Jump to content

Allen Smith

  • Posts

  • Joined

  • Last visited

Posts posted by Allen Smith

  1. On 2/1/2018 at 9:32 AM, scotchtape said:


    Has specific fans I used.


    If you don't need the firepower but only need soft light, 2x FL-3060 gets you about 3,000lux @ 1M when using diffuser panels and are about $300, but much lighter and smaller.  Only draws 100W.  Benefit is it's also bicolor and can be battery powered with additional adapters ($50) or DIY.

    I have the 150w how difficult is it to install the fans? Is it simply remove some screws and connect a adapter cable? Do you have photos of how to disassemble and install fan without breaking light?

  2. 14 hours ago, MountneerMan said:

    3D printing is not a new technology and if anything was more prevalent 2-3 years ago than it is now.

    This also does not change my comment "I would not suggest increasing support for a dead system." Anyone out there who is looking at putting in any serious amount of effort into modifying/upgrading/hacking a camera system I would suggest spending that effort on a camera system that is not dead.


    I was just stating my opinion it's ok if we differ on the issue. I have the camera so for me I think it still has more potential then is being utilize. Some people still use dead camera systems that are vintage even though no support exist for it. Until I see something worth upgrading I will stick with the NX1. I'm actually waiting on the Nikon release and crossing my fingers they will do something better than the A7iii but not getting my hopes up to high.

  3. 17 hours ago, MountneerMan said:

    That would be nice but there is not really any point now.

    There is no new gear to the system and used stuff is quite hard to come by.

    I would not suggest increasing support for a dead system.


    I think it would be beneficial as long as someone is modifying camera and adding new features. The technology we have today like 3d printing could add new tools for the camera.

  4. Anyone have any idea why the NX1 looks super jittery when doing panning? I tried everything enabling and disabling ois, dis but nothing changes. I know in general shooting in 24p you can't pan super fast especially in 4k but the jitters are unbearably bad I will try uploading some sample footage soon. I put shutter speed at 1/50 the ideal setting for shooting movies but not sure what else I can do to eliminate this issue and am wondering if it is an NX1 issue. I also tried different focal lengths on the 16-50 f2 but at all focal lengths same problem with no noticeable difference.

  5. I am having trouble figuring out how to send audio to Samsung NX1 camera from camera out port on tascam recorder. Anyone sure how to make it where recorder sends data to camera and save that directly to camera SD card? Or any idea on how to simply process for syncing up audio with external audio recorder?

  6. On 6/12/2018 at 3:29 PM, capitanazo said:

    i use the adobe media enconder plus miraizon proress codec(cgpersia version) and i never have problems.

    the other alternative is to convert to .mxf files.

    Can you make a video on the process to convert files? Also does this affect the ability to color grade footage? I don't want to lose the control over editing footage by converting and overly compressing footage and losing quality.


    I tried pavtube software and that seems to get the job done to get it in prores.

  7. On 6/12/2018 at 3:29 PM, capitanazo said:

    i use the adobe media enconder plus miraizon proress codec(cgpersia version) and i never have problems.

    the other alternative is to convert to .mxf files.

    Can you make a video on the process to convert files? Also does this affect the ability to color grade footage? I don't want to lose the control over editing footage by converting and overly compressing footage and losing quality.

  8. On 6/11/2018 at 2:01 AM, SGPhotography said:

    I can confirm this. I think it's an NX1 HEVC thing, I should convert to ProRes and try again.

    On 6/11/2018 at 7:13 AM, capitanazo said:

    same too... ? i was looking the posibility to change from premiere to davinci but this issue make me to rethink it.


    Wow so it sounds like I am not alone on this painful issue. Does prores open in Davinci Resolve? Also what programs do you recommend for converting to prores that are free for windows?

  9. When I import footage into Davinci Resolve it has some kind of color bleeding or casting all around the trees and other objects. Here is screenshot of problem: https://www.dropbox.com/s/s41yb4w8rfc4n26/Screenshot 2018-06-10 06.37.29.png?dl=0

    Here is another screenshot of the issue just take a look at the car it looks crazy bad and nothing like the original footage: https://www.dropbox.com/s/ydzbv8pfthldynm/Screenshot 2018-06-10 07.15.22.png?dl=0


    Here screenshot of the original footage of car with no color issues: 

    https://www.dropbox.com/s/lg5qb11bgn3trsw/Screenshot 2018-06-10 07.20.32.png?dl=0

    This doesn't appear in footage when playing it back on PC in windows media player but only when I import it into Davinci Resolve.

  10. On 5/24/2018 at 2:01 PM, Juxx989 said:



    Recently I took my antiquated Collectors Edition NX-1 out for nostalgia purposes. Came up with this.

    Shot it with the S-Lenses. Mostly 16-50 + 4 filters over it

    (BTW Autofocus is null & void with 4 Filters stacked on it)

    Ungraded Still below if Interested





    What matte box did you use with NX1? Do you have a link to it? Also what is name of brand of filters and where can I buy them?

