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Some great work here Thread is now a sticky topic.

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

Hey, Guys. I wanna share my last job. It was a completely insane run and gun stealth job for a local artist making an urban intervention. Gear used: A7r II, Sony FE 28mm F/2 (always in f/2) and Sigma ART 50mm with a Fotodiox adaptador (only a few shots). Settings: 4k 24fps, Full frame and Crop Mode. Color: Autumn Leaves -1 -2 -3. Used clear zoom in some shots too. AWB in all shots (specially horrible in sodium lights) The great pro of this setup was the weight and the fact that it was perfect for point and shoot. I didn't have time to prepare, light or anything else. Probably the A7s II would made a better job with low lighting, but the superb AF (even with 50 ART + Fotodiox) plus the capability to use FF or APSC (and clear zoom( was a great deal. Hope you like it. It's not beautiful, but I think the message was delivered. The Youtube compression is way better than vimeo (try to watch in 4k): Context: http://www.bbc.com/news/world-latin-america-35796529 http://edition.cnn.com/2016/03/13/americas/brazil-artist-protest/index.html

Another brick in the wall: http://***URL removed***/forums/post/57435922

bit harsh don;t you think? I don't know. From the looks of it, they spent quite a few hours driving around the streets taking an awful lot of effort at night risking arrest and personal injury, for an artistic/political cause. I expect at the time the shooter was under a lot of pressure to get the shots while keeping a look out for authorities. At least he's made a finished piece! I personally enjoyed the film. looks nice. well edited. serves the purpose.

Chant, could you please share the SDK? I think we could add it to github ( https://github.com/ottokiksmaler/nx500 ). One place to show actual progress and results of NX1 hacking would be nice (SD sripts hacks/ firmware hacking).

Good idea, the angle could be: Samsung abandons their loyal nx1 customers, but a community tries to keep the future of the camera alive.

For your consideration...

Thats funny. I think you were trying to trol but that is actually the angle i was thinking. The article would talk about how exactly samsung has abandoned their camera system yet dispite this their cameras are/were so good that people continue to use them and that people are even able to improve them. The article would also talk about how easy people are finding them to hack and how much potential these dead cameras have. My hope is to draw in more people to hacking these cameras to help unlock things like higher bitrates and removing the recording limit.

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

Ok here is a little comparisons. In the sky of the very first shot its visible straight away imo. The grain is almost fully preserved on Vimeo but turned to crap on youtube. (watch in 1080p of course)

I turned off my auto-repeat pay function & have until september to see if they will get anymore money out of me. They have some serious work to make their new system hum, but perhaps this is only a first step & they will start to encode with a newer/better codec so that the streaming is smoother? The real problem is that more & more people are just watching on their phones - this is the whole internet & most websites are more mobile friendly than desktop kind. With the new update to their mobile app, it really does seem that they are trying to copy YouTube - but they are so far behind the curve that they will end up driving people away, instead of getting them to switch. All they have to do is put back the buffer for those that want/need it - YouTube has a buffer, goddamit!

I suspect that those of us in the UK don't always appreciate how fortunate we are... (different debate about the extent to which we should be grateful to the EU!!!)

Im uploading a video to Vimeo tonight with lots of grain. Then we can compare to the youtube version.

Youtubes copyright system is so awfull though. People claming videos that are not even theres and videos that dont violate copyright laws.

I'm considering moving all of my videos to YouTube. That's coming from someone who actually loves Vimeo. I still pay for my account to provide the download option so people can download the ProRes file to get a better idea of quality, and the community there is better quality too which tends to lead to a more constructive thread under the video in terms of comments... although sometimes a little TOO polite! Sadly I don't think Vimeo have had their eye on the ball recently in terms of growing the site in an interesting way. Facebook groups have sucked the life out of the Vimeo groups and YouTube is sucking away the traffic. I know that if I upload something to YouTube it's going to get double or triple the attention. So yeah, challenges ahead for Vimeo and they need a more interesting direction... but let's not knock what they've created. Vimeo On Demand was interesting too... good to be able to make money from our work this way.

It's a new era if Vimeo fails to compete. It's a tough market. I hope they succeed as, from what I can tell, their VOD streaming service is fair to indy filmmakers...but the tech needs to keep up. The fact that a VOD film I have on the site doesn't pop up when doing a search of my production company name is maddening. If anyone knows another VOD service that has a better revenue sharing scheme with equal streaming quality, please inform!

