Matthew Hartman

That's the topic where we have to be intelligent and where I find the value of evaluating forums as EOSHD. Simply put, I find that there are major and minor upgrades - task for manufacturer is to hide that minor upgrades are minor and present them as enough big... That's, for example, why I'm not interested in GH5s... I think in-reality-minor upgrade and minor (or even major!) downgrade IBIS wise. GH5 is major step in every field - not at least at finally getting Iso1600 usability that stay rich and cinematic-manipulative... GH5s looks as ISO3200 usable, but under the hood of agressive NR I found it is the same as GH5 with Resolve NR. Everything above is a gimic - type of shown in TheCameraStore lowlight scene above. To conclude this excursion trying to be exemplar about the camera I know - Panasonic don't squeeze everything from new senzor... just little bit of finer color manipulation... so I even expect there will be one more GH camera between now and widely expected 2020 Tokyo version. GH6 or similar with GH5s sensor and back of IBIS integration and even better color-codec usage.
Sorry if I pollute Fuji topic too much with such observations.

Cash. But I'm very cautious to sell everything I tried and didn't find best choice for me (and you have to be lucky to accomplished it if you are not in the big market country). Just now I kept only Voigtlanders 17.5 and 42.5 and Olympus 75mm. Reason for Voigts - I found that you have to have every single gout of light for Panasonic GH5 to keep it under 1600Iso. (That's also reason, besides construction, why I preferred V42.5 over Panalaica 42.5 which has T value about 1.6-1.8) Reason for Oly - also light capability and pure optical (not electronical) details discerning power that, in conjunction with ETC mode, made this lens as 3-4steps zoom (because of pure sharpness, it is quite easy to magnified in PP a little and stay quite safe).

There's a feature slated to be shot on the NX1 that's going to hit several festivals, with the hope and actual intent to bring some positive attention to the camera. 
Here's the guy's rig. I wish him well. 
 

 

Feel guilty? Corporations don't have feelings, and I seriously doubt the Samsung family does much emoting. 

Yeah, I have more affection for mini primes too. Do you not have a local rental house? I know you're not in the states so I don't know the logistics of your area. 
Those mounts not shipped yet would make me OCD. I'd be on the horn every day until they ship. $85 is not chump change. 

1.) Rent a very expensive cine lens the size of a small canon, probably on a PL mount.
The lens gives the image a personality or character. You are actually mostly looking for imperfection here.
2.) Good diffused lighting, staying away from extreme contrast ratios and harsh shadows with short falloffs, especially if you're shooting in 8/10 bit in camera. 
3.) Camera settings. Go flat if you can't shoot RAW. Turn down or off internal sharpness and reduce contrast. Saturation can be left at default. 
4.) Set a custom white balance using a white or 50% grey card. This will help you greatly in post get an accurate color balance. You should fair well with your Fuji. 
5.) Subtle grading. Most ppl want to fill up their entire waveform chart and have deep contrast, but I think the sweet spot in emulating film is sitting 10-15% below 100 and 5-10% above zero. This is obviously subjective and contextual, and rightfully should be. Learn about qualifiers. 
6.) Tiffen Pro Mist 1/4 (or silimar) helps reduce digital sharpness. Industry even uses them on $60k cameras. 
7.) Aviod handheld with cameras that have bad rolling shutter and jitter. If you need that look add it in post with tracked camera shake presets. You'll spend much less time not having to fuss with warp stabilizer, which in practical terms is no magic pill. 
8.) Movement/Composition/Line/Texture/Contrast ratios/Lighting/Visual Narrative/Sound/Musicality. Study up on these subjects. They will boost your production value x10 even on a Dora the Explorer Fisher Price camera. Swiper, no god damn swiping!
 
Looking at your details and plight, I honestly don't see a strong case for you to upgrade either. You would be gaining minimal improvements over your current setup. I would instead invest any extra cash on other gear. 
I hate how these manufacturers make people feel like they MUST have the latest and greatest. If we thought of these cameras in terms of say a cresent wrench, would we "upgrade" so often? 
I have a question for everyone. How do you purchase your gear? Cash? Credit? If it's credit, is the upgrade honestly worth going into debt over? 
I spent considerable money on my current gear in the last couple years. Now that the spending frenzy is over I'm looking at all this gear and I'm in disbelief. The odd thing is I knew I was on a spending high at the time and I did it anyway. Spending money is a high and one can get addicted to it, even going into considerable dept.
What's the saying, "The eyes are bigger than the stomach"? 

