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RED do face online attacks when something goes wrong. There are plenty of professionals who use forums. Let's try to see the positive side of this rather public relationship Blackmagic and RED have with their customers. We can all share knowledge and sort out a huge number of support issues online, rather than having to go to a service centre one by one like sheep. I am sure whatever issues Blackmagic have with the URSA Mini 4.6k, they will sort them out, as RED would do, or Arri, or any of the others. This is a very grey area and to pretend any of us know all the answers is pretty dangerous. There are just so many aspects to this. By saying 'designing' you could mean numerous things - inventing new technology, planning out pixel architecture in a design room, or simply asking for a certain spec and having a custom order... it's a pretty broad spectrum. The manufacturing of the sensor is an ocean of different aspects linked in with the design as well, if you're going to invent a new kind of pixel architecture or readout mechanism for example you need to have the tools to manufacture it. Arguing about where on this spectrum of engineering a custom-made sensor falls is a bit pointless because... The image is about the whole package - Blackmagic's colour science and sensor calibration is superb. Along with Canon and Olympus I think Blackmagic's colour is one of the most flattering of the talent in front of the camera. Until we see the exact same 4.6K sensor in any other camera, the URSA Mini has exclusivity... I'd question why the whole topic even matters, since as I just said, it's the whole package that makes an image unique. The whole workflow as well - this is an important part and the sensor is just one link in the chain between the lens and the final image. Respectfully disagree. RED don't have an entire sensor design and manufacturing workforce in-house. RED call on similar outside talent to develop a CMOS design, specced out for a particular camera. Probably TowerJazz. Leica do it as well - CMOSIS and Panasonic both design and manufacture sensors for them. Where's the shame in this? Fairchild are just another sensor design company to partner with and a very good one at that. Blackmagic and Fairchild = "lack of expertise" is a really below the belt comment and just not true. In fact, that is just your assumption. You don't actually know.

Hi. You may think I'm a brand ambassador, but lets examine what that would actually mean. It would mean that I get paid to promote and generally aid the cause of Blackmagic and their brand awareness and experience with their users, is that right ? I am not a Brand ambassador for Blackmagic, mostly because I don't get paid to be one, and I'd rather speak my mind openly in public forums like this. I've believe I've been honest in my views of the pros and cons of their products. I have a personal relationship with many of the people that work there and I've had a lot to do casually with helping with test shoots, iterations of changes to fundamentals, which again, I'm not paid for. In return I get to be involved with the development of cameras, furthering my own understanding of how a camera is built from the ground up, I get to see some of my input make it into the development cycle and I get some cameras. Blackmagic once flew me to IBC to help with the launch of the MFT version of the 2.5K, a version I strongly lobbied for internally with BM. None of my involvement with Blackmagic has EVER lead to me getting work as a DP, or increasing my profile. If you think that's what producers go for then you'd be wrong. If you don't think I'm polite enough then it's really your problem. I would much rather remain independent and be able to speak my mind frankly. It's exactly because I'm not a Blackmagic Brand ambassador that I can do this and the more I do this job, the less patient I get with armchair experts like Kino. I feel like I've earned the right to be able to speak on that which I know something about and I don't really have the patience to argue points of fact with someone anonymous like Kino who has no ability to back up his claims nor legitimacy in his identity. Anyone who's been on camera forums knows me and my history and has that posting history to inform them. I have been on CML since nearly the begining, on C.com for many years and DP review, REDUSER, DVXUSER all long before Blackmagic came along. I have a blog where I try to write meaningful and helpful work and share my very own camera tests from actual shows with anyone who wants to see them without monetising it or having any kinds of adverts or kickbacks. Because I like to be able to speak my mind when I wish to. I'm not building a profile with this audience because I am not tied to you guys for money. JB

Hi Cisco, I work on the crowfounding page!

