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I believe I have found the sdk for the srp. And quite a few examples of the c scripting style used before it is parsed into the machine state and binary. Working backwards it should be possible to figure out how it is compiled and explore what lies inside the system. It seems similar to an fpga so it shouldnt be very hard to dissect. Things that can be added over just changing the config files. Will update as I go. Keeping these updates short as I have a lot to do with making sure I fully understand the inner workings of this system.

Kind of fell in love with this guys BMPCC footage and just wanted to post one. I almost dont believe he shot it with the pocket

There has been a few stating that they would like to tip/donate, which would of course be muchhelp,, as I seem to be doing this more than my 9-5 haha! But it is not at a quantifiable stage at the moment, What I have found out is pretty much just a key, and if the key can open the lock is not yet determined. Even with the sdk things of this nature are not 100% At any step of the way if they did something undocumented it can halt progress to a point the modification cant be done. Ive been lucky so far with things is all! But if knowing that what Im doing may not bring a firmware mod to light people still wish to donate then I can put something together. But I started this not knowing there was anyone wanting this camera modded, and I would still do this if no one wanted to tip/donate. That being said the next stages of what I am doing are copious research. There are white paper behind paywalls but my local university seems to have most of the books on file so I will be acquiring those to get a better idea of the way samsung chose to code. Personally I am also interested in the lens mount for a working adapter to other lens systems. So the control files are something I am also looking into. As well as if hevc is the best choice for encoding or if something like the redcoderaw would be more suitable which is just their modded version of mjpeg2000. dct vs wavelet is something interesting to read about.

Regarding LCD dimming, it doesn't let you change the LCD brightness while set to 4K recording. The option is literally grayed out - kinda strange. Is it a heat or power consumption issue? Also, how's everyone feeling with overheating? I used my A6300 exclusively on a 5-camera (All others were A7s I and II) live studio shoot with a top 40s pop artist and was overheating all day. Our workflow was to capture a 10-song live album, so we'd roll cameras, run one ~4 minute song, take a 30-45 second break, and then run another 4 minute song. The camera started overheating on the third song, and for the rest of the day I'd be doing this: for as long as possible before we ran through the next song. This generally did the trick but obviously garnered some odd looks from the band, though they're used to our shenanigans with pulling good stuff out of tiny cameras. Heat levels were extremely high way up in the battery slot so pulling the battery and blowing cool air right up there seemed to do it as a preventative measure. As for the shoot itself, I am absolutely floored at the autofocus. It's insane. I can't share any footage but when it comes out I'll upload a raw A6300 take - the moves it allowed me to do while simply handholding the camera, going from macro shots of hands on keyboards to medium shots of the musicians, passing instruments in the foreground, etc. Holding down the AF/MF button lets you quickly lock focus in case you know you're going to be making a move that will trip it up, and also enables the focus ring on the lens so you can hold the button down, fly in manual focus for a few seconds, let go, and it's back in AF mode. The image, too. Absolutely bonkers. Rolling shutter sucks super hard(and you can even see it on closeup shots of hands and stuff where the camera's not moving), but the camera is an absolute dream otherwise and I've been able to shoot around it. 1080p mode also sucks. It's not unusable, but it's of a level of detail I'd expect out of a 5D Mark II. Loving the 16-70 Sony Zeiss OSS lens and the 24/1.8. Has anyone used the 18-105 F4? Does it compare?

Not sure where using a Xpro2 will take me when it comes to video, but like most cams these days it has certain strengths, for sure.

Bought the blanket for the GF for christmas. Its one of those super sized. Easily covers the whole family. Only downside with the dog liking it is that it gets so charged with static that I get a shock when touching it

I was joking, I agree, in perfect world we should be able to control any post processing which is automatically done by the camera. "It's not a bug it's a feature" is usually referred to an excuse made by software developers when they try to convince the user that a flaw in their program is actually what it's supposed to be doing.

