BTM_Pix

Excellent! If you get a runaway recording, let me know the combination and I'll get on to it with a G7.

Yes those would be expected to fail at the moment. There is some combination of video quality switch that puts the camera into an interesting runaway recording mode that could do with some structured testing if you have the inclination? It basically needs testing in the following way 1) Put the camera into a 'legal' mode such as 4K25p 2) Use that html file to switch to the first mode in its list 3) Observe the return from the camera in the browser 4) If it says OK then press record on the camera and then stop again. If you get a runaway recording that needs the battery pulling then repeat from the starting point which combination it was. Unfortunately, to be comprehensive this test needs to be repeated for every single format in that html file. And then ALL of that repeated with the starting point in step 1 being the next 'legal' format (ie 4K24p). And then ALL of the ALL being repeated with it being in AVCHD mode and all its legal formats. Because selecting a non-AVCHD format being sent to it causes it to change mode automatically, you still need to do all of the non-AVCHD modes and vice versa as it might well be this entire switching of mode that triggers something interesting. That is a LOT of tests with not anywhere near approaching a guarantee of it working. But its exactly this sort of structured matrix of tests that needs doing if everyone wants to chase this down. Stumbling upon it is fine - and shows that maybe there is something there - but it needs to be repeatable to move forward and also exhaustive in case there is a combination that takes this from 'interesting' to 'usable'. Because of the extent of the testing needed, my advice would be to split it up amongst interested parties so someone takes the 4K25p starting point, someone else takes the 4K24p starting point etc

Yes, this is a perfectly valid way to do it. However, for me, I also felt it was much easier to accidentally overwrite when using other profiles and mean you have to fire up a computer or smartphone to redeploy if you want Cinelike D back. Depending on where you are when you do this, it may not always be that practical and certainly not fast to do that. This is true of using the C functions as well of course but its a far more deliberate process to overwrite those as you need to go and navigate through the menus to get there and do that so I felt it was a bit safer. You could certainly use both approaches though and just save Cinelike D into the custom profile slot (along with any tweaks of its additional parameters as you would do using that function with the other profiles)and also save it in its flat format into C1 so if you did overwrite it then you could get it back easily. And that approach definitely saves having to use an additional C slot too.

I think its a good bit of reverse psychology myself. Anyone who is deranged enough to walk round like that is probably too much of a risk for your average mugger to bother with

This could get messy

The iLugger with wheels is pretty good for transporting iMacs The Lavolta is about a third of the price but is a bit less discrete....

If you could find a GH4 that hasn't been upgraded then what I would be tempted to try is do the initial octopus boot up sequence and then go to the ROM backup menu that appears when you do this and do the backup to SD function. Then get your updated GH4 and do the same and back its ROM up to SD. These are plain text files though ideally you would open them both in a hex editor and do a compare between the old one and your upgraded one. There might be a clue in there as to how you could do something that would allow the old firmware to be put on the GH4 with the newer one..... Please note that I'm not in any way telling you to be brave and just go into the ROM backup menu and then load the file from the older version onto the GH4. Its precisely the sort of reckless thing I would do of course

Seeing as this hack was about combining features from other cameras by harvesting commands, its quite apt to see it being used to shoot combine harvesters !

Yes, its an absolute value so you have to change it to a specific figure rather than just having a plus or minus button that you can hit. And yes with it being a hidden function it won't show up on the camera screen to be edited. Well, my forthcoming gadget will be able to do that way of course ...........

I don't think the Australian version has the 30 minute limit so you can use the octopus boot up hack to change the region. If you don't want to keep the PAL based rates then you could also change it to the US region and get the bonus of 60p in HD. You'll need to do a google to find the correct code for Australia but there are tons of videos on YouTube showing you how to do the procedure like this one. https://www.youtube.com/watch?v=HxmVDdU1xf0

I haven't been home to update mine yet since the new V4 firmware came out the other day so I can't comment but here is some footage from it. Nothing to do with me so I offer no comment one way or the other about the grading but thought it might be of interest anyway to see the JLOG at least in the new mode. Can't find anything from anyone with the externally recorded 4K60p so the sleeper camera may well be snoring and in a deep slumber when it comes to anyone using that as yet.

