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My plan is to see if I can replace Pro bitrate from 80 Mbps with something else, say 47 Mbps (my age :)) for example, without otherwise touching the menu system or firmware internals.

Simple "hack" to enable silent shooting in single mode (not CH/CN): [root@drime5 ~]£ st cap capdtm getusr 117 UserData is ADJUSTSHUTTERTYPE_MECHA (0x750000) [root@drime5 ~]£ st cap capdtm setusr 117 0x00750001 UserData is set [root@drime5 ~]£ st cap capdtm getusr 117 UserData is ADJUSTSHUTTERTYPE_ROLLING (0x750001) ROLLING is full electronic shutter Now, why Samsung did not enable this in the menu I have no idea... It's fully working in full resolution JPEGs and SRW files. I have not time to test whether image quality suffers, but it looks OK to me Could someone check if it works with NX1 as well? Cheers and have fun, Otto

ok, here are some quite interesting strings found in the NX500 firmware: UseNoiseSuppressor video-encoder-bitrate VideoProfile video-color-range Sharpness :-) Still digging...

Just finished my first Music Video, not exacly as I planned it would go, had some setbacks on filming and what not, but yet still pleased with how it turned out. Everything was shot on the NX1 and the aerials on the P3. Was a great challenge, doing something as "big" with such a tight budget, but loads of fun ! Let me know what you guys think =) Also, to anyone interested, heres the band iTunes page, they got some great songs =) https://itunes.apple.com/pt/album/new-dawn/id953049235?app=itunes&ign-mpt=uo%3D4

I would probably be the bigger man here and just let them have the footage, with a written contract stating that you are allowed to release an edited version, for use in your portfolio/showreel. It's a live and learn situation... You may as well come out of it with something to show for your hard work, even if the band release something you do not want your name associated with.

Walkthrough for removing time limit. Might redo this in english.

Amen to this. Exactly. Bad things can happen when clarity and communication is not given across all concerned parties. Even if it's an unpaid project, there still needs to be clear deadlines agreed and understanding of what is to be delivered. Always keep control by retaining footage and submit viewing copies as low/SD resolution or with a fat 30% opacity watermark over the middle of the footage until you get paid. If you are to agree that you are to simply shoot and submit footage, get that in writing. Otherwise once you send the raw rushes, it is then up to trust that the person will pay you the agreed amount. Any verbal agreement that is made should at the very least be put into an email or writing - so there is some kind of record of what has been agreed to (legally binding or not) This will quickly prove if someone has gone against their word, straight up lied or not clarified conditions clearly. Luckily my memory is getting worse as i get closer to 40 so after I talk to people in person or over the phone - I ask them to put it into an email, which allows me to refresh my memory and creates a paper trail If you like. It allows easy tracking of progress and what has been agreed. Where applicable, get the relevant release forms/ permissions you need to cover your ass. As a photographer or videographer you simply need to ensure that you retain the rights to your raw images/ footage until you get paid or complete a submission to the terms of agreement to a contract. I'd say it is even more important to have written contracts between friends (especially when money is involved) - as that way, everyone knows where they stand - even if the project falls apart for whatever reason, you are more likely to remain friends afterwards, draw a line under it and put it down to bad luck. I'd much rather remain friends with someone if a project goes to the wall, and especially if it was out of their control. Over the years I've been duped out of about 6 grand by taking on projects from friends or for pitches - only to be given endless deferment promises, or simply no response at all after handing in an invoice. Those times I took the projects 'on trust' and the footage and final edits were sent before payment was received. Never again.

the G7 kicks ass the best Panny camera yet in my opinion , such a good camera for such a small price its a game changer - when paired with a Metabones XL speedbooster makes it a very serious film making tool - everyone on this forum should be using one

At least in Sweden and US states like NY, he has nothing. Its your videos and you can do what ever you feel like. They saw the camera, they know they where being filmed. No judge would buy that you have unauthorized footage when they are smiling, singing and goofing of in front of the camera. They own the rights to the music but never your video. And if you give them the finished video, they cant change it either. You have the creative rights to the video. At this point I would tell them that they have 3 options. 1. Let you finish the editing. 2. Buy the unedited footage from you, no edited sequences. You where planing on doing it for free, so you can give it to them really cheap ($1000 or something like that). 3. You walk away and give them nothing. Stay firm, you are the professional here. Stay calm and let them decide.

