kinoseed

you mean give you the depth of field?  - it should be possible
good idea   - when I get some spare time, I'll look into it
NX1 and NX500 encoders are identical.
what gets fed into the encoders is slightly different (in layman's terms - nx500's encoder gets a crop of 4k, nx1 gets to downsize the frame before feeding if for the encoder as input)

We are way pass the bitrate "profile" which Samsung has licensed, so you may be onto something there
If you use modded versions allowing higher bitrates, you may be using it without a proper license
keep in mind with the mods, you can do 400mbps 4K HEVC if you timelapse

Which parts are disabled? They both have same PPUs, OPUs, etc.
NX1 has more memory, better WiFi, etc,  but the processors are the same.

better yet - consider the max possible bitrate for both cameras - both top at the same bitrates, which should give you clear indication that the computational power is identical.

of course they will have to say it's slower processor, to have better product separation considering the price difference, but even Samsung management would not have put more money for redesign to create a slower processor, at the same production price.

fyi, both have the same processor.
NX500 was/is just crippled, however the crop is controlled by the PPUs which were not able to modify.
There are specific registers, which control how they process cropping/resampling, etc, however as soon as we touch those in memory, the thing crashes.

re the mbps - of course those are "the same", this is just the bitrate for encoding of the file, which already gets the copped/resampled image from the PPU.

fyi, both have the same processor.
NX500 was/is just crippled, however the crop is controlled by the PPUs which were not able to modify.
There are specific registers, which control how they process cropping/resampling, etc, however as soon as we touch those in memory, the thing crashes.

re the mbps - of course those are "the same", this is just the bitrate for encoding of the file, which already gets the copped/resampled image from the PPU.

fyi, both have the same processor.
NX500 was/is just crippled, however the crop is controlled by the PPUs which were not able to modify.
There are specific registers, which control how they process cropping/resampling, etc, however as soon as we touch those in memory, the thing crashes.

re the mbps - of course those are "the same", this is just the bitrate for encoding of the file, which already gets the copped/resampled image from the PPU.

fyi, both have the same processor.
NX500 was/is just crippled, however the crop is controlled by the PPUs which were not able to modify.
There are specific registers, which control how they process cropping/resampling, etc, however as soon as we touch those in memory, the thing crashes.

re the mbps - of course those are "the same", this is just the bitrate for encoding of the file, which already gets the copped/resampled image from the PPU.

If your player gives you an option to choose resizing algorithm, try "lanczos", but I really don't see "sharpening" as an issue.

re original issue: Destroying the footage with "softening" just to look good when you playback 4K on 1080p (when your player uses poor resizing algorithm) does not make sense.

If your player gives you an option to choose resizing algorithm, try "lanczos", but I really don't see "sharpening" as an issue.

re original issue: Destroying the footage with "softening" just to look good when you playback 4K on 1080p (when your player uses poor resizing algorithm) does not make sense.

If your player gives you an option to choose resizing algorithm, try "lanczos", but I really don't see "sharpening" as an issue.

re original issue: Destroying the footage with "softening" just to look good when you playback 4K on 1080p (when your player uses poor resizing algorithm) does not make sense.

If your player gives you an option to choose resizing algorithm, try "lanczos", but I really don't see "sharpening" as an issue.

re original issue: Destroying the footage with "softening" just to look good when you playback 4K on 1080p (when your player uses poor resizing algorithm) does not make sense.

If your player gives you an option to choose resizing algorithm, try "lanczos", but I really don't see "sharpening" as an issue.

re original issue: Destroying the footage with "softening" just to look good when you playback 4K on 1080p (when your player uses poor resizing algorithm) does not make sense.

Try lowering the contrast too, but at -10 I can't see any USM sharpening on the 4K/UHD
don't judge it on the camera screen, nor on your monitor unless you are looking at it full size on a 4K monitor.
Zoom to 100% and then check if it's too sharp, as resizing of the preview will make impossible to pass judgement on that.
If you are using Premiere for export to lower resolution, make sure you check the option that makes high-quality resize.

