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8k is the cost to replace each cartridge.

Chant said he might look into increasing resolution and maybe bitrate for the MJPEG, honestly I think the focus should be more on the MJPEG rather than the HEVC which is just painful to work with already and any higher bitrate will make it even more painful to work with than it already is, so instead of having a thorn in our bums, MJPEG would be the better pick here for easy editing.

I see the NX1 and NX500 have an MJPEG codec, but it's only used for the 640x480 recording mode. But the codec is there, right? Maybe we could persuade it to record at a higher resolution and bitrate in 4:2:2 like the Canon 1D C. (Ok, wild leap there, but any improvement would be an interesting discovery). Also the silent shutter, in this mode it does raw from a rolling shutter scan of the sensor, just like a video mode... the raw data must be lurking in the buffer somewhere whilst it runs in video mode... now what we need is a genius to dive in a grab it

When Im off work Ill post up what Ive been doing and the things that have happened with the route Im doing. I suggest that otto k and vasile when he is back start a new thread containing the work they have done, as they are pertaining to different things and their updates come more quickly than mine! I will also post up the info in a github of the progress but I think it would help the organize the information better

Welcome to my rolling review of the Sony A6300. Like the rolling shutter of the A6300 this review takes a long time to get from the top to the bottom so grab a hot drink (be careful not to overheat) and enjoy the ride... Read the full review on EOSHD here

I have found a massive issue regarding record limit on the HEVC, it appears to be more the fault of HEVC screwing around with us rather than the camera or file structure issues. I tested the MJPEG codec this time around with a 64GB card and the camera plugged into the wall with no battery power to do a record session. Lets just say, just not did it pass the 75 - 78 minute limit the HEVC exhibits. It clocked around ~620 minutes before running out of space on the 64GB card and froze, I am pretty sure it would last even longer if I had used the 128GB one. Now again this is a low bitrate, low resolution video mode that works the sensor less, so I did the test again but this time with 480p HEVC at 25fps, and once more it crashes at 75 - 78 minute mark, its hard to tell the exact mark because its random most of the time. I tried both HQ and Normal bitrate but it still crashes above 75~min. files for HQ are no more than over 2GB and the Normal one is half that. Its strange and mystifies me, which concludes that it could be a codec limitation, if the MJPEG can do it, why can the HEVC not do it? Sounds really strange, I am testing the 720p mode as we speak, if it wields the same results I wont bother posting about it, someone else tested 1080p mode which seemed to suffer from the same issues. MJPEG is the only one that not just broke the 78 minute mark but it completely blew me away how long it recorded, it was still going until next morning until it ran out of space and froze the camera. I will also do a third record session with the MJPEG with the 128GB card to see how long he can sustain record time, I am going to assume its going to be over 1200 minutes which will be quite long time indeed. I decided to share this details simply because it struck me as weird, why would the MJPEG reach 58GB while the same resolution HEVC did not even reach 3GB before stopping, its just puzzling.

Yes huge thanks to Otto, amazing work. I wonder if the Magic Lantern guys might want to collaborate with him on it?

I've tried it. It's very early days with this mode I think. The quality is just not there yet, very highly compressed and soft. Once new settings are discovered I am sure it will improve! The 2.5K Samsung originally had on the pre-production model was pretty good quality and the setting must be lurking in there somewhere.

We are talking about Canon. Remember about the "see the impossible" marketing campaign for a useless website ? Remember the "revolutionary" XC10 ? Remember about the "great for video" 80D that can do 1080/60p with AF in 2016, which also required an additional $200 "Power Zoom adapter" ? Should I go on ? I personally remember the day I choose to invest in Canon gears, I'm only waiting for the 5Dmk4 now before switching definitively to Sony and Panasonic.

Thought it'd be fun to have an official topic for footage from the new Samsung hacks so it doesn't clutter up the hackers' topics and get lost in the shuffle. Anyone using the higher bitrate on the NX1 or the new 2.5K mode on the NX500? Veeeeeeeeery interested to see some samples from each.

I was slightly considering this as a C-camera but I think it will just collect dust. I do love the monster specs from Sony, however there are many annoying issues to go with that as well. It would be ace to get a mirrorless or DSLR camera that shoots 2.5k, 10 bit, has high quality slow motion, decent DR. Lovely colour and a flexible mount. (Almost a Blackmagic!). I feel that top quality, affordable 1080p has been skipped for brittle, low bit-rate, marketing grabbing 4K. Little gripes aside, I think some people will get some great use out of the A6300.

