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4k, 8k, bah. I was watching a Blu-ray rip of the 1983 Scarface tonight allowing my UHD to upscale the *gasp* 720p footage and thought it looked AMAZING for 33 years ago. I guess content is always king of course.

Thanks for the support. If people don't agree with me on this, then I will at some point also cave in and do a run of big advertisements splashed on the site and regular sponsored articles. But if my readers say they're NOT fine with this, I won't. Simple as that. So speak up for the indies... not many advertising-free places left now on the internet. It wasn't supposed to be this way online.

I am. Just. Sometimes another place has it In stock faster. Sometimes, it is not what it seems. Glad I didn't pre-order the Sony A6300. I pre-ordered the Blackmagic Micro Cinema Camera because of the global shutter... which it ultimately didn't ship with. And... 'don't try this at home. We try it, so you don't have to'. Exactly as some folks have already mentioned, best to just wait it out an see what it's actually about. Just my 2cts.

Read more about it! http://www.eoshd.com/2016/12/now-available-eoshd-pro-color-for-panasonic-cameras-gh4-gx85-g85-and-more/ It’s time to remove that harsh, clinical digital edge from Panasonic’s in-camera colour and white balance.

Eric you have no experience of what you're talking about at all because you don't run a camera review blog. It doesn't seem sensible to campaign against the crippling of video on the 80D if Canon are a paying advertiser on your site. It doesn't seem like a good strategy to make a big fuss about a shortcoming of a particular Canon DSLR... they might pull further advertising. British retailer WEX refused me an affiliate commission account because of my criticism of Canon's crippled video features over the years. They were in full agreement with me over this but Canon are their biggest account. If you've just returned from meeting Canon's people at a PR organised event where you exchanged business cards, I know how difficult it is to then go on to criticise them the in harshest terms these flaws deserve....because I have been in the exact same situation myself after being invited to Sony and Panasonic organised events for filmmakers. Furthermore, the negative feedback you do give to the company or your readers will be heavily watered down with politeness when it really needs to be shouted urgently and a big fuss made so it forces them to change. Steve Jobs didn't softly prod or dodge around the issues, he took a flame thrower to them. When something is wrong with a product or it lacks innovation you have to do this. Bullshit. Not true, there are huge differences in relative image quality between models of similar positioning and price when it comes to video, also their suitability for a particular job. You wouldn't take a GH1 instead of an A7S to a low light shoot, unless you're an idiot... and your thinking is idiotic Eric, sad to say but it really is. Oh ffs. I'm talking mostly about the Canon sponsored video which is the subject of the advert. When it comes to Barney and his fucking boat I couldn't care less. It's not exactly a Werner Herzog level of filmmaking. You may call it a great video. I call it an easy to film piece of shit with no personality, no emotional investment required at all or life experience, zero challenge for the audience, no thoughts provoked or challenging messages conveyed. On top of that it's not even entertaining. It's video advertorial. Haha.

Agreed, especially when you consider the prototype they showed at Photokina... https://***URL not allowed***/look-canons-crazy-8k-camera-prototype/ Plus this is Canon... it would cost $60k. These are just rumors, there is zero evidence to suggest it will happen.

Noooo way will Sony give us 10bit in an A7-series. They have to protect their video cameras. 4K60, yea, sure, probably. But can their processors handle it without melting the camera? And will they squash it into 100mbps? I think so.

The content is shit though. Tag or no tag.

Use Wordpress and buy a theme which is almost exactly how you want it to be from Theme Forest. Only choose themes made in past year with at least 20 4.5 star overall reviews. Embedding videos is much easier and it will boost the video rankings on Vimeo or Youtube. Buy your domain name from internet.bs (avoid GoDaddy they will hammer you with unnecessary addons). Host it with Hostmonster if in US or Vidahost in UK. Cheapest package is fine. Actually the domain name may be free with the hosting. Use Tinypng to compress photos or the plugin SmushIt if you want to batch compress. There is also ImageOptim app on Macs for jpeg. Page speed is a big ranking factor for Google. Dont buy any spam links or it will get banned or penalised in Google. Join Google Analytics and Search Console to help get the pages indexed in Google, get advice and see visitor statistics. Join Google My Business Local if you want local clients or Brand if not. Make sure the category is right, then get a couple of reviews and it can be a short cut to the top with the Google Maps listings. This is my first post on here where I am an expert, usually feel like a noob.