Quite a few things and some of them downright dangerous. I think I will let others post / discuss them [they are visible to anyone with a camera, no skill required to get to them], for the moment I prefer to concentrate on the word "bitrate" rather than on "screenshot" - if you get my drift :-)

Hi guys i shoot produced edited the whole 9 yards music video for free no money was exchanged or contract written for a local rock band ( i am making my portfolio and gaining experience). I delivered finished music video on time that i agree on resalable 3 weeks turnaround 3 reversions with a client ( they are not paying client but i am approaching this as professional and as paying client) and they love the finished video we all head input on the look and fell of the video. Lead singer of the group become professional editor over night since he seen some videos on you tube how to use avid. I told him there is more to editing then just buttons its a craft/art. Other 3 member of the group love the final edit but this main guy is now asking me to give him raw files so he can make changes of course nicely and politely i told him no that was not the deal at all and they head enough time to change what ever they like to a point. 3 other band member are staying out of it Before anything started i told them in the email that they will get 3 reversions full production editing, camera, lightning all the gear was provided by me and location but final edit is my to make and after final edit all the original files will be deleted and no money will be made of the original raw files sold ect so i can move on to next project. He basically is saying that legally those files are his since he is in the picture. I told him under Canada law since contract was not made and nothing was written or specified those files are my to do what ever i wish plus i have the original email them agreeing on the terms i asked for. My question is i have few more music videos coming up under same deal should i have some basic contract written up? Any ideas or insight would help Thanks guys

Had my first quick run yesterday with continuous Raw. I literally came home, saw the CF card in the mail, went out and captured some footage the last 30min before sunset. So its nothing special or perfect. But my first impressions are good. As a Blackmagic and Red shooter I haven't been a huge fan of the ML in the Eos-M and 5dmkii I had. But now, with a fast and ongoing camera. Ability to record audio. Option to convert to Losslessly compressed Raw, with a full frame and Full HD s16 sensor.. Its pretty nice. Might change my mind after the first crash... but so far, so good

a perfect example of being content with what one is given (or not being demanding). If this goes on I will consider lowering the target bitrate... :-)

Andy, you may be right. Most people don't realize how underrated Panasonic cameras are, especially for video. No over-heating or insanely high levels of moire, and the colours are pretty decent too. Also, the price is a Fraction of most other cameras that shoot 4k and can be dialed down to pretty Flat Profiles.

Looks really really nice. Could you share some info about camera settings and grading? You made it look really filmic and organic for NX1 material.

He's not a developer, he's a "Senior Marketing Manager." If Samsung is like many other semiconductor and consumer electronics companies, I very well might.

Unfortunately that's not how it works. The framerate is inversely proportional to the number of lines, not the number of pixels. Getting much more than 120fps in 1080p would require an entirely new image sensor. The reason is that all modern cameras (apart from some exotic high-end stuff) use "column parallel" sensors. The best affordable high-speed camera at the moment is probably the crowd-funded fps1000, if it's actually shipping yet. Please quit saying that without any evidence. The processor does not limit the readout speed of each individual frame. The RAM in the NX1 is fast enough to store the data to be processed in way under 1/30 of a second (you can see the clock speeds for the RAM in the kernel source). It can do that in its sleep. Literally. According to the source code, the RAM is running at 400Mhz in sleep mode. There is no way it is de-bayering, scaling, and encoding the video line by line without putting it in a framebuffer first. Yes I know a Samsung representative said the sensor was really fast in an interview, but the official Samsung website says otherwise. Furthermore every third-party test indicates otherwise. The proportionality between rolling shutter and lines of resolution in all real world tests agrees with my estimates. The information in the firmware release notes is consistent with those limitations. Every other camera ever made works like that. The only way the processor could determine the rolling shutter is if they forced the LVDS receivers on the main SoC to run at a fraction of the rate they could be run at. That would be spectacularly stupid, since there are much easier ways to cripple a camera. Even if they knew about the details of the camera's operation, I doubt Samsung executives would choose to limit the camera in such a dumb, arbitrary way. Unless you actually have evidence, stop spreading misinformation. It's a waste of time to keep explaining this over and over.

