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No idea but I doubt it w/o replacing the codec. Chant might eventually be able to do something about it but don't hold your breath. At the moment I see a slight chance to get: more resolutions (i.e. 2.5K on NX1) the high rate 2.5K on NX500 (subject to dangerous manipulations on burner cam) maybe higher res and rate MJPEG out of NX1 (although TBH I do not think it would reach the quality of 150-160 Mbps hevc) with a lot of luck disable or reduce video NR (I might take a look at this at some point in the future but this will definitely involve weeks of work so not too keen to start). Basically Chant is looking into adding true new stuff. I have been looking more on the side of tweaking what's already in there - easier than Chant's ambitions but I already picked the low and medium hanging fruits.

Useful (I hope) for both NX1 and NX500 users: http://***URL removed***/forums/post/57583300

Every manual says that.

I see... yes... something's going to happen in the future...

I got extremely lucky and managed to do a straight swap on some lenses and custom work. The guy is a very high end photographer who had literally just bought the iq3-100 and had no need for the back. It had been sitting unused for a few years after some of his hy6 lens shutters died and he moved to PhaseOne. he'd seen that I was using HY6 lenses on FORBES70 and took a punt and asked if I wanted a back that I could use with them. Put it this way, I never thought I'd get hold of a full width medium format back. - The going rate is still madness. Goes to show there are some guys so high end they literally do jobs that pay for these things outright, and still pay the mortgage. Even now, comparing it to arguably the most advanced sensor available (the A7Rii) I can't see the Aptus-10-iir ever not being something that delivers less than astounding images. For my own personal photo taking the only thing that gets use is the 8 year old Aptus! https://c2.staticflickr.com/2/1532/25534678965_dd130814ee_o.jpg https://c2.staticflickr.com/2/1585/26240955421_1f76d23d84_o.jpg https://c2.staticflickr.com/2/1579/26138128015_a359966ef0_o.jpg

Ive seen portions of the fw that point to when its enabled, Bad news is its deep in the fw. Part of what ive been doing is working on how to make things like this be possible. Although the mjpeg is a different story. But I have many nots on that subject. I have priorities with my work though, and much of it is secondary to my focus, but its not an impossibility. I am looking for directions to where it may be able to be disabled or limited and enacted through scripting but as of yet nothing has come to fruition. As Ive stated my updates are less forthcoming as there is so much to do I am still sorting through the fw and tracking how things do what they do. But I keep finding things that are to my expectations and assumptions which is good when building something like this. I have also spotted a few things that may allow the camera to boot from a save state off the sd so somthing like magic lantern could be possible. Yes to confirm. But again things point to it being a possibility

Turning "off" the Noise Reduction can only be done if somewhere in the lines of code there is a "on" or "off" data entry point. Or if there is something like a line that says "NR level = x". If nothing like that turns up, then the noise reduction is built into the Codec and won't be removable. Hopefully the reality is Option #1!

@Pavel Mašek yes, I will make a usable gui in next few weeks (I first have to decide on what's best solution as it should be a single gui for everything, not just this "rooting").

That's probably going to be in a OK Go's new music video somehow. Cool schtuff.

If I don`t see any new small 4K camera at NAB with 10bit 4:2:2 codec, most probably I will get a GX80 with a metabones XL, I just hope it at least shows the same image quality than the G7……and no the killing issues we just saw in the A6300….what a disappointing!!!!

You are right, but still I think it would be about time to have it internaly in all future cameras in enthusiast/pro range. It seems the way the things are going now, when BBC decides that it requires 10bit 422 for broadcast, maybe than we will get 9bit 210

No worries. My main interest in this camera is its small footprint. With C-Mount lenses, or my Sigma 19mm and 30mm f2.8 lenses, and 5-Axis IBIS, I see this camera, for me, as being the ultimate run & gun tool. With an L-Bracket with the new JuicedLink Little Darling recorder and a Rode Micro, this can become a one man band package for guerilla filmmaking.

