tupp

From the linked article:
I'd take those sheets!

Yes.  Not to mention that they merely could be licensing the encoder from a third party, especially if the OS/firmware is POSIX-based/Linux-based.

I am not an editor nor a post person, but one thing that I always hear from pro editors is that they never edit with a compressed, capture format.  By transcoding all of one's footage to an uncompressed edit-friendly format, computer resources are saved for effects, filters and rendering, etc., instead of continually decompressing a resource-hungry camera format on the timeline.

yep.  it's a 24mm/4 isco lens for exakta, with a exakta-ef adaptor.  Then the ef-bmmcc is handled by a modified bmcc to leica R speed booster 0.64x.  The reason was that since I never use electronic EF lenses I couldn;t justify investing in the proper ef unit - its almost £200 more for the ef version due to the electronics.  The dumb leica version has the same glass but was cheap on ebay so I grabbed it, stuck it on the lathe, taking the thickness to the correct length, and fitted an ef mount to the front.  - the result is a dumb ef adaptor with the 0.64x speed booster glass in there.  the 24mm lens is the first ever 80degree fov lens for slr cameras.  a dog really - terrible resolution, focus direction wrong, the auto aperture knob is not very suitable for video use since it easily gets knocked and you don;t realise!  However I bloody love the body design and way the lens interacts with light.  seems a better match for the smaller sensor too.  at around a 3.5m focus point I have hyperfocal meaning everything is adequately in focus from 2m to infinity.  close shots just need me to set focus using the scale.
TBH I have never used one of those light meter lenses.  however i expect it has a little dial on the back, so wouldnt need integration to the camera itself.  great idea man!  I have to say though, that I like the idea of sticking the camera at 8ooiso, 180deg shutter, getting a light reading of the sky, and setting the exposure so at one stop closed aperture the sky peaks.  I then know I can be closed one stop to maintain highlights and open up when shots don't include the sky.  the latitude on this sensor is so good as long as it's showing peaking for the sky at 100% in the mid day sun I think the latitude allows for more than adequate exposure for at least a few hours before and after when the base exposure is set.   
 
 
  

Don't over-think this job.  You are not shooting "Lawrence Of Arabia."  On the other hand there are a few things to consider in regards to how trade shows work and on how to optimize the video coverage for your client.
 
First of all, do not contact to the trade show management directly about anything.  As an exhibitor, your client is a paying customer of the expo, and he is the one who should deal directly with the show management on all matters.  You are not with the independent "press" -- you are hired by an exhibitor, and he will probably get you an exhibitor's badge.  I have been to a few trade shows, and I have never heard of trade show management prohibiting an exhibitor from shooting his/her own booth.  So, unless this expo is the "Anti-Paparazzi Con" or the "Paranoid, Secretive Espionage Agencies Con," don't sweat the lack of official permission to shoot.
 
Secondly, your idea of shooting a time lapse of the booth set-up is nice, but keep in mind when choosing your camera position that things move around a lot and unexpectedly appear and disappear during a trade show set-up:  fork lifts; man lifts; push carts; carpet (will eventually cover any bare concrete that you see); signs (erected from the floor and hung from the ceiling); and, of course, big, opaque booth walls will appear.  You might have to move your camera out of the way at some point.
 
It is probably wise to shoot some live coverage in your client's booth during set-up, but most of that footage will probably be dull, so there likely is no need to spend the entire day shooting set-up.
 
The first day/morning of a trade show is usually the most active and exciting.  Your client will probably want some shots of his booth full of attendees.  So, be ready to shoot at the start of the first day.  Don't get too big with your rigs -- be nimble so you don't miss anything.  A camera with a zoom lens and a monopod are probably all that you need, perhaps along with a shotgun mic plugged into your separate recorder (the camera sound will grab anything off-camera).  Look for interesting/positive interactions.
 
Be mindful that the last day is usually the slowest (that morning might be good for sit-down interviews) and that, at tear down, most exhibitors want to pack up and go home.

I work in the trade show industry and everything Tupp said is correct. Also, don't be afraid to record people in your client's booth without their permission. Your client is renting that space and during that time, it is their property. You have every right to record people who enter their property... Just don't overthink it. Or worry too much about it  
Even though it seems to be a camera friendly show, during set up, you may want to refrain from recording other exhibitor's booths. A lot of these people are exhibiting products for the first time and they can be leery about unknown people standing in front of their booth, during set up and recording their material. 
As far as equipment... What you have is fine. The majority of hired videographers that show up at a trade shows have either a monopod or a small steady cam with a shiny Canon camera attached. So good 1080p is more than enough. And most have either a rode video Mic attached and plugged into their camera, or no mic at all. If you plan on doing floor interviews, just get a decent lav and plug it directly into the camera, or a recorder, your Shure will be perfect for this. Pick up one of those cheap Audio Technica or Azden lavs and you should be good to go. Just remember not to get in the salesman's way. You should be a fly on the wall and most of the time, not even in the booth and filming from the aisle with a small footprint. Don't bring too much gear because there will be nowhere in the booth for you to store it and you don't want to have to lug around a bunch of gear you don't need. Also, remember it will be warm in there, so dress accordingly. Show management and the convention center look for any way they can save money, which usually means turning the AC off every night and putting it back on a half hour before the show starts. With all of the lights and people, it can get pretty toasty.
Good Luck!!!