I would do if it didn't clearly identify the camera shop I did this in. It was a bit of a cheeky thing to be doing so I'd rather not put it up. You are going to have to trust me on this one though that hacking the files together is not likely to bring any joy. Even if they could be persuaded to play more than just black (which in itself was a bit of effort that you don't really want to be going to anyway) then just the file sizes alone will tell you that what its recording is probably not 200mbps.

It tells the app from the camera which menus to offer to the user. By mimicking the camera side to the app, it might be possible to persuade it to show them but it would only allow the same commands that have been sent directly from the browser to be sent by the app so the end result will be the same if the camera doesn't fancy it. And it would be a lot of work to write something that mimicked the camera as the computer would have to act like a server amongst other things and because of the stay alive heartbeat between the app and the camera it would require effort that I fully expect would only prove what is already known. Which is that if the camera itself doesn't have the recipe or the ingredients to make a cheeseburger it will just not make a cheeseburger however nicely we ask. Everyone is of course welcome to try that but I'm going to focus in another direction as I firmly believe that using this method will not bring additional formats and if it does then you are into another layer of additional work to create an app to massage the metadata and there will always be the limitation of no in camera playback. The only nagging thing I have about it that might be worth trying is to set the region using the octopus boot up method to Japan. It is in no way guaranteed or expected but neither is it beyond the bounds of possibility that for its own domestic market, Panasonic may have additional functionality. ------------------------------ When the cameras return a rejected message rather than an err_parameter it is usually indicative of it not being open for any sort of burger business, cheese or otherwise. There are usually two scenarios for this. 1) The ImageApp is also running. 2) The camera is in a menu. And number 3 is likely to be the one that is being seen here which is that it is utterly confused about the burger that you've just asked it to make, has set the kitchen on fire and the order window has been automatically closed by the sprinkler system. If it could, it would be displaying this image on its rear screen

Its a grand here mate. Just in pounds rather than dollars It should be a couple of hundred above the still available FZ1000 I think though. So about £750 here. Maybe I should go in to another store and surreptitiously cripple one with dodgy commands and offer to take it off their hands for cheap !

I think you've done the right thing irrespective of the specs. If you've lost your mojo a bit for getting out and shooting then if something different gives you a bit of impetus to re-ignite that (if only to show that its not a mad decision as lot of people on here seem to think it is ) then its worth it. I'm not saying you have but just a guess and apologies if its out of line. It'll make great images anyway, they all do these days but only if we get out there and do it. And if this aids that process then job done and purchase justified as far as I'm concerned.

They might as well be in gif format for all the use they are on the other cameras unfortunately. That FZ2000 has definitely batted its eyelashes at me though

Yes, the extended modes are only available in cameras such as the FZ2000 that support them 'properly' as it where but there does seem to be some sort of ability for the cameras to interpret the command and have a go at making it happen ! Its frustrating in that I have had it in that mode that you are describing once where it did a runaway recording that needed a battery pull. What I've experienced a few times (including just now doing a re-test) is that it won't always switch into the mov mode which supports what I was saying about people needing to do matrix testing to find out which state the camera must be in before it will switch. It will actually show you MOV mode when you go into the menu when you manage to get it into this mode but it will need a lot of testing to determine which mode you had to be in before that to allow it to happen. Recordings I've made with it in this mode, exhibit the same issues as the other modes people are attempting to wake up and produces corrupt files. However, what I've found when I've been in this mode (aside from that one time) is that the recording can be stopped on the camera. It might (and I stress might) be the case that when its in the runaway state that it might actually be doing what we want it to and recording the higher bitrate video. If you or anyone else gets it in that mode again, make sure you are doing it whilst the wifi is connected and that way it might still respond to incoming remote commands. So, the test would be to get it into the MOV mode, press record on the camera, if it doesn't stop when you press record on the camera then give it this command through the browser. http://192.168.54.1/cam.cgi?mode=camcmd&value=video_recstop

