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As a long time lurker watching the progress happen and trying out some of the hacks my self here is a brief summary of main accomplishments. Current hack achievements in no particular order Increased bitrate on both NX1/NX500. So far there is no consensus on the optimal bitrate. Further testing is required by experience videographers who are good at analyzing footage. Added 2.5k full sensor readout with increased bitrate on NX500. I do not own an NX500 so I am not sure what is really happening with this hack. Perhaps someone else could fill in. Removed video record time limit on both NX1/NX500. This is something I haven’t personally tested as I do not need it but reports sound like it works perfectly fine and can be used to record videos that will fill up your card. Fully electronic (silent) shutter on the NX500. Not yet working on NX1 from what I understand. There are currently three main ways to apply hacks to the NX1/NX500. The original method by running in factory mode by running a script on the SD card root called info.tg that can run other apps such as Otto K’s keyscan The WiFi method. Similar to the blue tooth method below but more risky. The best method is the blue tooth method. This is done by modifying the file /usr/sbin/bluethd in camera to execute a scripts that can run whatever other program you want. Telnet (busy Box) can be run from the SD Card to remotely execute any command on camera. Alot of the built in camera commands have been figured out and you can now write scripts to make the camera do pretty much anything you want. Even I was able to written a few scripts . Current progress Lately (past few weeks) the majority of the activity has been around trying to remove the in camera NR for video. There has also been quite a bit of talk about creating a GUI for all the hacks. If you are a programmer and are interested in getting involved I think this is likely the area where you could really help out. If there is anything I got wrong or missed please don’t be shy and call me out on it

I recently picked up the new D500. Nothing serious done with it yet, but I did have chance to shoot some casual stuff today. Here's some ungraded footage 4k UHD. Download link on Vimeo includes the original edit ProRes if you want to play with grading it. This was done with the Nikkor 105mm f/2.8 VR, handheld. Color profile is flat. White Balance set to Auto. Includes mixed interior and window light.

Hey Jonesy! Ted here from Aputure. Didn't get a chance to meet you at the show, but really glad that Jeremy could show you all the new tech. Thanks for the write-up and love. It really means a ton to us. If you don't already know about it, we're got a user group on facebook-- not unlike Black Magic -- where we collect feedback and discuss Aputure stuff. I want to start up a live-stream once a week where we can all discuss what you guys are looking for so we can keep making it. Cheers, Ted

Here are number of tests with the D500. I just uploaded, so give it a few minutes to render the full HD versions. Covered: Rolling Shutter, D-Light Modes, Face Detection, Stabilization.

D Lighting is now an option for video as well. I just shot some samples I'll be uploading later. It should be available on the Vimeo page, on the right. I didn't add any stabilization in post. That was the in-lens VR doing all the work.

I shot a couple of cinemagraphs with the NX1. Sadly gifs crush the quality of the files and it looks like behance compresses them even more. Any tips on that? Here is a retouched fullHD frame: DCI 4k vivid picture profile standard gamma sharpness minimum, black level maximum, contrast -5 nikon 20mm f2.8

First sony hack unlocks time limit and language selection http://www.personal-view.com/talks/discussion/comment/216902#Comment_216902 The hack works with an app.

I've been really liking using my nikkor 50mil along with cheap wide angle and telephoto adapters. It wouldn't be for everyone of course, but looking at it like staying on a budget and minimal gear, works for me. The attachments actually kind of give it interesting "character" wide open for portraits, and at 5.6 they're really sharp. Since it's a fullframe lens at a long ish focal length, on an apsc body, I think I avoid most of the possible terrible corners. The wide angle has some barrel distortion, but fine by my standards. Plus for color and contrast they all still match really well together. I know that's kind of cheating I was thinking if I went smaller sensor I'd get a 24 or 28 mil and keep the adapters and get the coverage I like and only spend like $80 more.

