cantsin

Yes. Yes, too.

But it only shoots 8bit jpegs, not 12bit raw as the Nikon, and it has no interchangeable lenses.

Replaced this channel with a group of the same name: vimeo.com/groups/nikon1raw . The advantage of a group over a channel is that anyone can add videos. Everyone who has participated in this discussion thread is cordially invited to use this group for further exchange!

Bad idea. The Magic Lantern solution is a hack around the limitations of compressed 8bit capture.

I can only confirm this for the V2 (as I no longer own a V1). Manual focusing aid and exposure metering works with all Nikon bayonet mount lenses - no matter whether Ai-s, Ai or pre-Ai. Even primitive 3rd party manual focuses lenses do work (and even lenses adapted to the Nikon mount).

What a coincidence - I just bought an FT1 adapter, too, and indeed exposure metering and manual focus aid (with display enlargement) works, even with old manual Nikkor lenses. - For all other lens adapters, exposure metering and focusing aid are unavailable though.

Hello, I found a recurring typo/formatting error in the code you posted - In script 1, it should be: ln -s "$i" img$(printf %d $x).tif In script 2, it should equally be ("%" between "img" and "d"): ffmpeg -y -r 24 -force_fps -i img%d.tif -c:v prores_kostya -profile:v 3 -qscale:v 9 -vendor ap10 -pix_fmt yuv422p10le -r 24 $i.mov Here's a combined script that combines or two efforts into one single-run script. It also checks every directory whether it contains tiff files before descending into it: #!/bin/sh for folder in */; do if [ $(ls $folder/*.tif* 2> /dev/null | wc -l) != 0 ] then cd $folder folder=$(echo $folder | sed -e "s//$//") count=0; for file in *.tif* ; do count=$(($count+1)) ln -s $file tmp$(printf %03d $count).tif done ffmpeg -threads 8 -r 24 -force_fps -i tmp%03d.tif -c:v prores_kostya -profile:v 3 -qscale:v 9 -vendor ap10 -pix_fmt yuv422p10le -r 24 ../$folder.mov rm tmp*.tif cd .. fi done Works fine for me. ----------------------

Thanks! And funny - we've been independently working on similar solutions. I wrote a Perl script that also works with uneven numbers of images in a burst sequence. It uses the exiv2 command line utility (which needs to be separately installed) to create timestamps with the actual time an image was shot, reads those timestamps and groups all tiffs into folders that are less than two seconds apart from each other in their timestamps. So this should be a more accurate sorting tool, and it works great for me in practice: #!/usr/bin/perl # files to process # 1 - rename file according to EXIF timestamp, prefix hh:mm:ss-yy:mm:dd opendir (DIR, '.') || die "working directory not found.n"; @files = readdir(DIR); closedir(DIR); foreach $file(@files) { if ($file =~ /.tif$/i) { $file_root = $file; $file_root =~ s/....[.]*$//; system ("/usr/local/bin/exiv2 -r %H%M%S-%Y%m%d-$file_root mv $file") #|| die ("exiv2 utility not installed.n"); } } # 2 - create folders for each contiguous image sequence, move files into them opendir (DIR, '.') || die "working directory not found.n"; @files = readdir(DIR); closedir(DIR); foreach $file(@files) { if ($file =~ /.tif$/i) { if (&checksum($file)-&checksum($previous_file) > 2) { $dir_count++; $dir_count_string = $dir_count; if ($dir_count < 10) {$dir_count_string="0$dir_count_string"} if ($dir_count < 100) {$dir_count_string="0$dir_count_string"} if ($dir_count < 1000) {$dir_count_string="0$dir_count_string"} $dir_name_string = $file; $dir_name_string =~ s/-.*//; $dir_name = $dir_count_string . '-' . $dir_name_string; print "new dir: $dir_namen"; system ("mkdir $dir_name"); } # print "$file -> $dir_namen" ; if ($file =~ /[0-9]/) { system ("mv $file $dir_name/"); } $previous_file = $file; } } sub checksum{ # compute total time in seconds from time stamp prefix in the # file name my $checksum=$_[0]; $checksum =~ /^([0-9][0-9])([0-9][0-9])([0-9][0-9])-.*/; $checksum = ($1*360)+($2*60)+$3; return $checksum; }

Very unlikely that this will be possible. Buffer memory would need to be increased from 512 MB (what it is likely now for 50*12 MB raw images) to 2048 MB. You would need to unsolder the buffer memory chip from its tiny mainboard (if that's physically possible at all), resolder a new chip onto it (if that's physically possible at all), and then cross your fingers that the camera won't crash because of firmware incompatibility, power consumption and heat development. These compact electronic devices are engineered with so tightly crammed-in components and minimals tolerances that I would be greatly surprised if someone could pull this off.