I tred weird lightroom session just for fun

Adding a bit of grain can help dither digital highlights from having razor sharp edge contrast clipping as well as give an overall image the impression of added sharpness without making the edges buzz. When integrating CG elements into live action plates it is still one of the the go-to methods to help get the two to blend together better. An image with grain can still look very clean, as everything is uniformed with the global grain effect....which can be very different from digital 'noise' - which can sometimes only effect the shadows of an image, and is often not as monochromatic as film grain. Denoising an image - then adding grain back in can work great...again, this is often because often the non-uniform colour noise is removed/reduced, then a gentle wash of global monochromatic grain can really unify an image in it apparent sharpness and contrast. Film Convert grain is pretty good, but when I can I use real telecine scans from 35mm and overlay those at varying opacity. It is of course often down to personal taste and how effectively/subtlety it is used. I tend to regard image noise from digital as similar to the interference on a badly tuned old analogue TV...can sometimes be very a distracting buzz and detracts from the viewing experience. Grain is more like the pops and crackles you hear on vinyl...part of the experience and can actually add to the experience when used well - seems to add some impression of physicality (even if emulated digitally). Subtlety is key I think - does not have to be very obvious at all to improve an image (unless you are intentionally going for a grind-house look or trying to emulate old 16mm stock).

Film grain is best when used after denoising an image. Anytime I use Neat Video to reduce noise I'll add a layer of grain. Otherwise it looks like plastic. Noise/grain at low ISO's are fine but when you get up to 1600 it can look nasty.

It also works great with camera like the Sony a7 or the T3i which have issues like moire and aliasing, the grain often helps hide those issues in my experience.

Today I installed and tested the new NX-KS V2.48 Hack, in my NX1 camera. I shot in real 4k (4096x2160) 180mb/s - 25fps! No frame repeating. This is the only Dslr can shot real 4k in 24 and 25fps!!! TNX.

First impressions, some good, some not so. Not sure its the right fit for me. Need to test low light and do more shooting generally Nice hack but no good for me - I need to swap quickly from one to the other. 5 axis - I know it works in video Just making sure that in the menu you need "E-stabilsazation (video)" to ON. (Because without that it seemed to do nothing.

