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Handy tip for testing setups, filters, lighting - without the transcoding step. Shoot some footage; playback in camera and pause at the frame you want to examine. Hit the Fn button on the camera back; the camera burns a JPEG of the frame. I've played with this and the JPEG is dead-on with the footage (My camera is set for the best and biggest JPEGs, don't know if this affects the frame capture). Really handy for testing non-motion related stuff without running clips through processing.

If there's a better metaphor for the plodding of American politics, I'm not sure I could think of one at the moment.

So, I guess I'll be the voice of dissension, the first version was better. I liked the grade and the subtitles way better. The distraction of the subtitles worked with her character's thoughts being all over the place.

True. Although...if I'm looking for a 1.5x crop camera with 4K, great color science, slightly weak DR, and excellent slo-mo, I'll probably just pick up an NX1. Hell, you could save enough money to buy a tripod, lens kit, filters, shoulder rig, external recorder, lighting kit, and a new editing computer. With so many great options available, what does the 1DX II bring to the table that isn't offered elsewhere? What niche does it fill? What need does it satisfy? Food for thought.

You're right Mattias.... Always something to cry about. If it turns out to be true that the new cam has 4K/60p with an image quality potentially quite alot better than the 1DC, then transcoding the codec is a tiny price to pay, if that codec choice is what allows 4K/60p to be possible. Dual pixel AF for video... That is great... Can't wait to see footage

I generally bring a shit-ton of lighting to shoots, but I've had several more editorial-style gigs with the NX1 and shot as hight as 3200. 1800-2200 or so is still remarkably clean; and there's something cool about higher ISOs with the NX sensor; it's not that soupy mush you get from previous Nikon and Canon DSLRs - it's just kind of "snappy" for lack of a better word. And really crazy clean considering. I try to get the shadows opened up so I can crush 'em back down - at 4K you can see some fine mosquito noise at higher ISOs. I was shooting a gig last week about inner city grocers, and we were shooting products in a beverage cooler; my grip knew enough to look at the setup and say "are you sure we're not allowed to light this? Mannnn…" and I was like "Dude - look through the EVF…" He was kind of stunned. Punchy shots with a lot of life. That said - watch for deep, deep blacks that really eat the light. Even at low ISO, a black knit sweater can look fine until delivery - then there's something about the NX's blocking that H264 sort of grabs onto and you may get some posterized shadows - kinda ugly and you have to tweak your compression for output. Try to get some big soft fill going, open the blacks, and cut your key a bit, balance it back in post. Or raise your ISO and cut your key back. I don't have months of this camera under my belt, but watch those intense blacks...

What I've noticed with 120p is it needs more light than normal. That may be physics though and not the camera. Once you figure out its quirks, the 120p can look really nice. I'm new to video and this camera gets me great results. https://youtu.be/dfssnbAYwYk?t=41s From :41 to 1:19 There are some 120p shots in there and they came out way better than I thought they would (the compression artifacts are all youtube).

My short film - Chatterhead! Please share!! Thank you guys so much for your feedback - let me know what you think. Shot on the F65. Super easy to bring into resolve.

there's still time its not Jan 2017 yet

So far its been really good, but admittedly all I've done is a lot of walking test shots. Its much easier to balance/setup than the Defy G2 I previously used, much lighter too. The gimbal weighs a little over 2 lbs with batteries, and my camera brings to total weight to just over 4 pounds. Comes with a nice padded case and an extra set of batteries. All of my tinkering has yet to burn through my first set, so battery life is looking pretty good. What sold me on the DS1 was the 32-bit board, higher load capacity than other one handed gimbals and positive user reports. I'm sure we'll see more gimbals at NAB and such, but I don't know what can be done to improve on the DS1 without adding to its size or cost. The biggest con for me is the USB charging. I haven't bothered to look for other charging options for the batteries, but the manual says you'll get faster results with a dedicated charger, so there must be something available. Beholder claims 3-4 hours of shooting per charge, so two sets of batteries will easily carry me through any shoot with plenty of juice to spare - even if I only get a couple hours per set. My Mac Pro gives me a "USB Devices Disabled because its using too much power" message when I plug in the batteries which is odd, so I plug it into my wife's crappy old laptop. I use it with the A7rII and at some point I'll put my A7s on it too. The DS1 combined with the IBIS makes for some crazy smooth walking shots and when doing dolly shots it looks like a slider. You can just turn the handle upside down for low shots or to simulate a jib movement. I'm going to take it on a boat to see how it handles waves at some point. There's a seller on eBay that will take an offer of $650, I bought from them. No regrets so far. Apologies to anyone interested in the Nebula for going OT.