I see some people - bigfoot, mercer, viet bach, don't understand what's at stake This isn't me being a communist and bemoaning another site making money from advertising. Viet Bach, you say "as long as their reviews remain honest"... Well honesty is as much about what you DON'T SAY as what you do. Read my article, and what it has to say about self-censoring and PR jaunts. Looking at this purely from a business perspective now, it's bad for business too as readers get sick of it and leave. The watery opinions don't do anyone any good. The sponsored content is only the tip of the iceberg. From a business perspective, in my opinion it is better to to have very high quality premium paid content like books alongside the free articles and standard affiliate links than to compromise the creditability of your entire core business and your reputation with a ton of tacky advertising. Like if you agree.

And another :

My production company produced this microbudget feature, shot on the GH4. Only have the :30 teaser available right now. But the feature will be released next year.

What's the day-rate for an assistant over there? Going by your setup, I don't think you need more gear or even different gear. Better to invest in fellow humans than peripheral gear that gets replaced every 9 months and that you already regret immediately after buying. That assistant of yours might actually grow with you and your business, take away your stress of trying to manage a million little technical details, provide a different creative view outside of your own echo chamber and let you step back a bit from worrying about nuts and bolts and concentrate on direction and vision. I mean think about it, instead of monitoring levels on your audio, you can actually listen to the content! Instead of pulling focus you can really direct the talent and assemble the frame you want quicker. The better your work the higher you can request for your budget too no? Oh and hey, everyone on set (including yourself) might actually enjoy some keen, eager, not yet jaded energy around!

Just shoot both in LOG mode and apply the same LUT to both, then tweak any differences. But here's an even better suggestion... if you want cameras to match, buy two of the same cameras. The main problem here is it it seems like you have been convinced by online marketing and advertorial that you need all this extra shit. On the GH4 you don't need a v-mount battery for interviews... Unless you consider changing the GH4's battery every 7 hours to be an unsurmountable problem. You also don't need a cage or to attach anything to the GH4 at all, like a shotgun mic. For interviews you should click a wireless lav mic onto the subject. Not use a mic on the camera. XLR is also overkill for an interview. 3.5mm jack just fine. Problem solved. You also don't need a monitor... the screen on the GH4 is just fine for interviews. Works as well as the screen which comes with the FS5, does it not? It's even a similar size! Guess that solves the cables part as well. Speed Booster - I fail to see the hassle aspect of that. Attach lens. Film! ND filters - for an interview? Were you filming it on the surface of the sun? With such a small amount of movement if it is a locked down shot you wouldn't even notice if it was shot at 1/2000 anyway. Keep it simple. Keep it simple and try again. Relax. Don't buy a C300.

So, trying to function as professional in the industry is more about people skills than not. At least that's been my experience at the level I'm at. No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making. I'm just not that guy. Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together. Rather simple, small and fun stuff to do. Nothing special about that. 12 year olds have better equipment and do the same. The tough situation I'm facing is that my ability to tolerate a difficult client has diminished. Maybe it's a sign of getting older? This is no small thing. Seriously, the desire to coddle a client has seemingly disappeared. For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... Basically, she's kind of incompetent (from my point of view) to direct documentaries. Nice person, but her choices and process are maddeningly pathetic. Nevertheless, she's paid me a flat rate to do all this stuff for her. Aha! Therein lies the problem. Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client. You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with. Anyway, that's my advice. How to y'all cope with a shitty client? I drink lots and lots of wine and get fatter. You?