So Kino once again dodges his assertions with claims about his academic prowess. Notice readers, once again, Kino avoids rebuttals on his claims and moves to...ahhh..defense of his academic prowess. Anyway, last I heard patents weren't the only way to protect IP. In fact, the most enduring way is to keep it secret...like Coke and Colonel Sanders do. Having or not having a patent is indicative of nothing at all. Once again, a very old fashioned out of date view about how IP is protected. But again we're just diverting the conversation again aren't we. Something Kino always does. How about this. Do you think RED don't work with their sensor fab partner in EXACTLY the same way Blackmagic or ARRI or Digital Bolex do ? You don't cause that's what you're saying, but you actually don't really know do you because all you can do is dig up a quote about ASICs and Sensors, without knowing what you post about. Of course you are trying to perhaps have me confirm a technology partner of BM, when you know full well I'd never be able to disclose that without breaking an NDA, but I can assure you, the sensor used in the UM4.6K is not an "off the shelf sensor", nor is it one that you can just go order from whomever you think the vendor is. I know this because of actual personal involvement with its development. Please explain how I can have that so wrong and your version be more correct ? It's very usual for camera manufacturers to partner with companies making sensors to also spin off the development costs to amortise them for other uses. I bet you can't name me another sensor company that has done this after developing a sensor that never came to market....cmon now, you failed on the ASIC questions...You should be able to get this one... The fact is you're wrong. You make wrong claims, and for an academic, you fail to make bullet proof arguments about your claims, backed up by anything other than second hand information. I also don't believe you own any of the cameras being discussed, nor do I believe you've used them. Here are some of my favorite collected Kino quotes and please tell me this isn't the same Kino from another forum.....Please note the regular contradictions and backflippery. "With every 4.6k video that is posted, the lack of a pleasing highlight roll-off is more and more apparent. It could possibly be a highlight recovery issue in post, but it is a characteristic of this camera in several videos that we have seen. It's like the sensor hits a wall and cannot reproduce the gradations of luminance one would expect from the shot." "4 stops over-and-under is a very respectable performance. It's not going to equal an Alexa or Weapon, especially in the highlights, but the 4.6k's blacks are very clean. Its noise performance is pretty impressive and, while it is losing saturation in underexposure, the footage is still usable. " "This is exactly why I said 10-12 stops for the 4.6k," "I cannot imagine at this stage that BMD is having quality control issues." "Obviously, that is a serious problem. That purple/blue clipping is from the camera, not any lens." - Which was said in relation to an obviously mis-graded clip that had the "old" Resolve BM 709 LUT applied. Some of my favourite Kino posts relate to a conspiracy theory he ran for several pages about the 4.6K not having the DR everyone now accepts it has because some early clips that were released didn't to HIS EYE appear to have any DR and then he really got excited because a post of a photo of a XYLA chart on facebook by a senior ASC technical committee DP shot on a computer screen in shot while a 4.6K appeared to be tested didn't appear to show the correct DR and yet didn't seem to want to accept it could never be an accurate image because the lights were on in the test environment for the purposes of taking...the photo... He doesn't even understand how the test conditions would change that result, even when told, he still posted this kind of garbage... "Yes, final results are necessary from an independent source (Cinema5D, for example), but that image was pulled because it was revealing, not because it was misleading." He didn't know the image WAS an independent source, namely the individual ASC technical committee members facebook page, but whatever... "So even when there is evidence there is no evidence. Of course, I anticipated this day. Put a Xyla chart or waveform in front of them and they still cannot acknowledge that the camera's performance does not meet its advertised specs." "The spikes I'm referring to are clearly visible in the waveform monitors sitting on the table in the released image of the 4.6k test. The "waveforms" you have posted are of your own fabrication and not from any test of a RED camera. There is a fundamental difference. Besides, the question remains: why was the entire post, its conclusions, and its uncontaminated Xyla (if any) taken down?" He also continues to ridicule and attack individuals that have no ability to answer because of the very fact that they ARE under NDA. This is also why i like to hold him to account for his reckless and misinformed claims. "Now, of course, I understand you are under NDAs and your responsibility is to report such problems back to BMD and not this forum, but you can't turn around and argue that you were the ones who brought the magenta issue to our attention. That's a joke, right?" But my favourite of course also in the same thread many of the above posts were in was.. "This camera is finally ready for prime time and for my wallet." Sorry if this seems harsh. I just don't like debating what I know to be factually untrue with an anonymous grandstander. I prefer to hold someone that posts that kind of ill informed guesswork to account. All I ever used to do was challenge Kino's claims. He just ignores that and never retracts or admits getting it wrong. I'm happy to be proven wrong if all this is untrue. Well, I have major issues with the testing methodologies espoused by many that produce the magenta corner result. I was sent an image from a RED DRAGON that had the same test results applied according to the author, a 400% boost in saturation to bring out the result, and it looked worse than what's usually cited on the UM4.6K. JB

Seriously enny?? That is an incredibly clueless statement to shit on Arri cameras because of their resolution. Maybe Kino is from Egypt?

Download now for just $19.99 ($29.99 usual price) The EOSHD C-LOG and Film Profiles Pack is now available and works in both video and stills mode - on all Canon DSLRs. Crafted using my Canon 1D C as a development camera, the EOSHD Film Profiles pack installs "Canon LOG" to cameras previously without it, plus a range of film simulation modes to DSLRs such as the 5D Mark IV, 5D Mark III, 1D X Mark II and T2i, etc. Read the full article

A good example of how grain can give a perceived impression of sharpness: https://vimeo.com/120035136

Ha, no I've been urging they make the mount much more "open" than that. I think MFT would be a bad idea on a sensor that is larger than what MFT lenses are projecting. Then you're just using MFT as an interchange mount and I think it's very poorly suited to that job. It should be more robust if that's the intention. Mounts are really tricky because the tolerances are so critical and everyone THINKS it's easy. JB

I been looking to get BMCC confirmed it for me it for me that Excellent and Proof that the BMCC 2.5k is more than enough camera for a capable filmmaker.