I did the test shooting with and without bitrate hack to see if it helps to eliminate macroblocking. Yes, it goes in right direction, but not there yet, and not because of hack itself it's only about sd-cards speed limits. We can use 150-190 mbps at the time, there is no SD card which can provide more. Yet. But still, it is a big progress. Even at 160 mbps there is a detectable visual upgrade compares to 80 mbps, but you need to know where to search. I think it's about CTU in HEVC, at larger bitrates codec is not eliminate macroblocks in picture per se, but replaces them with Coding Tree Units more efficiently than with smaller bitrates. At some point in post processing you can see when there's large blocks occur in 80 mbps file, but in 160 mbps file - only a "three" somewhat like "fractal blocks" of much smaller blocks. H265 use CTU for replacing macroblocks. So, overall quality is improve with bitrate hack, but macroblocking is not eliminated completely. Here is the test results, two heavily destructed sequences for more visual reference, left side - 150 mbps source, right side - 80 mbps source. Both sources recorded in UHD@30 with identical setting and environment, only difference is the bitrate. Scale around 300% for better proof and to eliminate influence of export bitrate. Forgot to mention that I did the test with NX1 It depends of scene that you shooting. Some scenes can't be record with small bitrate without macroblocking at all, they even close to crash with high bitrate option, but it works in far more cases than I did imagine before I start to use bitrate hack. Now I shoot only with it, but of course, if there new options appears, I'm ready to consider them in work. Also you can shoot with pretty much close to LOG settings and even create special NX LUTs for standart situations for exact yours setup. Basically you just need a few hours and some color checker for starters And yes, I'm also wants the real log profile and 10 or 12 bit color, for shure! But really I think that bitrate hack is just a first step in better overall quality path, bc without it I highly doubt that only 10bit color itself did all the work, like, how about beautiful 4K picture with 10bit color but H-U-G-E one helluva macroblock in the center of frame, like 480p-block? It might be the case very easily

C'mon guys, let's give a hand for this handy Q&A addressed to Ebrahim, the most prolific EOS HD contributor to pair Mattias and obviously Andrew... Here's my small contribution: http://www.personal-view.com/talks/discussion/14890/kinefinity-terra-5k-6k-cameras-or-5k-for-under-5k/p1 E :-) [summary by David (Peterson) aka IronFilm:] "Terra 6K has the same sensor as KineMAX 6k Terra 5K: 5K 60FPS, 4K 100FPS, 3K 150FPS, 2K 200FPS Option of global shutter, native iso 800 15 stops DR with rolling shutter and dual gain mode 13 stops DR with global shutter RAW 12bit + ProRes 10bit internal recording, KineLog3, 2.5" SSD About the same size as a 5DIII (weighs less too, only 920grams) HDMI out with type A connector (big connector), 3.5mm Mic in SDI and XLR are there as well. New KINIMON and KINEGRIP 2 has also been released (uses Sony BP-U30 instead of Nikon EN-EL15 batteries). The 6K version costs slightly more (at around $5,400 US or 34,900 RMB on the Chinese mainland). It features 6K at up to 25fps, 4K at up to 100 fps and 2K at 225fps. KineFinity cameras can use standard off the shelf SSDs (like the BMPC4K does), so no need to waste your money on expensive MINI-MAGs like with RED cameras." Note: 15 stops and global shutter dual option only on Terra 5K.

Well, here's what we can take as given (because it already exists on other Panny cams): DCI 4K 10-bit HDMI out 5-axis IBIS 1.5-2 stops improved low light performance V-Log L Retooled color science (released on the DVX200 in a recent firmware update) Anamorphic support Here's what we can reasonably expect, given the sensor size and competition: 120fps (or more) at 1080p Increased DR (at least 12 stops) Low RS (at least the current amount, but hopefully a bit less than the GH4--certainly less than the NX1/A6300/A7S) Tweaked processing for V-LOG L (to address the artefacts it caused in the GH4) Anamorphic de-squeeze in-camera Dual card slots Here's what I'm hoping for, considering Panasonic's track record of providing meaningful upgrades with each iteration of the GH series: The return of the multi-aspect ratio sensor, providing a "more competitive crop factor" (ugh) compared to the GH3 (1.32x with speed booster) Lower megapixels for improved low-light performance (if the forums are any indication, stills shooters can't be responsible for many GH4 sales) In-camera 10-bit (possibly in AVC-Ultra) 4:4:4 HDMI-out (RAW seems unlikely, but 12-bit out would really set it apart from the rest of the pack) An improved YAGH (battery-powered, XLRs, full-size HDMI out) The same/similar body to the GH3/GH4 (or at least have it take the same batteries) Dual-recording (4K masters and 1080p proxies)

Even just a stripped-down Terra-like body with the innards of the Kinemini 4K for $1500 would kill. Shit, I'd buy two.

Is there some way to only let Vasele, Otto and the other hackers post here... Then the rest of us can comment in the main thread?