Guys- if there is a real effect, it can be measured and clearly A/B demonstrated. Folks argued endlessly that the full frame look was real. After I did the A/B tests with backing math folks stopped arguing. Not one person presented a single counter example (this applies to medium and large format too). Folks argue that it's easier and cheaper (FF) to get shallow DOF with larger sensors, however everyone agrees with that point. Caldwell designed the SpeedBooster... No one is disputing that old/different lenses look different. Only that the article is pseudoscience...

This is a Swedish store but their customer support is awesome so Im sure they ship abroad. The price is due to an damaged box, thats right box, not camera They are also selling the GH4, GH4r and GX8 at great prices. Probably only one or two of each, so dont wait if you want it. http://www.cyberphoto.se/info.php?article=DMC-G714140SI_B

Actually, my first thought was "it could use some diffusion." It's a little crunchy-sharp for my taste. Also, those skintones are WACK, man. Crazy flatness and oversaturation in the yellows. Some skin colors fare better than others, but none hold a candle to Panasonic/Blackmagic.

Underlit and not at all flattering. :/

The answer to that one is "it depends" but typically, its best to get the strongest signal from the source possible, and turn down the preamps in camera as much as you can. Typically due to the fact that the preamps built into cameras are (while not bad in the C100's case) not the greatest. That being said, it is possible to over modulate the source if the transceiver/receiver is too hot. Just kind of one of those situations where you need to spend some time playing with different combinations of settings to see what sounds best.

Man, with all due respect, we got it.

Hey dude - not sure how much you've tried but once you plug in a VideoMic Pro or something of the like, the appropriate options become available.

I think the RS on this camera will make wildlife filming on a 600mm lens a horrendous wobble fest

What does these two settings do? [113]| USERDATA_RAW_PACK | RAW_PACK_PACK |0x00710000| 7405568| [114]| USERDATA_RAWQUALITY | RAWQUALITY_LOSSLESS |0x00720000| 7471104| Will it enable me to spit out lossless RAW photos? I always wanted to see what the NX1 would do with lossless raw images because I noticed blacks gets crushed on the extreme end and it looks more like compression artefacts than something the camera would not be able to capture.

My favorite music video was one I did not shoot but edit, for free. It was a wild story provided by the band's lead singer. There were three days of shooting, around ten places with tons of actors and a big party in the end, tight schedule. Second and third morning I presented to them drafts from the intertwining little stories filmed so far, and they were enthusiastic. Of course I had spent some hours each night to edit that. Since it was a poetic story, I cut my own version, with much shortened story lines in dechronological order with occasional appearances of the singer. And a third version with the band more prominent. I made I-don't-know-how-many little changes (every single one well motivated) at the request of the band, and that took at least two weeks. A month or so later, the singer phoned to tell me that the manager (a guy who had a camera himself and, I believe, Vegas) was not satisfied with it and that he had found another editor. That was a shock. It was really bitter. I became friend with the new editor, but his version wasn't approved either. I said to him, this is not going to happen to me again. Later that year, the manager called me to ask if I was *free* to edit a multicam session of a gig. I hang up and never heard of them again. Personality rights (and specifically the rights of one's own picture) are more or less the same in every civilized country. I can't publish any recognizable face if the owner forbids it. And even if posing in front of a camera implies the will to have the image published, I can't do it because of the music. Even the band can't allow me if they had already sold the rights.