Was Canon 6D, I have a Eos M1, I can try and if works I let you know! I works! I just installed, I will try to make some test when have time.

To each their own really. But there are some technical benefits to adding grain, like how it can sometimes help prevent blockiness and banding from youtube/vimeo compression

Video shot with a Nikon D5 (a BTS of a D500 photoshoot):

Two more with the Zeiss 12-120mm T2.4 on the Digital Bolex, this time indoors. The wide shot is with the Aspheron wide angle attachment (6,6mm!). ISO 400, T4, 172.8 degree shutter at 2k24p.

Tried this on my Canon 60D w/ Sigma 18-35, and I didn't check for focus. Sorry please forgive my rookie mistake. Shot internally and it held up quite better than I imagined. Remember using CineStyle when it first came out and never got the look I wanted consistently.

I made a test comparing iso 400 - 6400 on skin tones if anyone is interested: It looks pretty good up to 1600 and I think, but it's still usable in from 3200 all the way to 6400 in some situations. Might need some noise reduction though...

Bringing this back to life, this time with a picture :

Many here worry about noise in there footage. But many of those same people then use plugins like Film Convert to add noise "grain" to their otherwise clean footage. So why worry about noise if you add noise in post in the form of film grain? I think the idea of taking otherwise clean digital footage and adding grain to simulate the "film" look is very 2012... Went to the movies yesterday to see "Don't Breath". They showed some BTSF of the director. In that footage you could see the Alexa that they shot the film on. And as I sat there watching the movie, I could not help but remark how clean the image looked. No grain at all. Motion cadence looked great. The overall image looked fantastic. I think the film look may work for nostalgic pieces, but other than that I believe it only serves to degrade the image quality.

Just purchased, will test on eos m and 7d against Cinestyle.

Great to see it working on the EOS M cameras as well. I have just tested it on a Canon 80D. Liked the results so much I bought one. Also Magic Lantern are developing for the 80D right now. Until there's RAW though, there's C-LOG and small files sizes

No. E-stabilization never needs to be activated. Not sure why they've included that... just confuses people and reduces image quality.

Sadly, in my opinion, it's nowhere near as good. I went from a 70D to an NX1. In an interview like situation, with one of the S lenses, it's really good, it'll lock onto a face and stay solid, no hunting, but that's about the extent of what I can trust it with. Canon's dual pixel is just so wonderfully useable and trustworthy, even in run and gun type stuff, nailing focus every time with a touch of the screen (albeit with those mushy, soft canon "details", but what can you do). I would never dare use my samsung like that though, especially in high contrast situations, where sometimes it will think it has 'achieved focus' and then just completely blur everything, ruining the shot. That being said, I have had pretty good success using it for gimbal stuff, I've used the nx1 and 16-50s lens in af-c on a ronin-m quite a bit, and been very pleased with the results most of the time. Samsung's af tech is pretty good, and definitely better than most cams, but canon's dual pixel af is straight-up magic.

It seems most are using grain to cover perceived imperfections in their footage. I'm seriously trying to get away from the old film look. While I do have a place for it in my heart, I just feel it's like when people use to add the record player sound to digital recordings.

I like a bit of grain, it makes the image feel alive. A show like Stranger Things - lovely grain. The majority of Vimeo - not so much.