Sorry but 4K 60fps at 800Mbit/s is a total bullshit feature 10 minutes per 64GB card and impossible to edit without a transcoding step. At $6k, only $2k off the price of an FS7 which does 4K 60fps in a body designed for video to a codec designed for editing. Also there are so many cheap cameras that do 1080/60fps if slow-mo is your aim... Or even better many cameras half or even quarter the price of the 1D X Mark II that do 120fps! Small correction. The GH3 was not the first to get 1080/50p... Sony NEX 7 was. You see, we have had 60fps for mediocre slow-mo since 2011... why because it is now 4K is it suddenly a HUGE deal again?

There seems to be a lot of small forum posts about hacking the NX1, the camera definitely supports 10bit, 240fps in 1080p or even 1440p, it should also spit out 2160p in RAW and it should record 6k in 30 max fps in h265 codec with bitrate probably around 40 to 100 mbps. The 10bit colours or even 14bit should not cause much more strain on the CPU then there already is, its just requires a faster card. I would personally be willing to sacrifice my NX1 just to get all these features or at least 2160p raw output. It is a real bummer that Samsung decided not to enable these feature I know they are in the damn camera they are just disabled. God knows why the fuck they decided to do something as stupid like that, they could have sold the damn fucker for 6000+ dollars and enabled everything, it would be adopted by damn Hollywood for its image quality at such a price range.

Everyone and their mom have been screaming about 4k 60fps in a DSLR as long as 4K has been available. And when its here the codec is wrong.. Its at least a tiny bit funny imo The reason is probably the same as always. Heat. To shoot the 4K 422 the XC10 has a fan. And thats on a 1". I doubt many still photogs would want that. And by looking at the latest sales reports they are still the once in control. Canon still was at the top and I bet they want to stay there. Personally I would just dump the 4K if I wanted the framerates that badly. HD upscale is still on par with 4K on youtube etc. TV is still 720p. Bla bla bla we know this already. But it is true. 4K still is where 6K is today. Nice but not need.

Love the top picture.

Informed people don't vote, so I think that would create a problem.

Thank you Here are the settings for that look: Lut : Sunderland (from Deluts) Intensity at 57,4 // Saturation at 87 // Fade 30,6, and heres the curve : And here are two new pictures (not videoframes) : Hope you guys like =)

I am definitely in support of this. Including a donation, the man that hacked the NX300, he is doing some interesting things and may be our guy if we want to throw money at him: http://***URL removed***/forums/post/57133589 If we can get 240 fps at a bitrate of 200... holy shit.... HDMI can output 480, 576, 720 and 1080 (no 2160) but there appears to be support for up to 240fps (at least as a value in a table). Also, file names nx_cs.adj is definitely searched for on SD card (also alt.adj, nx_dev.adj, paf_adj_restore.adj, etc). Also, iperf is used for testing Wifi Regarding sensor modes (for video): FHD, Cinema, Video60, Video120, Video240, VideoHFull, VideoFull, ModeQHD, UD, UD_Crop1, UD_Crop2, 720P60 If UD is UHD there are at least three different crops, tecno will love this There seem to be 7 movie modes 0 - 6 (0:UHD/1:UHD_D/2:FHD/3:CINEMA/4:HD/5:VGA/6:QVGA) - can someone check if they are all present in menus? (**two** UHD + CINEMA - it that 4k?) Frame rates go from 4fps to 240fps in many increments. Pixels can be read in 10, 12 and 14 bits. There are a bunch of functions that (it looks like that to me) call directly HW functions of DRIMe5, all prefixed with d5_ like d5_ep_3dlut_op_init (oh, yeah, there is code for loading custom LUTs), d5_ep_top_change_jpeg_moa_for_conti_cap, d5_ipc_set_dram_addr, etc.

slow motion test made with davinci resolve 12 optical flow using some footage from the black magic cinema camera 2.5 k and pocket cinema camera all shots are in 24 fps and slowed them down with optical flow to 10% so i can get 240 fps

MJPEG is 8-bit DCT compressed frames, one after another. ProRes is 10-12 bit DCT compressed frames, one after another. Mathematically, they are very similar, both effectively providing JPG-like frames (with no interframe interpolation). ProRes has faster encoders/decoders, however they're not that fast compared to modern H.264 ALL-I codecs, which have both faster encode/decode (with HW) and are also more efficient. As others have noted, the reason MJPEG is being used is likely cost, and perhaps to differentiate from the C line. Our C300 II does have a fan, however it can be set up to shut off during filming. The fact that the NX1 can do 4K H.265 (without a fan?) means that perhaps some licensing would help with Canon's in-house tech deficit.

