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I'd love to see someone post some footage from the new high bitrate 2.5k hack! Let's remember, this topic is for footage and discussion of footage, not general discussion or whining about the community. Thanks!

I kind of hope you're trolling, but I feel compelled to respond anyway. tl;dr: Nobody has been making any implied promises, and your suggestion had already been tried and failed before you posted it. First of all, nobody is claiming to be working on super-duper secret projects. Everyone has been very clear that they are doing this for fun in their spare time. From what I have read, nobody is releasing much since there isn't much interesting to release. For what it's worth, there have already been results, in particular from Otto and Vasile. Both of them made no promises yet delivered exactly what they said they expected to do. Vasile claimed to have found how to increase the bitrate, and provided a video as proof. Yea he could theoretically have faked it, but I see know reason to think that at this point. Otto stated his intentions very clearly and his results have already proven useful to people who want to take videos of events longer than 30 minutes (as well as anyone who wants to investigate their camera further). You got radio silence on your suggestions because people were already working on that and ran into problems that you did not address at all. In case it's too much trouble for you to actually read what people have already written, the issue was that if the camera app is killed it freezes the camera. It's hard to replace an app if you cannot even remove it. If you think you know how to prevent that, I would love to hear it. If you want "traction" in this discussion, try actually being helpful. Regarding the DRIMeV SoC itself, I mostly agree with your educated guess. It is almost certainly the same die, and the ARM cores are 100% identical. Unfortunately that's not saying much at all since most modern ARMv7 cores are identical as far as the software is concerned. It's the details of other blocks that would determine whether or not the important components of the camera application run or not. I can't tell just from skimming the kernel source code. It takes under 5 minutes to find and download the firmware update from Samsung's site. If you really don't have 5 free minutes in your life, I don't understand why you are wasting time criticizing people who have actually accomplished things and posted them here. If you are 1/2 as smart as you make yourself sound, it should take you less than an hour to unpack all the components of the firmware. I had never unpacked a firmware before, but it only took me two evenings to get all the major pieces out. The offsets, sizes, compression, and filesystems are almost all documented right here in this forum, so there is no excuse not to take a look if you really want to test an idea. I totally agree that the ratio of people waiting with high expectations to the people working on it is rather high. The Magic Lantern forums are just like that on a larger scale, but that doesn't change what they have or have not done. You need to keep in mind that this forum is a community of filmmakers, not hackers (or even "photographers"). The point of this thread in the first place was to show interest in modifying a camera, at which I'd say it has admirably succeeded! Finally, nobody cares that you're a busy person. So you like your HoloLens and want to play with it. Cool story. We're all busy people too, so suck it up and either contribute or go back to lurking. Sorry for the tone, but that's because I can never stand people who drop into discussions and claim that they could do it all better if they didn't have so many more important things to do, yet don't contribute anything useful. /rant

I actually worked on a custom speed booster for a Kinimini4k. the kinemount is exactly the same as a PL mount but with a ffd of around 20mm(from what I remember) rather than the usual 52mm ffd of true PL. So their PL mount which you'd use for running say s4's or ultra primes is just a PL-PL extender tube of 32mm thickness. the EF mount is a tube of 24mm thickness with electronic contacts and a ef mount instead of a PL mount on the front. Effectively you could make a Leica M mount or just about any mount. infact I think kinefinity will manufacture custom mounts at your request, and have recently started offering their own speed booster (i think based on the custom work I undertook for Rob Bannister). Personally i think the kinemount is the most important design attribute of the kinifinity cameras. infact with a speed booster type adaptor the kinemax is just about the closest thing you can get to the new 8k vista vision Weapon from RED. take some rented otus lenses and a modified speed booster ultra (the e-mount replaced by a PL mount) and you have genuine 6k resolution (both in sensor terms and optical terms). There are not many sensor/lens combinations from other s35 setups that can really deliver such resolution performance.

