:18 PM, MonGe El GenioMusical said:

    I've Been Saving for the Ursa Mini 4.6k Pro.

    Was this sale successful? Did you get the Ursa, and if so what do you think? 

    I too was looking at the Ursa Mini Pro 4.6k but quite honestly I wasn't all that impressed with it's image, or at least what I see online viewing it on my 55" 4k TV. To me, the footage looks soft, blocky, less filmic, but I'm not sure how much of that is YouTube compression. 

    Despite the obvious drawbacks to no RAW video and 4.2.0 8bit color space, I personally feel the NX1 produces a better overall image, closer to say a RED, (which is why they pair so well) and definitely in how much detail the NX1 resolves. Than again, the NX1 is in a class of it's own when it comes to that. Some find it offputting. 

    I'm not saying the Ursa doesn't have it's strengths. It is afterall a proper broadcast-ready video camera. It's also one on a small list of cameras, along with your usual suspects, (no the GH5 isn't on the current list) that Netflix would incept as per their broadcast requirements.

    One thing to keep in mind if you don't already own one is that even though it's dubbed as "mini", there's nothing mini about it. The newer REDs have a smaller footprint for reference. No more handheld 3 axis gimbals for you and you better get a very sturdy tripod.   


    Also, I don't know your needs or requirements but I'm seeing a lot of regret from those that got rid of their NX1s. Its ultimately what keeps me using a discontinued product. The image is very workable if you understsnd all the basics and best practices of film.

    Something else to consider.

  13. Wow, this is actually a really good price for everything you're including, I'm surprised someone hasn't jumped on this deal already.

    Adorama is selling the original RED ONE of an upwards of $6,600 USD, with less included must have accesories.

    Unfortunately, your deal is slighly north of my budget. And I imagine shipping to the US is going to be pricey with the weight of that brain and cage. 

    I'm curious. REDs are pretty coveted systems, why are you selling this and so cheaply? (Relatively speaking)

  14. I'll trade you for a powerful ASUS ROG laptop?

    Not to disparage or manipulate you, but it's unlikely you're going to get your asking price. I know you probably see other NX1 bodies on eBay and Amazon for a similar price, but that doesn't mean they're getting sold, especially when you can find brand new in the box sealed overstock from S.Korea for slightly higher than you're asking. It's easy to think that's what people are selling it for but the reality is those products are collecting dust. 

    Trust me, I'm a huge fan of the NX1, I own one myself. I'm keeping mine but I did entertain the thought of selling it a handful of times myself. 

    The NX1/500 are anomaly products who's real market value is a bit subjective. I would say a more realistic value would be $800-$1,000 USD, depending on condition and shutter count.

    I know that's a little hard to hear for such an awesome body but you increase your chances of an actual sale if you price it at true market value, as opposed to it's perceived one.  

    A good way to judge these things is there's an option on every product page on Amazon to trade in your stuff. Add about $100-$300 to their estimate and that's a pretty good metric of the actual market value. B & H and Adorama have stopped accepting any NX products. 

    My gaming laptop is valued slightly below an NX1 body as it has about as many years of depreciation and retailed in a similar price bracket, except I would say you'd get more general value and use out of a laptop over a camera.

    I loaded the laptop with 32GB (it's max) and a fast SSD. It's in peek physical and functional condition, zero damage of any kind. I baby my gear as if they were one of my children. Win10 pro on board. Possibly some extra goodies we can talk about offline. 

    I could even throw in a fast USB 3.0 3TB Seagate external drive to sweeten the deal. Also in peek condition, naturally. 

    It came with an i7 2nd gen, 4core/8 thread Intel, Nvidia 560m/3GB GPU. 17" 1080 screen, full hdmi second display port. DVD writer/reader and an internal SD reader/drive. Network port. Wifi/Bluetooth. Performs quite well even with today's processing demands and in some applications performs better than my more recent work laptop, which is a newer ASUS ROG laptop with a Nvidia 1070 GPU. It's a lot of mobile power. I'm going back to a desktop system as I'm not the work at Starbucks type, and if the public saw some of the stuff I was working on I'd probably be in court being sued for breaking NDA.