Not sure how many of you are Reddit fans, but there's a subreddit called Writing Prompts. People write short stories and they get up voted based on how good they are. There's been a few good short films actually shot from these stories like this one: https://vimeo.com/84707835 Even if there's a story that's good but needs some tweaks, I know alot of the writers would work with you if you have a good portfolio. Just throwing it out there if you're not a talented writing like myself.

Tiffen HDTV/FX 1/2 58mm - EUR 11.32 (+ UK shipping c. EUR 9.99; AVIDES, via Amazon.de): http://www.amazon.de/Tiffen-Filter-58MM-HDTV-FILTER/dp/B001U8888M/ref=sr_1_69?ie=UTF8&qid=1454358161&sr=8-69&keywords=tiffen+filter+58mm

This one is phenomenal in my opinion: https://www.reddit.com/r/WritingPrompts/comments/39kbxv/wp_metaphorical_burns_can_now_cause_physical/

This is pretty great, thanks for the suggestion! I'm pretty visually oriented and story concepts are not my strength.

Be commended that most of the comments about the film are about the content not the craft; and consider the typical tech-centric sentiments about things on this website. I think that's a clue as to your film's effectiveness. I'm assuming you're probably not making the movie to appease everyone, but rather to guide them into a bit of a perspective shift. If I've noticed anything from your work it's that you have a accomplished knack of creating authentic tone. This is not easy to do. We may not like or agree with the characters of your movies, but we sense that they are grounded in a reality that is true for your stories. I just watched a movie last night that couldn't find that sort of center for the characters and it was incredibly frustrating.

The difficulty I found writing the film was that these are thoughts she quickly has. I couldn't put in too much data because a normal person can't remember that Bernie sanders was in charge of the VA committe during the VA crisis unless they specifically researched it. Or that Bernie co-sponsored a bill with Rand Paul. Only people who really looked deep into it would know that, and I think I wanted her to be me three weeks ago before I really went deep into researching both canidates. But that is the difficulty - cause in our head, we do say cliches and stupid things. At one point I had her swearing a lot more and even make a comment about Bernie being a Jew if that would hurt him - but it was tough - trying to really figure out how we think was pretty fascinating - and kind of weird now, because I still try to be conscious of how I talk to myself in my head. I want to research more though-patterns - and whether we all think similarly in our heads - and if it's more short sentances - but are they complete - and do we reference past nouns . Also how to convene this to a person in a film-form - without losing them. But i still have to go back and try to extend how long some subtitles last for. It is tough - length of piece vs people's attention spans on the internet. I tried to make it a 3 minute film for that reason, but it's about 4 minutes. It's a HOOOGE balancing act

Speaking from my 1D C experience... MJPEG is 500Mbit/s so the data rate for the CPU to handle is insane. Editing off an SSD or RAID 0 like I do the drives aren't a bottle neck, it's the CPU. What compounds the problem is that MJPEG doesn't seem to be well supported with hardware acceleration. The Mercury Engine in Premiere for instance seems to revert to software rather than hardware accelerated by Open CL or CUDA when it comes to MJPEG. H.264 and H.265 may be more complex with the clever compression but it is hardware accelerated. You will effectivly be editing MJPEG 4K 60fps at 800Mbit/s in software mode, on the CPU only. The effects will take ages to render too. 1D C 4K 24p is 500Mbit/s (same on 1D X Mark II)... this is tough enough, you really need to transcode to ProRes. Again speaking from direct experience with the files, the H.264 4K from the GH4 and A7S II can be edited natively on my machine in Premiere with smooth playback especially at 1/2 res in the timeline monitor. MJPEG doesn't even play back smoothly when I reduce the playback res, which again points to the lack of proper support of such an old dated codec in a modern NLE. Canon have made a mistake.