So today was the most frustrating, ridiculous, soul crushing day I have had with a shoot. I'll explain, but a bit of back story first... I have been shooting digital video since 1998, professionally (man with a camera stuff e.g. weddings, seminars) since 2005. I have also worked to pay the bills as a producer and sales rep in various tv and video production houses in some parts of the world. My wedding and corporate business was a side gig until this year when I went full time solo for various reasons. I took a break for 3 years circa 2012 to do a master's degree in south Africa and the best camera they had was a hvx200, previously my go to camera was Sony z1. So when I left Africa and arrived in sunny Helsinki 3 years ago I decided to see what all the DSLR fuss was about now that I was in a first world country. I joined this forum and perused others, and I fell in love with the community and gear. When I wrote my business plan for yet another video business venture, I was sure DSLR was the ticket to ride. for the price of a camcorder I could have a studio, with lights et al. Today I made up my mind that it is not for me. I had a pretty standard interview which I planned, lit and shot with a gh4 and a micro Cinema Camera as b cam. Yes, I know, but that is not the point. Matching was not what I was worried about, I have come to know them both very well. But the endless, finicky bullshit.... Speed boosters, ND filters, v mount batteries, cages, external sound recorder, screws and cables and screws, monitors... On top of the standard things you need to be concerned about, like exposure, light and focus... Oh, and the actual bloody interview... Its fucking insane. Excuse my language I am pissed off. Yes, you could say I need to practice more, but those hours at my rate fiddling with nonsense and fixing mistakes... I may as well have just bought a all around really good camera. Everything was fine if you do one off jobs, but today was the end of a full week of filming with this apparatus and it is too much for any human to keep track of all the moving parts. Again,, yes you could hire an assistant, but again you may as well invest that money in a camera. Also, this doesn't include post, and trying to compensate for each cameras numerous ridiculous quirks. So, in short, I will be investing in a camera in the near future that lets me do my job. The only things I am now used to is small size. So maybe it's the fs5, I guess I'll see how next year pans out.

Ages 3 and up.

Looks great. I'll definitely be purchasing this. Is it recommended to shoot in Cinelike D or a particular profile?

Andrew, Just to say as a rank and file amateur, just applied to GH3 footing that had been shot in neutral, contrast -3, saturation -5 and nr -3, so not your recommended settings. This was a dec late afternoon shot, so sunset ambience. And here we are, sunset light as warm as it was on sunday. Your tweak is a cool one. A bit convoluted to use on FCPX but that works and so much easier than using the color wheel.. Thanks!

But we don't know the codec yet, maybe it will be some h.265?

It would be great to see some more before/after images that show what changes the LUT makes. Edit: never mind, I totally missed the video

Sounds good. http://www.canonrumors.com/is-an-8k-eos-1d-c-replacement-coming-cr1/

I have mixed feelings on this. On one hand, I definitely went through a phase with my company where I NEEDED every accessory out there that made my rig look cool. Follow focuses and matte boxes and gini rigs and all. And then there was nothing like rigging up and calibrating a follow focus for a shoot and then never using it, or making a creative decision to switch lenses on set and having to recal. Most of the times we would just say screw it, rip off the follow focus, and just shoot it with peaking. Not like our work is being projected for awards on a 4k cinema screen anyway. Or just being sick and tired of lugging around a 20 pound rig monitors and all, ripping the camera off and shooting it viewscreen style on my painted PVC pipe ghetto rig instead. On set, time is so much money especially when you're paying 1099s. On the other hand, I had a situation once where the CFO happened to be on set and struck up a conversation with my DP. Asked about the camera (shooting 5d2 ML Raw which was perfect for our overseas shoot) and my DP went blabbing on on how cheap these cameras are today, you can get em for $1k used, etc. And he's blabbing on about this to the CFO, who doesn't see ML Raw hack and raw post processing, he doesn't see Zeiss or Leica glass on the front, he sees an ordinary $1k DSLR camera. And that's a problem too. Regardless, it's very interesting to hear perspectives of others in this thread.