OK, a bit of an update.... As I'm still in the UK, I was able to go and visit the camera shop where I've bought a bit of kit over the past few years. Because they know what my day job is they were virtually rushing to get a Sony A9 out of the cabinet as soon as I walked in so were a bit dismayed that all I wanted was to have 10 minutes with an FZ2000! Anyway, here is the news. I did a couple of test recordings of the 200mbps HD format so I could have a look at the files and compare them with what is coming out of a G7 when its making the corrupt files. I then captured a remote session to look into these MP4(LPCM) modes to see how they were selected from the app. And then something caught my eye in Cinelike settings which I'll come back to in a bit. So I ended up walking out with an example high bitrate file and a surreptitious capture of a remote session to look at the commands when selecting it. And the camera shop ended up with no sale or even a whiff of an interest in the A9. Though they know I'll be back for something at some point! Now I had the correct command I could be sure that we are sending the right one to the G7 (in this case) but we are still in exactly the same boat regarding the corrupted file. Copying the chunk of the real FZ2000 to it will persuade it QuickTime to play a black file of the correct length and VLC is identifying the codec (so I think I've got the right sector) but won't play it. The command is definitely in the "make me a cheeseburger" category as selecting the 200mbps format file will automatically change the camera into the MP4(LPCM) mode so there is no command from within the app to do this as it just happens as a package at the camera end. As the other cameras don't have that option then we are definitely in the territory of just prodding it with a stick to see if there is a fluke combination of formats to switch between that will make it do this combination internally. The bottom line with that is that I'm going to have to throw it back out there for everyone else to pick up their own sticks and prod their cameras for this one as I need to be getting on with the other thing. And being a bit selfish about this, its a bit of a diminishing return for me effort wise as I'd sooner plug it into a second hand ninja star to get edit ready prores if I was looking to up the HD quality for me. Or actually even chop in my FZ1000 against an FZ2000 if they come down in price a bit as it is a seductive camera with features like that, the NDs and the VLOG option. ///EDIT The FZ2000 files are NOT playable in the G7 so I think this might be a big clue as to this hunt ultimately not bearing any fruit ////// OK, sad part over, what about what caught my eye? Well, the FZ2000 has an additional control in Cinelike D for shifting the colour tone of the whole image. It has a plus and minus control which shifts to violet/magenta and yellow/green respectively. And this is independent of the white balance. Now, I think that is a very interesting little function that people could be able to manipulate to create some profiles that are more akin to other manufacturers favoured tones? And when I say that the FZ2000 has got that Hue function, what I of course mean is that now we've all got it Big caveat here is that I have only tried this on the G7 as thats all that I've got to hand at the moment but it should work on the others too but please test it and let everyone know if it does or not for your camera. Updated html file attached to enable it and I've used values that will get it going for you but please make your own experiments by just editing the last number in the command to shift it in the direction you want. I have no idea what the range is so I've set it at 5 either way so you can see the effect but tweak away until you find the end points! Enjoy and please report back if it works for your camera so everyone can share the results. DEPLOY CINELIKE D AND V WITH HUE.html

Looking at the user manual online for the FZ2000/2500, it refers to being able to switch the recording mode in the video menu between AVCHD,MP4,MP4(LPCM) and MOV ftp://ftp.panasonic.com/camera/om/dmc-fz2500_en_adv_om.pdf It describes MP4(LPCM) as the "data format for image editing" and it is this mode that needs to be selected on the camera to use the 200mps All-I formats etc. So with them calling them Editing formats, thats the mystery of what the "ed" in those mp4ed_**** ones means. Now, the GX85 doesn't have that selectable in its menu so I need to do a session with an FZ2000 to see if its selectable via the app. But I haven't got that camera so will have to try and blag a demo of one to do it. Still won't get us anywhere if the camera doesn't want to play though. As I keep saying, all we are doing is telling it to do something like "make me a cheeseburger" which is fine but we are relying on the camera understanding what a cheeseburger is and having the raw ingredients to put it together itself. We can't with this method get down into that component ingredient level.

