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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. 
 

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. 
 

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
 

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
 

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  
PS: one trick you can do is, find your favourite video that you like their color grade, download it, put it on your timeline then just match their levels with histogram and color levels, this helps me find the right number for the luminance of the face and level of each color. 
 
 

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  
PS: one trick you can do is, find your favourite video that you like their color grade, download it, put it on your timeline then just match their levels with histogram and color levels, this helps me find the right number for the luminance of the face and level of each color. 
 
 

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
 

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
 

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
 

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
 

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
 

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
 

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
 

I just want to share my experience with getting rid of the blocks artifacts especially on a sky, I've found out that it's all to do with ISO value! when using the gamma DR profile and a low iso this introduces very ugly blocks or artifacts on the blue channel so I tried with a high iso either 500 or 800 and turns out it reduced this by a large margin if not completely.
however high iso means overexposure, so ND filter must be used, if you're shooting a talent then you'll need to reflect light on your subject too.  The picture shows you the difference, look at top left corner, I've maximized the color grading to be able to see it. I also tried adding grain to the 100 iso image but that still didn't fix the blocky image.
The blocks are due to the compressed 8bit only video quality and the nature of h265. 

thanks, NX1 with 16-50 premium lens, the sharpness is -10 but since I prefer more of a flat look I use a Tiffen black satin filter to reduce 4k sharpness, pilotfly gimball, I use 0-255 because I find better skintones with it somehow redness in cheeks shows more with this mode for me but I add -15 contrast and -3 brightness as suggested in this forum to work with premiere. gamma DR with -3 con -4 saturation and 15 MBL, I tend to expose for the sky because It brings more drama to the scene but you'll need extra lighting on your subject because he would be underexposed otherwise. This was done all in one day! it was very cold in january so we shot mostly inside places but it's run and gun situation. 

thanks, NX1 with 16-50 premium lens, the sharpness is -10 but since I prefer more of a flat look I use a Tiffen black satin filter to reduce 4k sharpness, pilotfly gimball, I use 0-255 because I find better skintones with it somehow redness in cheeks shows more with this mode for me but I add -15 contrast and -3 brightness as suggested in this forum to work with premiere. gamma DR with -3 con -4 saturation and 15 MBL, I tend to expose for the sky because It brings more drama to the scene but you'll need extra lighting on your subject because he would be underexposed otherwise. This was done all in one day! it was very cold in january so we shot mostly inside places but it's run and gun situation. 

I just want to share my experience with getting rid of the blocks artifacts especially on a sky, I've found out that it's all to do with ISO value! when using the gamma DR profile and a low iso this introduces very ugly blocks or artifacts on the blue channel so I tried with a high iso either 500 or 800 and turns out it reduced this by a large margin if not completely.
however high iso means overexposure, so ND filter must be used, if you're shooting a talent then you'll need to reflect light on your subject too.  The picture shows you the difference, look at top left corner, I've maximized the color grading to be able to see it. I also tried adding grain to the 100 iso image but that still didn't fix the blocky image.
The blocks are due to the compressed 8bit only video quality and the nature of h265. 

at 120mbps I didnt have my fast card at the time. will try again tomorrow 180mbps 

I just want to share my experience with getting rid of the blocks artifacts especially on a sky, I've found out that it's all to do with ISO value! when using the gamma DR profile and a low iso this introduces very ugly blocks or artifacts on the blue channel so I tried with a high iso either 500 or 800 and turns out it reduced this by a large margin if not completely.
however high iso means overexposure, so ND filter must be used, if you're shooting a talent then you'll need to reflect light on your subject too.  The picture shows you the difference, look at top left corner, I've maximized the color grading to be able to see it. I also tried adding grain to the 100 iso image but that still didn't fix the blocky image.
The blocks are due to the compressed 8bit only video quality and the nature of h265. 

I just want to share my experience with getting rid of the blocks artifacts especially on a sky, I've found out that it's all to do with ISO value! when using the gamma DR profile and a low iso this introduces very ugly blocks or artifacts on the blue channel so I tried with a high iso either 500 or 800 and turns out it reduced this by a large margin if not completely.
however high iso means overexposure, so ND filter must be used, if you're shooting a talent then you'll need to reflect light on your subject too.  The picture shows you the difference, look at top left corner, I've maximized the color grading to be able to see it. I also tried adding grain to the 100 iso image but that still didn't fix the blocky image.
The blocks are due to the compressed 8bit only video quality and the nature of h265. 

I just want to share my experience with getting rid of the blocks artifacts especially on a sky, I've found out that it's all to do with ISO value! when using the gamma DR profile and a low iso this introduces very ugly blocks or artifacts on the blue channel so I tried with a high iso either 500 or 800 and turns out it reduced this by a large margin if not completely.
however high iso means overexposure, so ND filter must be used, if you're shooting a talent then you'll need to reflect light on your subject too.  The picture shows you the difference, look at top left corner, I've maximized the color grading to be able to see it. I also tried adding grain to the 100 iso image but that still didn't fix the blocky image.
The blocks are due to the compressed 8bit only video quality and the nature of h265.