Things I learned or got reminded of by this video as prosumer camera user. 1. Get your skin tones as close to perfect in the camera as you can and don't wait for post. White balance and tweak the picture profiles etc. 2. Grade in your camera's native or raw format before transcoding. Makes a case for recording to ProRes if you plan to transcode to edit before grading. 3. Bad glass and poor or wrong filters can mess up the look of way skin reflects light. Makes a case for straight ND as variable ND's can make an image look a little flat as they are made from polarizers that mess with reflections. 4. The sum is greater than it's parts - High res, slow motion video with great color/skin tones, low noise and high dynamic range is a hard combination to beat and something I and most other filmmakers want in their tool set.

Sure I'll pay 15 grand for an 8-bit "cinema" camera. Maybe it'll even have peaking!

Yeah there is a reason a measly BMPCC is still in great demand. Grudge wins at times with overall resolution. Hell BMPCC raw files are bad enough, can't imagine 8k red file storage! But if someone wants to give me the Red for Christmas!!

What took you so long to answer!! Thanks Cary, good to know. But I presume the IBIS would handle it ok.

The Panasonic 100-300mm lens OIS does not work together with IBIS, the 100-400mm lens OIS does.

No, that's not me. But you're not the first to ask... the actor's name is John T. Woods. We just happen to look related.

I really love the look and vibe you got out of the a7rii. It looks great! Keep up the awesome work!

**There was some audio distortion in the last upload of the video so I re-uploaded it.** Hey guys, Just wanted to share a promo I just made for DKNY with the Sony a7S. This was made as a tribute to my beautiful wife, Kari, whom passed in August 2015 from Cystic Fibrosis - a chronic illness with no known cure. Every shot but the New York B-roll was with the a7S (with the Atomos Ninja Flame external monitor/recorder in 4K), and graded with FilmConvert. I hope you enjoy the video. Please let me know what you think! Best wishes, Bradley

I noticed that one of the writers on DPReview did something similar a few months ago. Canon also sponsored that video and was, not strangely enough, about the 80D. It features some kayak building. https://***URL removed***/videos/0287044739/canon-eos-80d-field-test-barney-builds-a-boat At least this time the "Sponsored" tag was clearly visible.

Get the BMPCC. Trust me. It supersedes any image you can get out of the GX85, X-T2, A6300/A6500. That's not to say those cameras aren't capable, because they are, but the BMPCC is light-years ahead in image quality. Get a x0.58 Speed Booster, and pair it up with either Sigma 18-35mm F1.8, or Sigma 17-50mm F2.8 OS, and you'll love it.

If you want a job done, do it yourself... Here's more although I'm very reluctant to encourage watching anything where the presenters say "Ignite", "Here's what happened" or "Sneak peek". And then there's the absurdity of starting a video by asking "What's up guys?" when you'll never get a reply. But everyone seems to do that :

Dpreview will always be a very good site for camera research, since most of their ISO, DR etc, claims are supported with a few image examples. Anyone can decide if the examples support their claims. They even have tracking AF videos, so you don't have to believe what they write and check it out yourselves. Is there any other site offering standardized ISO samples for most cameras with a handy comparison tool? Take their words with a grain of salt (and compare them to other reviews) and you are good to go. Likewise, it would be insane to trust Andrew as your only source info when researching a camera.