I'd still be interested to see how Leica R, Contax Zeiss, and Minolta Rokkor glass performs on it. All three brands resolve famously well for video. Geoff, he's not saying they're bad lenses, period. I'd be hurt if he knocked my FDs. But as has been discussed in other NX1 topics, the sensor just doesn't play nice with a lot of glass--a combination of the camera's high pixel density and "worked over" video processing/encoding. Kidzrevil isn't trying to insult anyone. I think if his FDs looked awesome on the NX1, he'd be pretty stoked. We're all just sharing our experiences as honestly as we can.

This lens is fantastic. First impressions are in fact - despite the difference in focal length - that I like the results better than my Sigma 18-35 Art. The Zeiss is tac sharp in a very filmic way and the contrast and colors are awesome. So now I have gone for more Zeiss, as I just bought a Vari Sonar 28-70mm T* F3.5-4.5. Should arrive within a week, - I´m excited.

Foley (always capitalize 'Foley" because it's from his name. Otherwise the audio engineers send old gross fruitcakes to your house.) Foley is a NIGHTMARE to try to do with pre-recorded sound effects. Sure - it's completely possible - but it takes a horribly long time to do as compared to just grabbing a mic and doing the Foley yourself. And it's tedious. VERY tedious. And no matter how big your collection is - 95% of it won't work for whatever that project in front of you today is. Get a book on the art of Foley, and then invest in enough junk to do it yourself. WAY easier and actually FUN.

Well, if you're getting your camera from BH, the kit with the 24-120mm lens is only 300 bucks more. If you were to buy the lens separately, it would cost you a grand, so I would say it is definitely worth it for a constant aperture zoom with image stabilization. IMO. But it's your money.

the point Im trying to make is we all can shoot images with a Panny and Metabones and some good glass like the Nikon Bourne Lenes that is equal to any major movie images , its just a bit of thought into how you light it frame it and shoot it , everyone on this forum can do this without buying a Red or and Arri Alexa and some Arri Zeiss master primes .

Alright, did some tests today. My observations so far: - G7 in 1080p 50fps in MP4 or AVCHD mode is 99% the same. So don't have to worry about that. Will just use AVCHD for 1080p then. - G7 1080p vs GH3 1080p with low ISO's is 99% the same. The GH3 has a bit more magenta in the colors and the G7 more green. Which one is 'better' I don't know. Probably the G7 is a bit more natural looking. - G7 vs GH3 in 1080p mode in low light and high ISO's: Starting from ISO 1600 the G7 starts to be really a lot cleaner. ISO 3200 and 6400 is unusable on the GH3 due to too much noise but the G7 is a lot cleaner. Might even be usable at 3200 and 6400! - G7 at 4k mode, downsampled vs GH3 at high ISO's. G7 is EVEN CLEANER at 4K mode. - G7 at 4k mode vs GH3 at 25p -> GH3 is smoked. I don't see any gain in DR however. The colors are slightly different but no big deal. Slight color correction fixes either. So the big improvements are cleaner high ISO's and of course better detail and no more moiré (!) at 4K mode. Too bad I can't use an external monitor with g7 but luckily it has focus peaking. So at least I can see the focus good enough on the small screen. I'm thinking now of shooting the wedding on the G7 as the main cam. Use 4K for 90% of the shots and downsample in post. Then use 1080p 50fps for the slowmotion shots. They look about 95% the same as the shots I'm currently making with the GH3 so I don't need to 'get used' or anything to what I'm seeing. Computer had no problems with 4 different types of footage on the timeline so that's great as well. I only need to find out how to make the Warp Stabilizer work on 4k clips on a 1080p timeline. It simply doesn't work. When I 'nest' the clip and apply WS it actually works, but it crops the image very weirdly and like 200%. Anyone knows how to do that?

