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Not sure that Tizen is "Linux-like" -- I think it actually is version of Linux.
 
 
 
This sounds like the old Magic Lantern HDR video in which alternating H264 frames have different ISOs  (WARNING!  STROBING/FLASHING FRAMES):
 
The trick is that you shoot with the ML HDR video feature at a higher frame rate (50fps or 60fps) and then combine every two consecutive images to get HDR video at half the frame rate (25fps or 30fps).  As mentioned in the video, one can encounter motion/ghosting problems with this method.
 
I wonder if the Magic Lantern HDR option works their 60fps raw video feature on the 5d III (although I am not sure if this HDR method makes sense when shooting raw).
 

The two 1x1 crop modes I mentioned in my post above are the only ones available on the EOS M. There are no other crop mode. The 5x zoom mode or 3x crop (movie crop mode) are actually misleading labels, since they both do exactly the same thing (both record in 1x1 sensor crop mode - i.e. with 1:1 pixel interpolation). There's no difference between them apart from the max resolution you're allowed to record at. In fact those names only relate to how liveview previews the image for you. 
I think part of the confusion in crop numbers comes from the fact that the magic lantern menu always states crop factor in relation to 35mm full frame (i.e. same sensor size as Canon 5D), no matter which camera.... 
On the other hand, the "5x zoom mode" (a label that comes from the Canon EOS ecosystem) is in relation to the sensor size of that particular camera (in this case, the EOS M has an 1.6x crop aps-c sensor). So the real liveview crop factor when using 5x zoom mode on EOS M is actually 5 x 1.6 = 8x zoom, which is why liveview looks so zoomed in when selecting this mode. But as mentioned above, that's just the preview and it doesn't relate to what's being recorded.
Do RJ do a focal reducer for the EOS M mount directly? I'd definitely be interested in getting one.

@Alpicat
Thanks for the info.  That clarifies/differentiates some of the features.
 
I thought that the 3x crop is equivalent to super16 while 5x is equivalent to super8.
 
I also was under the impression that "movie crop mode" could be super16 in size.

There are two options when filming in crop mode (also called 1x1 crop mode to avoid confusion): 
1) There's "movie crop mode" (selectable from the magic lantern menu), which I keep referring to in my previous posts on this thread (see my "Destination Docklands" video on previous page for a demonstration of this mode). The max res is 1800x1024. There are no focus pixels if you shoot in 10 or 12 bit lossless raw.  This is my favourite mode as it gives you pretty much the proper framing in liveview with a realtime preview, and the record times are generally reasonable at that resolution.
2) There's 5x zoom mode (selectable by pressing zoom twice on Canon's liveview touchscreen). This allows you to shoot at a higher max resolution of 2520x1080. In 10 bit lossless raw you get around 3 seconds of record time at this resolution, so it's not so convenient for most uses. Also liveview is zoomed in a fair amount, so the framing isn't right - though at least it's realtime.
 @Matt Kieley mentions there's a 3x crop + the 1.6x crop (from the aps-c sensor). That's correct and adds up to a 4.8x crop in comparison to 35mm full frame (i.e. 3 x 1.6 = 4.8). That applies to both crop modes mentioned above, but the exact crop factor will actually depend on the resolution you're shooting at, because 1x1 crop mode uses 1x1 pixel interpolation (there is no pixel binning). With movie crop mode at 1800x1024 resolution, the crop from 35mm full frame is 4.66x. With 5x zoom mode at 2520x1080 the crop is 3.33x 
I've just checked and there is indeed a 3x3 "crop mode". This is completely different to the 1x1 crop modes mentioned above! The "3x3" refers to the fact that the camera is doing 3x3 pixel binning.
3x3 crop mode allows you to shoot with the whole aps-c sensor width. To activate, you have to enable crop_rec module under the modules menu (using the experimental firmware). In the Canon menu you need to switch to 720p 50/60 fps recording. Then you can activate it in the magic lantern menu by selecting "crop mode".
However, the video quality isn't very good. The difference between this 3x3 mode and the regular full aps-c recording mode (which apparently uses 3x5 pixel binning) seems marginal. I think there's slightly less moire. The max resolution is 1736x688 which gives you a 2.5:1 aspect ratio. The focus dots do make a comeback, but they can be removed with MLVapp. 