As written above, 12 MB per file, thus 40 frames*12 MB=480 MB.

Sensor coverage is not an issue of focal length, but of the image circle of a lens. There are 6.5mm lenses that cover 1" sensors, and there are 6.5mm lenses that don't. (Just like a 25mm lens for Micro Four Thirds won't cover a full frame sensor, although there are plenty of 24mm full frame lenses.)

No cropping (except for a few stabilized shots), and the video is at the camera's original 3:2 aspect ratio. The lens covers 1" except for some slight vignetting in the corners. The lens has also been sold under the label "D.O. Industries", but it's not identical with the Pentax/Cosmicar 6.5mm/1.8 c-mount lens (which reportedly also covers 1").

Here's another Nikon V2 raw mode video of mine: http://vimeo.com/62463817 . This one was shot with an Ernitec 6.5mm c-mount CCTV lens (whose focal length on Nikon cx/1" is equivalent to a 17.5mm lens on a full frame camera). I've also created a Vimeo channel "nikon1raw filmmaking" at vimeo.com/channels/nikon1raw . Would be great if others joined and shared their work.

It depends on the frame rate. When shooting raw, one frame takes 12 Megabytes. If you shoot with 30 fps, that's 360 MB/sec., thus 21.6 GB per minute. For 20 minutes = 432 Gigabytes, the contents of seven 64 GB cards.

No other consumer-level cameras.

One more update: As with Nikon SLR cameras, adapted third-party lenses only work in manual mode, and there's no exposure metering with them. You need to expose by guessing from the results on the display. In the meantime, I have improved my workflow: render raw .NEFs as uncompressed 32 bit TIFFs (as before); put each TIFF sequence into a Quicktime file without recompression, using ffmpeg on the terminal command line. If your sequence is img001.tif img002.tif ... then: ffmpeg -i img%03d.tif -vcodec copy output.mov import Quicktime files into NLE, edit and render as usual (perhaps using a proxy workflow for better speed)

It always shoots 40 pictures. So with 30 fps, you record 1.33 seconds. If you conform the result to 24fps, you will get 1.67 seconds playback.

Here's the little video I quickly shot with the V2: https://vimeo.com/62298178 (As always, the vimeo video - including the high quality download file - is only a shadow of the master file in which every pixel is tack sharp. The ProRes 4:4:4 master file weighs 400 MB.) Workflow: copy the raw .NEF files to your video hard disk; develop .NEF files as unscaled 32bit TIFFs using the raw converter of your choice; preferably apply image correction/grading here; create a named folder for each 40 frames sequence, move the TIFFs into the folders which they belong to; in Final Cut Pro X, create a new project and a new event. For this project, I chose 1080p/23.98 fps, which means that the 30fps shots will be slightly slowed down. As the quality setting, I picked ProRes 444 in order not to lose color resolution; import files by choosing only the folders in the file selector, check option "import folders as keyword collections"; as a result, each shot is now its own keyword collection (=bin) in the events browser; in each keyword collection, select all files and make a compound clip from them; open the compound clip, select all contained clips, double click the digital time display above the timeline and enter "1" . Now all contained images will be only one video frame long. If the pixel resolution of your video project differs from the native resolution of the image files (in this case: 16:9 HD 1080p), crop the images inside the compound clip as you wish. drag the compound clips into the timeline, and edit them like you would edit normal clips. Limitations: each trimming of a compound clip will necessitate its background re-rendering. Stabilization and optical flow slow motion will not be available. Workaround: export the clips as ProRes 444 and reimport into the project. An alternative might be to pack the tiff files, without recompression, into Quicktime containers and use those files in the edit.

