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Andrew Reid

New EOSHD setup guide gives Samsung NX1 LOG capability and more

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I have just released a Setup Guide for the Samsung NX1. This guide makes the camera compatible with a range of LUTs so you can more easily apply stylistic moods to 4K footage in post.

Along with the LOG conversion workflow, the guide explains the best settings for the NX1 and what you must know before using it for video work.

The Samsung NX1 is one of my favourite cameras for video and the 4K image quality is simply the best you can get for the money right now.

I have been hard at work on a guide for a while now. This is essentially a 'brain dump' of everything I know about the NX1.

It is an all-in-one reference so you no longer have to search forums for the information and the 12 page arguments that goes with it.

The LUT and workflow included with the book, I am particularly proud of. This converts footage shot with GammaDR on the NX1 to ultra-flat LOG in post. When used with a transcoding app like EditReady it creates 10bit ProRes with a Canon LOG style gamma curve and saturation. This allows you to then apply a LUT in your NLE such as the excellent DELUTS range from James Miller. The whole process is made easy to understand in the book and the camera becomes so much more fun for colour correction as a result.

  1. Introduction and general recommendations
    Firing up the NX1 for video and about the spec
  2. Filmmaking Settings
    Optimal settings for 4K video and slow-mo
  3. The NX1 In Post
    The best way to transcode H.265, convert to LOG and apply a LUT
  4. Recommended lenses with character
    Lenses I recommend fitting to the NX1

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

I have a few questions before buying, what I noticed when I personally transcode the HEVC files to ProRes or DNxHD with ffmpeg and applying a flat curve to it with AviSynth script is that the banding gets even worse than it already is.

Now the banding is far better than it used to be in the past with the latest update of course, but will the banding be more visible with this workflow and do I get more infomation out of the shadows with this method?

 

RE:

I also noticed that you included EditReady in the article, I am an avid Windows user is there included an alternative for Windows or do you recommend any converters with LOG support, I know Vanguard is developing h.265 for Adobe After Effects, Premiere and Media Encoder and Media Encoder have LOG support to encode files with but its not out yet and probably wont be for a long time.

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I just read it cover-to-cover and highly recommend it to anyone with an NX1. Even if you scour the forum, having all the info in one place is super handy! $20 is worth it for the LUT alone!

 

Andrew, if I don't have EditReady, should I just use your LUT as the input LUT in PremierePro?

Also, the automatic switching to autofocus doesn't seem to happen with my Samsung 16-50 S lens, so maybe it's not all the Samsung lenses.

Thanks for taking the time to make this great resource for us!!

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"DaVinci Resolve is not required, the workflow is geared towards Adobe Premiere and Final Cut Pro X!"

Hi Andrew,

How well does the input work with Resolve? Will it provide equally satisfactory results using the input and output LUT with Resolve?

BTW: I transcode with Photo by Brightland on the PC from 4k to 1080 10 bit 444 Pro Res as it has excellent color interpolation from 420 to 444.  Worth trying if anyone wants to edit in 1080p.

Thanks!

Mark

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Thanks for this, Andrew! This is great especially considering that the NX1 is the bang-for-buck 4K cam of the year. I've already had great results out of mine, so this is a welcome extra little toolkit. I've also not had AF switching issues, but I only use the 16-50 OIS, and to be honest, I often have AF turned ON. This camera and the Ronin M seem made for each other! The AF is seamless.

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"DaVinci Resolve is not required, the workflow is geared towards Adobe Premiere and Final Cut Pro X!"

Hi Andrew,

How well does the input work with Resolve? Will it provide equally satisfactory results using the input and output LUT with Resolve?

BTW: I transcode with Photo by Brightland on the PC from 4k to 1080 10 bit 444 Pro Res as it has excellent color interpolation from 420 to 444.  Worth trying if anyone wants to edit in 1080p.

Thanks!

Mark

The LOG LUT was actually developed in Resolve so of course, it works there too. The point of a LUT is that it works everywhere!

Yes - set input LUT as GammaDR 2 LOG, then output LUT of your choice.

Also, the automatic switching to autofocus doesn't seem to happen with my Samsung 16-50 S lens, so maybe it's not all the Samsung lenses.

The 16-50 S has an AF/MF switch on the barrel doesn't it... so that is why! Nice lens.

I have a few questions before buying, what I noticed when I personally transcode the HEVC files to ProRes or DNxHD with ffmpeg and applying a flat curve to it with AviSynth script is that the banding gets even worse than it already is.

A LUT is not just a flat curve it has far more data than that in it. Not had any banding issues with it. Can't speak for AviSynth, but it is unlikely to develop footage in the professional way a colourist app like Resolve does, which is how I created the LUT.