Wow, a conversation about a new camera release has turned into arguments over ProRes licensing? Kinefinity are actually a small unit in a huge Chinese astronomy imagery company, I'm sure they have all this stuff sorted. Aside the negativity... this camera is a very compelling option which needs better worldwide support. I'm excited to see more of this camera soon.

Well the A7S colour weaknesses are sadly all too clear in that clip. Noisy, compressed, inaccurate, thin and dreadful on the Rec.709 conversion, only the custom LUT (with a lot of expertise efforts) can save it even after that dodgy white balance, mixed light, exposure all remain difficulties faced by Sony users. Sony need to make it EASY to get Canon or Nikon like colour from their cameras. They should really trash their entire picture profiles line-up and start again.

I have noticed the same with many M43 and c mount lenses on the A7rii. For example I find myself using the SLRmagic 25 0.95 in S35 more and more, and any vignetting/loss of resolution happens at the very corners of the frame which go away when I create a 2.35:1 crop. Anyways the resolution of many anamorpic lenses was not that great in the edges either so...

We don't even know if the nx1 benchmarks does random or sequential reads. Or if it's threaded. It's complicated.

Wow wow, that is an amazing deal on the battle test KineMINI 4K!!! Seriously considering that now... But no David, must resist the temptation to spend money! & be content with what you have now :-) Wonder how long until they'll have Battle Tested Terra bodies for sale? Probably not after a year, maybe two years from now? As I really like that ultra small form factor. I think I can squeeze out that much more lifespan from my Sony PMW-F3 / BMPCC until Terras show up as a Battle Tested deal.

They only have hamsters working on the DSLR video side, they transferred the more intelligent bunny rabbits to the Cinema EOS department. Sony only have guineapigs.... Us!

You do bring up similar points about the nx of which I was thinking. But unless we can get the chips uncapped and analized there is no way to know for sure. The power requirement of the srp may have made samsung switch to a asic block for the nx500, as the drimev-s also shows up in the fcc docs as running the not released nx mini 2. Now as I stated before there is not much I can post showing what Ive been doing. Dumping ip code is not something I wish to do as that opens a whole lot of legal grey area. Theres a reason the sources dont include everything. They reuse a lot of their ip, and just update the functions inside, as I said I have seen much reference to the nx300 but when you compare the two files there are changes conducive to the hardware the nx1/nx500 runs. By all means I did not promise anything, although my goals have been stated. With the warning that it may not work the way I intend and doing the due diligence to document and track changes over versions and to compare the findings to the nx500. As you seem to know your way around coding you understand the complexities of binary blobs and reversing them back into c. The script stuff that otto k and vasile are doing show promise, and in the past month things have moved very fast. If you were around when the gh2 was being modded it took quite a while for ptool to happen. Not saying they are the same but having the ability to up bitrate and access other parts of the os is nothing to scoff at. I can either keep posting tiny parts of what Im finding and documenting as I go or do what I have been the past two weeks and work and ignore what is going on here until situations like this arise and I feel compelled to reply.

I first think of what I am planning to go and shoot, then I pick the one that's most suitable. Say, you want a crashcam, great: the C-mount APS-C one it is. Good for quirky character too, like the Zonlai or the Zhongyi/ZY Optics (with a bit nervous bokeh and weird purple flares). Want some smooth 'n chill bokehliciousness and/or lowlight? The SLR Magic will get you a long way. More serious stuff with rigging? The Veydras (yeah, I know they are overkill, but I jumped on their Kickstarter campaign as I figured these would be a great investment and asset to me in the future). They're especially nice for consistent results. Contax Zeiss if you want more of a look straight out of the lens, but also with some serious quality to 'em (w/ Zhongyi Lens Turbo II EF - M43 with K&F Concept C/Y - EF adapter). The Lumix one for electronic control, so more for stills/hybrid than purely video. So yeah, to me there's really something to say for each, they all render and handle differently. But yeah, sometimes it can be nice to just go out and shoot with the fixed set-up LX100 as well.