Here's a probably significant update on the V2. (As of today, I am an owner of that camera and sold my V1.) In my humble opinion, if you want to get serious with shooting RAW burst mode video, invest the extra $400 for the V2. It makes your life a lot easier, respectively less painful. Here are my observations: Burst mode is still either 30 or 60 fps, but now you can shoot 40 images in a row. Resolution has increased to 4.6K (4608x3072 pixels). Full manual control of shutter, aperture and ISO is available. P/A/S/M modes work in burst mode just as they work normally. (As a nice extra for street photographers, the silent electronic shutter now also works in single picture mode.) Drastically improved write-out speed to SD cards. With a 95 Mb/s Sandisk Extreme Pro, a 40 image burst sequence now gets dumped to the card within 16 seconds. Raw burst mode now works, with all the features described above, with adapted mechanical lenses. This includes c-mount lenses (many of which are a good match for the V2 with its Super 16mm size sensor). However, there are still no whatsoever focusing aids for adapted lenses. If anyone has found a workaround, please post it here. Shot some "raw footage" this evening which I am in the process of editing. Compared to shooting raw burst sequence with the V1, this experience was a real joy.

Stitching together single frames is really simple in Final Cut Pro X: Import one image sequence Drag it into the timeline, select all images/clips that belong to it Click the timer display above the timeline, enter "1" for 1 frame -> every imported image will now be one video frame in the time line make a compound clip of those selected images the image sequence now behaves like a video clip. Thanks to native raw support in Mac OS X, you can import the raw images and do all color adjustments within Final Cut Pro X. Another note: we're also discussing V1 raw video making on the German-language Slashcam forum. My fellow forist Jan, with whom I discovered V1 raw video shooting last summer, has the V2 and confirms that 30/60fps raw burst mode now supports full-manual settings and honors whatever settings have been set in P/A/S/M mode. the camera buffer now holds 45 frames instead of 30. (Probably, it has been doubled, but given the higher pixel resolution of the V2, this didn't result in a doubled number of burst image.) Now only the price of the V2 needs to come down.

When I shot my test video - an generally, when shooting nearby objects -, this was an issue because the autofocus area selection wasn't precise enough to figure out which of the foreground objects (=leaves of grass) would be focused on.

Just a lot of pictures, stitched together to a video. Simple answer: no...

Say you're very efficient and shoot in a 4:1 ratio, then a 3:30 mins. music video clip would require more than 840 shots with the V1. Given the one minute write-out break between each shot, it would take 14 hours of nonstop work to record the footage.

Because of this article, I dug out an old (pointless) test video that I shot in the 30fps RAW burst mode of the V1 last summer: http://vimeo.com/61674376 My workflow was: Shooting in 30 fps raw burst mode with the camera on a tripod and the 10-30mm kit zoom attached (the 18.5mm/1.8 prime hadn't been released yet back then), with a 1:30 minutes breaks between each shot, on a Sandisk Class 10 95Mb/s SD card. Developing/grading the raw .NEF files with DxO Optics Pro, the raw converter of my choice, using a Kodak Ektachrome 100D color profile. Rendering the raw files as PNGs. Importing/conforming them into a 25fps Final Cut Pro X timeline, making each shot sequence a compound clip. Editing the video without further image adjustments, keeping the 3:2 aspect ratio of the images. Rendering the timeline as ProRes. For the Vimeo upload, I transcoded the 380 MB ProRes file into a 30Kbit/s a h264 mp4 file using ffmpeg with the x264 encoder in a two pass process at highest quality settings. You can download this 74.1 MB file if you have a Vimeo account. I would be happy to share the ProRes file if someone offered me the server space. The limitations I perceived during shooting: Significant slowdown through the time the camera needs to write out its image buffer to the SD card, even if you use the fastest card available on the market. Uneven maximum number of frames when not giving the camera enough time between those shots. Very difficult focusing. In "Electronic Hi" speed shooting mode, there is no manual focus mode, all you can do is move/set the autofocus field. No control over exposure in this shooting mode. ISO is set to Auto 100-3200 and can't be changed, shutter speed and aperture can't be controlled either. The camera tends to overexpose. Since this was a test video, I didn't correct exposure in post. Danger to get camera shake from your finger pressing down the release button - and no time to cut because of the 1 second limit. This results in high shutter speeds and strobing motion in bright light (clearly visible in the test video). On the positive side, colors and (natural) sharpness/detail of the video are really nice. I re-uploaded this example because it might show the potential of the camera better than the previous test videos.

Yes, but the question is whether the burst mode will still work when an AI lens is attached to that adapter. Most likely, it won't.