So we can't trust DPReview anymore to give honest feedback on camera's, so what, now that we know we don't have to visit their site anymore. In fact, who can you actually trust on the internet, I recall reading an article on this site about the Canon xc10, a camera I was planning to buy, and Andrew trashing it but then later on when he actually had the camera completely changed his mind, it went from "the camera has a IQ that's a bit better then a gopro to it reminds me of a Super 16 version of the C300 Mark II", Eventhough this is not the same as what DPReview has done it has the same effect on me as a reader, to me writing a heavily opinionated article will misinform your readers in exactly the same way as writing a article that is sponsored by the manufacturer. I personally like to read Gordon Laings articles on cameralabs as he conducts his tests for every camera in the exact same way and he just leaves it up to his readers to form an opinion and I like to watch the Camera Store TV guys videos just because they are entertaining as well, Philip Bloom falls in that same category. I actually value the actual users opinions most as they will report problems with a camera after months of use, they will give you information most reviewers won't be able to because they use the camera just once for the review before returning it to whoever lend it to them. And even then you need to be careful as sometimes reported problems are user error. If you want to buy a camera it's best to wait a few months after it has been released, read up as much as possible you can about it so you can separate fact from fiction and make a more informed decision.

I agree with both Andrew and you. Andrew you post a post per 15 days. So it is "doable" to not have a lot of ads. But when you have a huge website that reviews ALL cameras, and all news with multiple full time employee. How do you pay them if not with money earned through ads? I am fine with ads and affiliate links. But I agree with Andrew that non honest reviews and "fake" sponsored articles are disgusting.

I totally agree with Andrew: as guitar player I worked for 10 years in one of the best selling guitar magazine from Italy, AXE Magazine. Our Editor always wanted the truth about the guitar's and gear's performance. No space for sponsored articles or "nice" reviews. We had advertising but clearly visible like 1 page or half page or 1/4 page. No matter if Gibson or Fender could be offended by a sentence. People and companies trusted us because we always try to test the guitars in their price tag and for the performances. Rarely we had problems, because if you separate the "professional" opinion from the relationship - that should be good exactly for that reason- it is always better for all.

You are 100% right that even if the compromise is subtle, integrity is undermined. I can't say for sure what is motivating them - greed or just a business decision to survive? But it's tacky and actually not even so subtle in many ways... Plastering sponsored content into your blog roll feed is not subtle. Too right. I will NEVER turn this site into either of those just to take it to a mainstream audience. Nofilmschool is all clickbate. The headlines and the way it is presented, it's knocked up so quickly there and it's always somebody else's content they are selling their ads around. Cinema5D is a corporate platform and not representative of the passion enthusiasts have for making personal work and learning cameras. I have taken to watching Dave Dugdale on YouTube and The Camera Store TV for fun, the rest of it is just boring, DPReview included, sadly. It's a shame there are not more people putting good content out there.

Why do you even care ?

Thanks Andrew for speaking up. It is very sad in deed. I was doing my daily walk-around, EOSHD – slashcam – dpreview… and as I saw this, my first thoughts were also: OK, sponsored with orange, but what does this content doing here, among real articles? And I got angry, as I read: “Filmmaker ScottDW trades his pro video gear for Canon EOS 80D…. and the results surprised him” In the camera PR and marketing, the words “pro” and “gamechanger” are probably the most devaluated ones. For me, they have a rather negative meaning, as these words are often used, when they have nothing better to say. So when a pro trades his pro gear for an 80D, and gets surprised…. I think, either - he isn’t a pro, or - it wasn’t an 80D, or - he was not really surprised at all :-) Then I thought, I would write a comment about it, but there is no place for comments there. So I comment it here :-)

That is absolutely incredible - an inspiration. Thanks for sharing as this is not getting the views it deserves, but then it wouldn't when the likes of Casey Neistat are hoovering up Google Search results.

That looks absolutely great! Me too. And I'm convinced that the only lasting skills you can acquire - composition, narration, editing - can be developed without needing expensive kit. I'm particularly interested at the moment in how smartphones are being used by TV stations for news and documentary work. Not just "citizen" images of breaking events but fully structured pieces. I forgot to put this in my quick list, by the way : Oh, and there's a lot to be learned from looking at the videos on Instagram. Like just how much of a story you can tell in 15 seconds or so...