I'd put the D750 on the short list for best hybrids. Then G7/A6300/NX1, then A7RII. If you already have the lenses, the D750 seems like a no-brainer. Shot on the D810, but video quality is almost the same as the D750: Don't worry about lens IS. Grab a cheap monopod; mine is solid as a rock and cost me $5. Combined with an LCD loupe, this style provides results as good or better than VR lenses. It's hard to give any more information without knowing more about what you shoot and how.

So I really didn't think I'd end up keeping this camera, especially as it is 1799 euros body only(!!) for just 1080p and no articulated screen. BUT this camera is a lesson to all the others... 1. May seem like a small thing to start but it has the BEST menus I have ever used, end of story. Properly organised. Not too long. Snappy to navigate. It is amazing how many other cameras get this wrong, even Canon which have too many sub-sections / tabs. Then there's a nice big MY menu at the end of the new Fujifilm main menu so you barely have to dig into the other tabs at all. It is such a nice improvement on the previous Fuji cameras. During a shoot the menus can make or break a camera. Ask any FS7 owner 2. COLOUR and CODEC and DETAIL - it excels at each. The images have an electricity to them, super alive. On most cameras, even with H.265 on the NX1, the codec always pays lipservice to the blacks. Whenever you bring them up they are a mess of banding, compression, blocking. The X Pro 2 codec handles like the D750, super clean in the shadows and LOTS of detail. You can bring so much out of the blacks even when they are crushed in-camera when using Velvia - which by the way, is giving me the most satisfying out of camera non-graded non-fussed with colour yet. 3. SMOOTH editing, and 60p for slow mo. With 4K i have come to miss my render-less timeline, snappy editing and 60p with small file sizes. The only 4K 60p DSLR is $6k and 800Mbit. Hmm - no thank you. 4. SOUL. It has as much soul as a Leica but is far cheaper and with a much more versatile feature set and viewfinder. The EVF is super sharp and you don't even have to magnify focus half the time, just go off the EVF or the back screen. Both are superb. To shoot with it is a pleasure. The water sealed body, the build quality, the twin memory card slots, the reassuringly photographic clunk of the mechanical shutter, which by the way is much quieter than a DSLR but no less beefy, the retro good looks - SUPERB looking camera body - it all adds up to something you just want to pick up over anything else. Makes the GH4 and NX1 feel like boring utility tools. 5. It is FAST and the LENSES are lovely. AF and general speed of operation is a big improvement from the X Pro 1. Then there's the lenses 35mm F2.0 WR, small and affordable. 56mm F1.2, creamy like a Noctilux. I also love the 18-55mm F2.8-4 zoom, it is small and well above average for an APS-C zoom of this kind, 35mm F1.4 is slower to focus and has no OIS but it is a lovely piece of glass, 23mm F1.4 also a stunner. OK, I wish it had zero moire, I wish it had 4K and I'd love an articulated screen. And yes... This is designed purely as a purist photographer's Leica-style rangefinder, what the hell am I doing shooting video with it? Because it FEELS so good to do so and it LOOKS so nice when I playback the results afterwards. Two things that are so important - the feel of holding the damn thing and the feel you get from the colour and details afterwards. Vibrant and alive, the whole experience. Sony, Canon, Panasonic experience dull by comparison. They really need to take a hint from Fujifilm.

is it the NX1? Looks very high res but soft from the nikon 35mm 1.4.

Damn, some of that rolling-shutter in 4K mode is pretty apparent. Manageable, but apparent.

This is an interesting video that someone posted in regard to this article in the comments on a facebook group. It's not about vintage lenses, but Cookes.

OBVIOUSLY the Canon ZR50

I am glad to be helpful. Please note that I have never used the meters that I linked. By the way, when you start using your incident light meter, it is generally best to aim the meter's dome directly at the light source (as opposed to aiming the dome at the camera). This is true both for taking lighting ratios and for getting exposure readings. Use your free hand to block light from other sources (including reflectors) that you do not want to meter. By aiming the meter at the directly at the light source, one avoids blowing out the highlights with that particular source, regardless of whether or not it is positioned to the side of the subject or more frontal to the subject. Aiming the dome at the camera can give a useful additive/average exposure reading in situations in which you have more than one frontal light source with a lot of overlapping coverage on the subject.