What happened to Bohus?  Thanks for the link.
 
 
I am fairly sure that there is a 3x crop mode in Magic Lantern, but I don't know what resolutions are possible, nor if one can shoot in that mode and not suffer pink/green focus pixels.  It is difficult to determine Magic Lantern capabilities as the only mention of features is sometimes spread over many threads on their forum, with some threads having 60+ pages of posts.
 
 
Well, if Metabones doesn't make a speed booster that mounts on the EOSM, some of their competitors already got the EOSM covered.  Plus, if an EOSM-m4/3 gets made, that would allow the use of a lot of m4/3 focal reducers on the EOSM, including Metabones.
 
Metabones should actually make their $peedboosters with interchangeable camera mounts, so you only have to spend $500+ for one set of optics.

3x + the 1.6x crop of the sensor. If you want s16 and RAW, just get the Blackmagic Pocket or Micro. It reliably shoots Full HD in RAW as well as ProRes, with a s16 sensor.

What happened to Bohus?  Thanks for the link.
 
 
I am fairly sure that there is a 3x crop mode in Magic Lantern, but I don't know what resolutions are possible, nor if one can shoot in that mode and not suffer pink/green focus pixels.  It is difficult to determine Magic Lantern capabilities as the only mention of features is sometimes spread over many threads on their forum, with some threads having 60+ pages of posts.
 
 
Well, if Metabones doesn't make a speed booster that mounts on the EOSM, some of their competitors already got the EOSM covered.  Plus, if an EOSM-m4/3 gets made, that would allow the use of a lot of m4/3 focal reducers on the EOSM, including Metabones.
 
Metabones should actually make their $peedboosters with interchangeable camera mounts, so you only have to spend $500+ for one set of optics.

I posted a comment on one of their youtube videos where they demonstrate the adapter: https://www.youtube.com/watch?v=GPseT8Ok3EA&lc=
 
I think the only way to get close to a 3x crop (which is approx Super 16 size) is to increase the horizontal resolution to 2.5k (using 5x zoom mode). However at that resolution you only get about 3 seconds record time, and the vertical res is limited to 1080. 
The resolution I like to use with movie crop mode (1800x1024) gives you 4.66x crop which is a bit larger than super 8. It's closer to 1/1.7", same as the Pentax Q-S1 sensor.
I actually emailed the metabones sales team last week about their plans to make a speed booster for the EOS M mount (since it would be useful for the Canon M50 too), and they say they plan to do it but can't provide further info at this stage. If they do make it, that would be one way of getting super 16mm field of view on the EOS M!
Nice to hear MLV App reads the white balance properly for you. Did you change any settings in the program? On the PC version it always defaults to 6000k.
With exposure I have the zebras set to LumaFast, over 99% which I think is the default - apart from that I judge exposure by eye. As long as I'm not blowing out highlights with this zebra setting, the image seems fine. In the Destination Docklands video I posted above, you can see instances of blown out highlights with harsh clipping where I shoot directly at the sun or backlit clouds (visible on the cover image). I could see the zebras in liveview when shooting that shot but it was impossible to avoid. 

Wow!  I had no idea that such adapters existed.  Thanks!
 
Here's the Fotodiox version, by the way.
 
 
Indeed, both mounts have the same flange focal distance (18mm), plus the EF-M has a slightly wider throat diameter at 47mm, compared to the 46.1mm throat of the E-mount.  So, it should be a little easier to make a M4/3 adapter for the EOSM.
 
Can you post your Fotodiox contact info?  I would like to "second" your proposal for such an adapter.
 
By the way, much of this thread involves shooting with a "Super-8m" crop on the EOSM.  I would like to enjoy the same HD resolution and raw benefits, but shoot with a Super-16 crop.  Would that be the equivalent of the 3x crop?  If so, can I shoot that crop on the EOSM with full HD, raw, 24p at 10-bit?
 
Thanks!

Nice!
 