As promised, here are some Before-After + settings on how this was graded : Settings : Saturation : 53 Fade : 30,6 Sharpen: 11,1 Lut - Sunderland (DeLuts) @ 57,4 Intensity Contrast/exposure are done individually, also forgot to turn off grain for some of the before shots, sorry ! Hope you guys like it =)

ha, look who doesn't want anyone going off on a tangent. love you, man.

The XC10 was Canon's surprise last year at NAB. And surprise it did.

http://menexmachina.blogspot.com/2018/07/rec709-luts-fuji-color-profiles.html

Can I just start by saying a massive thank you to Otto k for the work he has done on the NX500, Massive thanks also to vasile, you guys are so clever and talented. And well done to everyone looking at the different sections of code, interpreting them for us, and creating this hacking scene. Props to everyone who tests out the hacks and reports back. So .... Can we prioritise what we hope the guys will achive with the NX500 hacks. Maybe someone knows how to make a poll. I know this most probobly wont affect how the guys work, but it might be interesting to find out. Following it here and dpreview is riveting . I'm checking the forums all day, everyday. I'm hoping for ....... better slomo in 1080, and for vasile to make his announcment in due course.

Let's tease out and document the full functionality of the prefman tool, what settings it can change and how... https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/Prefman_tool.md

After a long time, I finally produced a new short movie. This time with the Sony FS7, probably not the last time. Coming from a RED Epic, I have to say: The dynamic range is incredible! Shot in CineEL S-LOG 3, 4K 24P. Color graded in Davinci Resolve. Only used small LED lights.

The new titanium PL mount SLR Magic Anamorphot cinema lenses are designed for RED users, Arri and Canon professionals. They're also a great fit for the Sony A7S II and Samsung NX1. Read the blog post here

25fps in jpeg, 4608x2592, aspect ratio 16:9, picture quality "super fine", has a bit rate of about 100MB/s. 25fps in jpeg, 6480x3640, aspect ratio 16:9, picture quality "super fine", has a bit rate of about 170MB/s. The Vasile hack has demonstrated that the Samsung nx1 is able to shoot video over 150MB / s so we are not very far from a new Magic Lantern for Samsung Nx1.

It's interesting. I avoided shooting SLOG this time. Went for Cine4 and graded with FilmConvert, Kodak, A7S II profile. Colour definitely seems nice.

The "tweaking the ear of a hamster" analogy made me laugh.

If you look at upcoming cameras like the L16 I think you are going see the a majority of cameras in phones and consumer and prosumer cameras are going to look very different than they do today. Will it technically be the same? No, but as JCS states computational photography is going to be wildly disruptive to the industry. It's like comparing bows and arrows to guns and bullets.

Yikes...that's pretty bad. Now that the Varicam LT is only $500 more, I don't see that much reason to pick the C300 II unless you're married to Canon or actually use AF for serious work.

Yup, its a great camera. What the critics always forgett is that the competitors cant touch it. Closest is the Sony AX100 and that has what, 0.2 backwards steps of DR? Imo videomakers have this wierd thought that Canons products are aimed at Indy Art Videos. When its probably the last thing they care about.

The Video IS feature wasn't available when he shot this (I'm pretty sure). That's correct. I just read the post on dvxuser where he mentions that.

Just got a call from the delivery firm. The LS300 is delayed untill tomorrow. Suspect its because what the a-holes in Brussels did. If only that had been the worst consequence of such an act.

But it's 4k 10-bit 4:2:2 via the SDI in a probably quite natural rec.709 color that you could record to ProRes HQ 422. If you don't want to grade too far into stylistic ways or bend the colors, that could actually give good results for a lot of people. The question is just how much dynamic range you'd have with that in comparison to everybodies MILC darlings that do a flat 8-bit 4:2:0 image... plus whatever the low light behaviour is.

i see now, thanks again for taking the time

Currently, I'm using the RJ Focal Reducer 0.72x, Helios 44-2 MMZ and Helios 44m, and Bolex Moller 8/19. I'm considering trying some EF taking lenses, so if any of you in here have any good recommendations for some nice EF lenses to go along with my Baby Moller, I'd appreciate it. Here's a recent video I just shot with this setup. GH4 + RJ Focal Reducer + Helios 44-2 MMZ + Baby Moller.

Can't wait for your review I hope it's not that good, as I just bought an AF100 :o

Anyone here uses this kind of cameras? I was thinking about buying one to play a little bit.