Why don't we just ban this fool

Very nice! BTW - Is it Madeira?

Otto, It doesn't work on the NX1 as there is no usr 117, the list only goes upto 114. There is no variable in the complete list for ADJUSTSHUTTERTYPE_ Here is the list from the NX1 from a st cap capdtm getusr +-------------------------------+-------------------------------+----------+--------+ + Data ID Name | Param ID Name + ID(Hex) +ID(Dec) + +---------------------------------------------------------------+----------+--------+ [ 0]| USERDATA_DIALMODE | DIALMODE_APERTURE |0x00000003| 3| [ 1]| USERDATA_SHOOTINGMODE | SHOOTINGMODE_APERTURE |0x00010002| 65538| [ 2]| USERDATA_IMAGESIZE | IMAGESIZE_NORMAL_28M |0x00020000| 131072| [ 3]| USERDATA_IMAGEASPECTRATIO | IMAGEASPECTRATIO_IMAGEAR_3_2 |0x00030000| 196608| [ 4]| USERDATA_IMAGEQUALITY | IMAGEQUALITY_RAW |0x00040003| 262147| [ 5]| USERDATA_ISO | ISO_AUTO |0x00050000| 327680| [ 6]| USERDATA_WB | WB_AUTO |0x00060000| 393216| [ 7]| USERDATA_AFMODE | AFMODE_SINGLE |0x00070000| 458752| [ 8]| USERDATA_AFAREA | AFAREA_SELECTION |0x00080000| 524288| [ 9]| USERDATA_DRIVE | DRIVE_SINGLE |0x00090001| 589825| [ 10]| USERDATA_BURSTRATE | BURSTRATE_RATE10FPS |0x000A0002| 655362| [ 11]| USERDATA_FLASHMODE | FLASHMODE_OFF |0x000B0000| 720896| [ 12]| USERDATA_METERING | METERING_MULTI |0x000C0002| 786434| [ 13]| USERDATA_MOVIEMETERING | MOVIEMETERING_MULTI |0x000D0002| 851970| [ 14]| USERDATA_LINKAE2AF | LINKAE2AF_ON |0x000E0001| 917505| [ 15]| USERDATA_BRIGHTNESSADJUSTGUIDE| BRIGHTNESSADJUSTGUIDE_OFF |0x000F0000| 983040| [ 16]| USERDATA_FRAMEEXPOSURE | FRAMEEXPOSURE_OFF |0x00100000| 1048576| [ 17]| USERDATA_MULTIEXPOSURE | MULTIEXPOSURE_OFF |0x00110000| 1114112| [ 18]| USERDATA_MULTIEXPOSURETYPE | MULTIEXPOSURETYPE_SAVEALL |0x00120000| 1179648| [ 19]| USERDATA_PW | PW_STANDARD |0x00130000| 1245184| [ 20]| USERDATA_SMARTRANGE | SMARTRANGE_OFF |0x00140000| 1310720| [ 21]| USERDATA_MOVIESMARTRANGE | MOVIESMARTRANGE_ON |0x00150001| 1376257| [ 22]| USERDATA_AFPRIORITYRLS | AFPRIORITYRLS_OFF_BALANCE |0x00160001| 1441793| [ 23]| USERDATA_OIS | OIS_OFF |0x00170000| 1507328| [ 24]| USERDATA_FACETONE | FACETONE_LEVEL1 |0x00180000| 1572864| [ 25]| USERDATA_FACERETOUCH | FACERETOUCH_LEVEL3 |0x00190002| 1638402| [ 26]| USERDATA_SMARTART | SMARTART_OFF |0x001A0000| 1703936| [ 27]| USERDATA_EVSTEP | EVSTEP_ONETHIRD |0x001B0000| 1769472| [ 28]| USERDATA_ISONR | ISONR_OFF |0x001C0000| 1835008| [ 29]| USERDATA_LTNR | LTNR_OFF |0x001D0000| 1900544| [ 30]| USERDATA_AEBRKORDER | AEBRKORDER_PZM |0x001E0002| 1966082| [ 31]| USERDATA_AEBRKAREA | AEBRKAREA_1OVER3 |0x001F0000| 2031616| [ 32]| USERDATA_WBBRKSET | WBBRKSET_AB3 |0x00200000| 2097152| [ 33]| USERDATA_PWBRKSTANDARD | PWBRKSTANDARD_SET |0x00210001| 2162689| [ 34]| USERDATA_PWBRKVIVID | PWBRKVIVID_SET |0x00220001| 