Read the README.txt ;-) and also take a look at nx-bitrate-map.png

I did this video using A7s and RX10ii. couldn't match both cameras few shots. May be not great video but does local job needs. tx

oh they know what aliasing is - we drum it into them before every interview on what to wear ie: no checks or stripped shirts or fine lines etc.. they all know.. :P

5 axis... X Y Roll (rotation - this can be done mechanically for stills, or digitally with crop in video mode) Pitch (tilt up / down correction) Yaw (tilt left / right correction) I can see roll, pitch and yaw being done digitally with a crop in video mode or via OIS. It depends if the mechanical sensor movement covers all 5 axis, or just X, Y and Roll, using the lens for pitch and yaw (like Sony's system) Does the Olympus system correct by tilting the sensor pitch and yaw? I think it probably does. If so then Panasonic might be doing the same thing - all 5 axis on the sensor. Then it would work with manual lenses with no electronic contacts, just like the Olympus system. Or it may be that in video mode the electro-magnetic IBIS compensates for 3 axis (X, Y and roll) but uses electronic image shift with small crop to achieve pitch and yaw correction in 4K video mode. Maybe roll would be electronically compensated too. OIS usually compensates for yaw and pitch. EDIT: it looks like they do indeed have 5 axis IBIS so the sensor can move on the X and Y axis, plus rotate, plus tilt horizontally and vertically. So same as Olympus. What they do with the OIS is probably improve the yaw and pitch control by switching the IBIS to 3 axis and doing the other 2 on the lens. This might reduce image warping especially with wide angle lenses. This was an issue with the Olympus system in video mode

Yep, looks like it has that Olympus magic to me Finally they give us what we want... and cheap! Big dilemma now... is it worth waiting for the GH5 for newer sensor, possibly dual pixel AF, LOG and slow-mo? Either way, looks like Panasonic is back in the game. IBIS to this standard is a BIG advantage over Sony.

I don't agree with the people saying Fuji's colour is anything less than stunning. In video mode the XPro 2 can compete with all of the below cameras for resolution and detail in 1080p, whilst giving far more pleasing colour and variation in tone out of the box. All shot on standard profiles. The others look like they have a veil over them. If it looks too dark or crushed then it's your monitor that needs adjusting not the Fujifilm film simulation. Also for stills I'd rather use the XPro 2 than any of the above. It's far more Leica-like and enjoyable during a shoot.

I agree that a very big thing for nx would be turning off the terrible nr. And when I say 'off' I mean really off, completely. Both in jpg pics and - much more important - video.

To be thrilled or scared, the question is now. http://www.wired.com/2016/04/microsoft-holoportation-star-wars-hologram/?mbid=social_fb

Yep, slog should be used with caution with 8bit cameras. Alister is very knowledgeable but he comes from a high end camera point of view that usually is at least 10bit and not limited by codec (plus it seems he doesn't want to piss off Sony). Cine2/Cine1(0-255 cine2) work nice under low light for me with less highlight protection but some boost in the shadows.

Tiffen Digital Diffusion/FX 1/4 or 1/2 (20:56)

It only costs $500 to make the GH4 a 10-bit 1080p camera.

it's simply a artifact when the sensor is pushed too far. Mine does this. the effect only really shows where the dynamic range in the shot is beyond what it;s capable of handling - pulling the shadows down will remove this. the difference between the black sky and a street lamp is almost an infinity number to stops difference. a bounce board for your talent or a small led source on your camera will lift the talent and allow you to expose slightly less then the light sources wont cause this. it's a bit like the vertical flares often seen on 1990's dv cameras when they flare. if you really wanna hide this artifact.. shoot anamorphic and the flares will hide it:) PS. S-Log isnlt the best profile for this type of scene. you;re wasting a lot of the dynamic range that s-log provides. try one of the cine profiles. one of them (I think cine 4) has a better response curve for night scenes.

You can shoot 2k Cineform on the Kinemini. Cineform raw >>>>> Prores anyway. If you're looking for out-of-the-box-and-off-the-card editing, Canon is your choice.

Battery pull means no battery whatsoever, the camera should have no power source. Turning off is not enough. If you have two batteries you need to pull both. Will add this clarification to the next mod version.

Thanks Merce for showing that footage! Think it´s related as the small footprint with ibis would make this a very interesting camera due to the combination of size, stabilization and image quality. So my apologies. Would be nice to know, if HDMI out would work for monitoring and if processing is as nice as G7 is supposed to be. Soon we will know.

I've been shooting 16-235. Don't feel like changing the values on every clip when I bring it in to Premiere. Annoying as hell. I've seen very little benefit to doing so, in fact I've seen more banding in 0-255 footage.

It's actually not off topic, in an earlier post I stated that I would be excited to use my Canon 12.5mm TV lens with 5-Axis IBIS on the GX85. I stated that that lens covered the m43 sensor in 4K. Panny asked to see proof. Is lens choice, with the GX85, not a relevant discussion?