+1 +1 +1 I'd totally be willing to pool some money together and donate for a hack that can make this already amazing camera even better.

File sizes are not too big for the NX1 at all. It doesn't need transcoding now, and it was always clear H.265 would get broad support in NLEs pretty quickly. The transcoding step I did put up with... it was a $1500 camera not a $6k one. I don't see why I should have to put up with MJPEG at $6k in 2016. On a used 1D C from 2012, that is understandable but it isn't now. Yes the FS7 is too big for me which is why I got the FS5 instead! My only use for 60p would be slow-mo. 60p offers mediocre slow-mo. I would rather sacrifice the resolution and unmanageable file sizes and shoot 240fps 1080p on the FS5... Oh did I mention the FS5 is also $400 cheaper than the 1D X Mark II, has a variable ND filter, LOG, small 4K file sizes, Speed Booster and proper video ergonomics & features?

I'd like to see her un-convince herself of voting for Bernie in a clever and impactful way that shows how stupid voters are

Looks like a nice camera for stills.

Yeah I get the estetics of how they where. Problem is that I couldnt read them. I missed the message completly. And Im fairly good at English with a Highschool diploma after a year in Pennsylvania some 15 years ago. But if the target audience is only natives, it probably works. I can test on my GF. She is better than me.

Well, for the next time maybe... Success with the feature

I think global shutter is perfect for documentary.

You didn't talk budget, or I missed it ;-) The problem with the GH4 (and all the Panasonics) is it only used 70% of the pixels to make 1080p, so you get some moire/aliasing (high contrast edges do not tend to stay where they should, but pop around a bit). You get a much better result shooting 4k and downscaling. It's not awful, the GH3 was much worse, but it can be annoying/distracting. The A7s or sII will give a cleaner 1080p and the II has a built-in stabiliser (although I think I'd rather have Panasonic's 12-35 stabilised lens on a GH4). Also any low light issues disappear instantly. The GH4 is a better video camera though, just the moire isn't optional in 1080p. (Edit) Oh, forgot to say, the GH4's 4k is cleaner than the A7s', not sure about the mk II. All IMHO.

The G7 / G70 also doesn't do HDMI out while recording so you can't use an external monitor, I see that as a major disadvantage compared to the GH4.

I just used the free version of Cliptoolz Convert to change a GH4 4k SooC file: General Format : MPEG-4 Format profile : Base Media / Version 2 Codec ID : mp42 File size : 763 MiB Duration : 1mn 6s Overall bit rate mode : Variable Overall bit rate : 96.7 Mbps Video ID : 1 Format : AVC Format/Info : Advanced Video Codec Format profile : High@L5.1 Format settings, CABAC : Yes Format settings, ReFrames : 2 frames Codec ID : avc1 Codec ID/Info : Advanced Video Coding Duration : 1mn 6s Bit rate mode : Variable Bit rate : 95.1 Mbps Maximum bit rate : 106 Mbps Width : 3 840 pixels Height : 2 160 pixels Display aspect ratio : 16:9 Frame rate mode : Constant Frame rate : 25.000 fps Color space : YUV Chroma subsampling : 4:2:0 Bit depth : 8 bits Scan type : Progressive Bits/(Pixel*Frame) : 0.459 Stream size : 751 MiB (98%) Color primaries : BT.709 Transfer characteristics : BT.709 Matrix coefficients : BT.709 Audio ID : 2 Format : PCM Format settings, Endianness : Big Format settings, Sign : Signed Codec ID : twos Duration : 1mn 6s Bit rate mode : Constant Bit rate : 1 536 Kbps Channel(s) : 2 channels Sampling rate : 48.0 KHz Bit depth : 16 bits Delay relative to video : 40ms Stream size : 12.1 MiB (2%) To an output target of ProRes HD/HQ 4:4:4 with scaling to 1920x1080 and got: General Format : MPEG-4 Format profile : QuickTime Codec ID : qt File size : 2.13 GiB Duration : 1mn 6s Overall bit rate mode : Variable Overall bit rate : 277 Mbps Writing application : FFmbc 0.7 Video ID : 1 Format : ProRes Format version : Version 1 Codec ID : ap4h Duration : 1mn 6s Bit rate mode : Variable Bit rate : 275 Mbps Width : 1 920 pixels Height : 1 080 pixels Display aspect ratio : 16:9 Frame rate mode : Constant Frame rate : 25.000 fps Color space : YUV Chroma subsampling : 4:4:4 Scan type : Progressive Bits/(Pixel*Frame) : 5.308 Stream size : 2.12 GiB (99%) Writing library : ffm0 Language : English Color primaries : BT.709 Transfer characteristics : BT.709 Matrix coefficients : BT.709 Audio ID : 2 Format : PCM Format settings, Endianness : Big Format settings, Sign : Signed Codec ID : twos Duration : 1mn 6s Bit rate mode : Constant Bit rate : 1 536 Kbps Channel(s) : 2 channels Channel positions : Front: L R Sampling rate : 48.0 KHz Bit depth : 16 bits Stream size : 12.1 MiB (1%) Language : English Any use? Though do note Cliptoolz Convert is discontinued so you might need to hunt around to find a copy. (It went from paid -> free -> discontinued, I think due to issues with using Prores.) It does claim to handle 4k scaling well, see the site: http://hdcinematics.com/convert-V2.html (Edit) The download link seems to work, which it didn't a while back:

