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Here is a quick video showing the NX1 and NX500 SD Card Hack for Focus Buttons. This program allows you to record up to 6 focal points, these are stored on the SD card and will work after a camera restart. This works for photography, especially good for storing infinity focal point to re-use when it is dark for Astro Photography. Works in video allows you to do focus pulling from one focal point to another. Thanks again to Otto for all the hard work, All details can be found on https://github.com/ottokiksmaler/nx500

Here is a quick video showing the brilliant work Otto has been doing on the NX500 and NX1 using the SD Card hack. All details can be found on https://github.com/ottokiksmaler/nx500

Hi guys, I have started to follow this forum 3 years ago. The reason was simple I wanted to learn from the others. At that time I shot documentary and expedition videos with a small Sony handycam all in automatic mode but I felt that I should make it better but I did not know anything about shutter speed, ISO, lenses, aperture etc. So I read, read, read and ask other people here. So I bought Panasonic G6 and made many projects. By the time I improved my skills and started to ask money for my work. 2 months ago me and my friend got a great project to shoot and as there was some good budget we decided to shoot it with something special, something I only dreamt of :-) My friend has some experience with Red Epic so we borrowed all the gear and now we shoot car project about restoring and trading valuable cars. This is our first result that will be on LCD at a big car fair show in Germany this month. I think that going to eoshd helped me a lot, so thank you all the people here! http://vimeo.com/158794434

The code excerpts I posted are from the firmware. The statement about the camera being able to do 240fps is something they didnt remove. Also found a bunch of tizen watch stuff. Bad housekeeping is good news. But I have yet to find a video output path that is concise. Tons of data on the hevc and everything else, but its what pointed me to the srp and needing to do more research. There way a camera would dump data to an onboard hevc is pretty well documented. Follow the mipi csi-2 bridge a few steps to get to the encoder. but the difference is, if it was indeed just a "hard" core hevc in the drime-v it would be more self contained. Taking what I know of chip construction and "hard" core asic implementation. The more I do the more I find on how it works and what can be done.

The D750 is an amazing hybrid camera, yes, and most folks like the handing, operations, features, and, critically, colors better than the S II. For what it's worth, I have an NX1 and S II, and unlike Mattias, I kept the S II for both 4k and 1080p quality and integrity. I don't shoot with SLOG and I don't shoot with a tripod very often, and the latter factor played into my decision a lot. D750, X-Pro2, NX1, E-M5 II even - they all are less predictable than the S II with artifacts and handling of patterns in all modes - it's just the way it is. But they also are better stills cameras, with more neutral color science. Pick your poison!

Great to see your journey is coming along so nicely! You've worked wonders with that G6, Tepui Dream came out great! Nice clever motion and lighting in some of that shots. Works nicely. I'm personally just not sure about the 'mood'. It seems very cold, desaturated, modern and real, which probably has a big deal to do with the lighting situation in the garage. But I'd probably think it would've come out a bit nicer with a warm nostalgic tone too it, especially since it's classic cars. I'd try to spark the imagination and mood a little more. For me, now, it's a little emotionless. Have you tried dialing out the blues with a hint of yellow and exeggerating the reds a bit more? Of course it's all a matter of taste and perhaps this is tweaked to perform best on the display that is going to be on the stand. But to give you an idea, this is kinda what I mean: versus See the difference?

The article is written in a techincal fashion by someone with no technical knowledge. But the points he's making I think on the whole are valid. Mathematics aside, old lenses provide a 'look' that's more appealing. not to tech heads or spec sheet readers, but to real people who actually take pictures and use their equipment. A 24bit/96khz uncompressed audio file should sound better than a 12" vinyl single, but it doesn't to my ears. Transformers movies on paper are shot with cameras and lenses that far outdo those used for The Godfather, Apocalypse Now, etc. Which look more appealing? The older films.

While this isn't exactly the topic of this thread, it has turned into a bit of a discussion about the D16. I just received my m4/3 D16 and shot this quick piece to test it out.

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.