  11. On 2/20/2018 at 7:52 AM, Matthew Hartman said:

    Yes, and in combination with a Tiffen Low light contrast filter.

    But Keep in mind my objective here was to challenge the "unacceptable noise" comment that some people hold against this camera, and others in the same class in general. 

    A little Neat Video goes a long way. Also, by the time you add in more contrast or an s-curve to the footage, a lot of those artifacts perceptually go bye-bye. This isn't anything new. It has to be done on a lot of Alexa, RED and certaintly Blackmagic systems as well. 

    Sony set such a high and impractical bar in my opinion. The high ISO capability is literally teaching a generation of how to NOT properly light and expose a dark scene, esstentially stripping away a really good tool that has been succesfully used for many of decade. And now the expectation (bad practice) of using very high ISO gets wrapped up in other systems, like the GH5s. It still comes with other compromises too. 

    Darkness IS information in terms of narrative work, and I feel like I'm going to be evangelizing this more and more, and I'm already blue in the face as it is. ? Yes, this emoji is yellow. 

    The viewer does not need to see every detail in a scene to comphrehend what the scene is relating. That would fall more into line with documentation. A narrative piece is not a document of antiquity, it's a story, therefore an illusion. The human brain is really good at filling in the blank spaces. All you need to give the viewer are hints, the brain parses the rest. It's pretty remarkable, and testimate to how powerful the mind is.  

    Take my profile image of the man sitting in the car. You only see small hints of a car, some seat, some steering wheel, both descending into shadow. But you as the viewer know he's sitting in a car and not a train. Correct? It's what you don't see that's drawling you in. So going back to high ISO, do you really want to see all the details in the scene? I say, shadows are friends, not combatants. 

    I learned this actually in my fine art classess in college some 22 years ago, and it was practiced knowledge long, long, long before that, and has been effective for all kinds of mediums within the arts and sciences. 

    What were your settings for the flat profile i.e. contrast, black levels and so on? Also what program did you color grade this in? Would love to see a tutorial on your NX1 work in perhaps something like Davinci Resolve since I have that program only at this point. I would definitely subscribe to your YouTube channel or if you released a DVD guide on your process from start to finish would be willing buy a digital version of it showing filming process and grading process. Sorry but I am amazed at the quality I saw... I already have the EOSHD guide for NX1 but haven't started going through it yet.

  12. On 1/13/2016 at 10:27 AM, Geoff CB said:

    I'll throw up a sample with my "Flat" settings shortly.

    Edit: Here you go. Included two shots at ISO 100 outdoor and a festival shot at 1600



    I tested the footage but when I color grade it I get some weird artifacts assuming this was shot with a 3D lens seems to resemble those type of affects.

  13. On 8/2/2017 at 9:50 PM, lucabutera said:

    Hi mate, your file it's 62Mbit/s!

    For nice footage you need to minimize the cpu.

    Use this setting: 1) Turn off the audio. 2) setting all manual mode. 3) UHD 24Fps. 4) 250Mbit/s. You Can shoot for about 1 minute.

    I wait your response.

    What were your camera settings for this footage? i.e. saturation, gamma dr, master black levels etc? What lens? Also did you convert file to another format for editing or did you use raw h.265 file?

  14. On 1/10/2017 at 6:14 AM, August McCue said:

    All NX1 + Helios 58 f2

    What settings for the camrea did you use like saturation, master black level and so on? Was this all handheld and if not what did you use to stabilize it?

  15. On 1/5/2018 at 3:45 AM, Matthew Hartman said:

    I'm finding with the NX1 that you have to use different settings for different scenes. When I used to set my settings to just one setup, it didn't work for everything.

    Casey's settings work really well when you're shooting in a controlled studio with plenty of lighting. So he sets his master black level to 0 because in that environment you dont have to pull up your darks that much or at all. You control shadows with actual lighting.  

    But in darker or more unpredictable lighting situations, (run and gun) I really have to crank up the master blacks levels to get any latitude in the shadows. I usually set that between +6-10. I never go pass +10 as a rule of thumb because when you adjust black levels down in Premiere/Lumentri you get a lot of banding and artifacts. It's pretty bad actually.

    You have to work with this camera for a bit to discover it's weaknesses. Good image out of the box, but not very malleable. We're fortunate that Samsung's color science is generally good.

    I've seen some amazing results from this camera and I've seen some absolutely horrible results too. I believe the key is sutble grading and good controlled lighting that doesn't push extreme contrast values in the scene.

    Even low output practical lighting will blow out really quickly, which is a hallmark of limited DR. And if you underexpose to combat this, and try to lift the image in post you run the risk of bringing out the noise in the shadows. 

    I'm sure Samsung would have addressed some of these issues with firmware updates that made better use of the amazing 6.5k, 14bit, 28.8MP sensor. But they left dishonorably and now we're stuck with what we have. 