2228225| [ 35]| USERDATA_PWBRKPORTRAIT | PWBRKPORTRAIT_SET |0x00230001| 2293761| [ 36]| USERDATA_PWBRKLANDSCAPE | PWBRKLANDSCAPE_SET |0x00240001| 2359297| [ 37]| USERDATA_PWBRKFOREST | PWBRKFOREST_SET |0x00250001| 2424833| [ 38]| USERDATA_PWBRKRETRO | PWBRKRETRO_SET |0x00260001| 2490369| [ 39]| USERDATA_PWBRKCOOL | PWBRKCOOL_SET |0x00270001| 2555905| [ 40]| USERDATA_PWBRKCALM | PWBRKCALM_SET |0x00280001| 2621441| [ 41]| USERDATA_PWBRKCLASSIC | PWBRKCLASSIC_SET |0x00290001| 2686977| [ 42]| USERDATA_PWBRKCUSTOM1 | PWBRKCUSTOM1_SET |0x002A0001| 2752513| [ 43]| USERDATA_PWBRKCUSTOM2 | PWBRKCUSTOM2_SET |0x002B0001| 2818049| [ 44]| USERDATA_PWBRKCUSTOM3 | PWBRKCUSTOM3_SET |0x002C0001| 2883585| [ 45]| USERDATA_PWBRKCUSTOM4 | PWBRKCUSTOM4_SET |0x002D0001| 2949121| [ 46]| USERDATA_AFLIGHT | AFLIGHT_OFF |0x002E0000| 3014656| [ 47]| USERDATA_AEL | AEL_AEL |0x002F0000| 3080192| [ 48]| USERDATA_COLORSPACE | COLORSPACE_SRGB |0x00300000| 3145728| [ 49]| USERDATA_QUICKVIEWTIME | QUICKVIEWTIME_OFF |0x00310000| 3211264| [ 50]| USERDATA_DATETIMEIMPRINT | DATETIMEIMPRINT_YYMMDD |0x00320001| 3276801| [ 51]| USERDATA_MONITOROUT | MONITOROUT_LCD |0x00330000| 3342336| [ 52]| USERDATA_HDMIOUT | HDMIOUT_1080I |0x00340003| 3407875| [ 53]| USERDATA_MOVIESIZE | MOVIESIZE_FHD |0x00350000| 3473408| [ 54]| USERDATA_MOVIEFRAMERATE | MOVIEFRAMERATE_FPS30 |0x00360005| 3538949| [ 55]| USERDATA_MOVIEFADER | MOVIEFADER_OFF |0x00370000| 3604480| [ 56]| USERDATA_MOVIEAE | MOVIEAE_P |0x00380000| 3670016| [ 57]| USERDATA_3DMOVIEFRAMERATE | F3DMOVIEFRAMERATE_FPS30 |0x00390001| 3735553| [ 58]| USERDATA_LDC | LDC_ON |0x003A0001| 3801089| [ 59]| USERDATA_ISOSTEP | ISOSTEP_ONE |0x003B0001| 3866625| [ 60]| USERDATA_ISOEXPANSION | ISOEXPANSION_ON |0x003C0001| 3932161| [ 61]| USERDATA_SMARTFILTERTYPE | SMARTFILTERTYPE_OFF |0x003D0000| 3997696| [ 62]| USERDATA_ISOAUTOMAX | ISOAUTOMAX_ISO1600 |0x003E000B| 4063243| [ 63]| USERDATA_MFASSIST | MFASSIST_ENLARGEX5 |0x003F0001| 4128769| [ 64]| USERDATA_FOCUSPEAKING | FOCUSPEAKING_WHITE |0x00400001| 4194305| [ 65]| USERDATA_HDR | HDR_OFF |0x00410000| 4259840| [ 66]| USERDATA_FDMODE | FDMODE_OFF |0x00420000| 4325376| [ 67]| USERDATA_IZOOM | IZOOM_X1 |0x00430000| 4390912| [ 68]| USERDATA_3DSHOT | F3DSHOT_OFF |0x00440000| 4456448| [ 69]| USERDATA_3DAUTOMODE | F3DAUTOMODE_ON |0x00450001| 4521985| [ 70]| USERDATA_DMF | DMF_ON |0x00460001| 4587521| [ 71]| USERDATA_FASTCONTINUOUS | FASTCONTINUOUS_OFF |0x00470000| 4653056| [ 72]| USERDATA_HDRLEVEL | HDRLEVEL_LV2 |0x00480001| 4718593| [ 73]| USERDATA_OBJECTTRACKING | OBJECTTRACKING_OFF |0x00490000| 4784128| [ 74]| USERDATA_PANORAMATYPE | PANORAMATYPE_2D |0x004A0000| 4849664| [ 75]| USERDATA_SMARTPROMODE | SMARTPROMODE_BEAUTYFACE |0x004B0000| 4915200| [ 76]| USERDATA_EFS | EFS_ON |0x004C0001| 4980737| [ 77]| USERDATA_WIFIMODE | WIFIMODE_OFF |0x004D0000| 5046272| [ 78]| USERDATA_VIDEOOUT | VIDEOOUT_NTSC |0x004E0000| 5111808| [ 79]| USERDATA_SMARTAUTORUNSTATE | SMARTAUTORUNSTATE_OFF |0x004F0000| 5177344| [ 80]| USERDATA_3DFORMAT | F3DFORMAT_SIDE_BY_SIDE |0x00500001| 5242881| [ 81]| USERDATA_FOCUSPEAKINGLEVEL | FOCUSPEAKINGLEVEL_MID |0x00510002| 5308418| [ 82]| USERDATA_LENSMOUNT | LENSMOUNT_NX_MOUNT |0x00520000| 5373952| [ 83]| USERDATA_OVEREXPGUIDE | OVEREXPGUIDE_OFF |0x00530000| 5439488| [ 84]| USERDATA_SHUTTERMIN | SHUTTERMIN_AUTO_0 |0x00540001| 5505025| [ 85]| USERDATA_DEPTHBRKAREA | DEPTHBRKAREA_1 |0x00550003| 5570563| [ 86]| USERDATA_INTERVAL | INTERVAL_OFF |0x00560000| 5636096| [ 87]| USERDATA_TIMELAPSE | TIMELAPSE_OFF |0x00570000| 5701632| [ 88]| USERDATA_VIDEOSTABILIZER | VIDEOSTABILIZER_OFF |0x00580000| 5767168| [ 89]| USERDATA_EXTERNALFLASHMODE | EXTERNALFLASHMODE_ATTL |0x00590000| 5832704| [ 90]| USERDATA_WFLASHMODE | WFLASHMODE_OFF |0x005A0000| 5898240| [ 91]| USERDATA_WFLASHCH | WFLASHCH_1 |0x005B0000| 5963776| [ 92]| USERDATA_WFLASHMASTERMODE | WFLASHMASTERMODE_OFF |0x005C0000| 6029312| [ 93]| USERDATA_WFLASHGROUPAMODE | WFLASHGROUPAMODE_OFF |0x005D0000| 6094848| [ 94]| USERDATA_WFLASHGROUPBMODE | WFLASHGROUPBMODE_OFF |0x005E0000| 6160384| [ 95]| USERDATA_WFLASHGROUPCMODE | WFLASHGROUPCMODE_OFF |0x005F0000| 6225920| [ 96]| USERDATA_HDMI3DFORMAT | HDMI3DFORMAT_SIDE_BY_SIDE |0x00600001| 6291457| [ 97]| USERDATA_LENSZOOMSPEED | LENSZOOMSPEED_LOW |0x00610000| 6356992| [ 98]| USERDATA_LENSMFSENSITIVITY | LENSMFSENSITIVITY_NORMAL |0x00620000| 6422528| [ 99]| USERDATA_SEPARATEAEAREA | SEPARATEAEAREA_OFF |0x00630000| 6488064| [100]| USERDATA_OLEDCOLOR | OLEDCOLOR_OFF |0x00640000| 6553600| [101]| USERDATA_MULTIMOTION | MULTIMOTION_NORMAL |0x00650002| 6619138| [102]| USERDATA_AUTOSHUTTERMODE | AUTOSHUTTERMODE_BASEBALL |0x00660000| 6684672| [103]| USERDATA_RVFDPSIZE | RVFDPSIZE_FHD |0x00670000| 6750208| [104]| USERDATA_RVFDPFRAMRATE | RVFDPFRAMRATE_FPS30 |0x00680005| 6815749| [105]| USERDATA_SYSTEMFREQENCYSTATE | SYSTEMFREQENCYSTATE_LIVEVIEW |0x00690000| 6881280| [106]| USERDATA_HDMI3D | HDMI3D_OFF |0x006A0000| 6946816| [107]| USERDATA_MOVIE_GAMMA_CONTROL | MOVIE_GAMMA_CONTROL_GAMMA_D |0x006B0002| 7012354| [108]| USERDATA_MOVIE_LUMINANCE_LEVEL| MOVIE_LUMINANCE_LEVEL_0_255 |0x006C0000| 7077888| [109]| USERDATA_MOVIE_AF_MODE | MOVIE_AF_MODE_CONTINUOUS |0x006D0001| 7143425| [110]| USERDATA_RAW_SAVE | RAW_SAVE_OFF |0x006E0000| 7208960| [111]| USERDATA_SSIF_RAW | SSIF_RAW_OFF |0x006F0000| 7274496| [112]| USERDATA_RAW_BIT | RAW_BIT_14BIT |0x00700000| 7340032| [113]| USERDATA_RAW_PACK | RAW_PACK_PACK |0x00710000| 7405568| [114]| USERDATA_RAWQUALITY | RAWQUALITY_LOSSLESS |0x00720000| 7471104| +-------------------------------+-------------------------------+----------+--------+