The samsung srp research is also to see if thats what they used, but it it was an onboard hevc asic there would be a lot less code for what Im finding if you go by what tends to control hardware. With luck its srp because Ive found examples of it beings used to do a full 8k6p stream with a very small srp block and the drime-v is a very different beast from the exynos. But ill just leave these excerpts here. "eSensorModeRollingStillModeOff eSensorModeRollingStillModeOn eSensorModePanoramaFull" "30CBayerImageInformationLiveview 34CBayerImageInformationLiveviewWide 36CBayerImageInformationLiveview120fps 36CBayerImageInformationLiveview240fps" "LVIEW_PP_CORE_UD LVIEW_PP_CORE_UD_24FPS LVIEW_PP_CORE_120FPS LVIEW_PP_CORE_240FPS" "eFrameRate24fps eFrameRate25fps eFrameRate30fps eFrameRate33_3fps eFrameRate40fps eFrameRate50fps eFrameRate60fps eFrameRate100fps eFrameRate120fps eFrameRate200fps eFrameRate240fps" "binningoff HVbinningon Hbinningon Vbinningon"

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?

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.

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.

Ah but you can in post and the Pro Neg Standard gives you a softer, flat picture profile for video. The shadows have a lot of detail and they are clean when brought up, very little macro blocking, noise or compression weirdness. So in other words the individual JPEG controls for shadow tone, saturation, etc. are not needed as the same effect is provided by selecting a certain film simulation mode and the way you grade the image. The quality of the 1080p in terms of sharpness is definitely way past the mushy 5D Mark III's H.264, but it doesn't have the moire filter. In terms of detail it is at the GH4 or C300 1080p mark so not bad at all for a Fuji.

shoot with s16 lenses and theres no need for speed booster.

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.

Still no one has the right answer. Here is a clue, its one of the cameras in this video. (BTW, 4K upload so it might process for a while.)

Pls anyone who own this camera. It´s possible doing time lapse only with electronic shutter? (and safe mechanic shutter)? Panasonic cameras have this great feature.

Sharpness / resolution / microcontrast / local contrast / global contrast are all the same thing at different frequences. Resolution/sharpness represent the highest frequencies up through larger scale contrast at lower frequencies. An image is a composite of all the frequencies, from lowest to highest. This can be visualized by looking at the discrete cosine transform (used in JPEG, H264 etc.): https://en.wikipedia.org/wiki/Discrete_cosine_transform https://en.wikipedia.org/wiki/Discrete_cosine_transform#/media/File:Dct-table.png The MTF is one form of lens performance measurement: http://www.cambridgeincolour.com/tutorials/lens-quality-mtf-resolution.htm I noticed in the Nikkor vs. Sigma examples, the Nikkor lost a lot of detail in the shadows, and the shadows were also blurrier (less fine detail, along with an overall lower detail image. Less detail/sharpness can help make images look more organic (digitally sharp images look less real)). To generate a similar look in post, we could write code to blur pixels based on luminance level. If one prefers the look of, for example, a particular Nikkor over a Sigma, comparing their MTF charts might be helpful in understanding why. Not all frequencies are captured the same, and performance variation through the spectrum can explain why one lens is preferred over another, for a particular use. If "imperfect" lenses have desired character, these imperfections can be measured, and then used in marketing material to help people get a desired, and known look. Without hand-waving, internet arguing, and pseudoscience

Either way. Slaves exist because of an unregulated market is trying to maximize profit. Thats no secret. Im not saying its good or bad. Im just clarifying since I often see people online use the word communism to describe the downside of successful capitalism.

French Bulldog.

Doh, sorry bout that. You could try joining the Pilotfly facebook group, often new user videos get posted there: https://www.facebook.com/groups/1115581045135398/

Ah, ok, cool! I can imagine tougher things than having to work with Ferraris for talent, lucky to have that project come your way. All the sexy details and all the brutal slowmos that's good for too! I'm sure it will come out great!

Dang, he does look like Ed O'Neil. Ha. It looks great. Your LUT really cuts through that sLog. I happened upon one of your free LUTS... Aspen maybe? I forget which one it is... I got a lot of free ones on the same morning... But I like it a lot. I am trying to learn to do basic color corrections/grades without LUTS, but when I feel confident enough to go back to them, so I know how to properly tweak them, I will definitely give your pack a go.

Remember that everything you buy is being produced by slaves in a distopian-communist country.

Yes you are right. We had 2 Arri lights but still there was a lot of light from tubes. Color grading was done by my colleague and I also think that we should do it with less green. These are only the first shots and they will be base for final project. We will do some rides with very very rare Ferrari in one month + talks with owners of the company so all the project will be done in 2 months :-)

Wow. Ed O'Neil is playing guitar in a Raleigh North Carolina bar band? Seriously though, good capabilities. I'd stop that 1.2 down a touch though. It's actually kind of amusing to see "night" shots a bit over exposed. Technology these days is impressive.