Don't over-think this job.  You are not shooting "Lawrence Of Arabia."  On the other hand there are a few things to consider in regards to how trade shows work and on how to optimize the video coverage for your client.
 
First of all, do not contact to the trade show management directly about anything.  As an exhibitor, your client is a paying customer of the expo, and he is the one who should deal directly with the show management on all matters.  You are not with the independent "press" -- you are hired by an exhibitor, and he will probably get you an exhibitor's badge.  I have been to a few trade shows, and I have never heard of trade show management prohibiting an exhibitor from shooting his/her own booth.  So, unless this expo is the "Anti-Paparazzi Con" or the "Paranoid, Secretive Espionage Agencies Con," don't sweat the lack of official permission to shoot.
 
Secondly, your idea of shooting a time lapse of the booth set-up is nice, but keep in mind when choosing your camera position that things move around a lot and unexpectedly appear and disappear during a trade show set-up:  fork lifts; man lifts; push carts; carpet (will eventually cover any bare concrete that you see); signs (erected from the floor and hung from the ceiling); and, of course, big, opaque booth walls will appear.  You might have to move your camera out of the way at some point.
 
It is probably wise to shoot some live coverage in your client's booth during set-up, but most of that footage will probably be dull, so there likely is no need to spend the entire day shooting set-up.
 
The first day/morning of a trade show is usually the most active and exciting.  Your client will probably want some shots of his booth full of attendees.  So, be ready to shoot at the start of the first day.  Don't get too big with your rigs -- be nimble so you don't miss anything.  A camera with a zoom lens and a monopod are probably all that you need, perhaps along with a shotgun mic plugged into your separate recorder (the camera sound will grab anything off-camera).  Look for interesting/positive interactions.
 
Be mindful that the last day is usually the slowest (that morning might be good for sit-down interviews) and that, at tear down, most exhibitors want to pack up and go home.

Nice look in the video.  No discernible hint of English in the skin tones.

No, but more than a hint of Wonkaland, though it's hard to tell if that's the camera or fake tan!

Lens ---> Collapsible rubber lens hood ---> ND filter.
Fold the hood back when you need to adjust the filter.

I am glad to be helpful.  Please note that I have never used the meters that I linked.
 
By the way, when you start using your incident light meter, it is generally best to aim the meter's dome directly at the light source (as opposed to aiming the dome at the camera).  This is true both for taking lighting ratios and for getting exposure readings.  Use your free hand to block light from other sources (including reflectors) that you do not want to meter.  By aiming the meter at the directly at the light source, one avoids blowing out the highlights with that particular source, regardless of whether or not it is positioned to the side of the subject or more frontal to the subject.
 
Aiming the dome at the camera can give a useful additive/average exposure reading in situations in which you have more than one frontal light source with a lot of overlapping coverage on the subject.

Incident light meters are great for learning and for recording lighting ratios.  Recording lighting ratios is especially valuable in case you ever have to reshoot a scene or duplicate part of a scene at another location.
 
Spot meters are not very helpful in this regard, as the subject's orientation and/or surface characteristics can dramatically change the reflective exposure reading, even though the incident lighting remains the same.
 
Any digital incident meter with a fineness of 1/10 stop increments is more than enough for any lighting ratio needs.  I have about five meters, but the one I use most is the discontinued Minolta Flashmeter IV.  Kenko currently makes a knockoff of the Minolta Flashmeter V for US$249, which seems to have decent reviews.
 
The Sekonic L-308S is US$161 on Amazon, and it has 1/10 stop increments.  There is a more recent model of this meter -- the Sekonic L-308S-U -- priced at US$199.

Actually, there were quite a few different 4x5-inch SLRs, and there were even 5x7-inch SLRs.  Here is an early 5"x7" Graflex SLR:

Great find!  Holy cow!!
 
Gonzalo Ezcurra's E/Mini Cyclops cameras have a larger "sensor" than these Large Sense cameras, but 50micron-70micron pixels covering large format frames?!!! 
 
How did this guy make/find the sensors?  The rolling shutter is not bad at all.  I am guessing that these backs will cost a little if/when they go into production, but with the right price these things could move.
 