    I'm looking for a second NX1 body to gain a 2-cam system for dialog scenes. 

    Can send plenty of photos. Interested? 

  15. On 11/5/2017 at 5:31 AM, ReinisK said:

    Hey guys!

    I've decided, that I'd like to try the Samsung NX 16-50 2.0-2.8 lens.

    Since it's still quite expensive as a new lens, I'm considering a used one. Maybe someone is interested in selling?

    Good luck getting someone to part with it. For an underrated/discontinued system people are tightly holding to their NX gear, unless you want to pay a premium for it. ? 

  16. On 10/9/2017 at 8:18 AM, Antonis said:

    I have the same issue on Windows 10 with i7/GTX960 setup.
    Only audio is being imported. Davinci metadata sees the files as audio only...doesn't display any resolution or fps info.

    Strangely enough NX1 HEVC files import fine on my old  13 macbook pro.
    (and struggle to playback at around 8fps)

    Same here. I was very excited by this news in that DR is way more optimized as an app than Premiere, but no go for me either on similar specs as you. Just sound for me too. ?

    Back to proxies. ?

    On 10/28/2017 at 7:12 AM, BopBill said:

    Bought the Studio. First tried with radeon rx 480, but playback was not good, around 20-25 fps (NX1 UHD files). So I decided to invest to gtx 1080 ti and now playback is totally smooth (29,97 fps) even some fx added. I am happy.

    Export rendering is not fast. Around 10 fps with my old i7 sandybirdge (4 cores, 8 threads, 4500Mhz oc) But the main thing is smooth playback during editing.


    From my research you have to break into the 1080/1080ti realm to get smooth h.265 playback in any NLE. I'm looking at several Cyberpower PC systems right now. Glad to hear the 1080ti is performing. 

    My 1070 8GB gives me about 15fps on 1/2 in Premiere. Forget adding a Lumetri channel. 

  17. I forgot to mention that we need to redirect our efforts other than trying to convince Samsung. Not for lack of trying, but that ship has sailed. If and when Samsung is ready to do so they don't need any convincing from the outside. They will do it and they will deliver it like an uppercut from Mike Tyson. 

    I have the 2016 NX hacks and they are very solid. I think we'll have the best (but not guaranteed) success trying to get those guys to take another active look at the Tizen OS.

    The problem, which working in tech as leading UX Designer I definitely get it, is that Tizen is a very proprietary, not exactly an open source OS. Samsung locked it down and I'm not even sure it's documented all that well to boot. What it does expose to developers is very limited, hence the hacks, which are workarounds. 

    We would need a top hacker on this and to be clear the hacks would be very, "hacky" in operation to say the least. But I would pay good money for RAW 10bit output either internally or externally which should be capable. My guess is it would be external for heat restraints and slower memory cards.

    I can get a reliable 200Mbps with the birate hack on a 300Mbps Lexmark SD. I actually could go higher but I'm unable to get consistent results. Not a good issue to have on set. At one point I got about 10 seconds of video pushing it to 300Mbps with all other camera features off. The file size was reminiscent of RAW output. 

    BTW, those of you considering going external via hdmi to something like a Atmos Shogun Blade, dont, you will not get any perceivable quality gain. You can do the same thing by transcoding to a 10bit compression codec from the native h.265, but again your actual gains will be miniscule, as I'm sure Reid can attest to.  

    The h.265 codec is an amazing codec in it's own right, considering it's 4.2.0 8bit color space, way more resolvent and less aggressive on data than h.264, but also processor intensive. Its clear Samsung wanted to future-proof the top-tier NX products as more and more consumer grade computers are only now in 2017 coming on the scene that can actually handle it, which in 2014 wasn't the case. 

    My 2014 ASUS ROG with i7 dual core/8 threads (I think 2nd gen) 32GB ram, 3GB Nvidia 560m GPU, SSD cannot handle 4k h.265 even at 1/4 quality in Premiere. This is not a weak laptop by any means and it has served me well. It handles other high bitrate codecs and proccesor heavy tasks just fine. It laughs at them.