Does the acrylic case conform tightly to the monitor, or is it more bulky (to include a Raspberry Pi board)?

This was originally in response to @IronFilm asking in the Blackmagic area about a cheap screen for vlogging on a BMPCC but thought it might have some interest for other cameras too.
Plus, I've moved it on to be just a bit more than a vlogging screen as well.
So...
This is all based around of the 3.5" monitors that are designed for the Raspberry Pi.
It is completely barebones but supply it with an HDMI feed and some USB power and it'll do the job for you.
I just put it in a cheap phone hotshoe mount and voila, cameras like the GX80 here can have a front facing vlogging screen.

If you want to be posh then you can have it in an acrylic case for a tiny bit more !
Because of its resolution, you're only going to want to use it as a framing and a "is this thing on?" aid but if thats all you need then its adequate for that.
I've tested it with Panasonic (GX80/G7), Canon (EOS-M), Sony (RX100), Nikon (D500) and Fuji (XT-2) cameras but I can't vouch for it with all cameras. Its got a fairly low res screen but the the cameras I've tested it on scale their output but with the JVC LS300, you have to set it 480 and there may be others out there like that but for £12 the worst thing that can happen is you've got a handy little plug in HDMI cable checker.
There are a gazillion sellers so take this one as just an example 
EDIT >> ORIGINAL EXAMPLE LINK DIDN'T HAVE HDMI SO CHANGED TO NEW EXAMPLE - SHOP AROUND FOR BETTER PRICE THOUGH
https://m.ebay.co.uk/itm/1080P-IPS-3-5-inch-HDMI-LCD-Screen-Display-for-Raspberry-Pi-w-Acrylic-Case/382391593643?epid=8015535815&hash=item590850aaab
 
So, the additional part is that this morning I've been busy with the gaffa tape and the lateral thinking and turned it into a full blown powered EVF.
I'm using the loupe that comes with the Sigma DP0 but any old £12 DSLR one off eBay will do and you can supply power via a usb power bank and in this example I'm even running it off a little box that gives you USB power from 3 AA batteries.

Once you have it like this then you can then put it on an arm or whatever to make a fully fledged adjustable system. My loupe has a plate underneath for mounting it to the tripod thread of the camera and a lot of the cheap DSLR loupes have this as well for adjustment which makes it easy to attach an arm.

I have to stress that the resolution is not all that so take it on the merits of it being a cheap and cheerful way of adding a vlogging screen or a more flexible EVF than your DSLR offers for those occasional times when you may need them without having to invest a load of money and you won't go far wrong.
For the LS300 though, which has an utterly abysmal EVF that is so bad that you will actually question whether its faulty, then this combo actually completely smokes it.
To recap
Screen : £12
Loupe : £12
Power : £3
Mount : £3

That's weird, it seems to work for me. Even when the magic lantern overlay is on liveview, I just press the Q Set physical button and from there I tap on the screen to choose different colour balance presets, which include AWB. I always leave my camera on AWB since it works very well.
Very true. I've also checked with Fotodiox as they already make a Sony E-mount to M4/3 adapter, as do various other manufacturers. The Sony mount is very similar to the EOS M mount with the same flange focal distance so should be easy to produce an adadpter for EOS M to m4/3, even if it lacks electronic contacts. Fotodiox said they'd talk to the design team and see if they can make such an adapter.  

There are PL to EF-M tilt adapters for US$195.  I seem to recall non-tilt versions selling for a little over US$100, but I can't find them anymore.
 
Another option is to get a PL to EF adapter for ~US$100 and merely attach that to a dummy EF to EF-M adapter (US$9).
 
 
The flange focal distance for M4/3 is 19.25mm while the flange focal distance for EF-M is 18mm.  So, it should be possible to drill matching holes in a M4/3 mount to match the screws on the EF-M mount and shim the mount ~1.25mm further out.
 
Of course, making the locking pin work is another consideration.  Also, safe clearance for the EOSM's EF-M electronic contacts should be considered, to prevent damage.

Glad to know somebody gets it!
 
I don't use luts in grading, but a lut can help with "client preview" on set.