Very exciting!

New to the forum, but I have been working on the opening of the firmware for quite a few months. The second I heard about this camera coming from a modded gh2 I knew things were going to be fun.

I had plans to release what I found after having a stable custom build.

Good news after reading this thread as I seem to have quite a bit more discovered than most.

-bootloader
-3d lut info
-rgb888 info
And quite a few more things that make this an ideal camera to mod.

In the interview they basically implied they either had asics or fpgas built along side the arm cores.

"DE: When we were talking previously, you said that the architecture of DRIMe V is very different than DRIMe IV. What sorts of changes are made between them?
JK: The biggest change is the structure of the Image Signal Processor. The DRIMe V ISP is very different. Most ISPs have key parts of the processing hardwired to get the needed speed. What's really new with the DRIMe V is that the "hardwiring" can be reconfigured.
DE: That sounds very significant, although I have to admit I don't know how common it is that ISPs are actually hardwired.
JK: There's not much variability in them. Sometimes you'll get thresholding changes and small numeric variables, but the image path is usually very locked down...
DE: It's pretty much, a fixed pipeline.
JK: With a few tuning pieces, yeah.
DE: Whereas this is more configurable.
JK: Yes.
DE: And it's configurable not at the level of changing a firmware program, but you're actually changing the hardwiring. There are switches you can use to change the configuration of the functional units?
JK: Yeah, basically. And Samsung's software people are all over it; they're pretty sharp and I believe that we're really going to be able to tap fully into the DRIMe V's capabilities for the NX1.
DE: So even though it's hardwired, some of the connectivity is programmable through the firmware, so we can actually look for continued "firmware" development that would continue to improve performance, including the parts that are implemented in hardware.
JK: Yes.
DE: So there may be significant improvements in the near future. That's pretty interesting, because it sounds like it's already starting out pretty capable.
JK: And not just image quality, there's a lot going on in terms of programmability, like we talked about Samsung Auto-Shot mode before. Here's the UI for it."

TLDR: fpga or cpld or asic that can be reconfigd.

Now a few years ago samsung released info about adding fpgas into asics http://www.eetimes.com/document.asp?doc_id=1200317
 
And have teamed up with Lattice on a few projects http://www.oregonlive.com/silicon-forest/index.ssf/2014/04/which_oregon_company_has_a_chi.html
The back end camera control files seem to be written in .cpp so diving deep into the firmware to do a comparison of hex/string/hash changes and tracking the changes across the updates is what I am doing right now. And seeing which values can be modded. Recompiling is a different story but what it seems to be is that building a smiliar man in the middle to what magic lantern would be possible. Have a gui that would simialr to ptools in camera using the web browser capabilities.

Now this is not my full time work so Ive been progressing slowly as I have many projects on the go.
This is also coming from someone who doesnt yet have an nx1. Doing the proof of concept and running the fw in a vm to emulate the possible bricking before things are bought.
I am also tracking similarities to the nx500 to see what things are possible in that camera. Nice b camera which should be able to compete with a shortening of its life but at the cost 10x performance is worth the lifespan limit imo.
 
 

I posted about the work Im doing on the firmware side of the nx1 a few pages back, but it was/still is hidden for some reason. 
**no longer hidden on page 11 at the bottom. Much more detail about what I have found on the camera.**
To sum it up, I have been working on this the better part of 6 months, didnt know anyone else was interested until I found this thread a bit over a week ago and posted my findings. Im at a point of comparing the changes in the firmware versions to see how the code is written. I have uncovered the bootloader, the file format and language used for their custom control files for tizen, info on lut, rgb 888, sd card bus speed(its quite low should be ush1 u3 but its not set close to the speed stated in the sd association docs) and a few more things. 
My goal is similar to what the guy said on the gh2 hack. I had a hacked 144mbs gh2 I used for 5 years until moisture killed it a few months ago. The tech inside the nx1 should be capeable of pushing the hevc and the sensor to the limit, even if it shortens the life by 4-5 years its still cheaper than a red by a magnitude.

Ideal goals for me are raw/compressed raw output, see if cdng or another compressed raw format would work. As red raw is just their version of jpeg2000 modded for cine work.
There is not a deadline I have set to finish this, as this is just one of many projects I have on the go but comparing it to other cameras its quite promising.

Okay.  Attached are the five versions of TL that I have for the EOSM.  I think that the only difference between them is the "autoexec.bin" file.
 
Enjoy!
 
 
tragiclantern-v31337.TRAGIC.2014Dec19.EOSM202.zip
tragiclantern-v31337.TRAGIC.2014Sep30.EOSM202.zip
tragiclantern-v31337.TRAGIC.2014Jul28.EOSM202.zip
tl2.3eosm202_2-14-14.zip
tl31337eosm6-9-14.zip
 

Okay.  Attached are the five versions of TL that I have for the EOSM.  I think that the only difference between them is the "autoexec.bin" file.
 