    I'm actually selling the laptop and going back to a desktop system if anyone is interested? I'm not as mobile as I thought I would be. Its in peek condition, zero or damage of any kind (I baby my gear) running Win10 Pro, the SDD and 16GB is relatively new, the other 16GB was purchased in 2016. Like I said, it runs most everything I throw at it, including processor intensive applications like physics/fluid sims in Maya 2017, except for that darn h.265! I suspect some of the issue is Premiere's unoptimized code. I ultimately want to move into a proxy-less workflow, as I'm heading into more feature length work and man, what a PITA when you have a lot of coverage. 

    I'm willing to let it go for $750 or best offer. U.S. ship only. This is a good deal. It retailed for roughly $1,300 when it was new without all the upgrades that doubled it's output. In some cases it even performs better than my newer ASUS ROG machine with a Nvidia 1070 8BG GPU I use at work. Also it has a nice 17" 1080 screen and a full hdmi port for a second monitor. Pretty darn quiet in most/normal applications. Great heat management. PM me for pictures. 

    Also would trade for a NX1 body or S lens in good condition.

  18. @Kisaha I think this is the healthiest way to count your losses, whilst looking at the future in a more positive way.

    The truth is, there are plenty of NX camera's and glass still in circulation, albeit less than in 2014-2016 and I personally haven't seen a lot of mentions that these products are even close to nearing the end of their build life.

    The magnesium build, the OS, the proccesor chip, the sensors, the glass and machinary in the lens systems (which I believe were outsourced and rebranded by a big lens maker) were built pretty robustly. Like I said before, Samsung was definitely trying to put a stake in the ground.

    I've owned other Samsung products that were considered mid-range, and as functional as they were they didn't have premium builds by a long shot. Samsung reserves this for their top-tier offerings, say like the recent Galaxy line of smartphones. World class. 


    "I think directly or indirectly the other companies(canon, sony, etc)  made it clear to big reviewers that they would not appreciate coverage of Samsung NX1 and maybe they would forget to send you the next product for review or forget to invite you to the next swanky New York sony event.."

    I would venture to say this is most likely a real thing. Even in the cases where the reviewer claims impartiality, you have to remember these companies are sending them free gear in exchange for a favorable outcome. They're not doing it because they like giving away free product to seemingly cool people. 

    And even if a company does not explicitly imply favor, the reviewer knows that if they give a product a poor enough review, or praise a competitor's brand too much, this could pontentially hurt their chances of receiving more gear from said company in the future. For a lot of top tubers, this is the very backbone of their channel, hence income. When your livelihood is on the line, of course you're going to lie a little. I think most of us would. 

    The key is not seeming extreme or too obvious with it. And you'll notice that channels that do don't last very long. A "favored" view here, a couple dings on secondary less important features here. This gives the illusion of being impartial and the manufactures chalk it up to the price of doing business, which is still going to be less costly than hiring an advertising agency to drive a full scale marketing campaign.

    These manufacturers, including Samsung, are only concerned about brand perception as it relates to sales, not as it relates to trying to give you a quality product because they personally care about you or your own business. No one should be naive about this, and yet consumers wrap up their indentities into these products, and really blind themselves. 

    The only time this formula is broken is when a CEO or other top executive takes a personal interest or pet liking to a product and wants to share that with the world, which is what many suspect the NX line and more specifically the NX1/500 to have been of the previous CEO, which demographically speaking was more intimate and familiar with "older" tech and reportedly loved photography.   

    The RED camera was one of these pet projects by the then CEO of Oakley, a popular sunglass/surf/skate brand in the 80's/90's, who again was very fond of videography and wanted to and had the resources to shake up things in the then celluloid dominated film industry. But these are largely outliers. As impactful as they can be, they tend to be very rare as business objectives are not the driving catalyst. 

  19. I'm the guy that launched the petition. I would say at this point the system is obviously toast.  

    I still own and use my NX1 to date. It is still a viable camera, and still as underrated as the day it was released. 