Test in low light :

I currently shoot a lot of video on a EM5II, and the XPro2 has better IQ. So it's certainly capable of making pretty images. I'd say it all depends on how often you want to shoot video, what you want the results to look like, and how much you prioritize the video experience over stills. I'm still getting used to making the XPro2 work smoothly as a video cam. Like all "hybrid" photography cams that do video, it's got quirks so I need to get used to them. Seems like it'll be easy enough to do though. I mean, I shoot video with the GM1. If that's possible, then the XPro2 won't be any issue. As a photography camera, I think it's the best thing Fuji has on the market right now. The old school knob control is perfection, IMHO. So much better than the X100's. Everything is much more refined than the X100's too. There's nothing on the X100's that the XPro2 doesn't do better.

Oh Zach... xD

"Minorities are taken seriously"... Even those minority groups who try to do civilised society harm? No one - certainly not me - would object to your eloquently stated desire for a more equal world. But surely you must also chuckle at the irony that here we are in this forum discussing whether we "need 4k" and sort of ignoring the fact that others "need" clean water, healthcare, basic education & human rights (including I would argue in those countries where a lot of the gear we use is made...) You stance wrt BH and other stores might or might not be legitimate and/or effective. I'm sure we all have our own ways of contributing and making statements so public displays of the armour of the shining knight isn't necessary. I agree with your basic premise (assuming this to be that we need to reduce the world's inequalities). I'm not so convinced that this is the time or the place or the vehicle to do it. Tim

But I think we can all agree they're pro-delicious with their chicken.

I think it's a social experiment to see who's sensitive to suggestion... it's kind of a placebo effect. You kinda want to see it work, so you do. Sure there are some truths here and there. But they're greatly exaggerated and most comes across as hipster talk to me. - Sorta reminds me of the mocking that Chris did in that A6300 video:

It's a good thing to show some DB stuff for a change. The colors look like what you'd extract from raw stills in ACR, Raw Therapee (or Lightroom? - I don't know Lightroom). Resolve seems to interpret raw differently, but people use it because it's so easy. How did you develop the raw?

Thats cool. But you can stay in M mode and still not need to use the screen. Just double tap function, adjust, menu.

Na, it don't I'd own it if it did Quite a bit of moire, and the S II is cleaner yet Wonderful camera, and a valiant effort by Nikon in video. But side by side its 1080p is worse in every mode, every frame rate

I tested out the natural profile today with everything dialed down.

It's not a bug, it's a feature!

Looks real good. Once you have the proper setup, (Metabones/Sigma 18-35,) it's all in the grade. That really is the winning combo. The camera looks really good shallow, which is hard to do without the 18-35. I love the handheld look on wides with all that DR Another guy doing cool stuff with the Digital Bolex. I love the handheld stuff with the global shutter… You can really get that saturated caked on color look.

Some thoughts on the X Pro2 as stills camera before I get the main review finished which covers video... This thing is sensational. It's like a Leica M with the weight brought down and an EVF added, with superb autofocus. I'll say that again... a not so heavy Leica M with an EVF and AF and better live view display quality. The Leica M is of course the king of stills cameras... do ya get it yet...? Yep - this thing betters it. The 35mm F2.0 WR is nothing short of a bargain, best AF of the Fujifilm primes yet cost me 350 euros. AF is up there with the best Micro Four Thirds lenses, but it is a Super 35mm lens and weather sealed. Camera is nice and saturated at ISO 6400 and pretty clean, can't say that about a Micro Four Thirds cam. The AF is totally silent and nothing moves, or grinds back and forth like on Fuji's older lenses. Feel of the aperture ring is glorious. Every time I use this camera I get a nice feeling about it, it is perhaps the first ever "perfect" ergonomic camera.

Yes, as listed on www.sony.com/electronics/interchangeable-lens-cameras/ilce-6300-body-kit/specifications

Nice to see you in love. Almost head-over-heals. :-) Can't seem to confirm if there is clean HDMI out. Mind checking?