    I think the best we could hope for is a hacker comes along and lifts a lot of current restrictions on the clean out HDMI channel, so we can get more out of this sensor through an external recorder. 

    Casey has good lighting... do you know if he would be willing to share the rec709 file he created?


    On 12/30/2017 at 2:22 PM, Matthew Hartman said:

    I use a customized Rec709 developed specifically for the NX1 by Casey Wilson/DP, who uses the NX1 sometimes for big brand name commericals. ( Yes the NX1 is used for top-level work, sssshh ) 

    I would share them here but he gave these to me personally so I don't feel comfortable distributing them without his permmision/blessing. 

    I will say that it's a less aggressive LUT than your typical Rec709 for other brands because even in gammaDR mode the NX1/500 produces a3 contrasty image like you already explained. 

    Casey taught me that the NX1/500 already produces a good image in-camera and the secret is to grade lightly, which is certainly true for grading any 8bit compressed file. However, The NX1/500 needs a little extra care than other brands.

    Samsung took a heavy-handed Apple style, "we know whats best for you" approach, as this camera skates that consumer/prosumer line.  

    You'll also see similar contrast ratios in their computer monitors and televisions. The thing is, your average person finds this type of image highly pleasing. 

    Here's Casey's website:


    Do you know if casey would be willing to share rec709 file with others?

  16. On 4/9/2018 at 4:51 AM, Parker said:

    Here's a quick little spot I shot for a local restaurant's facebook cover yesterday, very quick turnaround because those Sammy colors are so gorgeous! This is basically right out of camera, only a tiny bit of tweaking on a few shots. Normal gamma, color sliders at 1.99, sharpness -10, contrast -4, saturation -2, on both the NX1 and NX500 (the only difference being the master black level on the NX1 was at 15 and obviously the NX500 doesn't have this setting). While this isn't showcasing of increased dynamic range per say, I do really like the way it came out looking. 

    password is jacks


    What lens did you use for this video shoot was it a samsung? Also for panning shots of guy when you are moving around did you use a gimbal or steadycam or was that only DIS?

  17. On 3/5/2018 at 1:41 PM, Matthew Hartman said:

    I honestly don't know. I'm not sure what the reported dynamic range is on the A7III. Hopefully, someone with more knowledge of this model can jump on and help you out there. Also, I'd watch out for reports of battery life and heat dissipation. Hopefully, Sony has worked that out for all it's latest models going forward. 

    From what I read it is suppose to be 15 stops.

  18. On 2/5/2018 at 11:56 AM, Matthew Hartman said:

    "Properly exposed" is a bit of a subjective thing. There's properly exposed in terms of what the Histogram, Waveform, False Color, etc., says, and then there's properly exposed in terms of what the mood and/or message you're trying to portray.

    In some cases, it's okay to have crushed shadows or blownout highlights because that information is not essential to the scene, mood, message, story, etc.

    Your style could be more techincal and buttoned-down or more artistic and impressionistic. There is no right or wrong way. It's whatever you intend. 

    If I had to guess from these stills I would say this person shoots left, protecting the highlights, and crushing shadows and noise in low light, which for the NX1 and it's limited DR is probably wise. Samsung says the camera produces 13-stops of DR, which if were true would be outstanding. However, in realworld use, I personally would say it's effectively more like 10-11. The sensor is extremely sensitive to light, even dimmed practicals can clip on a technically "properly exposed" scene. I have no doubt however if the camera gave a RAW signal in video those could be recovered. The codec (distribution) is the camera's biggest weakness. 

    Honestly, the best meter is your eyes. If it looks good to you and your audience and tells the story, who cares what the Waveform monitor says? It's just a tool, not a governor. 

    Do you think with the release of the A7iii that will be of better value than the NX1? It is the closest thing I have seen that is close in price to NX1 with generally good features. Only thing I dislike is no slow mo in 4k mode other than that everything seems great on paper. Actually the time limit is only 30mins per recording but that will likely be hacked. 

  19. On 7/8/2017 at 3:21 AM, bmusikaudio said:

    I've had the NX1 for about 6 mos or so. The images it produces has become one of my favorite. 

    Mostly shot on Nikkors  Ais and Rokinons. 

    Gamma: Normal, -3 Contrast, -2 Sat, -10 Sharpness, 

    16-235 for some and 0-255 for others. 

























    What lens did you use in particular for the shot with lady crying? Also what top 3 lenses would you recommend for NX1 for cinematic look and feel? Do you have any recommendations on tips to prevent the sky from blowing out or clipping while keeping all other elements in scene properly exposed?

  20. I heard that the dynamic range on NX1 sucks but not sure if that is true or not. I really wanted to see some footage from someone who has tested the camera outdoors in high contrast situations to see who well it holds on to details. For example I would like to see a filmed scene with clouds and also landscape with person in scene to see if it can keep them properly exposed without clipping the clouds or underexposing the person that is in the scene. Any sample footage would be great to see and list the settings used to help me understand if the NX1 is a good purchase in 2018.

  • Create New...