Thanks, Aaron. Looks quite good. There is still some roughness in sky. GH4 codec adds dithering. It helps but the JPG photo is still better. How did you do that capture? Can you remember settings? Looks cineD to my eyes:

(Most) musicians are a PITA. You learned your lesson! Now do what feels better to you. If they give you money for the raw footage, take it.

Nice to read different ideas every once in a while! But I must confess most of my treasure findings in YouTube are not viral and probably don't have 1000 views, so I would have find less treasures... The idea of providing everything on libraries is great though!

If you look at the github closely it isn't 98fps it is 23.98fps options.

Vimeo still trumps YouTube for quality & there don't seem to be any other realistic options at the moment. So i'm going to stop worrying about their new auto select function, since every viewer has the option to choose the quality of playback if they want to. I've got until September to decide whether or not to renew. Perhaps if you leave some constructive feedback, things might get better - since telling them you don't want this function isn't going to work. Work with them to make it better seems the only solution.

The definitive response needs to come from a lawyer well versed in Canadian law. But that notwithstanding I think the tale you tell is a reminder that things do go wrong with friendly arangements and it is always best to have something written down. I would be tempted to have a lawyer draw up a template contract/agreement for this type of work so that all parties know what is proposed. A little investment and thought in advance could save a lot of needless hassle.