Sorry, but somebody's got to say it. This has to be the worst piece of trash writing ever done about lenses. The author has absolutely no clue what he is talking about, and should be ignored.

Hey Chant, awesome to hear that progress is being made. Forgive me if this has been discussed (I haven't read the entire thread), but is there someplace we can donate/send tips to you? You're doing a lot of work, and I'm sure many of us here want to compensate you for it.

Thanks for sharing. I like the BMPCC footage better as it easier to handle and is way more neutral.

I get you

Hi DayRaven and alexO, I used the word "bug" because that is the term the reviewers in the videos I link to use to describe the issue. Apparently what "bugs" them is that you can't turn off the soft skin "feature" when using an external recorder in video mode - unless you also record in-camera. As I understand Mark Gilden that means for longer takes on the a5100 he pretty much gets to choose between the camera overheating or having waxy skin applied to his talents. And I'm pretty sure that would "bug" me too It would also "bug" me if I can't use face detection auto focus without having a soft skin filter smearing facial details in video mode. According to Mark the face detection feature and soft skin filter are two separate functions that can be turned on and off individually in all other modes than video mode where they are somehow locked together. I can foresee quite a few situations where I would like to use face detection auto focus in video mode, but I can't imagine I would ever want to use the soft skin filter. So it would be great to know if the two features can be turned on and off individually in video mode on the a6300

Sexual or racial discrimination is very different than any "cultural" discrimination such as religion. The first group is something that you are born with and thus cannot change whereas the second group is learned and modifiable. Humanity improves through modifications of the latter and failure to observe and analyze any cultural meme due to political correctness will undeniably lead us to decadence. Now correlation does not mean causation. So of course being a hasidic jew does not mean you are going to have a company that does not care about its workers or being a Muslim does not mean you are radical. But at the same time there are common religious traits that can influence human behavior, such as inferiority of heathens, and should be called out and modified for the sake of humanity.

it would not have better center to corner sharpness, it will just be more consistent in the frame with sharpness.

Don't do that, please! You of all people are above judging people based on things like their religion, race, gender etc - that statement, while I understand was meant positively, was just as discrimitory as "Women can't reverse" or "Black people are lazy". There are Orthodox Jews who respect human/labour rights, there are Orthodox Jews who abuse them. That they are Orthodox Jews does not give you the ability to have any understanding of them at all beyond their religious beliefs.

It would be great if Sigma would make a speedbooster version of their new MC-11 Eos to E-mount adapter. Would be great to gain a stop of light from full frame Sigma lenses and get the most out of them on both APS-C and FF. I asked Sigma on their Facebook page if they would consider making a speedbooster version, but so far no reply. They certainly would be able to. :-) I'm exited about the Sony a6300 which may become my first Sony camera. I've asked a few online reviewers about a potential issue with the camera that I'm concerned about, and I'd like to ask the a6300 owners in this forum as well. Could you perhaps test if the "soft skin bug" is present in the a6300 or if it has been resolved? Apparently, in some other Sony cameras [a5100, a6000], the "soft skin" filter is coupled to the face detection feature in video mode, which means you can't use face detection auto focus without having a soft skin filter smearing facial details and thus making the talents skin look like wax. Is this bug also present in the a6300? Also, if you don't record internally but instead use HDMI-out, it appears there is no easy way of turning off the soft skin filter effect, even if you turn off face detection altogether. Is this also the case with the a6300? Mark Gilden demonstrates and describes the bug in detail in the below links: http://community.sony.com/…/Please-let-us-disa…/idi-p/538535 And here a demonstration by John Moore: I've posted the above questions in a Facebook group and so far I have had one person reply, and he did not see any skin smoothing going on when face detection auto focus was being used in video mode. So I am hopeful that this issue is not present in the a6300, but I would appreciate further confirmation. Thanks! :-)

yeepee welcome to the Zeiss Party - these lenses are amazing ! the 28-70mm T* F3.5-4.5 is very good it pops its so sharp !! and its small and light too great for outdoors all the Zeiss C/YPrimes are great too - same glass formulation as the Super Speeds and Ultra Prime Cine Lenses