The KineMAX 6K does not have ProRes. Only the JUST ANNOUNCED 6K camera does. I doubt that Kinefinity would switch from Cineform to ProRes without getting proper licensing. Considering that everything Kinefinity has ever promised they have apparently delivered on time and time again. Just because it is a Chinese company doesn't mean they indulge in seedy business practices. Personally I'm looking forward to picking up the 4K after this lowers the price of that camera. 2K cineform is plenty for me Especially with that locking Nikon mount speedbooster.

The Terra has a lot of advantages over the URSA Mini 4.6k. - Higher Resolution. - Switchable shutter (the irony). - Higher FPS. - Lightweight, smaller and more modular. - Kinemount. - Choice between V-lock and Sony batteries. Blackmagic obviously have a much stronger sales channel and a vast user base . Plus the image quality comparison is up for questioning. Still, it's a very interesting prospect I'm very keen to explore.

After the price drop and the latest firmware update, it seems like the best "workhorse" option in the market. I own the NX500/NX1 and usually rent the C100ii or C300 for paid jobs, so I will need to buy a dedicated video camera soon (September) and I would like it to be 4K but modestly priced, and I am not convinced with the Sony options so far.. I will wait, and closely follow the market until then, but this JVC, considering the cost and some innovative implementations, seems more and more appealing by the day.

I should get paid for this babysitting work!

I've been shooting a lot with my BMMCC for a short, but it's not test footage or I would have happily shared a ton by now. Soon though...

5D3 in raw mode 24/25fps 1080p 16:9 records 83-84 MB/s. Which gives 5GB per minute. 64GB is 12 minutes, 128GB is 24 minutes, 256GB is 48 minutes. Simple as that. Maybe you card was faulty. About alexa - i have been on set of cat food TV commercial, shot on alexa xt - everything in arriraw. Nobody even mentioned prores. I was making BTS video - everything in raw either 2 day on set with 5d3 - no problem at all (but for that i bought those sandisk cards and didnt even try to use KB 64GB 1000x shitty card. Yesterday ML developers unlocked fully functional 1920x1080 3x crop - now it has fully working real time framing, up to this point it had black/white choppy look on the screen, now it can be treated like normal, usable s16 crop. They have also unlocked 50/60 fps mode without the need of streaching, maxumum resolution is 1920x648 (so very wide) but no image artifacts, IQ the same as 1920x1080 with black bars.

If the ebay listing didn't state that it had fungus, contact the seller & get your money back. Ebay defends the buyer & not the seller - make sure that you don't have to pay the return postage (they duped you, so they should pay). Had this happen to me a few times & they normally don't argue, since if you complain to ebay they defend you. Also, bet you they say something on the lines of "Oh I didn't know it had fungus...blah blah blah!"

You could give it UV treatment to kill it off, but you might notice it still diffuses the image and/or creates weird bokeh texture. Then you've just got to keep it isolated from your other lenses. Although there's different thoughts and myths on this... some people want to trash it, some want say 'ah, it's perfectly fine'. You could always sell it under stated condition on eBay or classifieds again to someone who doesn't mind or has the knowledge to clean something like that up. But yeah, it sucks nontheless, wasted time, energy and money, little buzzkill after some excitement in anticipation. Also, maybe throw 2 or so of these silica gel sachets (like you find in shoeboxes) in your bag when you carry around lenses with you.

Because I shot with it myself!!

I get where they are going with that, but how do you carry that without being part of the footage. I thought that they could use a jib/crane, but that crane and operator immediately becomes part of the footage.