I just read it cover-to-cover and highly recommend it to anyone with an NX1. Even if you scour the forum, having all the info in one place is super handy! $20 is worth it for the LUT alone!

 

Andrew, if I don't have EditReady, should I just use your LUT as the input LUT in PremierePro?

Also, the automatic switching to autofocus doesn't seem to happen with my Samsung 16-50 S lens, so maybe it's not all the Samsung lenses.

Thanks for taking the time to make this great resource for us!!

Great, awesome to hear people are finding it useful.

Yes that's correct for Premiere. You can even use Film Convert with it rather than an output LUT.

You set the input LUT to GammaDR2LOG.

Then apply Film Convert to same clip. Select A7S and SLOG2 +1 profile, seems a good fit. Then tweak contrast & saturation to your preference.

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Hi Andrew,

I purchased your guide and found it useful. But you heavily described the post workflow for Adobe Premier and I am a FCPX user. So could you explain how to apply the NX1 flat log and following 3D Luts of my choice to the video clip in FCPX? Also I would like to know how to get the EOSHD Canon 1DC LUT you used in the introduction video? In your lens choice you didn't mention any Samsung S zoom lenses. why?

Thanks a lot and hope to hear from you soon!

Sincerely,

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Hi Andrew,

I purchased your guide and found it useful. But you heavily described the post workflow for Adobe Premier and I am a FCPX user. So could you explain how to apply the NX1 flat log and following 3D Luts of my choice to the video clip in FCPX? Also I would like to know how to get the EOSHD Canon 1DC LUT you used in the introduction video? In your lens choice you didn't mention any Samsung S zoom lenses. why?

Thanks a lot and hope to hear from you soon!

Sincerely,

I don't use any of the Samsung S zooms... too big an investment just for one camera when I have so many other lenses I'm afraid. 16-50mm F2.0-2.8 is nice. I just don't think it is particularly good value for money.

Video below is how to apply a built in REC 709 LUT to LOG footage in FCPX. Note you will need to use EditReady to apply the custom GammaDR2LOG LUT that I created, then select S-LOG 2 or Canon LOG in FCPX, then grade it in the colour correction effect. Let me know if it works.

Alternatively there are LUT plugins for FCPX like this one: http://www.colorgradingcentral.com/lututility

With that you can load any LUT you like and are not restricted merely to turning LOG footage into Rec.709 which is what the presets built into FCPX do.

 

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I don't use any of the Samsung S zooms... too big an investment just for one camera when I have so many other lenses I'm afraid. 16-50mm F2.0-2.8 is nice. I just don't think it is particularly good value for money.

Video below is how to apply a built in REC 709 LUT to LOG footage in FCPX. Note you will need to use EditReady to apply the custom GammaDR2LOG LUT that I created, then select S-LOG 2 or Canon LOG in FCPX, then grade it in the colour correction effect. Let me know if it works.

Alternatively there are LUT plugins for FCPX like this one: http://www.colorgradingcentral.com/lututility

With that you can load any LUT you like and are not restricted merely to turning LOG footage into Rec.709 which is what the presets built into FCPX do.

What do we Windows users have to do because EditReady does not work on Windows, do we just place the LUT at the bottom and stack other LUT's above it in Premiere after we converted the footage to ProRes422?  

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What do we Windows users have to do because EditReady does not work on Windows, do we just place the LUT at the bottom and stack other LUT's above it in Premiere after we converted the footage to ProRes422?  

Yep that's all. It is explained in the book for Windows users with Premiere.

If anyone can point out a good transcode tool for H.265 which can apply a LUT like EditReady but for Windows, do let me know as I am mainly on a Mac and my PC is Windows 10. This wasn't compatible with 10. Anyone with 7 may wanna give it a go and report back - http://hdcinematics.com/convert-V2.html

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Yep that's all. It is explained in the book for Windows users with Premiere.

If anyone can point out a good transcode tool for H.265 which can apply a LUT like EditReady but for Windows, do let me know as I am mainly on a Mac and my PC is Windows 10. This wasn't compatible with 10. Anyone with 7 may wanna give it a go and report back - http://hdcinematics.com/convert-V2.html

I gave ClipToolz Convert V2 a try, I got Windows 8.1 x64 at first it would not work properly but under Windows 7 compatibility mode and administration right it ran fine, the LUT wont work on all codecs but I tried the ProRes 4k with 422 colour space and 10bit the only available option for it, and it takes 1080p and 2160p just fine with the LUT and it looks pretty good. 

The interface is a bit lack-cluster but its better than nothing I suppose. Its also VERY slow, at most its 25fps for a 25p footage, I suppose it has to render the LUT data into the footage. 

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