I shot this a few months ago. Looking to get some feedback on it before I start filming a bigger project in the next few weeks. Hope you enjoy it. Let me know whats up. mike

I want to take a moment to thank everyone who contributed to this thread. Tito, Gabriel, Nahua, and particularly Rich, for your support and the invaluable information you shared that allowed me to get from 'novice anamorphhc modder' to 'slightly-less-novice anamorphic modder.' Seriously, without your insights I never would have finished this mod. I now have three working B&H lens mods. Two have the 14mm helicoids, allowing focus to approx 36 inches, and the 30mm helicoid which provides an amazing 8-inch focus distance. The downside on the 30mm helicoid is that: It still requires several barrel rotations to rack focus from 8 inches out to infinity Focus breathing is noticeable particularly at close distances. Not a bad trade-off, to be able to so close with the camera. I'm going to keep one of the 14mm's as well as the 30mm. I've ordered parts to create a second lens bracket, and will bundle that with the remaining 14mm helicoid modded lens for sale on eBay, to recoup some of my costs. As mentioned, I'm thinking of making the helicoid mod & lens bracket available as a kit if enough B&H owners are interested. So let me know if you are. Now I'm ready to start taking my rig out to do some serious test footage. I'm especially interested in trying my Mamiya Sekor 50mm f1.4 and my Angenieux 12-120mm to see results of night shooting and zooming, respectively. Once again, a thousand thank-yous to everyone in this thread for your help. You've allowed me to realize my goal of shooting in widescreen, an ambition I've had every since I bought my first 8mm movie camera so many years ago. I hope the info in this thread has helped other B&H owners take advantage of this lens. Cheers, |. . | .|

Biggest achievement in NX1 hacking and you have missed it? :-) Here it is http://***URL removed***/forums/thread/3989988

I had good luck with Patona ones.

Ok, I will tell the guys to delete it because nothing spatial more overheating if you ask Rinad Amir.

Thanks! I wonder if Dlighting introduces flickering. It only works in 1080p like they said on announcement?

Yes, indeed - just check NX1/NX500 Hack video thread here. You can push shadows far more, image is slightly more detailed in darker parts... I will not come back to 80Mbit anyway :-). Bad thing is that biggest difference is in 1080p modes but safest useable working bitrate has to be lower for them: 4K30p- 180Mbits, no issues (I have recorded more than 30 minutes timelapse with it), the highest bitrate I can safely use... but depends on the card 1080p60fps - 180Mbits - no dropped frames and really beautiful image BUT there are sometimes weirdly corrupted frames, so best bitrate for me for this mode is 140Mbits (I have not seen any issue so far, but I am not 100% sure) 1080p120fps - I have got some dropped frames even with 110Mbit so best would be obviously 100 Mbits but unfortunately there is no other free slot for custom bitrate: you can define you own bitrate for Pro and HQ but not for Normal (Vasile's bitrate hack 2.0). In summary: each resolution has it own max. bitrate so right now if want to use 1080p120fps I had to turn of the BT OFF and restart camera. Then all bitrates modes return back to factory settings. I personally prefer quality so I will rather use only superb 4K180Mbps and 60fps1080p140Mbits instead of sometimes mediocre 120fps80Mbits. I can see macroblocking very rarely and it almost completely disappears after conversion to 16-235 (I know that some will not agree with it - loosing full luma range 0-255 just in sake of removing remaining macroblocking).

Yeah I wouldn't try this on a >$2000 camera. Maybe when they implement RAW video I will be more motivated More coverage:http://www.newsshooter.com/2016/04/25/hacker-claims-to-have-removed-the-30-minute-record-limit-from-alpha-cameras-including-the-a7s/

Yes, I agree, removing NR could help to reduce MB, but it's also very depends. To be clear HEVC actually doesn't use MB at all, this codec have new feature - CTU, and this one goes far more then usual MB. Maybe, just maybe, NR is better for HEVC. because of basic structure and size of single block, which can be just 4x4 px and grouped in "trees" - variable larger block structures up to 64x64 px, so It is actually might increase visual noise when it "smoothing" single noise pixel by 4x4 single prediction or transform block when NR is removed. Actually this Kino Seed's nx500 2,5K footage without NR seems to be slightly affected by this, but I can't tell that I'm 100% shure of this, it's just might be To be clear I don't know this for real and I know nothing actually about videocoding in terms of programming but I'm trying to use my very little knowledge to explain this things that my eyes seeng at least for myself )) Don't take my word on it, do test yourself or use mine - actually there is clear difference between block structure between 80 and 150 mbps footages

yep. as a aps-c user the 35mm/2 is a must have. Imagine you took the 35mm/2 you;re used to using on m4/3 and aps-c then used it on full frame for the next widest option. If a particular full frame fast 35mm can deliver good resolution on m4/3 for short tele work, it'll do great for 'normal' on aps-c and 'wide' on full frame. The nice thing about the summicron is that it's nicely controlled in terms of fringing on high contrast edges. so you can take full advantage of the big aperture. I expect the loxia 35/2 will be even better than the summicron for a single lens option of full frame!