When looking at the leaf and lime test, it's important to realise how the reach of the lens compensates for the lack of resolving power of the camera. Wider angles and infinity focus shots are an appropriate test of resolution. Lime trees on end of a 50mm or 85mm with shallow DOF? Not so much. As for colour it is true Canon have this better sorted than Sony but there's no way that is saving the 80D as a filmic choice. The shot Ben posted demonstrating A6300 colour has hardly any colour in it, it's a horribly overcast grey day, grey street, grey building and white van!! Come on people, common sense should start prevailing. There are no convincing tests or samples so far that show the strengths and weaknesses or either camera. When Canon get the video image right, they really do get it right. The 80D is not one of those cameras. The 1D C, C100 II, C300 II, XC10 all have a beautiful look to their images. It's no coincidence they are all Cinema EOS cameras. Canon's strategy quite clear I think!

This forum is all about filming & so the 80D offers absolutely nothing new - we all know this and there are far better options out there for video, at a cheaper price. You can buy a secondhand T2i for £190 (30k shutter count), but not everyone wants to do this - they want something new. But as its been said, time & time again, Canon make photography cameras with video bolted on. If you want to film something, then they have the C series (still 8-bit, which beggers belief in this day & age), so they are never going to release something that steps all over their other camera lines - it would be absolutely crazy! The one thing Canon has going for them is that they are a well known brand - their colour science is great & their cameras just work straight out of the box. People are going to buy the 80D regardless of what people say - you stick with a trusted brand, because they are a trusted brand. Look at Kendy Ty, when he moved away from the T2i, he upgraded to a 5D! He could have gone to so many other makes of camera, but stuck with Canon. The Moire & Aliasing debate is only cared about by us - there are so many Films/TV series that have it. Try telling someone you know, who is clueless about camera tech, about M&A and they just won't have a clue about what you're on about - they don't notice it or care. The thing i'm finding funny at the moment is the absolute lack of BMMCC footage out there - strange, no?

Posted by a supposed in the know on Facebook today. Let's hope it's true? Please fs700 and not fs7 raw quality that would make this camera the absolute bomb.

Wouldn't say the Contax Zeiss are clinical, that's more the Veydras. The C/Ys do have more of a look to them, but a cinematic one, like Leica Rs do in their own way. They're crisp and sharp though; right off the bat, great for loads of stuff, then again it's basically the same formulas seen in the Ultra Primes and Super Speeds. The 'wide' 21mm would set you back over a thousand bucks, though... it's got to be pretty epic, but I settle for 25 and 28mm. But if you're really about landscapes then it might not be the worst idea to actually checkout the Nikon Ai-s line-up. The 28mm f/2.8 MF for example is killer! Always felt the Nikkors perform well on landscapes. Especially if you throw 'em on a Nikon body (D5300/D5500/D7200/D750/D810). That's kind of the deal with M43, those kind of lenses thrive on fullframe and APS-C crop with their focal length and resolving power (and the additional megapixels)... on M43... suddenly you're not that wide anymore and focal reducers can bridge only so much. So yeah, if you really want to go wide for landscapes, you've perhaps got to find something that does the trick on the M43 system as you don't really find many fullframe primes below 18mm, unless they're from the likes of Rokinon/Samyang/Walimex Pro. Same for APS-C, it's tough, although there are a few zooms and quite some fish-eyes. 10mm is dope. The real question is... wouldn't 12mm suffice? I'd like to think it would. The Olympus goes there, but I feel it's overpriced (although I see it's already come down in a price a bit). There's a 12mm 2.2 VCSC or NCS (Rokinon/Samyang/Walimex Pro) that's fairly priced and looks interesting. Might want to check out reviews on that one. Seems it was used for the wide shots here: Of course, Panasonic is rumored to bring a Leica-branded 12mm to the market soon. You're right! B&H and Adorama have nice learning centers. AdoramaTV has some nice things on their YouTube channel, including a 5-part HDSLR series (down at the bottom), which might be kinda dated by now, but should be watched by everyone taking first steps into the world of filmmaking to get up to speed with the basics and possibilities. Then there's always room to explore more afterwards.

It's not trendy… Sony is considered the spec front runner, but people purchasing the cameras are constantly disappointed with the colors. Color is so important, how is inferior color not an issue? I'm not saying everyone should go run and buy t2i, but the 1DXmkii is going to put all of the Sony DSLRs to shame. Below is what I see so often. The entire scene looks sickly. A C300 in that scenario would look beautiful, right out of the camera...