1.) Rent a very expensive cine lens the size of a small canon, probably on a PL mount.
The lens gives the image a personality or character. You are actually mostly looking for imperfection here.
2.) Good diffused lighting, staying away from extreme contrast ratios and harsh shadows with short falloffs, especially if you're shooting in 8/10 bit in camera. 
3.) Camera settings. Go flat if you can't shoot RAW. Turn down or off internal sharpness and reduce contrast. Saturation can be left at default. 
4.) Set a custom white balance using a white or 50% grey card. This will help you greatly in post get an accurate color balance. You should fair well with your Fuji. 
5.) Subtle grading. Most ppl want to fill up their entire waveform chart and have deep contrast, but I think the sweet spot in emulating film is sitting 10-15% below 100 and 5-10% above zero. This is obviously subjective and contextual, and rightfully should be. Learn about qualifiers. 
6.) Tiffen Pro Mist 1/4 (or silimar) helps reduce digital sharpness. Industry even uses them on $60k cameras. 
7.) Aviod handheld with cameras that have bad rolling shutter and jitter. If you need that look add it in post with tracked camera shake presets. You'll spend much less time not having to fuss with warp stabilizer, which in practical terms is no magic pill. 
8.) Movement/Composition/Line/Texture/Contrast ratios/Lighting/Visual Narrative/Sound/Musicality. Study up on these subjects. They will boost your production value x10 even on a Dora the Explorer Fisher Price camera. Swiper, no god damn swiping!
 
Looking at your details and plight, I honestly don't see a strong case for you to upgrade either. You would be gaining minimal improvements over your current setup. I would instead invest any extra cash on other gear. 
I hate how these manufacturers make people feel like they MUST have the latest and greatest. If we thought of these cameras in terms of say a cresent wrench, would we "upgrade" so often? 
I have a question for everyone. How do you purchase your gear? Cash? Credit? If it's credit, is the upgrade honestly worth going into debt over? 
I spent considerable money on my current gear in the last couple years. Now that the spending frenzy is over I'm looking at all this gear and I'm in disbelief. The odd thing is I knew I was on a spending high at the time and I did it anyway. Spending money is a high and one can get addicted to it, even going into considerable dept.
What's the saying, "The eyes are bigger than the stomach"? 

Haha. Well according to statistics most of us are in that same pot on a slow boil with you. ?
Dude, that was pretty mean spirited.
Jonpais is very partial to facts and has been known to go to great lengths to back up his assertions. He throws them out there but if that doesn't interest you just disregard it. No need to get insulting. He's a real person with real thoughts and opinions. 
That being said, Jonpais, I think you should lay off of Mattiaus a little, he's a good guy with a big heart and contributes a lot to the online photographic and video community.
This topic got out of hand a little. It's just a camera. Lets not lose our good sense over differences of opinion. 

thanks I know about twixtor just haven't explored it further but how higher of a shutter do you have to be to get it right? at 30P my shutter is 60 in normal mode. 
Another new NX1 100% video footages, the night shots just 1 small LED light with ISO 400 the rest all natural lighting. 
 

This technique has been around for over a decade. It's basically subpixel sampling and it can take a long time to render. It was originally an After Effects thing.
If you're going to use this technique make sure you shoot with a high shutter speed because too much motion blur will ruin the effect. You have to preplan this. 
The best implementation of this technique I've seen is from a plugin called Twixtor, which gives you a set of adjustable parameters, which optical flow does not. You also don't have to conform your footage to a different timeline.
Results vary:
If this is all you need the plugin will be way cheaper than buying an Ursa Mini. 
I still think the Ursa Mini is a good investment if you have the money. You gain quite a bit of advanatges over the NX1 other than just frame rates. The good thing about the NX1 is that it cuts nicely with BMD and RED footage. It would be a good A/B cam setup. 
I am definitely NOT looking forward to the weight and size of the Ursa. Knowing my luck Blackmagic will release a smaller/lighter Ursa Mini, just right after I purchase the 2017 model.

Haha, lots of shit films are shot on the most expensive Hollywood/Altantawood/Londonwood/Bollywood level cameras. Good films are the exception.?
But you're point is valid and I would add the relentless complaints about comparisions to Sony's high ISO parade. ?
Then again, $10k body only is not a cheap investment for most ppl either. Yes, it's cheaper than what the 8k Epic costs right now, but the bar is set way higher than even small profesional productions can afford to purchase outright that need to recoupe short term.
Besides, most production shops do not purchase just one unit. Unless they want 14 hour days. 
The article made no mention of any of the addons coming down in price as well. If so, expect serious compromises in build quality and performance. 
$10k puts the RED in the same bracket as the Sony F5, Canon Cxx, BMD Ursa Mini Pro 4.6k, Panasonic EVA-1, etc. This is not exactly a amateur's bracket. 
If RED was going to release a mirrorless prosumer/consumer level camera, then RED should worry. Then again, they're releasing a smartphone this year so are they really THAT concearned? They obviously see differentiation.

