BopBill

What is confusing is that this line below is also in the free versions description:
"Added support for hardware accelerated HEVC decode on supported NVIDIA GPUs on DaVinci Resolve Studio on Windows and Linux"
But yes there is the Studio word.
So it must be that there is no support for HEVC in the free Windows Resolve version.

Hey Salim.
Thank you! I will do my best to outline some of what I experienced. First off, I looked at making the film as my film school. I had done short doc work and commercial work before, but nothing as big and complex as this. We are fortunate in the middle of America that a lot of people love to be involved in filmmaking. We had a ton of volunteers, but we signed contracts with each of them offering everyone a piece of the pie, if the film made money. For me, it's really about creating enough revenue, so that I can keep making films and share with the people who help make it happen. When we first started we had many delays, we would shoot one weekend and then it was two weeks before we could get back together. Everyone had their regular jobs, so it took us about 6 months to complete the film. If I had any type of budget I would have everyone take off two weeks and we would knock it out, but I didn't have that option. The cameras were great, but I did have a few issues with the lenses and NX1 manual mode when I first started. We finally got it down properly and it was good to go. We only had a Arri 1K and Arri three light kit when we first started. I bought a ton of c-stands and 2 Digital juice Flag kits. That really helped control our lighting setups. Most of the lighting on actors is bounced light, which I love the most. I wish I had known more about actually directing talent. That was something I have studied ever since. Jason Levering and I co-directed and that was complicated as well, but we both adapted and kept pushing each other. 
When it comes to festivals, I would say enter the festivals that you think the film will fit in the best. Have people watch it and have them give you their honest opinion. I had a fantastic editor give me some amazing insights and I ended up re-cutting part of the film. It's nothing personal and you have to look at it that way. We were fortunate to sign with Circus Roads Films who is a sales agent. They reviewed the movie and liked it. I would recommend them if you have a solid film. They took it out and got us a couple offers, but they didn't fit what we needed, so we went back to the festival circuit to build the film. Then we signed a deal with Indie Rights. They have a fantastic reputation with treating their filmmakers well, so we were happy to sign. There is never any guarantee on money. I think if you are going to make any kind of money you need someone taking your film to AFM and Cannes, which Indie Rights will do. They will sell the rights to different countries and that can be a nice revenue stream. On the other hand, if you have a massive following, it could be better to self distribute online. It just depends on the film and where you want to go with it. I hope this helps out. It is a little vague, because I have no idea how much money the film will actually generate. 
Best!
David
 

What is confusing is that this line below is also in the free versions description:
"Added support for hardware accelerated HEVC decode on supported NVIDIA GPUs on DaVinci Resolve Studio on Windows and Linux"
But yes there is the Studio word.
So it must be that there is no support for HEVC in the free Windows Resolve version.

Ok, so how does that all add up? Simple, I started reading Andrew's site a few years ago and learned everything I needed to know about the Samsung NX1 and SLR Magic Anamorphot 1.33x adapter. I decided to use them on our first feature film. After numerous film festivals and special events our film, Black Luck, signed an International distribution deal with Indie Rights. Yes, we probably would have done the film without this knowledge, but I'm not sure it would have had the same look or feel. The camera and adapter worked amazingly well and proved that a no budget indie thriller can still have a high production value. I can't thank Andrew enough for educating me and so many other filmmakers about the possibilities of shooting a feature film with these great tools.
Cheers!
David 
P.S. If you want to check the film out, it just launched on Amazon Prime. Read the reviews as well. This isn't some masterpiece of cinema, but it is a satisfying movie created with passion. 

https://www.amazon.com/Black-Luck-Garrett-Sheeks/dp/B0764KD2K8/ref=sr_1_2?s=instant-video&ie=UTF8&qid=1507185936&sr=1-2&keywords=indie+rights
 

Samsung NX1 owners will be stoked! :P

A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like 
 

Hi Kino, In relation to this I think it changes little if the heir of Samsung is in prison.
The data is clear, Samsung's strategy to focus their employees on commercial products and smartphones has proved to be a great success.
http://www.bgr.in/news/samsung-records-85-percent-jump-in-profit-in-q2-2017/
I just hope that Samsung (also for a prestigious issue) continues to shoot professional cameras with NX2 release, also because Red has decided to enter smathphone market with Red Hydrogen damaging the Samsung Galaxy market , So I hope that Samsung to discourage Red (which has 100% sales of professional video cameras) is to produce professional cameras and camcorders, for professionals, invading Red's market.
These are just my considerations, but the only certainty I have is that if Samsung comes out of a new professional camera, whoever has a Samsung camera will definitely run to buy it.