1) Open your task manager (in W10 at performance tab, right click on the graph and change graph to logical processors). 2) Download a GPU monitoring program such as GPU-Z, install it and have it running. 3) Do your normal editing with the effects that you usually use and observe what happens to the CPU and GPU when you think performance is bad. What you might see and what you should do: a) If GPU is close to 100% (>80%) --> you need a better GPU b) if CPU is at 100% (unlikely) there are few things that might happen. First is that some effects in Sony vegas are CPU dependent --> need a better CPU or another editing program ( ). Second is that the codec is hammering your CPU --> transcode to an editing friendly format. c) if CPU is not at 100% but a single core is maxing out --> 2 cases from b) (more likely the second, transcode and test again) d) If none of the above, transcode to a better format and test again. If the same thing happens, your are probably limited by your GPU memory speed and it does not appear in the GPU monitor --> you need a better GPU.

I am not an editor nor a post person, but one thing that I always hear from pro editors is that they never edit with a compressed, capture format. By transcoding all of one's footage to an uncompressed edit-friendly format, computer resources are saved for effects, filters and rendering, etc., instead of continually decompressing a resource-hungry camera format on the timeline.

I want to see a slim doc with power so I can use my iPhone as a monitor and or evf attachment. Can't see why this is so hard but if must be. The closest thing I've seen is the Manfrotto iPad thing which does not quite cut it!

Sorry for typo...I meant s35, not s16. You could mount/adapt many s16 lenses to an EF mount, but due to flange focal distance you would not hit infinity (or even close). It would work for extreme macro work though

As a Kinemini4k owner I'm really looking forward to these two new cameras (or one camera with 2 sensors). I admire the progress that Kinefinity has made since Kinemini days (only two years since the annoucement, along URSA which I was considering but the size and weight turned me off), To me the guys behind Kinefinity listen to the customers feedback like nobody else and dont hold anything back. I remember when they released their last firmware upgrade and for kinemini they improved the log color science, increased slow motion from 100 fps to 120, added ability to load your own luts into the camera :D added prores to their transcoding software, all of that for free. With these new cameras they addressed all the past issues and all my personal concerns, like sound, ergonomics, changed grip battery system, redesign the grip (that was my big concern), finally added in camera prores. Plus keep in mind all Kinefinity cameras have the ability to put on them their active EF Kinenhancer which makes them the only cinema camera that allows you to put on speedbooster like adapter on a EF lenses. Something I have always wanted to do with BM cameras. The only down side to their EF system is no support for IS yet? (not confirmed anyway) which would be amazing especially now with this smaller run'n'gun like form factor that Terra camera has. So in essence, Kinefinity Terra, a small form factor S35 cinema camera with a weight of a Canon 5d mk3, with 5K or 6K sensor which records 12 bit loosless RAW video with pretty amazing high speed frame rates, 15 or 16 stops of dynamic range, switchable global or rolling shooter, ability to shoot full frame (with kinenhancer), one of the most organic images for around 5k euro

Chris says in this video the 80D is better. I had to squint very hard to see it. It's a bit like squinting at the bottom of a football league table. I'd rather look at the top. Canon are ripping you off guys... Panasonic G7 walks all over it for video and it's less than half the price.