On a recent project, where I shot interviews in New York, London, Mumbai, and Barcelona, I filmed interviews in the following configurations: - with an additional shooter and sound person (me on the b-camera so I could concentrate on asking questions, and the shooter on the A) - with additional shooter, no sound person (me on b-cam, set-and-forget sound levels with a lav and boom mic feeding into Zoom recorder) - one-man-band: lav mic on the interviewee, and boom mic on a chair or stand feeding into Zoom H4N recorder. Maybe my Westcott Flex light. A-cam was Canon DSLR (or c300 mk1 for a couple interviews), B-cam was Canon DSLR or GX85, Zoom H4N (boom and lav mics), Leica R lenses, and usually one light. There are tradeoffs in every scenario. With a crew of three there are less worries about gear. Everything is taken care of and you can really focus on the questions you're asking, how you respond, and ensuring a strong connection with the subject. This is by far the best. There's nothing worse than being in the middle of a powerful interview where someone may be bursting into tears, or relating the heart of their professional work, and you're sitting there nodding to keep them talking while wondering if your audio levels are too hot. With just one additional shooter, I find that there's a nice balance between finding the perfect shot and covering your bases on the technical level. That said, something goes wrong on the audio side in these types of setups at least 10% of the time. I've had nice results working as a one-man-band and keeping the camera setup minimal (sometimes with the GX85 on a table as a second camera). But again, the stress of someone leaning out of focus, the audio levels not being right, camera drifting, or the dreaded 12-minute limit on the DSLR can be intense. On the one hand these interviews are very intimate - it's just you talking to the subject with maybe one light, so sometimes they may feel more comfortable. The conversation can be very free-flowing. On the other hand, on the technical side there is invariably some nagging issue with exposure, focus, audio, or framing. Picking crew size is like picking the camera, lens, and setup for any shoot. Not every setup is right for every situation. It is important to consider what you'll be shooting and how you'd like to capture it. That is the simplicity you're looking for. The choices about gear and crew size should flow from there.

People didn't try to do everything on their own in the professional video field of old. For interviews it would be a team A sound guy, a camera man and the actual interviewer. If you're doing all 3 jobs and find it hard, no shame in that... it IS hard Being a camera technician on top of the other 3 roles is just too much. Get an Ice Light 2, keep the GH4, keep the tripod and lav, dump the rest.

I get ya that it's frustrating. I hate keeping track of all of that crap too. Gotta agree with Andrew, though. You're making it way more complicated than it needs to be for an interview. That's one of the GH4's strong suits. Simplicity with set ups like that. I go with the GH4 + sennheiser G3 directly plugged in all the time. Battery on GH4 is pretty solid. Screen is good enough for basic interviews. Internal codec is fine for that as well. I think sometimes people are too quick to jump on using monitors/cages/recorders when they don't necessarily need to.

Just found this, it's shot with the kit lens, I think it's gorgeous:

Because fully honest is, ultimately, either fully selfless or fully selfish. In retrospect, I'm sure George Lucas wishes he had a guy with the guts to admit the Phantom Menace had a bad script. But he didn't, because the guy who had the intelligence and honesty to admit it he fired years ago for standing up to him or he kept that guy on but he learned better than to voice that opinion. Honesty is is good... in moderation. Pure unbridled honesty is unfortunately either self-destructive or self-absorbed, at least in this industry. I envy anyone who can have that level of fully honest intimacy in their best romantic relationship for even a moment, but in business... it's impossible imo. But when you can find it, cherish it. That said, I still agree everything bad is bad communication. An honest relationship is perhaps a platonically ideal one. But it needs to go both ways and that takes time. You need both empathy and sympath and to build both until you have a good relationship. This relationship ain't good. It's gonna take baby steps, not a sudden slap across the face, to make it better over time. And it needn't ever be perfect. Perfect is something we strive for, not demand. If you are 100% honest and 100% perfect every day of your life and it suits you well, well more power to you, but if you truly believe it I can assure you others aren't being honest with you. Hello, George Lucas (a brilliant creative led astray by bad faith and poor communication).