IN UNEXPECTED MOVE, RED SIGNALS DEAL WITH APPLE INC. TO IMPLEMENT IN-CAMERA EMOJIS!
Cupertino just signed a deal today with illustrious high-end camera manufacturer RED, that would finally give the camera what many of it's users have been clamouring for ages...Emojis! Yes, don't adjust your focus rings folks, I said emoji. Happy face, sad face, meh face and yes, even turd and eggplant too. The whole set, as well as some special RED themed additions. 
Tim Cook, Apple's CEO said today in a press release via Skype with along with executives from RED that this partnership signals innovative ambitions for both companies, and gives it's customers the features they want the most. Cook said, "As the cameras in the iPhone have improved both in terms of in speed and quality over the years it only seems natural that we partner with the company that offers the best-in-class digital imagining, besides our own. That company is clearly RED" 
James Jannard, the CEO of RED and the popular Oakley franchise of the mid 90's said, "That's right Tim, we here at RED are looking for new and interesting ways to better engage our customers, and compete with today's technology and lower our costs to the consumer. What better way than to offer first-class emojis right inside our cameras?
Jannard also mentioned that they reached out to Google and Samsung, but ultimately felt Apple was the logical fit as their two companies believe in similar pricing structures and out-of-the-box user experiences.
When we asked both Cook and Jannard if they had a name in mind for this product Cook quickly jumped in, "We're calling it the Epicon Mini 6K" Both men chuckled sheepishly (and slightly uncomfortably) as I took another awkward sip of my luke warm mint Earl Grey in a paper cup brandished with an Apple and a bite taken out of it.  
The "Epicon Mini 6K" is due to be officially announced some time in mid 2019 according to a later call with representatives from RED.
Regardless of what you may feel about emojis inside of premuim cameras, get ready to set your white balance, peak your focus, adjust your aperture, shutter speed and ISO, and then go ahead and select that happy face. You know you want to. Cook and Jannard agree with you. ☺
 
 

You can't sell a smartphone these days without 4k, let alone a product with the word cinema in it costing many dollars more. As soon as smartphones starting gaining 4k capabilities 1080 became old news as far as consumer perception.
The new buzzword will be 8k soon. This is not a good trend, as most cinemas are still running 2k projectors and 4k televisions are still not widespread yet.
We don't need more resolution, we need more dynamic range, cleaner sensors, and smaller acquisition and distribution footprints. Resolution is already at the tip between quality and diminishing return, there are other factors to innovate upon.
As smartphones narrow the gap between portability, capability and quality, the markert is going to get real murky, and I question what affect this will have within the film industry. No one in their right mind is going to spend 40k when they can get what they need in a $2,000 or less package. 
 

Thank you so much...I really appreciate it!

I used the settings that Andrew recommended at that time. Gamma DR.
The doc was played on Oregon's PBS channel. They didn't complain about the DR.
Except for a couple drone shots, this is all NX1:
 

Well we know that Samsung is definitely announcing the S9+ with one of these processors in about 2 weeks time Mobile World Congress in Barcelona Spain. The sad news for north Americans is that Qualcomm has a lock on our market as far as phone tech, and will not allow Exynos processors to be sold here.
If you want that phone and processor you'll have to get your hands on an international version. That being said, Qualcomm might have some new features slated for this phone as well. 
The phone is happening with similar specs in the rumor. As far as an NX2, like you I will believe it when I see it. 

Jon, I think Matthew meant such ignoring mode underestimated the tool. People were surprised with Samsung's dare. Pity, ended too short.

I couldn't have said it better, and I didn't, you did! 

@Matthew Hartman great post, man :-)