I think max. bitrate (according my tests) is 110Mbps to have full 120fps. Thanks to latest hack version by Vasile I could set this value to HQ mode and 180Mbps to PRO mode - if need 120fps I just change PRO to HQ. Yes, more significant improvement than for 4K: I can use full available bitrate (180Mbps with Lexar 2000x), image is very nice (I will start it much more than 120fps now), only (yes, heavy) line skipping, no macroblocking.

Hey Panny, I actually did have a video on Vimeo. This is my first day with the G7, and it's ungraded, so bear with me. But between 1:41 to 2:22 you can see some shots with the Canon 12.5mm TV lens. Actually I have had my G7 and my FZ300 stop recording with both Transcend UHS-1 Class 3 and with Sony. The Transcend had write speeds of 60MB and the Sony had write speeds of 50MB. I finally bit the bullet and bought the 95 MB Sandisk Pro.

Here you guys go:

Sure will be doing!

otto is working on a gui for the scripts he, vasile and hirsti produced. This is not very far from a magic lantern sw. as to the nr, there is the option to enable or disable it, but I never understood if it affect also video or only jpg stills. It should be investigated and seen if it stores the variable of 'nr on' somewhere, like it happens for bitrate.

Not sure what else but the MP4 4K 100Mbps you expected? M-JPEG 500Mbps? H.265?

Yeah, they seem to differentiate between 5-axis B.I.S. and 5-axis Dual I.S. which includes the help of O.I.S. on 2 of the 5 axis. So either way, you're getting the same 5-axis stabilized. Just not Dual without an O.I.S. lens. You know. To keep things simple 'n all... Think so too... all the vintage stuff, all the cinema primes, all the speedboosted third party lenses like the Sigma... suddenly stabilized. With G7-like 4K? 'Oh mama!' (Johnny Bravo voice)

See if you can find Ryan... he's always up to new stuff... having had success with Veydra, it seems he's now looking to create cool lighting options: https://twitter.com/iryanavery . Besides, free sunglasses.

This is blackmagic. Nothing is around the corner. Even if they anounce it tomorrow you wouldn't get your hands on one for another year. I think the differences are pretty surface level. The pocket can be used on its own, the micro needs a monitor or viewfinder (unless you're using it as a go pro or crash cam). The micro does 60p, In the future it may do global shutter. The micro has a bigger battery. The micro has an expansion port that someone might design a remote control for at some point. The micro (I think) has slightly less rolling shutter. I think thats pretty much it.

Stop shooting with ISO 6500 on a t2i and you won't need noise reduction. ?

I even bet the 5D4 won't beat the A6300, but I'm not sure it needs to. It won't have more resolution (almost certainly much less) but it also won't overheat in the middle of shooting a once-in-a-lifetime BTS interview with Tom Cruise or something. I have friends who do that kind of stuff and they've had to switch back to cameras with a worse image (despite spending more to get less) because A-listers have little patience and probably don't know what aliasing is. And so.... this argument is fruitless. The 80D is a great low end "pro" camera because it's reliable and the image is good enough to sell (the 7D was used extensively on national ads and still occasionally used as a B camera on major tv series). For resolution enthusiasts, there are lots of other options, though. So are you an artist or a hack? Sounds like you're an artist. Not me. I'll take hack if the day rate is higher and it's an amicable team. Even on my own recreational projects I don't want to waste time in post or on set. But kudos to people on both sides. Just because I don't have the finances or financial freedom to up my game doesn't mean I don't want to. Artists and hacks both have valid motivations, and even Spielberg money won't bridge that gap. Good luck convincing anyone to switch sides because they won't easily.... The A6300 probably has a sharper image than the Alexa 65, forget a Canon dSLR. If what you're after is technical excellence you've found it. Sure there's tons of skew, it breaks down on set, and the color is hideous unless you control it carefully–but the resolution is breathtaking and with enough patience and care in lighting you can work around the rest. But some of us are broke and need that paycheck. And worse yet we're lazy. Living wage is $80k/year in my market. Once that's paid for, I'll consider trading up. For now... if it pays, that's what counts. So I salute the 80D guys. I even want one because it seems so easy to use I can save on crew and pay myself more. But I also think it's sort of criminal that we still put up with such a soft picture, and that Canon won't offer more. All I need is GH2 sharpness and 80D everything else and I'm sold. Weird... really weird... that that isn't available even now. It should be.

This is a video recorded from the phase one 100mp back, which is most likely the same sensor as the hasselblad. And now that I have rewatched it, the rollingshutter doesn't look that bad.