This should be the tool to use:
https://www.sdcard.org/downloads/formatter_4/index.html
I have used v.4.0 long time. It was recommended here by someone. This new  program seems to be v.5.0. Just downloaded myself.

Hi guys! New user here from Italy. Next week, after many thoughts, I'm going to have the NX1 and I'm pretty excited. This forum was critical to my final decision and I have to thank you for all the opinions and settings that you've posted through all these years about this amazing camera.
I've just found a short movie from Vimeo filmed with the NX1 and I think it looks great (sadly I don't know the author's settings).
 

Impressive cinematography to say the least

Hi, I´m a young DoP in Asuncion, Paraguay. I have done many tests with the NX1 and have been using it for many commercials and resently for the feature film „Saber Crecer“ (To Grow).
Trailer: https://www.youtube.com/watch?v=a6iQ3mQI9CA
This film has been shot entirely on my NX1 (except the drone shots) using the bitrate mod (160 Mbit/s) and the NXL speedbooster by Luca.
Please let me know what you think

https://www.amazon.com/dp/B071S8DH6F/

Passion project titled GODDAMMIT. Typical of many passion projects, I wore many hats.

Directed by 
Ryan Moser
Writing Credits
Ryan Moser
Keaton S. Ziem
Produced by 
Jason Antico
Rob Goldman
Ryan Moser
Keaton S. Ziem
Cinematography by 
Ryan Moser
Film Editing by 
Ryan Moser
Editorial Department 
Ryan Moser ... colorist
Sound Department 
Jason Downer ... sound designer / sound editor / sound recordist
Music by 
Twilight In Versailles


Grading System: DaVinci Resolve 12.5
Location: Los Angeles, CA USA
Camera: Samsung NX1
Format: UHD H265
Type: Short Film
Duration: 7 minutes

Workflow: Much of this project was achieved with an arduous amount of time and energy spent in pre-production. Before production, I personally inquired and received helpful information from this very site. Camera and lighting choices were tested and nitpicked down to the finest minutiae. The compositing work was achieved in After Effects and had a final assembly within DaVinci Resolve. A lot of the latest features and FX within Resolve such as glows, etc. really elevated the overall look of the project.

Short video of Chicago trying the GH5. There is 4K, 180 VFR slomo (with aliasing...), timelapse and hyperlapse. Even though the sensor can't match my 5D and 6D for ISO, the DR seems better for timelapse.
 

her name ist Andrea. she make guide in this garden.maybe next time i can make an interview with her 
 yes 16-50s

I actually was expecting to buy a gh5 (been using a7ii,gx80,bmmcc) but a em1 mark ii was available at £1200 open box so i thought id give it a go, i was expecting to sell it on after a couple of weeks and get the gh5. However I am really happy with the image for stills and video, the colour is really nice for me and thats the main reason im going to keep it over a gh5. Ill miss the slo-mo (which i hardly use) 
In fact im so happy with this camera that not only am i not getting a gh5, I have sold my a7ii, gx80 and bmmcc !! ... Ill have some spare cash for a couple of nice lenses too.
I havnt got footage to show just yet as im editing a short shot on the bmmcc.
For the record i love the image from the bmmcc but rigged up on a shoulder rig with screen i got stopped a couple of times by kazakh (yes was filming in -25c Kazakhstan) police, and had to convince them i was just a crazy tourist. So the dslr form factor with stabalisation would be a big advantage to me too. Thats also the reason i am not too interested in Panasonics or canons new cinema cameras 

The 16-50S is one of the main reasons staying with the mount. I can't think of any better overall lens for an APS-C sensor. Image Stabilization, good focus dampening (or whatever it's called), fast AF (fastest on the system at least), 2f for its wider focal lengths (almost prime territory really), dust/splash proof, good build quality, iFN function (I just put the ISO there) and relatively light (for such a lens) that goes from 24-75mm. Those few extra mm in the wide end is a huge thing for me. If you only have to own one NX lens, let be it.
I have a moderate collection of legacy lenses but I have replaced most with NX lenses.