I was thinking about more reputable sources like ESOHD Actually it would be nice for it to go up on some sites like gizmodo or techradar. Places where people tend to be hackers/programmers first with a passion for film oppose to here where I feel like most people are cinematographers who have a passion for tech second. Agreed I might have got a liltle excited to say it is easy to "hack". But the fact it will run Linux scripts from the SD card for things like focus stacking is really easy.

I leave nr and sharpening at 0 because I like the look this profile gives when saturation and contrast are -5 , Panasonic have done an amazing job on the codec for this camera in 4k UHF its the best they have ever done in a small micro m4/3 camera yet, I personally don't believe in adding sharpening in post ever , I just don't do it never have never will , just get it right in camera first , all my tests against the red and Alexa where done on these settings and I like how the final image looks once graded , it works so I'm not going to start sharpening every cut I do in post when it looks great straight out the camera . I like pin sharp images I use the best aspheric lenses I can , the Nikon zooms ate insanely sharp and produce a great usable image

I sent the news to both photorumors and mirrorlessrumors, but neither of those published it. Probably this is too 'certain' for those sites.

Ok now its only one left that it could be basically. It was the Canon 5Dmkiii. In the second video it was. A: Sony RX100iv in Slog2. B: Canon 5Dmkiii in Raw C: Samsung NX1 in Gamma DR And a summary of all the guesses: Red One Red BMPCC Canon ZR50 NX1 nx500 UFOs Digital Bolex 16 16mm film Boston Terrier Point and Shoot with DOF adapter XC-10 Nikon D750

you get a much more usable image with natural and you dont need to get so tweeked up re correcting like you do with cine D profile ,that ties you up in knots correcting before you actually put the look on it you want to . I used natural on the g6 for 2 years now Im using it on the G7 ,

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.

NATURAL Picture Profile Noise Reduction -5 Sharpness -3 Contrast -3 Saturation 0 Given its only 8BIT I wanted to retain as much colour information as possible so didn't touch the saturation and didn't shoot too flat.

No, I was joking like... What the eff is science. Sorry, in a strange mood tonight.

Oval aperture on the 80mm xenotar...

Yesterday I was browsing through your flickr and when I saw the latest images, I was all like -what kind of invention has that bastard come up with to make the helios look like medium format-, but then I saw it they were in fact medium format

speedbooster XL is essential with th g7 it makes a very powerful film making combination

Thanks, I really appreciate it! I wish he spoke english! He seems to go over all of the details and the footage looks nice too. That running video is impressive indeed. I agree that it's a much bigger improvement over for example the H1+. What I meant was that it's easier to hold a bigger camera steady than a small one and maybe that also applies for gimbals as well? I don't know... Anyways with the 2-hand handle it actually doesn't seem that big. It just would be perfect if I could use it with the GM1 with 15mm Pana Leica on holidays, but it's to light. And then off course the size of H1+ would be preferable... I guess DS1 ships from USA since it's an American brand. The shipping cost is almost 200$ for a DS1 and free shipping from Pilotfly. I have to order from the US Pilotfly site to get the best exchange currency. I would have pay 25% taxes on either since Norway is not a part of the EU. The m43 system is the best compromise for me so I don't really care too much for the Sony cameras yet. I like the reliability of the Panasonic cameras and the lens selection and the lens sizes. For travel I carry the GM1 with PL 15mm, PL 25mm and 35-100mm mini (great in daylight btw). That's a great setup and weighs 654 g total! For other things I use GH4 with the two pro zooms and Nocticron. I know there are better things out there, but they're also bigger and more expensive. I'm convinced that the GH5 is going to be major improvement over the GH4. If the G7 is 1-1,5 stop better in low light the GH5 is gonna be at least as good, probably better. I'm also expecting usable autofocus in video mode as all the other brands keep improving on that area. It would have been better for us customers if he launched the mirrorless version (H1) and DSLR version (H2) at the same time. On his FB page he answered "patience will be rewarded" when asked about a tool-less H1 update. That's actually the main reason I'm considering to wait and see. He also writes that the 2-hand handle works with the T1 but that model hasn't been released yet... What could it be?

Well, I couldn't find a reason not to take a punt on a f3 that was going too cheap. ended up getting a fully unlocked, rgb/slog PMW-F3 for just under £1400 with a full rig/riser setup, and a few different mounts. I have to say, I'm blown away by how this camera captures light. gonna be taking a 3g sdi out into a pix240 for 444 uncompressed, or into a a newer recorder for prores 4444.

He'd be fun at winetastings.