Fuji rumors says the 35/2 is one of a few lenses that takes full advantage of the new AF system, the others being the 16-55, 50-140, 100-400 and 90mm. Hopefully there will be a FW update to improve performance with other lenses - though with some it may require improved internals to boost speed. Got some moire on that shirt, check around 4:13

Rolling shutter not much of a concern especially in 60p, but haven't tortured it yet. Will be interesting to see how it compares to the NX1's 1080/60p/120p which has hardly any skew. Viewfinder refresh is 85fps so not much of an issue in there either. For stills, the AF is more impressive than the A7S and high ISOs perfectly usable up to 12,800. Some of the film simulation modes even benefit from higher ISOs especially the black and white ones which tend to like 2000-3200. So it's a good low light camera.... Not quite full frame good, but good nevertheless. Going to get the 35mm F2.0 WR for it as that has more modern AF, snappy and silent like the 18-55mm F2.8-4, I believe. 35mm F1.4 is a bit rough. Oh and the screen is a thing of beauty... 1.6m dot, beautifully sharp, seems similar to the panel Nikon have used on the D5 and D500

Here's the Velvia preset, which I absolutely love... First shot, crappy light but it has that 'x' factor Sony is nearly always missing, all without any effort at all in post... Look at the smooth tonality and balanced colour... By the way, here's what Velvia looked like without the 16-235 correction in Premiere... different to the JPEGs and on the camera screen, it had crushed blacks. However the codec has kept them! They snap right out when you correct for the dumb Quicktime RGB range clipping. Next shot a much more challenging one for dynamic range. Look how much you can get out of it with the most simple quick grade possible - just Fast Color Corrector in Premiere and zero else, not even a RGB curve change... First ungraded, 0-255 straight off card: Second graded, 16-235 fast colour corrector Oh and very important this...... in doing this correction to extend dynamic range notice how colour doesn't go 'weird' like with S-LOG Cheers for that vid Kaylee, fun to watch.... You can see how detailed the image is pretty well from that. I dial sharpness down -4 to take the edge of it and bring the blacks up a bit in post. Nice fast lens helps too, and Speed Booster. It is a really cinematic image with these adjustments.

i love fujis take on things im with you andrew idk lol but this review was shot using the provia preset check it out

Superb as long as you use the Fast Color Corrector in Premiere to remap 0-255 RGB luma range to 16-235 Playback the files in VLC or Quicktime and you get clipped highlights and crushed blacks. No idea why this is still a problem in 2016, maybe Fujifilm should talk to some Apple guys. Yeah, absolutely. It is just like having a Leica M rangefinder that happens to shoot better video than a Leica M rangefinder for 1/4th the price, with an EVF AND AN OVF, can't argue with that The X Pro 1 I also liked but ended up selling it at the time, lens range was rather limited back in 2012 and it was a dog slow camera. That was the biggest issue... the dreadful AF and even dreadful manual focus too. The X Pro 2 is mega fast and snappy, they nailed it. Also, viewfinder and body just seem higher quality this time round. Bit heavier, but amazingly built. Only weak points are the battery life and it is such a sharp 1080p image that when you do get moire, it is pretty noticeable moire. 1 out of every 10 shot has it, but depends on the subject. Not the kind of camera to shoot a lot of infinity focus shots of buildings with, but for actors it's rarely an issue... brief occurrence on clothing, that's about it. What is amazing is that although it is clearly a moire affected camera, it is wonderfully detailed for 1080p. I'd put the moire at a similar level as the 5D Mark 2 RAW without AA filter and Blackmagic Pocket Cinema Camera. It's not the worst but it does happen.

I think that's the appeal of the X-Pro2 over the X-T1 even - it's classic, a photographers tool more than a digital experience. Shame about the lack of 4k and moire, but I'm tempted nonetheless. Fuji said they knew their weaknesses were autofocus and video a while back, and it's so good to see the results. I personally found their lenses noisy and jumpy, quirky almost, for video, but with a beautiful image, and their cameras are improving with each generation. Like Olympus... A bit more legacy and heritage... A bit more to go. Do tell us more about the moire - when, where, consistency, frequency. And the autofocus in video... Just a crumb or two...

X-Pro 2 4K - 80% said they don't need it, so Fuji didn't flick the switch in firmware. They ask a bunch of hardcore stills people if they want video and surprise surprise most of them don't. How are Fujifilm supposed to expand their customer base with new people if the keep asking their existing ones what they want? This is why camera companies keep serving up the same-old same-old every year... they never reach out new markets, because they only listen to the needs of their existing one.

MJChristensen wrote: I wish Panasonic would abandon the built-in, pop-up flash in favor of an articulated EVF. +1 ! I guess you are describing the 0/-20°/-30° tilted high-def EVF of the GX8 which makes this camera the most ergonomic filmmaking tool around : the tilt gives relief to the neck and the Leica-M position frees the left eye field of view.