I mean... Better?... Hard to say, IMO. I still have both, and can't bear to part with either. The range on the S lens is definitely more preferable than the sigma, being wider and longer, and the stabilization is pretty stellar (combine it with DIS and lateral handheld movements of the camera can look like a straight-up slider shot) and of course it's a wonderful lens for stills, but the main thing that keeps me using the sigma for video is that buttery smooth focus ring (and the constant f/1.8 of course). I do think it's really cool you can electronically change the S lens's focus throw and sensitivity, but it's still just not the same as actual mechanical focussing, at least for me. But either way, gorgeous shot (as usual!!) @ricardo_sousa11

Thanks a lot, Pedro. I have the m1, and an XC10. The M3 had a few extras (focus peaking, IS, tilting screen) so it could be a great complement to the Canon Log in the XC10 if Andrew's profile matches well. Of course, the eos-m5 is supposed to be announced sometime next week, so I would hold off to see what the new model offers... DPAF, 60p and hopefully 4K... but doubtful.

Nop, I sold the sigma hahaha, I got a Samsung 16-50S for 375€, this one is with that lens.

I have the Lilliput 663/O/P2, because of the features... but then the BMD Video Assist was more practical to use (5" is lovely! The 7" 663 is well-built... maybe too well, it's heavy and clunky). Just... the VA is not really awesome blossum for monitoring per se, it just lacks features. Because of that I'm going in between with the Lilliput Q5. LinkDelight seems to have 'em already. The official EU distributor was expecting 'em in in two weeks (that was a week ago). I mean, ideally I would've gone with a field monitor/recorder combo, but the one I want, which is the Videodevices PIX-E5(H) is a little bit too high up there for me to really consider. Time for them, Atomos or Blackmagic to release a combo monitor with 5~5.5" in the sub 1000 USD range (preferably sub 750 of course). That would be a home run! Until that day I think the Q5 will do it all: from being mounted on a handheld gimbal stabilizer to actually checking the waveforms/vectorscope in a studio environment. The silly but practical looking rubber Atomos-style cover is removable (since the update of including one, they haven't had any renders without one). Btw, Aputure has a new monitor, the VS-5 (7" though). Saw it a few weeks ago on AliExpress. They announced the release on their social media and YouTube channel more recently. And not sure why, but Feelworld and Seetec seem very stoneagey, I'd be more comfortable with Lilliput and Aputure.

Short test of the new C-log profile in differentes situations of light and contrast. Graded only with Filmconvert using c300 log profile. This was a very first attempt and was a real production for a wedding video but I push Iso to 3200 without problem and even in 12.800 noise is better than prolost profile. Being a log profile skintones work great.

Impossible - in what country? I have all my photo equipment insured (up to a value of 10k or 15k euro I think). It can get stolen, I can drop it from a roof, into the water etc - and the insurance will cover it. All I will need is to prove that it's been in my ownership with a receipt or such.

I how cinematic this shot looks. You used one of the EOSHD CINE LUTs from the pack to grade it right? If so that cinematic mix of cool blue and warm tones in this shot were exactly the look I was aiming for with that LUT... Without C-LOG, if it had been shot with CineStyle, the colours and contrast just wouldn't have had the same feel. So I'm mega excited to see that the C-LOG profile and EOSHD CINE LUTs are working this well even on a 60D. Proof it works across the board. PS - the LUT you used was developed with footage shot in 4K on my 1D C using the real Canon LOG! Amazing that you can apply it to my custom C-LOG profile on a 60D and have it look the same - Canon's colour science is really well standardised across cameras and it is just lovely to look at.

It's a possibility. GammaDR is barely even flat let alone LOG and when you dial things down flatter in-camera, colour goes a bit haywire. So what I did with the NX1 Guide LOG converter is find a balance between delivering maximum dynamic range from the in-camera non-flat file (there are various tricks and it is important for example not to accidentally clip the RGB range in post with the H.265 files) and maintaining the great colour the NX1 is known for. Then this image gets converted by my LOG LUT in post to a much flatter image which is compatible with the usual range of LUTs designed for S-LOG, Canon LOG, etc. Samsung don't have an advanced app like Canon for creating your own gamma curves and colour profiles. Maybe the hacker community can make one. But it remains such an incredibly powerful piece of hardware with a very simple user interface and great physical ergonomics. It is still cutting edge. That sensor seems to be doing a very nice readout in 120fps to get that much detail in 1080p. Oh and rolling shutter in 1080p is practically zero. The only weak point is that you have to avoid pushing past ISO 800. Keep it at 100-800 and it is super clean. Past that is emergencies only especially if shooting 100fps or 120fps. I think aside from the low light capabilities and Dual Pixel AF of the 1D X Mark II the NX1 is my slow-mo camera of choice right now. Sometimes even the video AF-C of the camera with the premium S lenses actually works pretty damn well!