I'm going to be bold and just state my opinion some may find offensive. To get better video (or better moving images) in terms of the NX1, like Kisaha said you have to move up to a dedicated proper cinema camera, which judging your talent you should be seriously considering.
Even the GH5 or Sony A7RIII isn't going to give you a huge leap in terms of quality except the 10-bit in the GH5/s, over the NX1, but even here the difference isn't going to be staggering.
I'd hate to see you throw your money at these bodies and be let down, because I know your next investment has to really count for you, and I know how much you like the NX1. I know you and I have spoken about this away from these boards, but I want to state it here too for those in a similar situation. I think a lot of us think about this subject a lot. 
This is why I'm personally moving into BMD (still keeping my NX1 for BCam) which seems like the natural step up in terms of cost/quality gain. Dollar for dollar the UMP gives you a ton of bang for the buck, I'm actually shocked BMD is not jumping on the RED/Arri bandwagon and charging an arm and a leg for their products, because they could and still sell them just fine. Kinefinity is another that comes to mind here. This is great news for the industry. Bad news for RED and Arri. 
I've seen the UMP footage cut with the Alexa footage and it holds up very well, they're very similar in terms of DR, aesthetic and how they capture motion. Both look very filmic. The drawbacks of course is the weight and size, ( and limited low light capabilities of a cinema camera) which if you're like me, would mean also updating some of my stabilization gear to support the cam's weight. Sigh. No one said this industry is cheap.
Personally I'm not impressed with the EVA 1, which by the time you outfit the UMP is comparable in price. It's build is very plasticy (although light) and ultimately the image looks less filmic and more "video-ish" to me, much like the GH5. Some ppl like that, it's just a preference thing for me, no hate here. 
Cams like BMD, RED, VariCam, and Arri have a certain "weight" and "depth" to their image, whereas with a lot of the competitor brands the image looks a bit "thin" and "edge-fringed" to me. I struggle to describe the image in technical words but my eyes notice it right away. Perhaps it's because I've only seen "bad" examples online or perhaps it is what it is. 
But hey, it's a wonderful thing that we all have options in the market, so each to their own. 
Like you and I discussed already, it's probably worth waiting a few months. I have this nagging feeling someone is going to drop a bombshell camera this year and give many of us buyer's remorse. IF (a tentatively doubtful if) it's a new NX camera, it's going to crush a lot of competitor's dreams, let's get that straight. And hopefully this time the industry won't lynch mob it like they did with the NX1. 
The sky looks rich in this. 

No, but I'm definitely considering 15 Stops of dynamic range. ?

I think it terms of stabilization it's important to have a realistic expectation when it comes to real world use. Nothing is a silver bullet solution.
Using stedicams and motorized gimbals are not an end solution, considerable practice and correct posture (knees bent) are still very much part of getting smooth shots, even coupled with OIS and IBIS. 
Even using optical and digital stabilization the camera can still pick up micro vibrations, which becomes more pronounced on longer lens'. That's why most ppl prefer to use wide as it produces less preceived parallax on the X and Y in your image. Also, infinity focus is prefered on systems that don't have good AF. 
The truth is if you're after that "Hollywood level smooth" you need to be on dolly/slider cranes/jibs, and drone systems.
I couple my Zhiyun crane mounted on a shock absorbed boom connecting to a vest. I also use the native Samsung 16-50mm S lens with OIS (quite good) and use good posture techniques. Even with all this, I will still get occasional vibrations that naturally come with walking.
Don't assume Warp Stabilizer in post will solve all issues, in fact it can often make your footage look worse. Serious jello. It's to be used lightly. 
Practice and multiple takes are key. I think if you set yourself up with the expectation that stabilizers and OIS/IBIS are going to be all you need to deliver buttery smooth shots you're in for some disapointment. 

Most impressive. 

Wha?
I'm not "looking down" per se on anything. I just don't prefer Panasonic when it comes to the character of their image, it looks "flat" or "thin" to me regardless of resolution or bit rate I view it at. Obviously, there are others who like or even love it, which is super for them. No hate here. Each to their own. 
My guess about YT's compression algorithm is a doubt, not anything prescriptive. I don't work for Google so of course I couldnt tell you their future intentions. I based my doubt off of what we've seen in the past and today.  As of today, 8bit is still the distribution standard. If that changes, great! Right? 
My "arguement" was actually in support of not looking down on 8bit rather than turning up my nose to it. Also, to get away from at size perceptible banding you really need to be at least 10bit, but more realistically in a 16bit + colorspace. 
I think there's a buzzword when it comes to 10bit right now and a misconception that 10bit means no banding. I've been a designer for over 25 years, that's simply wrong. If we're being rententively honest, you'd have to be in a 32bit/float colorspace to get zero artifacts/stepping, as far as pixel peeping in concerned. But ppl don't watch content at a 500% crop, unless they're anally retentive, so does it even matter? 
Maybe I didn't articulate this well, but basically dont worry about it. Banding, it's there, even if you cant see it at 100%, and a reality for most of us, just concentrate on making good content instead, because that's what will determine the success of it the most. 
The video you linked is very impressive on my 10bit BenQ 2.5k monitor. 
I never said YOU were demonizing anything. I don't think we're actually opposing one another here.