    I've heard from several South Koreans that the transfer in management is what actually killed the previous camera business. Basically, it was a pet project by the much older previous CEO before his nephew took the reigns, and obviously showed us he had no skin in the game. I'm sure it was widely seen as "forward-facing", but in my view it was very premature. We could have had an NX2, maybe even NX3 by now and although it wouldnt have been as profitable as say their appliance and smartphone offerings, it will still bring in a considerable amount of cash and more importantly kick back by reputation to their other products. 

    I'm sure many Samsung employees that worked on the NX system were just as disappointed as it's customers, as it was obvious they were striving for excellence and to cause a stir within the industry. You don't cram all those features (in 2014) into a body when your competition is still shooting muddy 1080p (ahem Canon, Nikon, Sony) if you're not trying to put a stake in the ground. 

    With exception of Mr. Reid, a lot of camera pros were pretty hostile towards Samsung's lineup, and couldn't decide if it loved or hated the camera. The exit gave them more fuel to put down the system, and gave the industry yet another excuse to move at a snail's pace. 

    The NX system was headed towards excellence and household name status. That is what Samsung does. Had it not been for the change of leadership, there's no doubt in my mind that it would have been a leader, if not THE leader and bar for all other manufactures to live up to.

    I've owned very few Samsung products that were faulty. Some may not like the name or have preconceived ideas about the quality of Asian markets/products (most cameras are Asian born) but at least where Samsung is concerned they are a giant, not just in South Korea, but globally. I'm not sure why the skeptics were so skeptical, but their cynical attitude certainly didn't help matters. What it did do in part was made sure that innovation remains slow and incremental. So thanks. 

    I watch YouTuber's like Tom Antos, Film Riot, Film Courage, Curtis Judd, and many more along this vein. How is it all these channels are acutely aware of the GH4 but have no idea the NX1 line even existed? It never shows up in their gear recommendations past or present, which I believe shows a telling pattern. 

    Tony Northrup, The CameraStoreTV, Matt Granger, Max Yuryev, and Rocket Jump Film School did actually review/use the NX1 and their responses were generally positive. Although the guys at CameraStoreTV were actually more on the fence but they did dedicate two whole segments to the NX1/500, albeit slightly sarcastically. 

    DigitalREVTV did a asinine video review of the NX500 which was basically as one commenter put it, "An 11 minute long bash because it was a Samsung and not Apple". But that Brit is a cynical muppet and Canon/Apple fanboy anyway. But it serves as a good illustration of how many pros received, more like perceived the entire line.

    What I never understood is how on one hand you could sing the praises of the GH4 and yet dismiss the NX1/500, which in my professional opinion was and still is the better camera of the two. In some regards it wasn't even comparable.

    The NX system is that anomaly camera/lens that we're not likely to see again anytime soon. If you own any of these products I advise you to hold on to them. Don't worry about the detractors, they most likely never even used the camera. 

    We need to re-petition our hacker community to further investigate opening up the power of the NX1/500, and I would suggest employing them in this effort full stop through crowdsourcing/donation. 

    I would not count on Samsung themselves to resurrect the business or even offer another Firmware update. I and others have done our due diligence on behalf of the NX community in to let Samsung know our love for the NX1 system and our frustration in "their" decision to pull out. I put this petition in front of a handful of Directors, both past and present, using my influence and connections as an ex HTC and Microsoft employee, having worked on projects in cooperation with Samsung.  

    Unfortunately, I'm sorry to say "they" have chosen to broadly ignore our pleas. Employees and shareholders are different beasts, at a certain level it's to be expected. This is how it goes in general. 

    That being said, those that know the beast that is Samsung knows they can be unpredictable at times and pull out a wild card. Translated, I wouldn't hold my breath, and yet I wouldn't count them out in the future either. They will act if they see a value prop for their business and they have the capacity to compete at the drop of the hat on a global scale. 

    I learned one thing in creating this petition. Those that own or have used the NX system absolutely love the hell out of it. You will hardly see a comment (about 928) that expresses a mundane reaction to these products. That truly says something about the quality and innovation of the product AND the gap of this quality and innovation in the market right now. It's awesome and interesting to see people from all over the globe echo this similar sediment. Its a true community. 



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