Here's a clip the include both the A6300 and the NX1. Not the greatest example because it looks like the saturation and contrast are not turned down on the NX1. I did not shoot it. Looking at crop fact, rolling shutter, ergonomics, battery life and over heating the NX1 wins. Looking at the picture I see in the video above I like the A6300 better.

Nice shooting Gpanazio By the a tip for anyone trying to avoid rolling shutter... Wide angle lens reduces it a lot.

Ok Andy. That's enough, now. (jk) Everytime you say stuff like that, I keep on kicking myself in the head (I'm flexible like that) for not jumping on that double cashback deal. And my head's really hurting right now. You do realize we all want one now, right? But not all of us have one... yet. The build-up is killing me. I got to get to the bottom of this and see it with my own eyes. Probably be picking one up in Stockholm end of the month, heard they have the best prices at the moment.

What else is in this DEV menu? Care to take some screen shots and upload? Also on behalf of everyone thank you your hard work is much appreciated.

Awesome job, dude! Tell me about those flares though, lens, method?

Regarding focus point hacks, is there any way to implement: 1) control the size of the AF focus box in video mode, and 2) be able to view the AF focus box as it tracks subjects in continuous focus (or face detect) in video mode? (similar to the GH4)

Thats why im thinking 2.5k @ 30fps with significantly low RS would be amazing.

Its happening! JVC is sending me one

HI, just shot this, 5d3 ML raw 1080p 25fps, FF and 3x crop mode, all handheld with 70-200 f2.8 IS II (sometimes i used fence as a support). Very little CC in resolve, all clips set for BMC profile and added one simple BMC lut. I am soooo pleased with the color out of this camera, just love it. And i am shocked how easy it is to shoot now - this clip i edited entirely straight from two 128GB CF sandisk cards with two usb 3.0 card readers, used MLVFS so didnt have to copy anything to HDD. Just inserted full cards, "mounted" via MLVFS and almost instantly opened in resolve 12. Fast CC, exported as 10bit DNxHD444 1080p, cut in premiere and exported as 4k h264 - 4k just for youtube better 1080p quality. Do you guys think that upgrade to 1dx mark ii would be really an upgrade to 5d3 with ml? Right now autofocus is the only reason for me to think about 1dxII, I am worrying about loosing 1080p 14bit raw for 1,4x crop 4k (beautiful in fact) but without raw flexibility.

Mercer, I am both hobbyist and prosumer in the sense that I do short movies (+- 3 minutes) to place on vimeo to satisfy my "artistic" needs AND shoot shor clips with commercial value for Microstock for living. Because of that I'm of course always looking for best possible quality gear for value/money. So while profesionalism is the goal, minimalism in terms of quality for easy transportation for on location shoots is needed- for things like these, just gimme a year or two to get better in the edit part So when you mentioned the sensor is demanding, you actually pointed out the reason why I asked. If I may ask you for a bit of your time: what do you mean by that in connection to lenses and output quality? A few people already mentioned it, but I'm hoping for deeper explanation.

Thanks Squig! I think I'll try ML again! Thanks for posting all the links, makes it so much easier to find all the info.

As far as I know it DOES NOT. However, you can easily get the previous firmware version that still allowed for it. Where? I don't know because I dont have the 5D I have a 6D, but everyone was talking about it a few months back and they said it was really easy. That newest firmware from Canon didn't offer anything that Magic Lantern doesn't already do a better job of anyway, so Magic Lantern is still the win.

The responses here have been very thoughtful, and have given me much to consider. I may modify my product direction a bit, but on the whole, it seems that my ideas aren't entirely crazy.

The banding in that clip is present in the ungraded half too and is just due to compression. You can avoid banding to an extent by using grain. The noise forces the encoder to add more data to those areas of the image. However, with h264, dark areas of the image will always become blotchy unless it's at 30mbps or above. One thing I've found is that some 3D LUTs (especially Osiris) causes banding where others don't.