If you look at the corrupted files in VLC there is no codec information. I've just taken an example HD file off the G7 and a corrupted 200mps one and compared them in a hex editor and copied the section that I suspect holds the codec identifiers into the corrupted file. This then displays the codec as expected when you open the corrupted file in VLC. It still doesn't play any video but will open in QuickTime and play black for the correct length. The file sizes it creates are relative to each other (i.e. a 10 second clip will be twice the size of a 5 second clip) but they're not the size you'd expect to see versus the 50mps 'real' files which should of course be much smaller but are actually only about 20% smaller. So there is something there but it would take a lot more work to get to the bottom of it and then if it is related to the headers then it would also need a conversion app to correct before you could use the files and of course they would not be playable in camera. Thats a lot of ifs and a lot of graft.

Its part of the feature as far as Panasonic are concerned so you can get quickly back to a known setting including white balance. A lot of people would use it specifically for that to be honest, maybe have a higher ISO and tungsten balance for indoors and then quickly revert to a lower ISO and a daylight balance when they go outdoors. Fuji handle it slightly differently in that you have your C settings but with a different 'active' one for want of a better description if you made any changes which persists when you turn the camera off whereas Panasonic always recalls it exactly from the C setting even when you turn the mode dial and come back. What I recommend for GX80 to make the Cinelike D/V in camera switchable is to save it to C1 with a jumping off point of ISO and WB and so on and do the same with a standard profile to C2. And then use C3 to save the changes you've made to whichever of those basic profiles you're currently working on so they persist when the camera is switched off. So it would be like this : 1) Save Cinelike D with 1/50th, AWB, ISO200, 4k24p into C1 2) Save Standard with 1/50th, AWB, ISO200, 4k24p into C2 3) Start camera and choose C1 or C2 4) Make changes to your WB, ISO and file format that you need for this specific session. 5) Save to C3 Now when you switch the camera off it will come back with the settings of C3 (i.e. your currently edited version of your primary profile) and will also do so when you change modes. You can use exactly this same approach on your G7 to enjoy the benefits of the Custom settings but preventing that WB issue happening again.

Yes. There is definitely more to comes in terms of applying the processes to enhance the usability of all of the small Panasonic cameras that can be app controlled (which is where I originally came in with this!) than in unlocking additional rates and so on. What I would like to spend a bit of additional time on though is trying to get it working on the LX100. I think there is something in there with that and it would be very useful on that camera. Ditto the travel cameras. With regard to the bitrate stuff, I'll knock something up that will make it easy to do a matrix test as I think the behaviour changes when switching to the usually non-supported ones depending on which one you are currently set to. So there might be a combination that works. Vlog? Mmm....I think I'm pretty confident that it won't work. I believe after looking at some logs I've received that I'm sending it the correct command but its no go. Though as you say, hopefully everyone has the tools they need to poke around with this themselves now on different cameras so maybe someone can find the solution themselves.

Depending on your Android phone, some of them have a pop up warning when whatver its connected to via WiFi (the camera in this case) doesn't have an Internet connection. It then drops that connection (usually for something in range that does have internet) if you don't confirm quite quickly that it's OK. The pop up sometimes doesnt get to the front of the screen though depending on whats happening on other running apps. Might be that but might not but no there is no fundamental difference why it wouldn't work on a phone. Unless you've got the Panasonic App open at the same time which will stop a simultaneous browser connection.

This sounds like what it does with the LX100. If I work out what causes it on that then the solution should work for both. Unfortunately if it is what I suspect it is then it unlikely I'll be able to offer a solution.

Some not all cover it. JVC use their variable scale mapping system to cover it. Their default is 85% but in practical terms most people have it set to 90+. The advantage is the small form factor of the lenses and weight to give you the option of something more compact. Plus the 1080p and 2k high frame rate stuff isn't an issue for them at all. The AF is another area as there are now plenty of EF to MFT adapters that support AF and IS both speedboosted and not as well as things like the Apurture EF-MFT which also adds electronic follow focus. So there are plenty of options there but yeah it all comes down to who they're targeting and how much those people are inclined to rely on 3rd party adapters etc. Although having said that there are roughly half a dozen FS5/7s in my general vicinity as I'm stood writing this who are shooting with L series Canon glass so the answer to that would be they don't mind ! The MFT mount is associated with consumer stuff though so I imagine there would be a different resistance to that.