The G7 has Zebras and peaking, it just lacks the 10bit hdmi, v-log, weather sealing, headphone and high bitrate Full HD (thats a bit annoying and i dont know why they did it, but downscaled 4k always look good). Its a great performer, specially for the price. But as you said, these things that the G7 lacks are fair enough to someone with the budget to buy the GH4 do it haha In any case both are good performers, they just need good glasses, what i think you already have. For the Canon EF, stick with the metabones, its worth the price, but for the Canon FD, the Roxsen you find at Ebay gets close enough for much less money, just run away from the fotodiox one, it sucks haha

+1 ... count me in as well with a donation. I'd love to see what some talented people could do with this cam.

Be that as it may, I contend that a rule of 3 is not something requiring implementation in one's work to make that art effective or worthwhile. Feel free to disagree. As for psychology, I do believe that potential voters of someone like Bernie Sanders are more likely to have a mindset apart from a voter that would rather hear jingoism and be comforted by that approach. And as this is a short film to appeal to a certain worldview/voter right now (as opposed to a general election) I can see how it might be effective in it's defined space.

What for $6k? From Canon? I doubt it It probably doesn't even have peaking Honestly guys I would not expect a professional video codec on this camera... it will be small file sizes all the way. It isn't a Cinema EOS camera, it is designed for news crews, paparazzi and sports photographers to WeTransfer MOV clips to hacks.

Nice imagery, but I don't think following a person around with thoughts as captions qualifies as a short film, even if done for 3 1/2 minutes. In that format, it might have been much more effective if cut down to 30 seconds or less.

+1. $$$ And will contribute money absolutely. $$$

Stills will compare favorably to the RX 10 that is for sure. In Resolve that Macbook will not be enough for 4K. Keep in mind you cannot output anything over 2K in the free version.

+1 including some €€€ as donation

I like the look of it. It has that gritty, Hell's Kitchen, 70s NYC feel to it. It strangely felt like the opening credits to The Mary Tyler Moore Show. The content, I could not care less about. If anything, it unintentionally promotes the notion that undecided voters should not be allowed to vote. But it was well shot and the premise was good.

I love the tones here! Nice work!!

Hey all, I'm new to this forum today, but some of you know me from the Blackmagic forums or DVXUser. I am shooting almost exclusively Blackmagic RAW these days but I got an NX1 for the high frame rates and for the occasion that some client may insist on 4K. Lots of GREAT GREAT information being traded around on this thread here. These kooky codecs can drive ya mad, so I applaud those of you struggling through what must feel like endless testing. Thank you. Right off the bat I wanted to add 2 points here: First - Variable ND's do indeed all use two 'quarter-plates" (polarizers) against each other and that results in color shifts every time. EXCEPT the SLR Magic Vari-ND. This one is the exception. I have two of them and compared to the others I can assure you that the quality and freedom from color shift is far far better. Want some happy? Go there. Second - I've read through this entire thread and looked at everyone's stills and videos and I just want to shout: "BIT-RATE!" Meaning that almost all the image quality issues of this camera are coming from its low recording bit-rate. I've been through this exact routine already during the era of the development of the 'hack' for the Panasonic GH2. Dear lord...it's ALL in the bit-rate. I bring this up because if WE ALL get involved in pushing for a hack for the NX1 that will allow for a much higher bit-rate then it will stand a chance of happening. I haven't checked in with the N500 hack status recently, but it sounds like the ball is rolling. Masses of folks getting involved was what pushed the GH2 hack so far so fast. All these image quality problems were the same on the stock GH2 - macro-blocking, color breakup, etc., and they are ALL gone now with the 150Mbps hack we ended up with. Yeah, you read that right - 150Mbps just for 1080p. Yeah, that's a card eater, but that doesn't matter anymore at today's memory prices, and watching all those problems vanish was just so delightful. Anyhoo, continue getting down wit' your bad selves!

