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here you go: v2.79 added: Custom overlay - start from ( settings> overlay ). It loads your own custom overlay from the root directory of the sdcard ( sdcard/overlay.png ). Once activated the touchscreen will not work, and histogram will be "frozen" until you deactivate it ( reminder: Ev+Ev/Ok to start the menu for nx500/nx1) note that the preview of the playback will not work, however press "ok" for the video playback to start, and the recorded video with the overlay on top will show. you can make any overlay you like, as 720x480 transparent PNG (replace the overlay.png with it)

Ttbek Hello, you're right, I also do not want to finish my projects with a white beard, so I have been working on this great project. Now I can offer two new accessories: 1) lens NXL speed booster, 2) smart adapter. I do not want to work on the code for communication between the camera and the lens, I have experience with metabones smart adapter, he had a multitude of problems with Sony a7s, it was always in the crash, so I anticipate that it is an experiment already failed in start which will never work well. I think it's better to work on a separate autofocus independent reporting system that measures the framed object distance, this is possible and we have the technology and economic resources to do so p (the rest will publish some projects). While waiting I invite you to watch this latest project, very useful for all videomakers. Thank you, I wait your order for NXL today ;-) https://www.produzionidalbasso.com/project/conversion-kit-aputure-dec-canon-lens-samsung-nx/

I agree we should start a thread. I'm away from my mac this weekend but will repost the stills I posted to this thread next week. I'll also contact Canon direct like you did. Let's make a ruckus. Even if it just makes them aware of it or they explain what's causing it would be something. If any XC10 owners here haven't registered with CPN (the XC10 makes you eligible) I suggest you do so and voice your concern via that way. No doubt you'll get more attention than consumer channels. might be a bad idea to dilute the message but if they do release another firmware update I'd also like to lobby canon to add the waveform and shutter angle features from the xc15 to the XC10!

I had the Zhiyun Crane, good stuff. Right now Im testing an upcoming gimbal from them and they are definitely consistent in regards to quality. Works out of the box with minimal effort. The Zhiyun also has an app, an external remote and cables to trigger various types of cameras as optional extras.

Yeah, I may get a second mortgage to pay for that. If I'm going to get a fast lens, for lowlight, I'd like it to be decent wide open or have interesting character... At least the 1.2 has that dreamy look wide open, the 1.4 is just soft. After constructing rigs and modifying lenses and adapters for the BMMCC, I am honestly tired of DIY jobs for filmmaking. I am a cabinet maker by trade, so I'm sure I could do it, but I have little interest in working for my hobby. Not to mention my 50mm f2 is so clean, I'd hate to hack it up myself.

They are not focus by wire but they are very undamped and imprecise for video. I wouldn't bother with them. On the other hand you can't go wrong with AI/AIS lenses. Even the 50mm 1.8 series E I can for free with a film body is perfectly fine on a 1080 body.

Thats about what mine cost. Bought it on a photo forum. It was the oldest add there, zero interest for such things in Sweden. When I sold it I had the same problem. So I switched the title from 1DC to 1DX/1DC. My phone almost exploded. Felt like every photographer in the world wanted a 1DX but none of them had ever heard of a 1DC. So the camera now lives with a sports shooter. It will never capture a frame of video again. I told him it was a great video camera, he couldn't care less

A couple of stills from my Disneyland trip (don't ask!) that I've graded in FilmConvert with the new profiles. 5207 Vis3, 60% film colour, 65% Super 16 grain. Tweaks to curve and saturation. Edit: shot in Canon log at ISO 500 (apart from the last one, which I think was at 2000. I'm really loving the image I get this camera - it may not be for everybody, but it matches my sensibilities. Knowing it is capable of producing exactly what I want and that it's so easy to use makes me want to shoot a lot more, which is - obviously - the best way to get better at anything!

You know they introduced a flat profile on the EM5 Mark II right ? And they have one for the EM1 Mark II as well. JB

Thanks Santa! And thanks FilmConvert for decent colour separation at a mouse click! CLog with FilmConvert and a highlight saturation roll off. Here's where I'd been at in terms of trying for nice colour: And I think it's not bad, but I was introducing edge artifacts and accentuating compression blocks. FilmConvert does a really good job of getting psychologically realistic colours without the image falling apart. I had noticed an overall colour cast to the images that I found hard to shake and I think some LUTs just cover over it but FilmConvert actually seems to be converting (what look like to me) a whole bunch of greens and purples and turning them into... real colour. I got a 30cm Lastolite EzyBalance yesterday. It folds up and stuffs away into your bag. When unfolded it's big enough to fill the screen. Stick it in front of the lens in the light you're going to be shooting in and select custom white balance 1 or 2 then press set. You should have neutral colours for the rest of that shoot as long as the light temperature doesn't change. Canon have replied to me asking for samples: Maybe I will start a new thread on this. Canon have already issued two firmware updates, and have included improvements to noise reduction and rolling shutter. So why not this?