Alan Roberts testing for EBU.... However, the camera fails expectations in several ways. Although the sensor dimensions considerably exceed the requirements of both HD and UHD, the scaling to produce HD and UHD images is unsatisfactory. Resolution at UHD is only adequate, but aliasing is unacceptably high. Similarly, at HD the aliasing is sufficient to cause problems in low bit-rate coding. The dynamic range is about 9 stops in standard ITU 709 mode (without knee), 11 stops in S-Log 2, 13 in S-Log 3. This is unsurprising since the camera uses only 8-bit recording. Noise levels are consistently higher than acceptable, and noise reduction is too ineffective to improve things adequately. Only at ISO100 or ISO200 could the camera qualify for HD Tier SP, using EBU R.118 requirements. The sensor is evidently scanned, the so-called ‘rolling shutter’ effect. Rotating motion is very poor. This camera is not suitable for use in general broadcasting, apart from Special Purposes where its physical size or shape makes it uniquely suited to a particular type of shot. http://www.newsshooter.com/2016/03/31/newsshooter-sony-a6300-ebu-lab-test-by-alan-roberts-surprising-results-not-suitable-for-use-in-general-broadcasting/

A considerable amount of time has passed, and this news has already been well-publicized, but I wanted to alert the OP that Sony recently announced a very fairly-priced FE 50mm lens that might suit your needs: Sony FE 50mm f/1.8 Lens

Tommix. It's cool that your really interested in the hacking project, just like everyone else in this forum. But knock off the attitude. These guys are putting in their spare time to give you extra camera features for free. Everything they do is a gift to the community, they don't owe you or me anything.

I think it depends on type of benchmark - even if you test it on PC: Kingston Mobilelite G4 USB3 UHSII reader Sandisk 64GB UHS-I Extrem PRO 95M/s R/W USBDeview - 42MBs / 92MBs SpeedOut v 0.5 - 85MBs / 88MBs USB Flash Benchmark - max. 91MBs / 92Mbs BTW - I have received my cheap Lexar 2000x 64GB UHSII ( http://www.ebay.com/itm/181946939074?_trksid=p2060353.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT ) . It is little bit suspicious as Lexar brand is taped up by some Chinese holografic signs. But I have test it and seems to be OK. NX1 - average around 66MBs / 88 MBs USBDeview - 67MBs / 220MBs SpeedOut v 0.5 - around 220MBs / around 220MBs (here is limit USB reader) USB Flash Benchmark (it depends on file size) - max. 220MBs / 220Mbs (here is limit USB reader) I simply do not trust NX1 benchmark - camera definitely writes faster according what I have already tested with burst shots.

That's kinda surprising because if it's at least a stop better, that would mean the BMMCC would have only like 10 stops of DR while they claim 13 (5D III is measured at 11.7 EV DR in stills Raw). Samuel hurtdao measured the usable DR (which everyone defines somewhat different) as 12 EV for BMPCC Raw and 10.3 - 11.3 for the 5DIII Raw (with banding in the last stop of - desaturated - highlights). I'm still impressed with a lot of the videos shot with 5Diii ML Raw but for photography it's really fallen behind, especially for landscape stuff. The current sensors in the Sony, Nikon, etc. lineup made by Sony and Toshiba have just so much more DR that you need graduated ND filters for the 5D to get the same results in landscape photography, for some other stuff (e.g. backlit portrait with strong selective pushing) you're just out of luck due to the strong banding in pushed shadows with Canon. Despite that I think the usability of that camera is best in class, I got super happy when I saw Fuji put the little joystick into the X-Pro2. Makes me curious for what the 5D IV will bring.

Tommix, as far as I can tell, the process is all but simple. As pavel wrote, patience is a keyword here. Otto created some nice scripts. Vasile seems to have upped the bitrate. Chant is delving into the main code. Three must be the conditions joined by a logical AND: - Interested in nx system - higly knowledgeable in sw development and Linux system - have time Not that easy to return a TRUE value ;-)

Actually you didn't get my point. I own both samsung pro and lexar 2000x cards. The real world difference (not benchmark) is of the 4-5x magnitude. Hence there is something wrong with that benchmark.

OK, but according this logic (at least) all first four cards should achieve same speeds in the dev benchmark - if camera would be the limit factor. Because they are definitely faster than shows this dev test. My Sandisk Extreme Pro 95MB/s can achieve almost 92 MB/s write speed with best card reader. Going to Lexar 2000x still means benefit of another 15 MB/s (53MBs vs 68MBs in dev test). Why there is difference in speed if cards are much faster than camera can use?