I am getting some lovely results with 120FPS on the hacked Samsung NX1. Latest firmware and the increased bitrates of the hack have done wonders for it since the NX1 first came out. It is much more detailed than the 1D X Mark II 120fps and whips the ass of the mushy A7S II 120fps at a fraction of the cost!! And full Super 35mm field of view! Just make sure to turn sharpness all the way down in-camera. Hacked NX1 1080/120p in terms of moire and aliasing is similar to X Pro 2 1080p maybe a bit cleaner.

purchased for my t3i just on the off chance it would work alright that compressed. or i could have some fun in jpeg and see what a 1dc would be like when i get one in 50 years. but actually liking it a lot! was comparing to my dialed flat profile and "vivid skin tones" (which is also really nice, though i think it may white balance oddly, a few kelvin clicks differently than anything else). enjoyed grading it more than my dialed flat profile by far. still can't get that file as nice. Thanks Andrew! Artifacts, but maybe no more than usual on this thing... (also, there's an actual pattern there in the out of focus area that looks like banding I think) posting an ungraded jpeg too, in case that helps anyone. a little closer to one of the 4k camera images maybe hope my smile brightens some people's days

Good job on color correcting my screen grab. @Andrew Reid, I have no idea how you managed this but you've breathed life into older Canon DSLRs.

@Andrew Reid this is fantastic looks like you did a great job! really looking forward to seeing the results on a 1dx2 could someone post some mjpeg EOSHDclog footage ungraded? ideally with a human in it? i kno thats asking a lot sorry lol

With all due respect, John, and I really appreciate all the work you have done for the online community and your championing of the BMCC, but you are a brand ambassador at this point for Blackmagic. Whether or not Kino is just regurgitating things he learned on google, you can't call him an "idiot." And you shouldn't really swear. It looks bad not just on you, but on blackmagic. I remember being on reduser and Jarred Land starting swearing at people and so did Chris something, a DP, who uses red a lot on music videos with Taylor Swift. The whole thing left a bad taste in my mouth and I'm sure other people who want to learn more about blackmagic. I apologize if I have dug too hard into blackmagic. I love Resolve - I use it constantly. And I have used a pocket camera on some commercials and even the 4k camera on an Infinity car commercial. Their cameras are amazing. Right now, it seems that they are having an issue with their flagship camera. And more than I knew. I was only commenting on the build of the ursa mini 4.6k. Anyway I understand why you are upset - you probably know the team behind the camera personally. So it's like someone throwing shade at you personally. Anyway I apologize. This isn't about Arri and their inability to move to 4k to compromise dynamic range on their cameras - this is about an image issue with BM and for me, their camera's ergonomics which now I think is probably okay.

Some fresh tests with Rectimascop 80/2x. Sony A6300 (crop) | Helios 44-2 58 mm (f:2-f:2.8) Small vignette in infinity can be removed in 2.35:1

Some friendly advice: The bright patch of grass isn't green because it is overexposed. Since C-LOG raises the shadows, you should have exposed for the highlights and the dark areas would have been recoverable in post. Once the grass is burnt it's gone. I don't agree you got the better results with the standard picture profile - the grass is fucked on that too. Have fun! It's definitely worth trying on the 80D. It won't be a noisy mess if you expose correctly and keep the ISO under control - i.e. 100 for a high dynamic range scene (bright light) and no higher than 1600 in low light. No the image won't be as good as 4K but, hey, it is the 80D we're talking about not a 1D X Mark II. If anyone would like to post the original files for me to grade, I can show you the best way to grade each camera. Thanks for the kind remarks. Did you mean 1D X Mark II with auto-focus though? You're replacing your 1D C with a 1D X Mark II right? Yes ETTR (expose to the right), but you have the choice to protect the highlights - don't go so far to the right that you blow out important areas of the frame. If you under expose a LOG image it looks crap (as we see from so much of the Sony S-LOG 2 footage out there).