I know you probably did not mean it that way, but many of your posts seemed to say that other glass were not even worth consideration with the camera. You said you "had to get rid of" your Canon FD's because of the sensor. I don't want people to think the NX1 isn't an option unless you purchase the most expensive glass possible, because I don't find that to be true.

This seems to be gaining some momentum in online media. https://www.youtube.com/watch?v=xcVpWMfEdB0 http://www.thedailybeast.com/articles/2016/03/08/america-s-largest-indie-photo-store-b-h-sued-for-segregated-bathrooms.html

If you're going to use Sigma Art lenses, order the new Sigma EF-E mount adapter, it unlocks all AF functions on the A7rII and should do the same on the a6300.

thats the point Im making from Andrew Reeds original blog on this combination . you have a Super 35mm field of view like and Alexa with an image quality that in my tests looked as good as the Alexa footage we campared it to - all at a fraction of the cost ...and Size too , you can get a Panny on a car Dashboard easily I do this alot for incar shots.

If you can avoid beige/cream midtone walls and gradient skies then internal is still a good option.

I think what's trying to be said about some lens is that the sensor can resolve more detail than the lens can show. In a way you could say the camera is 4k and the lens can only show 2k detail. Hence the lenses that cannot show as much detail will make the final image softer. So, it's not really an old lens thing, I'm sure that there are older lenses that can resolve 4k and newer lenses that cannot. And just because a lens is 2k(or whatever you want to call it) does not mean it's a bad combo with the nx1, it'll just look not as crisp and sharp, which could be a very good thing, it that's what the look you're going after.

Incident light meters are great for learning and for recording lighting ratios. Recording lighting ratios is especially valuable in case you ever have to reshoot a scene or duplicate part of a scene at another location. Spot meters are not very helpful in this regard, as the subject's orientation and/or surface characteristics can dramatically change the reflective exposure reading, even though the incident lighting remains the same. Any digital incident meter with a fineness of 1/10 stop increments is more than enough for any lighting ratio needs. I have about five meters, but the one I use most is the discontinued Minolta Flashmeter IV. Kenko currently makes a knockoff of the Minolta Flashmeter V for US$249, which seems to have decent reviews. The Sekonic L-308S is US$161 on Amazon, and it has 1/10 stop increments. There is a more recent model of this meter -- the Sekonic L-308S-U -- priced at US$199.

I like the 758C and there are those who rely heavily on spot meters or prefer a dual meter, but a simple Spectra incident meter will be more accurate and simpler than the Sekonic and all you really need. It's what I see most gaffers carrying. That said, if you want to learn all there is to learn, a dual meter like the 758 or 558 will be useful. I find I almost only use the indecent meter when shooting video, though, and the spot meter when shooting 4x5. The 758C is fine overall but you will want to get it calibrated, there's one place in LA that calibrates them for about $100. I think a lot of AFI guys just use a spot meter, which is weird to me. I'd argue a light meter is necessary for any serious work. Maybe you've reached the level where you don't need one, but reading ratios from a waveform monitor seems like a dubious proposition, as does pre lighting a set without an incident meter. If you have a good enough gaffer you may not need one, but I think gaffers appreciate a DP who is as informed about the lighting as he is.