Everyone makes this mistake and there is no echelon too high for it. “Flat rate” bankrupted Rhythm and Hues. Learn that you’re more talented than the upper echelon now. Charge accordingly later. Learn how to charge way, way more so the even higher echelon that awaits won’t screw you over. (They got there by being good at screwing peons over, even screwing over Fincher on Alien 3!) But don’t worry about the credit hurting you. Either the project goes nowhere and no one knows about it or it goes somewhere and it’s a good credit. You’re potentially more fucked, however, if you’re above the line. Drop the directing or producing credit if you have one but don’t want it... but do so carefully. Drop the financial stake immediately. An artist with a supervising role (one step down from above the line) on a historically top grossing blockbuster and a senior artist on features that have grossed billions told me this about free work (which I don’t do, so I apply this dictum to low rate work, but higher end people often will do free work to curry favor): stipulate a number of revisions and charge way more beyond them, but have that in the contract. If you don't, you'll be working free forever because the contract says you can and you will until you can't unless your client is fucking awesome. I've seen it. At the highest end. Failing that, if you truly have no leverage, distance yourself and run out the clock. Time is money. If you have a flat rate as regards money, find a way to leverage your time. Don't let others' credits impress you. That's how they know you're a sucker. Deliver slowly. Establish an end date. Then run out the clock. But also don't let the resentment build up and make things toxic. No, you can't be fully honest, but you need to change the relationship because it's bad to start with. Create a timetable and a reason why you need one (or maybe convince your client to create one around a festival submission or color grading date). Express at least some frustration. Push back. If you don't, your partner will assume you're behind this as much as she is and then you're leading her on in bad faith and that helps no one. It's toxic to you both. Find the leverage you still possess (time and skill are usually it if the contract doesn't specify money per revision or day) and leverage it, but do so honestly. She's not leading you on in bad faith. The real top brass will use the hell out of you, but it sounds like she's merely enthusiastic and naive in this particular capacity. It's not her fault, it's just bad communication. Make things as good as you can, get what you can out of it, learn, fail, learn more, fail, learn, thrive. Do so well and in five years you'll be directing Star Wars.

So far the best hack that I have used is the good old Vasile's NX1 & NX500 Pro Bitrate Adjustment v5.3 as its the quickest of them all and according to Vasile the safest. The Kino Seed hack is feature rich however, its got a lot of features most of them are photo oriented but its the slowest one and its the only one still in development. I do not use it because most of its features are pointless for me and its slow on startups, it takes time before it activates like a few seconds for me its not good enough as I need quick speed all the time. Stability wise I cannot really tell the difference between either, people seem to have more luck than me getting high bitrate to work, I am stuck with 140mbps or 150mbps no matter what card I use even the fastest SD card in the world still wont let me do more than 160mbps until it tells me the card is too slow. I think it has to do with the autofocus using processing power, if you turn the autofocus off however you can do pretty high bitrates. Uninstallation wise? Both are very easy, Vasile's hack is definitely harder to install and requires patience but the Kino Seed is quick and painless definitely the easiest to use out of any of them. Early on in the development there were a few bricked cameras however Samsung fixed them for the users, Vasile and Kino put safety measurements into place after this and while I had freezes a very rare moment, nothing serious other than that. Quality wise there is a difference, but do not expect RAW video quality, grade wise I would also say there is a difference however again both cameras are pretty terrible at high ISO in video so keep it below 800 in 1080p and below 2000 ISO in 2160p and you should get pretty good results with the hack, the NX500 with the 1440p mode has no noise reduction, I had good results with that at 3200ISO. I run test of 160mbps no autofocus or stabilisation to see how long the camera recorded, it recorded for 70+ minutes before the camera refuses to record more even with unlocked timer, not quite sure why but it recorded for 3 days straight in MJPEG and no overheating issue if you plug the camera into the wall. Only complaint I have is Kino Seed hack being slow at startups, and Vasile hack being slightly silly to install at first try, other than that they are definitely worth it and will give more life into your camera.