Photos of modded — 35NAP 2-4; 35NAP 2-4, 35NAP 2-3M. Rectimascop 80/2x; 2-3M bigger than 2-4. 2-3M goes to Moscow soon for one filmmaker.

It would kill the 80D and GH4 for stills. Check that, murder the 80D and GH4 for stills. Scratch that, kidnap and torture, preform experiments and then make a 4K snuff film of the murder which it sends to the 80D and GH4s families.

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

Ah, I misinterpreted your video, I thought you had it working like the metabones adapter. I'm going to disagree here though, my goal is to have true AF by the camera body controlling the lens. I agree that the other project is great for video shooters, probably even much better for them than what my goal is, but I am primarily a stills shooter. I'm kind of tempted to order one anyway, this is the conversion kit alone right? So one would need to buy the Apurture DEC separately, correct? My Italian is non-existent :P If you could manufacture a smart adapter it would let me focus on the firmware, as is the crudeness of my adapter takes too much time from coding. I don't have any nice tools for making it, relying on epoxy and soldering from parts entirely taken and sawed apart from macro extension tubes putting them into a dumb adapter for now. Actually, the part from the NX macro tube fits beautifully into the dumb adapter, but the Canon side is problematic. Just having something with contacts on the NX and Canon side, with corresponding contact points on the outside of lens such that a logic analyzer can be place in between would be pretty awesome, even more so if it can be done to an NX-L. I put in for two NX-L adapters, how should I send you my shipping info and phone numbers, I didn't see a place to enter it, just send it to your email listed there?

@kidzrevil Thanks for making this thread. Canon don't know yet that this is a big problem. On page 76 of the manual they write: "When using Dynamic IS, the edges of the picture may be adversely affected (ghosting, artifacts and/or dark areas may appear) when compensating for a high degree of camcorder shake." BUT the ghosting appears whether or not IS selected or not, and at all ISOs. Now, my video shows faint ghosting artifacts at ISO 500, and kidzrevil's high ISO frame grabs show severe ghosting. So it gets worse with ISO. So it's probably due to temporal noise reduction. Forget frame grabs for a second: it's visible on the LCD at moderate ISOs as soon as anything moves. This makes the footage next to useless. I don't know how this slipped past Canon and the BBC guy. If you only shoot static scenes everything's hunky dory. But look what happened when DVInfo panned across a chart: Adam Wilt knows it , I know it, kidzrevil knows it, but... Canon doesn't know about the ghosting yet So if you own an XC10, contact Canon support and tell them your camera does mad shit against your will. They've shown their willingness to improve image quality through firmware updates. Ask them to fix the ghost that is haunting your camera. Because if your scene demands you record at anything above ISO 500, you might as well shoot it on a potato.

Don't bother with the 1.2. It has loads of veiling flare that only goes away at f4 or so. It's not terrible but do you really really that tiny extra bit of performance v a 1.4 or 1.8? The new Nikon 1.8 primes are really nice. Light, small, well built, autofocus very fast and great value.

It just went down a few thousands during the summer! Even if it goes down, it will be more than twice the price for a long long time.. I honestly would prefer a C100markIII instead, with similar to the XC15 files, but a C100 nevertheless. C300 is a different animal than the 100 and you would need an upgrade to everything you own (tripods, monopods, sliders etc) to tame it sufficiently. We have one in the production company I work; most of the times I go with the C100ii. You always have to consider the fact that the camera that you use now, is better than the one you haven't, or can't get!

I had the AI but I don't think there is any meaningful optical difference between the two. There were two versions of the K lens, one with older optics and one with the AI optics. So you may have had the older version... or you and I differ on our criteria for good looking lenses! Honestly though, I'd try and borrow one locally and see what you like.

With the C100ii you will keep 98% of your clients happy, and with the XC15 the rest of them, and it seems like a very good 2 way system too. You got 2 cameras for less money than the rest of your options.