Here is a 1-bit image (in an 8-bit PNG container):

 
If you download this image and zoom into it, you will see that it consists only of black and white dots -- no grey shades (except for a few unavoidable PNG artifacts near the center).  It is essentially a 1-bit image.
 
If you zoom out gradually, you should at some point be able to eliminate most of the moire and see a continuous gradation from black to white.
 
Now, the question is:  how can a 1-bit image consisting of only black and white dots exhibit continuous gradation from black to white?
 
The answer is resolution.  If an image has fine enough resolution, it can produce zillions of shades, which, of course readily applies to each color channel in an RGB digital image.
 
So, resolution is integral to color depth.

One more time in English. 

Another option is to use both.  Get an inexpensive shotgun (amazing what you can get for under $60, from Chinese DSLRs minis to the Rhode videomicro) and a decent lav (which you can't go cheap on).  Unlike the others here, I don't do this for a living.  However, I feel I can re-express some of what's being said.  IF you're in a room that isn't echo-y (doesn't have bare walls), then a shotgun will work really well and is much simpler to set-up.  Wiring people up is a pain and is invasive.  So I'd invest in the lav, but also have a shotgun for primary or backup.  
Another thing not pointed out is a shotgun will pick up just enough room noise to feel really natural.  The lav doesn't.  The lav is also bass-y, being close to the chest and has movement noise risk, etc, as others have pointed out.  Anyway, I'm always curious about this stuff too!

There's some funny info in this thread.
Shotguns are perfectly fine indoors. I've used the Rode NTG4 in almost every shape and size room you can imagine. Even solid walls or window walls. The results are more than acceptable every time. If you'r shooting in a room where a shotgun simply doesn't work, then you'll be hard pressed to find any mic that will. That said, of course there are alternatives, and many are better in certain situations, but to rule them out like that is kind of silly. 
I film TV interviews for a living, and have used many different lavs. I will always chose a mic on a pole if the option is there. They don't take long to set up and make it near impossible for the talent's hair/necklace/zips/itches to effect the audio. Of course, that can also be avoided with mic placement, but a stand can go in the same place every time, and nail it every time. EDIT: you can also have everything set up, so the talent can come in, sit down and go, without having to be wired up first and remember not to take the mic with them on the way out.
You also don't need to worry about charging extra batteries etc. because they just take power from your camera/recorder.
On that note though, if you do decide to go shotgun route, maybe look at the Rode NTG2 - I know it's old, but it can run on an AA battery OR phantom power. If you use it with a battery, you can run it straight into your 5D3 and avoid having to sync anything later.
 

Glad it worked!

hey it works! it's very easy and also pratical because I can save my png fix for future works!  thx very so much!

Couldn't try it yet I didn't reached yet the final cut of my project (I'm waiting for customer approvation). I'll let you know thx again!

If you want to fix dead/hot pixels in your footage, you can do so in most NLEs.
 
First, make a duplicate track of your footage.  Then, make a mask that is transparent, except for the dead/hot pixels.  Attach that mask to the top video track, so that the hot/dead pixels are the only part top track that covers identical track below.  Then, Gaussian blur the footage in the top track (but not the attached mask), so that the values/color from the adjacent pixels seep into the masked hot/dead pixels.

One way is to make a duplicate track of your footage,  and, then, make a mask that is transparent, except for the dead/hot pixels.  Attach that mask to the top video track.  Then, Guassian blur the footage in the top track (that is attached to mask), so that the values/color from the adjacent pixels seep into the hot/dead pixels.
 
Here is a demo:
 

By the way, one good site to go to for documentary tips is http://doculink.org/   The Doculink "mailing list" is their forum.

Make transcription text files with time code references to all spoken lines in your footage/audio.  Then, edit "on paper" before you even get close to sitting down at the edit bay.  It makes the process exceedingly easier and much more thorough.  You can add b-roll/cut-aways during the paper edit and/or during the NLE session.
 
If you have a lot of footage/audio (more than ~20-30 minutes), hire a cheap transcription service to make the text files with time code reference.  The least expensive transcription services are probably in India and, perhaps, in the Philippines, and they can often transcribe most languages.  These services are worth every penny you spend on them.