Hi guys, I'm new to this forum, but some of you know me from the Blackmagic Forum or from almost a decade on DVXUser. The 5D mkIII shooting M.L. RAW is STILL the best image out of any DSLR. I STILL wish I could afford to add one even today. And I have 4 Blackmagic cameras. One Cinema 2.5K and three Pockets. I also have a Samsung NX1, two hacked Panasonic GH2's, and three Canon DSLR's: A T2i, a 70D mkII, and a 6D. First of all - I run Magic Lantern on ALL my Canons ALWAYS no matter what. IT'S FINE. ("Hack" is not really the right word as Hans just pointed out.) It adds so many great features that even if you never use the RAW functions, it's almost like a whole new camera. My Canon's with ML have NEVER crashed on me strangely enough - I say that because almost every camera I've ever worked with HAS crashed or frozen on me at some point -and I mean with their own normal stock firmware. Second - RAW beats everything. Hands down. No contest. Not even close. Once you've shot RAW you'll never want to go back. And memory is really no longer a problem. I got a handful of Sandisk Extreme Pro 256Gig cards for about $150 each and I get OVER an HOUR of RAW on each one. (Plus I can use them on every single other camera I have.) The FREE DaVinci Resolve 12 just plays and edits these files normally. Just drag and drop. No doing anything extra. Premiere Pro is even close on Resolve's heels now with RAW handling too. The whole thing about RAW being too hard to work with is in the past - and aside from my nVidea 970 card I only spent $900 on my computer and it handles the RAW files as normally as any other. Third - If you use a BMPCC (Pocket) you will really get much better imagery with RAW. For some reason the ProRes on the Pocket Camera is significantly inferior to the RAW - while on the Cinema Camera 2.5k the ProRes is much closer in quality to the RAW. I don't know why...but it is pretty well known. I think the 5D M.L. RAW is absolutely as great looking as the Blackmagic. Canon color science is phenomenal. Plus the low-light abilities of their full-frame sensors are topped only by the Sony A7 cameras - which I think look like crap and refuse to use. Plus, on the 5D you get better audio, and one of the best stills cameras ever made. You might ask why I don't have one then? It's just a money thing. $2,500 for just a body is more than any camera I have. I got the 6D and it's nearly the same image - which I got mainly for low-light work - but sadly its small buffers prevent it from shooting RAW in full 1080p like the 5D can. As for Speedboosters - The Metabones BMPCC specific booster is SIGNIFICANTLY better than the cheaper ones. I have the cheaper ones too (Mitakon) and they are GREAT! They never come off my GH2's or Cinema Camera. But the BMPCC specific one is seriously better. It's a bit better optically (not that the Mitakon is bad - it's NOT. The Metabones is just a tad better.) And the extra light and the bigger field of view it delivers on the BMPCC are absolutely worth the extra couple hundred bucks. My third BMPCC was used - so as soon as I got it I shot a good bit of colorful footage to verify all was well. Here's that video if you care to check it. NOTE: I made exposure adjustments to match changing light conditions but this has ZERO color correction nor color grading done to it. Just in and out with DaVinci Resolve 12's standard automatic RAW to Rec.709 conversion. I didn't apply LUTs or anything. ~Cheers! https://vimeo.com/149123448

It looks pretty exciting! It seems that guy will be able to increase video resolution for NX300... For NX1 - I would better start with some basics :-) eg. increase of bitrate. Just remember non-linux GH2 which had originally 1080p in 25mbits and hacking brought almost 200mbits video...

What do you mean with afs? Is it af single? That's available AFAIK. Also peaking on in video...