This looks like Zhiyun with accessories and better customer service? He mentions using the Zhiyun app to control it. Not for C100 though.

non-ai lenses hitting mirros? Never heard of that. You just have to convert them(remove some metal around the aperture ring, I did this myself and I'm totally useless for DIY stuff) so it doesn't interfere with the aperture plastic tab. AF-D lenses, I hate them, most of my lenses are af-d because they were passed to me, but honestly, I would never buy one.

Attaching a SmallHD 501 on top would be ideal. Swivel plus peaking and scopes.

I saw this for sale this morning: 1DC $2999 http://www.adorama.com/us%20%20%20%20774541.html?gclid=CI667uas7s8CFZKKaQodINYHbg So tempting!

One more thing Jason (I sent you a PM) - keep in mind the value of time. There are a TON of "armchair" videographers that will tell you how amazing a camera footage is based solely on specs or being the "latest and greatest". "OMG 10 bit just crushes 8 bit" or "camera A is so much better than camera B because it shoots 4k". Most people do not need 4k right now - it's a pain to store and work with (and deliver). Just because something is even 8 bit 4:2:0 doesn't make it crap - the a7s II shoots an amazing looking image. There are a ton of people that fork out extra money for external recorders that I can barely see the difference with if at all. At the end of the day ease of use, turnaround time, FOCUS ability, tracking are all very important. Yes that XYZ camera looks great if you can just get the ND filter dialed in right, have a separate audio source, spend hours syncing these two in post, down scaling your footage and hours grading S-Log or something else in post, converting RAW, etc. God forbid the talent moves. FOCUS always beats ultimate image quality for me. Hell the "ancient" FS700 looked pretty damn good IMO in good light, especially the slow-mo. Would I carry around that beast as well as the Odyssey 7Q+ just for the added IQ? Not me. Some would. People like to critique low bitrates and 4:2:0 color space, yet ignore flip out screens and easy use. I realize I'm rambling. I still look at GH2 unhacked footage I shot back in 2012 and it looks fantastic. The hack (IMO) was more hype than anything else. Only hack I really saw a difference for was the 5d3 raw. There is no perfect camera. Micro four thirds - harder to get shallow DOF, video AF lousy, poor low light due to the small sensor. Sony - questionable repair services, tougher to grade colors, frustrating menus, too many bodies being released, poor battery life, fiddly controls, poor ergonomics Nikon - poor video AF, lenses not optimized for video use, unaware of any cinema Nikon cameras. Canon - boring, holds back features reserved for Cinema line, can't use EF-S lenses on full frame bodies, moire/aliasing/soft 1080p image on many models.

65k is NOTHING on a 1d series body. Plenty of people knock Canon for being lackluster in the spec department; they're like the Toyota of the camera world. Rock solid and proven reliable. The 1dx/1dxII/1dc/1div etc are cameras that could be taken into the jungle, desert, war zone, etc. Heavy and solid as a tank. I had a 1dIV with 225k clicks and the shots looked like a brand new one. Anything can fail though, but in the last 7 years of shooting Canon I have only had 1 SD slot failure in a 5d3 that Canon had back to me fixed for free in about 10 days. My Sony a7r went in the shop twice and took a month each time to get back to me. It and many other Sony bodies had overheating, compatibility issues with AF adapters (even Metabones) in which the camera would shut off. Obviously you're not asking about Sony a7x series cameras, but my point is there's a world of difference between 65k on a 1d series and a non-pro body. Basically it comes down to this: You can pick up a used 1dx II for about 5-5.3k and it will give you a ton of stuff over the 1dc. PDAF with face tracking is really the shit, and the 4k60 is so good that I find myself doing frame grabs and shooting 4k60 all the time. Yes the codec is a pain in the ass, but it's 8 bit 4:2:2 and looks fantastic. I personally would rather have a C100 Mark II over the 1dc for video - the 1080p60 and all the other features far outweigh the 4k24/25 (there is no 30/60 4k on the 1dc). In fairness there is no 4k on the c100 either, but it is a 4k sensor downscaled in camera to amazing 1080p. It's a workhorse and a delight to use. My advice? If you have shot with a full frame Canon with a grip you'll pretty much know what to expect with the 1dc. Go rent a c100 Mark II and you will flat out love using it. I tend to shoot Cinema/C-log and expose about 1 stop to the right; it grades lovely and easily in post. The built in microphone is amazing too. i set the button on the right handle to toggle AF on and off, and the "nipple" you can quickly adjust shutter, ISO, F/Stop, WB without even moving your eye from the EVF. Lastly, the c100 IMO when exposed correctly (and shot in C-log) looks 99% as good as the 5d3 raw with about 10,000 times the reliability as assistance factor. With the heavier compressed codec you do have to pay attention to exposure though, so there is less leeway for error. I shoot my son's travel baseball games. I'll set the c100 up in the outfield with a long lens on a tripod and just let it record (no 30 minute time limit either) - I can record for like 3-4 hours with a 128GB SD card and the larger battery. Then I can shoot stills and get 1080p120 shots with the 1dx II and the footage matches up nicely. Canon colors are great. Either way you can't go wrong. All of these will provide stunning results. Absolute image quality goes to the C-Log 4k 1dc if you have a planned shot and time to set everything up. Going to shoot an event or need to quickly work? C100 and it's not even close.