I disagree personally. I would rather shoot ProRes if I'm doing the editing - but hey, to each their own. I'd prefer to shoot Alexa at 2k ProRes 422HQ than the RED One's Redcode @ 4k - but hey. I'm not sure how you would leave it on when you need to change a battery..? I'm not sure what you shoot, or how you shoot, but it is annoying/takes some getting used to, to plan your battery changes, and swap out when a battery may still have up to 25%+ left to ensure you won't need to swap between takes, or just before a take. Not to mention it sucks significantly more power than say an Epic. Also, sure you get a picture... but there's a big ugly RED logo on top of it - hardly easy to frame, expose and set focus... Anyway Is the F3 too big as well, or just not interested because 'Sony'? So why not go for one of the many other options? Or still too big? I'm not sure if this is to direct your purchase decision, or just a general discussion... I don't mind the FS700 coupled with a Shogun (though I don't like the image straight out of camera) but overall I'd probably go with the A7sII. Personally have never had an issue with Sony colours.

@vaga it depends on the setting, but this tool is, IMHO, better for data gathering as it has access to things some others don't. Oh, and for backup.

I believe the creator posted it on the forum when it came out.

I can shoot a comparison unless Andrew does. My micro arrives tomorrow.

Let me know if you'll be at nab, I'm alway down to meet more people. Actually even if Andrew doesn't make it for some reason, I see no reason the rest of us can't get together.

Compressed raw video

Panavision Anamorphics have only flare subtly. It's enough to show up, but not enough to draw attention. Perfect, IMO. I don't see these as rentals at all. Maybe VERY low-end rentals, but a lot of owner ops--the types with Amiras and REDs--will probably jump on these.

I was looking at this earlier and it works the same as other settings where they don't update what is in the menus. However there are options for saving to memory and files etc which may allow for changes to be made and saved.

Oh yeah! Who can forget THAT!?

Looks nice. Would love to have them, but as you say, more of a rental. NX1 looks fab as usual.

A7S II was Shogun, but the Brighton video above was all NX1 internal H.265.

Hi everyone, Looping versions of my tracks are done on my Fantasy and Sci-Fi pages. (The ones that didn't lend themselves to looping will simply stay as is.) I'm now busy creating looping versions on my Action page. Here are the newest looping tracks: On the Fantasy 5 Page: “The Seventy Seas" “Home Forest" http://soundimage.org/fantasy-5/ On the Fantasy 6 Page: “Clock Maker the Hero" "Dreamy Game Menu" “The Idol" “Secret Sea Cave" “Forest Chase" “Dreaming in Puzzles" “Kingdom of Lost Dreams" “Exotic Island" http://soundimage.org/fantasy-6/ On the Action Page: "Steamtech Mayhem" “Surreal Chase" “Techno Gameplay" “Street Mayhem" “Escape" http://soundimage.org/action/ Daily updates are here: https://twitter.com/EricMatyas https://www.facebook.com/soundimage.org Playlists are here: https://www.youtube.com/channel/UC6mnTEE6xP74YcZDpkKGy-A/playlists Have a great week! Eric P.S. If you find a non-looping track that you'd like to loop...(like on a page I haven't done yet)... feel free to send me an email and I'll see what I can do.

Thank you all for kindly sharing your footage. Very helpful. I thing i'm in love with the old fat 5d3's raw image...

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.

Sony's quality control recently has been the stuff of toilets.

Would still call the doctor.

OK folks - here's the complete product link list from the video. Lord have mercy - that is one tedious process. The dang sellers had better NEVER change those links or I'm crackin' skulls! Products discussed in my Video in the original post: "One size fits all" Cage - $149 Movcam BMPCC Cage - $323 Fotga Follow Focus - $170 Follow Focus Speed Crank - $13 Giottos Quick Release Adapter - $38 Offset Riser Clamp - $18 Cavision Matte Box - $99 Cavision Matte Box Rail Mount Clamp - $28 Cavision Matte Box Riser Bracket - $15 XT Power Battery - ~$60 (On today's date - Feb. 24th it's out of stock like I mentioned might happen) Fotasy Rods - $15 Fotasy Rod Connectors - $5 Neewer Handles - $30 Fotga Shoulder Pad - $15 Flashpoint Counter Weight - $30 Glide Gear Portable 4" Jib - $159 Davis & Sanford Bowl Mount Tripod - $159 Davis & Sanford "Airlift" Tripod (The taller one) - $149 Carry Cases - Stanley "FAT MAX" Tool Box - $35 online price. (Will almost always be only $25 if you can find them locally.)