"Medium format look - The narrow depth-of-field associated with medium format cameras gives an unrivalled look and bokeh to your footage." Yes, this might mean pixel binning, but why much such a sweeping statement?... MF, 15 stops DR in a small package and Hassy's incredible colour and skintones... People will go crazy over this if it is not completely screwed with moire and aliasing. Also.... "When you simply need the highest quality, the H6D-100c can also capture UHD (4K) video in Hasselblad’s proprietary RAW video format." Maybe see what this format is before claiming RED's is "far the better"? I think the people buying this camera can probably find a way to deal with lightly compressed 4K raw like you find on an F55.

This is exciting but it's not something I would purchase for the same reason I will not purchase the G7. I would like to record internal 4k and monitor via HDMI. If the GX85 allows HDMI monitoring while recording 4K internally, then I will consider purchasing, especially if it does as well as the G7 at high ISOs.

Cool. If it's on par, or even close, with the Oly then it'll be a fun production tool. I've had nothing but good times with the EM5II for the past year. If only it had that Pany level of 4K IQ... well....

If you are unable to buy a camera for a long time, the GH4 is a proven workhorse and should provide a stable platform for use. With Panasonic weather sealing on their lenses and body, it would make a better "really long term" investment. Alternatively, you might be able to pick up a camera like the NX1 and S lenses in Europe at rock bottom prices by then. I'd skip the A6300 simply because Sony's focus will never be APS-C - the lenses available and fine tuned for APS-C today are all that you get.

Hey dude, I shoot a lot of the same stuff as you. Run-and-gun, documentary style, and I totally feel your pain. Since you have such little time to set up, I can't recommend the Rode VideoMic Pro enough. It's super lightweight and has a +20db switch on the back, allowing you to turn the recording level in the camera way down and let the microphone do all the work. This gives you much cleaner audio by removing the "hiss" that is caused by the camera's preamp. No, it's not the same as clipping a mic onto someone and using an external recorder, but it's really high quality audio with a lot less moving pieces to worry about and a super quick setup/breakdown, plus you don't have to waste time syncing the audio in post.

Ah, my type of shooting. My rig is still in the process. The NX1 is a beast for documentary (with its ois kit lens). But I do prefer having a pistol grip gimble stabilizer with it, just in case. - Samsung NX1 (with kit lens or 45mm) - Pistol grip stabilizer - Rode VideoMic Pro - Currently use a rented Sennheiser G3 with Zoom H6, but plan to switch to JuicedLink Little Darling (which acts as a recorder in itself with bracketed audio recordings) when it is released.

This is a good post. Your issues are similar to my field documentary group. We have tried many different camera types, various rigs etc. I loved my Canon 5D Mark III and Zacuto EVF Pro, but it was too slow to assemble and too fragile. As you well described, in fast-paced field environment, just 3-4 extra minutes is a long time. Then every time we changed sites it (a) Had to be torn down and packed, or (b) Balanced on a car seat or get somebody to hold it. I now use an A7RII, Zacuto Marauder mini-rig, and Rode VideoMic Pro on the hot shoe: http://store.zacuto.com/marauder/ I can unpack it and be shooting in about 60 sec. We also use the Panasonic AG-DVX200, usually on a monopod. It is likewise very fast to set up: http://pro-av.panasonic.net/en/dvx4k/ For really fast run-and-gun, we just accept on-camera shotguns. If we have a few more seconds (e.g, a 30 sec stand-up interview) we use a clip-on Bluetooth wireless mic which is faster than our Sennheiser G3 lavs. The BT mic is available from Canon as the WM-V1: http://amzn.com/B004JNXDH6 or Sony as the ECMAW4: http://amzn.com/B00JWU6WWO If we have more time we'll use the Sennheiser lavs, or boom-mounted Rode NTG-2/3, etc. However I generally don't like boom-mounted shotguns on fast-paced field shoots as they require a separate trained operator, it's more stuff to set up, and another thing sticking in the subject's face which inhibits their spontaneity.

Yes, we know both capture the same info (nothing gets dropped at the top or bottom), the difference is in how they get ENCODED. I.e., which part (lows, mids, highs) gets preference in terms of space on the 8 bits. See comments on the page for the difference and effect on banding. Here's my summary and recommendation: 0-255. Works for most situations, especially recommended when mids are more important than lows and highs. Uses the entire 8 bit range, so it's the best you're going to get for mids and overall image. Not good if you aren't planning post work.16-235. Necessary when delivering out of the camera without post work. Also good on high contrast scenes where you want to preserve details in lows and highs at the cost of mids.16-255. Good when you have critical info in the lows and can't lift the overall exposure because it will blow the highs.