Here is an updated lut for the settings. This was created with the use of Resolve's color match then HSL curves to further match a RAW file of the same scene with a DNG profile created from Xrite's software. It isn't a perfect match, but it is definitely usable as is (and a RAW file has much more latitude). Color Checker NX1 Settings Luminance Level 0-255, Master Black Level -5 Gamma DR {Color - 1.00Red, 0.95 Green, 1.00 Blue, Saturation: -3, Sharpness: -10, Contrast: -3, Hue: 0} Photo/Raw file with a DNG profile applied generated from X-rite's software into lightroom (same scene/settings in camera) Video screenshot with Lut applied Video screenshot with Lut applied with example of skin tone NX1-GDR-ar_custom-beta.cube

They will meter but you wont have AF, also depending on the prime they have very bad focus rings. The AF-D zooms however are some of the best lenses ever made.

Right, if I remember correctly the firmware updates for the 1Dx added the F8 AF, the flashing square showing the AF point in low light (terrible, much better in the 1D IV and 1Dx II) and the exposure compensation in M mode while using auto iso. Not sure what was added to the 1Dc.... Assuming that both 1Dc are in identical condition one with 10k actuations and one with 65k for 1k less I would not hesitate 1 second to buy the 65k... Shutter is rated for 400k as you mention and the shutter replacement it should be <500 usd. But there are other factors affecting the price like the overall condition of the camera body like scratches on lcd, chips on the paint etc.. or even worst scratches on the sensor itself ....

Film Convert have just released their profiles for the XC10, I really want to get my hands on this camera. An XC15 combined with mt a7s would make a killer combo for my needs.

I watched until the blackmagic part and then stopped out of fear of getting brain cancer. "Hey let's compare 12-bit 1080p to 8-bit 4K, they look the same, therefore 8bit and raw are the same. Don't mind the resolution. Resolve has similar knobs for both, they're the same! Let's shoot this test with optimal light so as not to strain any of the codecs, yay!"

I enjoyed the guys delivery and attitude! As nice as the piece and idea is, the title's a bit misleading in a way. It isn't a comparison of 8-bit and 10-bit abstractly, it's just a comparison of two Sonys. Take some 10-bit ProRes out of an Arri Amira for example, I've run that up against 16-bit Red Raw from an MX sensor and the Arri is better and grades far more nicely in real-world situation (IE not purposefully smashing it to get banding). Or indeed 8-bit AVCHD from a C100 vs 8-bit anything else! The C100 has an amazing compression pipeline. But dip-depth is just one piece of the puzzle. There's bitrate and chroma subsampling too. Plus the sensor, AD conversion, gain stages, colour response and profiles, gamuts.... blah blah... I like that he talks about not transcoding 8-bit stuff. I've been saying it a lot, people waste masses of hard disk, thinking that transcoding 8-bit stuff to huge files is worth it. For my two cents, I also I grade things non stop as part of my living, and I hate most Slog and Sony cam colour with a passion. I wish I didn't though, as the cameras are cheap and high-spec.

I think Panasonic could/should change the focussing for video. In photo mode a little focus wiggle at the end is fine. But for video I think with the DFD they should skip the focus confirmation rocking. This is so distracting. Without this confirmation focus racking at the end I think with DFD the camera would be most of the time in focus. If it is not in focus the continues DFD AF 's second metering should be bang on because the focus is already close to where it needs to be. This all I think is a matter of software/ firmware, or am I thinking to simply?

Credits to Frank Ladner https://www.youtube.com/channel/UChWCqVp4OYzofwZyvxprDWg . Thread on eos I posted on earlier messages.