Check this out. I just picked up a BMCC MFT 2.5K and put a spare BMPCC speedbooster on it. 1.39x crop. Here is a FOV comparison between the BMPCC and BMCC. same pocket speed booster, same 28mm full frae lens. this set-up *does* require the use of full frame lenses by the way. aps-c will vignette.

Here is an slog2 LUT for Sony a6000 by jonmatifa: https://github.com/jonmatifa/a6000-LUTs It's made for the Portrait picture profile, set to -3 contrast, -3 saturation, -3 sharpness. He says: "Test footage was shot with a color card, which was used with DaVinci Resolve to generate output LUTs." How precise could this method be?

Over at BMCuser, someone posted that they dropped their Mini 4.6k, it landed on the handle & cracked the casing, causing damage to the mother board inside - BM wouldn't repair it! However, it does produce lovely images, if used by someone who knows what they're doing... I personally think that they'll keep going, but will revert to smaller packages (box like cams) - if they can figure out how to heat sink in a smaller package (the same user took his Mini apart & the majority of the camera is dedicated to the heat sink module). You've got to remember that BM cameras are budget cameras & they will have to cut corners in quality/build to keep the prices competative & low. You've got to admit that the images coming from these cameras can be awesome & I hope that they struggle through, just like RED did at the beginning. I believe that in another 10yrs time, we'll be talking about BM cameras in the same breath as RED & maybe ARRI. The biggest problem that they have at the moment is lack of user knowledge & this is due to the low price of some of their cameras - for every great user, there are at least 10 numpties whose lack of filming knowledge gets exposed as soon as they pick one up. They are not DSLRs & shouldn't be mentioned in the same sentence, let alone compared to them. If you don't get this, then DO NOT buy one, because you're probably the type of person that hasn't the time or patience to learn how to use them. Just look at all the [stupid BS] hate aimed at the Pocket camera: poor battery life, bad screen etc... 45mins time limit for battery & SD card whilst filming PR. The screen is by a country mile not the worst i've ever used & I seem to manage very well nailing focus - I wear glasses, which adds an extra dimension of difficulty to the whole thing. And these same people talk about wanting to replicate a filmic image, just imagine them using a film camera that has a max filming time of 12mins - people with no skill or patience to learn will complain about anything if you let them, it's how they cover up for their short comings. It's a crying shame, but it's their loss........

Guys, here the news. Kino Seed from dpr is kindly take my help offer and I did remote debugging of this mode for NX1, which is new for me, so it takes loooong time, poor Kino Seed About this mod-pack release and NX1 compatibility which I can confirm for now, all without manual camera reboot, i.e. on-the-fly: Record limit on/off (resets after every reboot) Setting up bitrate for current mode Setting up bitrate for any video mode in menu Hibernate and Sleep mode Custom functions - focus and batch Saving and loading profiles Saving and loading full backup settings Also - functional key-combinations, like EV+MOBILE for telnet, it's just perfect actually It's all must works fine as in nx500, as in NX1 Bonus upgrade: while I did the bitrate test of this mod, my SANDISK Extreme Pro SDXC 64GB Class 10 UHS-I U1 95/90 MB/s allows me easily go with 210 (!!!) mbps. So. naturally, now I am confirming, that NX1 (probably nx500 with same or better sd-card) with this mod-pack is ready to shoot with 200 mbps bitrate. It's still needs more testing to explore possibilities, but so far I record like 10 videos from 10 seconds to 4 minutes, without any issues. So, use this mod to expand possibilities of nx500 and NX1, and please leave a feedback here or on dpreview