AS I SAID EARLIER ALL THOSE IMAGES ARE LOW RES SAVED FOR WEB VIA PHOTOSHOP IMAGES SUPPLIED BY THE PRODUCTION COMPANY , just so you can see colour ideas not pixel peep for micro blocking - that micro blocking is from photoshop save for web . there is no de noiser used on any of these shots its all natural profile saturation -5 and contrast -5 , at 800 iso some shots are 400 iso , never anything over 800 iso thats my limit I light for that , The Panny is very good upto 4 stops under exposed so dont be affraid of playing in the shadows the Panny can handle it perfectly well , all this rubbish I read about Pansonics being no good in low light makes me laugh , as thats where I use it all the time - UNDEREXPOSED!! , you dont need a Sony to shoot in low light , a Panny at f2 800 iso lit right is killer . all those shot above are at f2 .

It's simple. Get a tripod, shoot wide, or just be careful with longer lenses 50mm+

Here's your 2-handle holders:

Are you using external audio? If so, a GX7 might work well for you. Better low light and DR than the GH2, and the articulating viewfinder is surprisingly nice for tripod/monopod work. It's not as sharp, though, and lacks mic and headphone jacks. Otherwise, I'll second Stewart and steer you toward the GH2. Great image with the hack (Sanity is nice if you don't want the Moon file sizes) and a proven production workhorse. Plus, the multi-aspect sensor means you get a 1.3x crop with the speed booster! Pretty nifty.

Oh yeah - the Hacked GH2 with MOON T-7! Still blows me AWAY at how detailed an image it gives. POW! Shoot it like everyone else does - with the SMOOTH profile and everything set to -2. Then boost your saturation and balance out your contrast in post and it's pretty amazing. The only reason I don't use them more often is because I can get the higher dynamic range with my Blackmagic cameras. (That cost a lot more!) Yeah - Add a cheap Mitakon Nikon-to-MFT Version 2 speedbooster and it's ready to really rock! Beats my 2 canon T2i by an enormous amount. Not just a little. P.S. Make sure you get that speedbooster - it makes THAT MUCH difference. Simply monster. Oh - my camera list: GH2 (x2), Canon T2i, Canon 6D, Sony RX100 mkii, Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera (x3), Samsung NX1.

The G7 is in my view the finest Panasonic camera on the market right now

I have 4 Zeiss lenses, 3 are vintage and a Planar 85 1.4 ZE and I love them because of the 3D and the bokeh also they are as sharp as any modern lens! My Sigma 18 -35mm is a little sharper and it's not flat, it has good dimension but it doesn't have nearly the pop the Zeiss lenses have! That Nikkor 50 1.4 pre ai is a stellar lens and I've used it before, I believe the ai and ais is basically the same except for the newer lenses have multi coatings but physically the same design, I either read that or heard that? There are other lens articles there worth reading, with concrete examples of way better micro contrast in the older designed lenses!

Beholder DS1. Wonderful. Be prepared to spend zero hours tweaking it. Be prepared to spend zero hours balancing it. Be prepared to switch from a heavy camera to a light one by pushing a little button 3-times. I think the Beholder DS1 wins for exceptional engineering. And it is EXTREMELY compact and easy to tote around. Got mine with 2 sets of batteries that each last about 3-hours. So 6-hours of shooting without a recharge. This thing has changed the way I approach nearly ALL my shooting.

​According to the Japanese website it has IS and more. ●KIPONが独自開発したマイコンによりEFマウントレンズを電子制御、ハイースピードAFが可能 = The mount has a some kind of "chip" and support High speed AF ●IS手ブレ補正機能に対応 = They say it handle IS ●全ての撮影モード(P/A/S/M/AUTOなど)に対応 = They say that is works on all Camera modes ●撮影した画像のEXIFデータに焦点距離、露出などの情報が記録されます。= The Focal Length and Exposure Data are recorded in EXIF ●オートフォーカスエリア(ワイド、ゾーン、中央重点、フレキシブルスポット)の選択が可能 = All AF mode are supported (Wide, Zone, Center-W...) ●全てのドライブモード(一枚撮影、連続撮影、セルフタイマー、リモコンなど)の選択が可能 = All shooting modes are supported (Single, Continuous, Sefl-timer, remote...)