Enjoy!
 
 
tragiclantern-v31337.TRAGIC.2014Dec19.EOSM202.zip
tragiclantern-v31337.TRAGIC.2014Sep30.EOSM202.zip
tragiclantern-v31337.TRAGIC.2014Jul28.EOSM202.zip
tl2.3eosm202_2-14-14.zip
tl31337eosm6-9-14.zip
 

Additionally, there was nikonhacker.com, pentax-hack.info, nex-hack .com (Sony cameras), and, evidently there is a GoPro hack from CHDK.
 
By the way, the main Magic Lantern developer (A1ex) was originally a contributor to the CHDK project prior to starting ML.  CHDK is still very active, primarily providing extra still photo features to Canon cameras.
 
Of course, there is also the Tragic Lantern fork of ML (which is still used to get All-I frames from the EOSM and the T3i/600D), and the is the existing Samsung NX hack.
 
 
LOL!  Now there's someone who I haven't thought of in several decades.  "Cuchi, cuchi!"

I don't think that there is ALL-I capability in stock Magic Lantern.  You can compile a "homemade" version, and try it at your own risk.
 
In addition, you can use the defunct Tragic Lantern, which has ALL-I capability built-in.  The first version of Tragic Lantern had more controls for H264, but TL 2.0 gives plenty of control and was developed further than the first version.  I believe that there were TL builds for the EOSM as late as Spring of last year, but the TL site is gone.  I have TL builds up to December 19, 2014, if you would like to try them.

Don't belittle Lukas' crucial foundation work.  He did most of the heavy lifting for those that followed, and he did it only May of last year.  Obviously, the NX hacks moved farther because of his work.
The Lukas rooting of NX cameras led to this work (and this work), which led to the simple work of your boy on DP Review disabling the video time/file-size limit.  Your boy acknowledges the immediate upstream source, and that source acknowledges Lukas.  From the comments on Lukas' page, there are evidently others who are also hacking the NX cameras, thanks to him.

When manually balancing for daylight sources like LEDs or Kinos - I always keep an 82A filter and balance through that (and then I put it away). Gives a nice warmth that doesn't look tungsten-ish. Tried balancing through 1/4 CTB, but I'd always lose my little scrap of gel; but I found an old 77mm from the film days and keep it with my 4x4's, doubt I'll ever use it as I only shoot B&W film.
Am I the only one who does this? I find that in post, I'm always pushing some warmth into my skin tones, I do this for interviews every time now. 

If one has to shoot a lot of "prismatic" imagery, it is probably easiest to use a prism camera filter.  Here is an EOSHD article that features a few of these filters.  Here are a few photos shot through prism/prism-filters.  This page names different types of prism filters and gives tips regarding depth-of-field, subject distance and sandwiching filters.
 
The look of the images that the OP posted could probably be achieved with a linear prism filter -- if it weren't for the oddly placed window pane overlapping in the foreground.
 
Mirrors could be used, but they are much more of an involved set-up.  Unless one wants a kaleidoscopic effect, one would probably shoot away from the subject, into adjacent/overlapping mirrors that reflect images of the subject.  To recreate something similar to the oddly-placed, overlapping window-pane image, a piece of clear glass  could be positioned at an odd angle in front of the mirrors.  By the way, front-surface mirrors will give more clarity than normal mirrors, but, of course, front-surface mirrors are rarer.

If one has to shoot a lot of "prismatic" imagery, it is probably easiest to use a prism camera filter.  Here is an EOSHD article that features a few of these filters.  Here are a few photos shot through prism/prism-filters.  This page names different types of prism filters and gives tips regarding depth-of-field, subject distance and sandwiching filters.
 
The look of the images that the OP posted could probably be achieved with a linear prism filter -- if it weren't for the oddly placed window pane overlapping in the foreground.
 
Mirrors could be used, but they are much more of an involved set-up.  Unless one wants a kaleidoscopic effect, one would probably shoot away from the subject, into adjacent/overlapping mirrors that reflect images of the subject.  To recreate something similar to the oddly-placed, overlapping window-pane image, a piece of clear glass  could be positioned at an odd angle in front of the mirrors.  By the way, front-surface mirrors will give more clarity than normal mirrors, but, of course, front-surface mirrors are rarer.

You mean like this: https://shotonwhat.com ? > https://shotonwhat.com/the-man-from-u-n-c-l-e-2015.html
Btw, IMDB also list some tech info, e.g.: http://www.imdb.com/title/tt1638355/technical?ref_=tt_dt_spec