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New EOSHD setup guide gives Samsung NX1 LOG capability and more


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im gonna try changing my luminance in cam and then convert to prores using rocky mountains. The whitepaper for prores says its an 16-235 codec anyway so I assume that is the issue. Speaking of the whites, i found something interesting in highlights when shooting 16-235 vs 0-255. For some odd reason I can go about 0.6 of a stop higher than 0-255 before the overexposure guide reads the area as blown. Maybe 16-235 on this cam is actually compressing the bright portion of the image that otherwise looks pure white on 0-255 as you mentioned ?

That could be it - something's going on with those highlights.

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Get it now 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

Improvement over the last edit :  

What I'd need from samsung is the possibility of storing different settings for video so to recall them fast and handy! Please samsung...

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That could be it - something's going on with those highlights.

once you shoot with the NX1 eventually you realize you gotta take what you learned from shooting with other cams and throw it right in the trash. It handles things soooo differently but challenge accepted

anyway there could be an advantage to shooting 16-235 if it is actually pulling the highlights into the usable range. Now we don't need to pull the highlights down so much using curves and I assume the transcoding tools are expecting 16-235 anyway since thats what prores uses to begin with. This could be the optimum way to shoot with this camera. Makes sense to me because the NX1 seems clearly optimized to be viewed on Samsung TV's. They had to have made this with their 4k tv's in mind

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There appears to be a problem with the H.265 codec within Premiere. Blacks are being crushed and highlights destroyed, but it's not permanent, the footage from the NX is just being interpreted incorrectly and a weird curve is being applied.

I have found that applying the brightness and contrast filter to all clips using these settings brings them back fairly close to the original exposure: brightness -3, contrast -15. (Video Effects, Color Correction, Brightness & Contrast), I use these settings on an adjustment layer.

I have found that "Brightness & Contrast" is the best filter for making a difference and returns the clip to almost original settings.

 

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There appears to be a problem with the H.265 codec within Premiere. Blacks are being crushed and highlights destroyed, but it's not permanent, the footage from the NX is just being interpreted incorrectly and a weird curve is being applied.

I have found that applying the brightness and contrast filter to all clips using these settings brings them back fairly close to the original exposure: brightness -3, contrast -15. (Video Effects, Color Correction, Brightness & Contrast), I use these settings on an adjustment layer.

I have found that "Brightness & Contrast" is the best filter for making a difference and returns the clip to almost original settings.

 

Try fast color corrector and changing the output range to 16-235. Actually fixes the error. Also shooting in 16-235 on the camera eliminates this problem, but for me costs you data to use in post.

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Try fast color corrector and changing the output range to 16-235. Actually fixes the error. Also shooting in 16-235 on the camera eliminates this problem, but for me costs you data to use in post.

I did try this but I found that strong colours remain over-saturated compared to the original footage, it may be because it only affects luminosity and not chroma.

Shooting in 16-235 is not an option for me because (as you mention) I am not prepared to lose tonal information during capture.

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Hi Andrew,

I grabbed the book yesterday and have been pretty happy with the coverage. I know that Premiere CC now supports H.265 so it is not necessary to trans code to H.264, but there are some issues to be aware of. I have previously used an X-rite color chart and been happy with corrected colors for other cameras as a base before grading. I plan on still using the LUT you provided and converting to H.264 1080 for now. Beyond using the xrite for white balance, would you recommend using it for calibration prior to transcoding to H.264/LOG?

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Hello @andrew-reid,

thanks again for providing us with this guide and the Lut. I struggle a little bit adapting the guide to the current state of technical environment. Part of your setup is an input lut, used while converting from HVEC to Prores. Since fcpx supports mp5 natively for a while now, and there is no need for transcripting beforehand, I am asking myself how and where to apply  the luts in this simplified workflow?

 

On 8/11/2015 at 5:10 PM, Andrew Reid said:

promo-main.thumb.jpg.bce7d903d6abace8e82

Get it now

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

Get it now

 

 

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On 8/6/2019 at 10:57 AM, lebigmac said:

Hello @Andrew Reid,

thanks again for providing us with this guide and the Lut. I struggle a little bit adapting the guide to the current state of technical environment. Part of your setup is an input lut, used while converting from HVEC to Prores. Since fcpx supports mp5 natively for a while now, and there is no need for transcripting beforehand, I am asking myself you how and where to apply  the luts in this simplified workflow?

 

 

@Andrew Reid

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Hello, in my quest to find out how fcpx handles hvec 16-235 files vs. 0-255 ones, it seems that the luma spectrum is wider with the 0-255 setting. When you push the fcpx's auto color correction button, however, both files level up to the same range and to my eye, there aren't any differences in the resulting pictures.
What does this tell us?

0-255.png

0-255

16-235.png

16-235

0-255_corrected.png

0-255 with auto color correction

16-235_corrected.png

16-235 with auto color correction

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