I just saw that listed on BH. Interesting.

if I was limited to one lens from here on, it would be the helios 44. There are plenty of lenses I love. but only one that I couldn;t do without and that's the 58mm/2. for a 'working lens' that will deliver almost every conceivable shot I'd go for the summicron-r 35mm/2 on a full frame sensor. shooting full frame 4k on an a7rii gives you the ability to use full sensor for your wide, aps-c for your normal and crop in a bit more with clear image zoom for a tele. a lot will wonder why the summicron vs any other 35mm/2.. it's because very few other full frame 35mm/2's deliver good enough resolution and image quality wide open. with a summicron-r the iq is good enough to use wide open on full frame. using sensor crop of a nice clean 4k full frame area gives similar look to a 50mm at 2.8 when at aps-c and an 85mm/4 when windowed in to just under fullhd's worth of pixels.

As it was said before on dpreview - removing NR could also help with macroblocking. Plain areas where are now macroblocks (yes, they are much less visible and footage is much better for grading with bitrate hack) would be divided because of noise grains. It seems that there is some progress in dpreview so hopefully one day...

It could be priced higher, US$2K or even US$2.5K for the 4K sensor in the Terra body. A lot of us are really liking the concept of this smaller form factor of the Terra body. If they could squeeze in the 4K sensor into that as well, many of us would be perfectly content with that image. And a low low price is what would get many of us to take the plunge on ordering from overseas a camera that is seen by many (unfortunately) as a fringe player. And then the success of that is what will lead to people taking the plunge on ordering the higher value products from Kinefinity.

Its my ad, not sure if I actually would go through with it, just wanted to see if its possible. Think I want both now Only until she gets to say hello. Its usually when dogs are kept apart that they get stressed.

I've always wondered about that one... Do you have the Nikon mount? If I hadn't had so many issues buying lenses from Russia, I would have probably bought one. Have been there... I sold my Minolta 35mm 1.8. It's probably my favorite lens I have ever owned, but it just didn't resolve well with the NX500, so I picked up an MD 28mm f2. Great lens, I should have kept both... Now I have two copies of the 28mm... The MD and a Rokkor-X. I had listed the MD but it didn't sell right away, so now I am retesting and thinking of keeping the MD and selling the Rokkor-X because it's bigger and heavier.

I think just giving an A7S III 10-bit HDMI out would be a big step.

The common wisdom is that LOG profiles are best for well-lit situations with lots of DR, and punchier picture profiles work better in low light where you have less room to push without boosting noise.

Calm down buddy. Its the internet... If you can't handle criticism, I suggest you keep quiet and never interact with anyone online. In fact, you were pretty critical with a smile, "I playfully and humoursly and accuratly shot down your Idea." I've fired people with a smile... does it make the blow easier for the person getting fired? If I sounded defensive, I'm sorry... I'm sorry if I didn't sound jovial, add emoticons or add words like "ha ha" But, in my defense (oh no, I used that word) I did have "lol" in my last post... not enough? I'm sorry if you thought that I was belittling you... you aren't dumb... Again, I wasn't clear enough... I said "VR in general, not specifically 360 degree ...is about emmersing yourself in the experience." But I also said, "Suppose it is a bedroom, and you have a multiple partner fantasy... Suppose you're a girl using VR porn... Use your imagination..." May be I should have left a big space to say its a contradicting statement and possibly include the following statement, [Then again, there is a place for 360VR porn such as] Ok fine, my fault.... but to be honest though.... (No emotion here, totally stoic) I don't agree, that "360 degree vr porn would be useless." My reason: From a business point of view... porn isn't just for heterosexual men anymore. Well, there is obviously a whole faction of gay porn. Not to mention... what... 60% of the population are women... and some of them are lonely and/or horny women that watch porn. If I was in the business of making porn, VR porn or 360 VR Porn... I would make something that will make the most money, hence make 1 video that is beneficial in terms satisfying everyone's fantasy. Now for light hearted humor: Here is something with a smile, I'm humorously and jovially saying "fuck off!" Wait for it.... Hahahahahahaha! Not enough? LOL and LMAO... over and out.

2.5K , 68cm wide sensor, 300$

for 1000$

http://***URL removed***/forums/post/57659433 http://***URL removed***/forums/post/57659433 regards :-)

I would be so awesome if knefinity did something like the bmpcc, like a small compact camera sized camera with a built in screen and the kineraw colour and codec.