I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results).
I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right:
 

 
I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope:
 

 
Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added:
 

 
And here's the same shot with the colour correction applied:
 

 
Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3?
I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR.
 
 
First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera.
A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview.
If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS.
FOLDER:
https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms
ALL FILES ZIPPED:
https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

The NX1 has pretty terrible noise reduction going on above 1000/1600 ISO, no idea why they implemented it, its not there in the NX500 for some reasons and even high bitrate wont really solve your ISO issue on the NX1 although regarding the NX500 even though it has no noise reduction even at 4k or 1080p, when you start hitting high ISO specially above 3200ISO its just a mess really, avoid that. 
And yes you can update the lenses with the custom hacked firmware, the lens firmware is separated from the camera itself, its two different things so it wont harm your camera or anything. 
----------------------------------------------------------
All this camera talk over the past 2 years has made me realise that specs really does not mean a jack shit these days, as long as it shoots acceptable video its good enough, the NX1 not just shoots acceptable video it shoots SUPERB video, at least for me. The colour profiles are all like their own film stock and remember that film stocks did not have amazing dynamic range in the past either unless you specifically picked one that did.
I been spending more on audio equipment lately and as the professionals always use to say, audio is far more important than the image, I think the NX1 will do me very good for another 7 years or even more, its a little shame I cannot get that extra dynamic range or better ISO performance but you know, for what I spent on the camera which was under 2000 dollars was far less than the Canon 70D or the Sony A7s at the time which was very expensive cameras. The GH4 has smaller sensor so does the GH5 and the GH5 suffers a lot in low light situations still, you need really fast glass for it. 
Sometimes one just cannot have it all I guess, shame that Samsung officially ended their camera line though, I hope the hacking continues there definitely FAR more potential on the Samsung cameras than the Canon ones in obtaining superb quality video, and even now the Magic Lantern guys have got 4k from their canon cameras, that is amazing if only we too could have RAW video from the Samsung, it would have solved the dynamic range issue and ISO issue. Heck even MJPEG would have, I sort of see why Canon went with MJPEG on the Canon 4DMIV.
I plan on hiring someone in the future to at least try to hack it for raw video, but until now I am just going to keep saving, it costs quite a lot to hire someone who know how to work their way around these things, in fact I wonder why we have not gotten together to start a funding page to hire a group to hack the camera to begin with, it would been so more effective, if everyone donated 10 dollars there still would have been quite a lot.

I've sent Samsung support in the UK (and Norway for that matter) an e-mail describing the issue. I'll post their reply here when I get it

2nd video, shot in standard
 
 

Navigation button (Custom wheel) down and Picture wizard opens. You can customize your own settings too there.
Kisaha:
I have noticed that some are complaining about "exposure drifting". I don't have this problem, but if I set this smart range on there will be this annoying changing in exposure sometimes.

Long time GH4 user here...I was GH5 hesitant at first...BUT I Gotta say, I have recently seen a few GH5 vids on vimeo and youtube that have blown me away.
The GH5 Welder video for example the colors are just great, some of the best I have seen...many people in the comments too have stated that they cant believe this was done on a GH5, to me they are very Alexa like.
Another I saw recently, just a sunset, no special postwork or anything, but I swear tho the colors ...I could never get those out of the GH4,and I am pretty proficient in Premiere and using Lumetri.
There is something about the colors that is really special, not too over the top, but far more dimension than the GH4, and I have seen some pretty decent skin tones too.
All in all this camera seems to be able to do me for several years,Just need to sell a few things, I cant wait to get one.

This is like having a brand new, very hot girlfriend, and all your mates banging on your door asking what she's like. I'd be tempted to disappear for a week and field questions once the fiery flushes of first love have begun to simmer down.

hey guys, please let me share with you my last project shot on nx1 entirely. I have spent a month in Africa and this is what i got left of it, hope you'll enjoy it. Any comment is more than welcome :
 
 

This was done in FF 1080p mode, which is still beautiful looking. I think that the image is improved over the other canon full frame options out there, espically for 60fps. Colors are exactly what I want.   I'll try and share a 4k wedding as soon as we shoot one. But, Is not looking forward to storing that data.