Here's a 70D vs 80D comparison. To me, the 80D looks a bit more detailed; not as detailed as a BMPCC...but then again this is one video. Also, Kendy Ty shoots on a T2i with a Sigma 30mm f/1.4 exclusively. What Kendy produces is truly gorgeous.

Just returned my sony a6300 because over overheating issues, yesterday was the final straw, shooting in the sun in Aust summer is a no go for this camera, if you don't want to miss a shot (which means the camera must be on when you want it on) I missed two great candid shots which cannot be repeated, projecting this forward shows me with simple maths that this situation will continue and will be so frustrating and stressful and embarrassing as a professional. I tried the open battery door while filming this morning in case it miraculously fixed things, but still overheated, but definitely to a lesser degree. Still to unreliable for me.

Are you a shill for them? Because your post is nothing but dismissing and downplaying issues other people have with the camera. The overheating issue is a huge one, I'm not telling the talent "sorry we have to wait a couple minutes while the camera cools down to do the next take/ask the next question/start your song" or "sorry can you do that take again the camera shut off in the middle of it". The NX1 (which came out two years ago) has the same size sensor, never overheats, has better RS, a better 1080p mode, and a headphone out for monitoring audio, and can be had for about the same price. Operationally it is a far superior camera. Don't make excuses, the only reason this is a 4K camera is because someone in marketing demanded it.

Why don't we just ban this fool

Argh! I typed a silly long post and then hit backspace outside of this box and ... poof ... it's gone OK, shorter version: If you start telnet server as described and connect to camera you can do following: killall dfmsd; sleep 2; dfmsd -p & This will kill original dfms daemon and start a new instance that we can now use by dfmstool command that sends commands to daemon like this: dfmstool -s "this is a command" Be careful, as soon as it encounters an invalid command it stops processing all other commands so we need to do killall... to restart it (it does not affect the camera state). The command we want is sys_param movie size 2560_1440_30p. Yup, it's still in the firmware, it has no crop and it supports peaking. Why they removed it from the menu I have no idea. It's labelled as MJPEG on screen but it records HEVC as others and is limited to 29:59. dfmstool -s "sys_param movie size 2560_1440_30p" Here's what ffmpeg has to say (I have to find a way to set the quality as well): Stream #0:1(eng): Video: none (hvc1 / 0x31637668), 2560x1440, 11280 kb/s, 29.97 fps, 29.97 tbr, 120k tbn, 120k tbc Oh, yeah, remember how there is no 1080p at 120fps in NX500? Think again: dfmstool -s "sys_param movie size 1920_1080_120p" And output of ffmpeg: Stream #0:0(eng): Video: none (hvc1 / 0x31637668), 1920x1080, 38589 kb/s, 119.88 fps, 119.88 tbr, 120k tbn, 120k tbc If you really want to you can put just the command in the nx_cs.adj file and call it a day (dfmsd will parse it and finish) or put a small script in test.sh that will do it for you (there is no touchscreen available while dfmsd is running). You could have SD cards for special video modes to simplify it. For NX500 full list of modes is 4096_2160_24p 3840_2160_30p 2560_1440_30p 1920_1080_120p 1920_1080_60p 1920_1080_30p 1920_1080_24p 1920_1080_15p 1280_720_120p 1280_720_60p 1280_720_30p 640_480_60p 640_480_30p For NX1, full list of modes is (yeah fractional ones too, don't know whether they are just for show or are there really differences between 24 and 23.98 when recorded) 4096_2160_24p 3840_2160_30p 3840_2160_24p 3840_2160_23_98p 1920_1080_120p 1920_1080_60p 1920_1080_30p 1920_1080_24p 1920_1080_23_98p 1920_1080_15p 1280_720_60p 1280_720_30p 640_480_60p 640_480_30p Well, that's it for now, have fun