Sharpness: -10
Contrast: -5

I have never seen any problem with 4K and UHD.
With 1080p, you can try mounting the resolution on 4K or UHD (depending what FPS you need), and see if that helps.
ex: nx-ks menu > Custom Func. > Mod Resolutions > UHD as 1080p

Sharpness: -10
Contrast: -5

I have never seen any problem with 4K and UHD.
With 1080p, you can try mounting the resolution on 4K or UHD (depending what FPS you need), and see if that helps.
ex: nx-ks menu > Custom Func. > Mod Resolutions > UHD as 1080p

You're having a paranoid fantasy, Marco.  I design the Speed Booster optics, and my colleague Wilfried designs the mechanical mount.  Together we own the optical design patents and the "Speed Booster" trademark.  That's it - just two people.  We work with subcontractors to manufacture and QC the optical cells, and sell the those cells to Metabones, which itself is just a tiny company.  Any public statement from Metabones about Speed Boosters probably comes from me, so when you say that Metabones is lying you are essentially saying that I am lying.  There is no lying going on here.  I doubt that Samsung - which is a truly enormous company - was even aware of Speed Boosters, much less that its presence or absence played any role at all in their decision to leave the camera business.  No one from Samsung or Sony has *ever* contacted me about Speed Boosters, or anything else for that matter.
Wilfried and I looked at the Samsung NX mount on several occasions, and concluded it was just too much trouble to deal with due to the metal parts surrounding the sensor.  Based on our analysis, it would require several rectangular elements (similar to one of the Lens Turbo designs), which are much more difficult to make and mount accurately.  It would also require a substantial re-design of the Speed Booster optics, which have a unique performance advantage at extremely large apertures (read the patents if you want to understand this).  I personally had big hopes that the NX-mini mount would take off, since that was much more amenable to high quality focal reducer designs with larger reduction ratios - much like the BMCC and BMPCC from BlackMagic.  But unfortunately both NX and NX-mini have both become extinct except for whatever product remains in the marketplace.

Thanks for the information and link. Much appreciated. Cheers.

In one case you have 256 possible values of the r/g/b, with the other you have 220 (shades of r/g/b), if it's worth using depends on your needs.
(no idea why you would want to limit the Log LUT to 16-235, which means the LUT clips everything below 16 and above 235, forcing you to record with more limited tonal resolution)

I made a LUT for my own use, here it is with some additional warming:


Camera setting:
WB: Auto WB G:1 B:0 A:2 M:0
Color: Red:x0.87 Green:x0.90 Blue:x1.00
Saturation: -3 / Sharpness: -10 / Contrast: -5 / Hue: 0

Usually I put a LUM-curve (to adjust black level, contrast and highlights, if needed) and above (next) the LUT (which you can adjust for temperature, sat to taste)
you can download it and use it for non-commercial work from here:
 

In one case you have 256 possible values of the r/g/b, with the other you have 220 (shades of r/g/b), if it's worth using depends on your needs.
(no idea why you would want to limit the Log LUT to 16-235, which means the LUT clips everything below 16 and above 235, forcing you to record with more limited tonal resolution)

I made a LUT for my own use, here it is with some additional warming:


Camera setting:
WB: Auto WB G:1 B:0 A:2 M:0
Color: Red:x0.87 Green:x0.90 Blue:x1.00
Saturation: -3 / Sharpness: -10 / Contrast: -5 / Hue: 0

Usually I put a LUM-curve (to adjust black level, contrast and highlights, if needed) and above (next) the LUT (which you can adjust for temperature, sat to taste)
you can download it and use it for non-commercial work from here:
 

The NXL projectis it's in the crow founding home page!!!!! :-))
https://www.produzionidalbasso.com/

if you don't intend to grade (colour-correct) your video (in post-production), go for 16-235
otherwise, go for the 0-255

Have you checked if you have better DR using 16-235?
This was a leftover from the analogue age, and it most probably after the image is ready for encoding (and the DR is basically set) the encoder gets instructed to set those min/max values, which would result in lower tonal resolution, and no increase of DR (if we don't count some, if any, value interpolation by decoders, for the clipped regions).

Turn your Samsung NX camera to Full Frame!!
https://www.produzionidalbasso.com/project/turn-your-samsung-nx-camera-to-full-frame/

The updated v2.50 is up, which should fix the issue with camcorder mode on boot.

When in comes to donations:
Q: So, where's the Donate button?
A: Nowhere. Find a suitable charity and donate. If you cannot afford it, find a local charity and see if they need help in person - it will do you a world of good.

cheers

 

The updated v2.50 is up, which should fix the issue with camcorder mode on boot.

When in comes to donations:
Q: So, where's the Donate button?
A: Nowhere. Find a suitable charity and donate. If you cannot afford it, find a local charity and see if they need help in person - it will do you a world of good.

cheers

 

Anything like that would be excellent ... perfect in fact.
At the moment with my 16-50/2-28 I usually compose the shot with the AF point where I want it on the subject ... physically switch off AF on the lens ... press AF/ON which I have assigned to lock exposure ... then press record. I do this in "S" mode with shutter @ 1/50 and a 3 stop X4 filter on. Works nicely from run & gun street type videos.
What you are proposing (focusing first, then starting video-rec in manual) would be great !!
Cheers.