We recommend the SLR Magic HyperPrime 25mm T0.95 III for micro four thirds and the SLR Magic 50mm F1.1 for E-mount S35 because it is not compatible with all lenses and it is not possible for us to try all lenses from other manufacturers to test for compatibility. The lens is better paired with lenses with smaller front elements with a short distance between front element and rear element of the Anamorphot 1,33x-40. At NAB we tried the Anamorphic 1,33x-40 on the Zeiss Loxia 35mm f/2 and the image is great as it fulfills the compatibility conditions.

Maybe consider the Panasonic GF-7. I havent used one but it is compact, attractive and comes with a nice lens and has a selfie tilting screen.

I think HFR 3d is just more crap because the headsets hurt your eyes. VR is an entirely new artform. I just shot a commercial in VR using the Nokia OZO - I'm a believing in VR technology as long as it doesn't cause eye strain. It feels like the early days of film. I just wish it was only 270 degrees - having to look behind you is awkward. But all this 3d stuff - just seems like the cinema trying to compete. I saw Avatar in 3d and it blew me away, but I also saw a bunch of other films in 3d and was less than impressed. It's the same old argument - it's content that matters and finding directors who can utilize this to an advantage, vs the gimmick of it all.

that new grain plugin in 12.5 is pretty great. nice tight structure in the 35mm options. lots of control to dial in a look. I get masters to a lot of Hollywood releases through my bay and was always envious of the grain I'd see in them. This rivals that. Better than Film Convert's, imo.

Tungsten vs LED... umm, like always it depends on workflows... cableless mobility and low heat are the big ones for me (my tungsten lights are rotting in the cupboard). LED cri is up there now, and running something like an Aputure 120T on a V-lock battery makes a lot of sense to me. The days of... hiding cables/ endless sauna sessions/ wearing gloves all the time/ having someone at the fusebox/ using generators... are over, and I don't miss them at all. Higher price seems like the only true "Con" for the latest LEDs, but I think they worth every penny. That's my two cents.

Yeah, but you end up with 8 different sets, 8x8, 64

+10000, 40mm is the most natural focal lenght, it sits right at the spot were it changes from wideangle to tele.

Those who DON'T enjoy 3D are often vocal about it. But, there are thousands more that love 3D and are looking forward to the advancement of movie tech from 100 year old frame rates. 3D still sells very big (or it would have stopped years ago) so it will continue and probably grow. FINALLY more big names are all over HFR. It's coming. Evolve or go extinct.

Good idea, the G7 is awesome. But be warned, after a few weeks with the G7, you may be eyeing the GH5 instead of the 5DIV. Just sayin...

Meh, I've found that the younger generation who has grown up with this HDTV "Smoothscan" tech abomination actually PREFERS the artificial and sped-up "soap opera" look, and they prefer the higher frame rates. That said, most theater projectors sold in the past few years can do lower framerate HFR, but this latest format is going to be VERY expensive for theaters to adopt. It requires two very expensive projectors linked together, so only the very large venues in the very large cities will upgrade. Keep in mind that an entry level, 9000 lumen 2k DCI projector with IMB costs about $32,000. Hooking up two of these Barco 4k Laser HFR HDR 3-D projectors will probably cost at least $350,000. Granted, the price will come down, but still, it'll take 7-10 years to pay off such a large investment for early adopters. One big tech item to keep an eye on is MagicLeap and their new hyper-virtual reality glasses. Magicleap is talking about putting photons on glass directly without "pixels" and totally augmenting reality without goggles. A MagicLeap-like tech, combined with HFR and HDR is probably going to be the norm in less than ten years. It would be cool to see the technologies combined. The projected image on the screen could provide depth, and the VR could provide the "wow" factor of stuff literally flying around in the room. But what's most interesting, is that from what I've read about MagicLeap is that it could simply replace the projector entirely, since the image in the MagicLeap headset is entirely recreated from reality. People would just come into a theater, put on the glasses, and stare at a calibration screen/image on a wall, and everything else would be VR.

Half hour clip is roughly 8 * 4 gigs, so you can calculate the bitrate from that ;-) http://nikonrumors.com/2016/01/08/nikon-d500-specifications-and-features-explained-confidential-nikon-internal-document.aspx/ (so is well over 100 Mb/s)

They always do it on the promotional videos, it's horrible.

Yeah, now that I have moved into production mode with most of my quotes in, I am looking at an introductory special price on the 5FF and 7FF, 25 people would attract a significant discount as well as the built in weight saving. I will be announcing something shortly as well as unveiling the first look at Rectilux 9FF Ultrawide Scope lens 180 = 1+ 8+ 0 = 9 Rectilux 9FF Ultrawide 180 deg FOV Then followed by the new blue version of the Rectilux 3FF