I probably should have stayed away from this topic, but I found the article so utterly revolting that I just couldn't help myself. Its difficult to even begin a thorough critique, and I'm not going to do it here. Suffice to say that he relies almost entirely on non-standard, non-optical terminology (e.g., 3D, tonality, micro contrast, flat), and he never bothers to define these terms in a precise and unambiguous way. Lenses can be fully characterized by things that are well-defined and can actually be measured, such as MTF, veiling glare, distortion, transmission vs. wavelength, etc.. Why rely on pseudo-scientific nonsense when proper characterization methods are well established? He then goes on to show images that supposedly illustrate his points, but none of the images are actually carefully done comparisons under fixed lighting conditions, post processing, etc., so they are absolutely worthless as far as I'm concerned. He also makes a bunch of ternary diagrams that make absolutely no sense at all - "line of realism"??? WTF??? And his obsession with the number of elements in a design is absolutely bizzare.

For videos on youtube you do. But for stills I don't see it.

So first proper shoot with the A6300 this weekend. I had terrible overheating problems after an hour, not even recording continuously but rather 2-5 mins at a time with brief pauses in-between. Also the manual focus assist zoom is a joke... how the heck do Sony think this is even usable to check focus in video mode... How do you tell if a shot is sharp by looking a blurry mess!!? Basic logic fail. However the 4K image is just... SO GOOD. Nice form factor and EVF too. Also the quality of the rear screen (when not zoomed) - very very good indeed.

Typical. Just as I started to find my way back. Left about two years ago when the search function was all messed up. I like the quality. Specially of grain, that always gets messed up on youtube. Regarding content I think the quality is the same on both platforms.

See what NAB brings

In certain focus pulling situations this will be incredibly useful. Thanks Otto! Great to see continued work on this project.

I really want to see this story picked up by some popular camera news websites, help build some more momentum.

Lens ---> Collapsible rubber lens hood ---> ND filter. Fold the hood back when you need to adjust the filter.

Yes all the film simulations work in video mode. It is only the other controls like grain simulation / shadow / highlight / sharpness that don't seem to work in video mode. But it doesn't bother me as the film simulations are so nice anyway and as I said before, you can bring up a lot of shadow detail in post. Dynamic range is good. Not quite as good as SLOG or Nikon flat profile but you're trading a bit to get the nicer tonality and colour. That's doing a great job of showing why I like it so much for video. Great detail, superb film simulation / colour out of the box. I see he used Film Convert in post on it. The codec does hold up well. Very similar codec performance to a Nikon D750... but more detailed and 'alive'.

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

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 :-)

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

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.

I stopped using a meter when I stopped shooting film ten years ago , I didn't use zebras or histograms , I just expose by eye , I like to play in the shadows so I'm up to 3 stops under at times to get a moody look, the g7 is so forgiving you can under expose and not worry about noise in the blacks , I don't like to over light subjects on sets , if I'm outside I'm stacking NDs to keep a f2 stop , focus pulling has to be spot on at f2 so I'm now using the gini rigs follow focus which is big and very smooth and you can reverse it which cancels out the Nikon Bourne lenses focusing the wrong way , this is an amazing thing I've discovered about the gini rigs follow focus that I can't do on any other make of follow focus . will post some pics soon of this nice trick I also shoot my day interiors at 4000k not 3200k this looks alot better on the pannys and I find the skin tones nicer - warmer, I shoot day exteriors at 6500 k and night exteriors at 2500k , ,

Im shooting 16:9 and extracting 2.40 in post - framing for 2.40 in camera using the guide line and tape on the rear screen . I always shoot natural profile saturation -5 , contrast -5 I put the colour back in with curves , no LUTS no Cine d , no LOG profiles , keep it simple and it looks good . use your eye - its the only way for me

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when . So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out

Here is an ungraded grab from the G7 shooting CineLikeD with everything dialed down. I used the Tokina 35mm f2 lens with a Fotodiox ND Throttle adapter... Here it is with just a curve adjustment... And here it is letterboxed, with the Tetrachrome LUT from Impulz, and some Gorilla Grain...

I owned both the G7 & GH4 and recently managed to use both cams on a wedding shoot before selling the GH4, I saw no reason to keep it. The G7 wins, I'm talking picture quality not features, the GH4 has loads of great features and should not be discounted however, all depends on what type of media you shoot. Just get a G7 already if you are considering it, for $500 or less you can't go wrong, its dope. Would make a great B-cam to the A6300 or similiar. Here is the wedding I shot with both cams, all night footage at the very end shot with the g7, not the GH4 which suffers by 1 1/2 stops.