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Long live France!
Long live Liberty!
 
 
Downing Street has confirmed that there will be a minute's silence in UK on Monday at 11:00 GMT (Noon in Paris).

A friendly reminder:  Keep that infected lens away from your other lenses/gear.  Don't put it in the same bag/case that you use to carry uninfected lenses/gear.

A friendly reminder:  Keep that infected lens away from your other lenses/gear.  Don't put it in the same bag/case that you use to carry uninfected lenses/gear.

Some older light sources using low frequency ballasts will flicker no matter what you do (unless you can change the frame rate to jibe with the light's output frequency). There still remain fluorescents, sodium vapor, mercury vapor, HMI (magnetic ballast) that are driven by such low frequency ballasts.

LED sources are also sometimes driven at lower frequencies and cause flicker.

If I could collect a dozen of the 1000-krona bills, I'd get an NX1.
 
It's all about the "Hammarskjölds!"

If I could collect a dozen of the 1000-krona bills, I'd get an NX1.
 
It's all about the "Hammarskjölds!"

Very nice! These will be collectors items one day for sure

It will be the 100 kronor. The 20 with a portrait of the author of Pippi Longstocking is already out as well. 

+1
 
Nikon F mount can be physically adapted to almost any camera, but keep in mind that the electronics (AF, image stabilization) may not work.

Wow!  That's spectacular currency!

He has won several Oscars but imo this is cooler

BTW, Greta Garbo is also getting one.

in honor of Ingmar Bergman..  Mr. Eastman and Mr. Edison with their new inventions.      ( I found a roll of 35mm 5279 for $50..so close)

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.

Depends on what kind of video you want to do. The d800 is as bad for video as the canon 5d mkii, maybe slightly better in resolution and a little bit worse in highlight rolloff and "motion cadence".
I think if you just want the fullframe look, get a speedbooster on some mirrorless aps-c camera.
This would be the cheapest option, no AF.
http://www.eoshd.com/comments/topic/18504-canon-eos-m-focal-reducer-fullframe-raw-for-300/

wouldn't like speedboosting an nex camera probably be the cheapest option and have decent video? maybe not much cheaper if you have a good speedbooster on it, plus no match for 5D raw or any sort of autofocus or ergonomics, but just a thought

I'm totally sold on the music box cylinder idea.

Not exactly.  If you keep a hard drive disconnected and in cold storage, the data on the discs should last a very long time, as should the mechanical components.  No one knows for sure how long a hard drive will last in this scenario, as we have not yet reached the point of failure in such a case.  With a stored, disconnected drive, I would imagine that the capacitors in the hard drive's circuitry will go bad sooner than a breakdown in the mechanics or with the info on the disk.
 
Those tapes are digital, not analog.  And that tape suffers the same deterioration problems as regular audio tape -- the magnetic layer separates/flakes-off the base layer as the tape ages.
 
By the way, there used to be countless "digital/analog" computer tape systems.  I still have one.  The computer encodes digital files into analog audio beeps/tones (similar to modems) which can be recorded almost any audio tape recorder.  That system is different than the digital tape system that you mention.
 
With film, the image/dyes still progressively fade during that 100+ years (and the base becomes more and more brittle).  And, again, film cannot be copied without generational loss.
 
Actually, there exists digital media that have already lasted for centuries (and that still work!).  Music boxes using pins and spaces on cylinders (as their digital "ones" and "zeros") first appeared in the 1200s.  By 1800, music boxes using metal disks (with holes and lack of holes) started to appear and became popular in that century.  Metal discs from the 1800s are still being played by enthusiasts today, and they sound exactly as they did in the 1800s.  So, digital mediums can last for a very long time and not suffer any degradation of quality.  (It is also kind of cool that digital audio recording existed centuries prior to the arrival of analog audio recording.)
 
Certainly, it would be cumbersome and inefficient to try to encode video files to music box cylinders and disks.  On the other hand, there exist long-lasting digital media that can do so compactly and efficiently.  The Millenniata disk is expected to keep digital data up to 1000 years, as it uses microscopic engraved pits to record data, instead of dyes that can fade.
 
Likewise, "pressed" CDs/DVDs use physical pits to store data, in contrast to common "burned" CDs/DVDs which use dyes.  Pressed disks are projected to last up to 300 years.  Of course, the average eoshd.com poster won't have a disk press connected to their laptop. but some "burnt" optical disks have stable dyes that are estimated to last 100-250 years.
 
And again, it is difficult to know how long a hard drive will last stored and disconnected.
 
However, it is immaterial that all of these digital mediums have a superior lifespan to film, merely due to two facts:
1. digital files can be repeatedly copied with absolutely no generational loss;
2. there is no automatic, progressive fading/degradation of the information as a digital file sits in storage.
 
These two abilities allow digital files to last forever exactly as they were originally.  If the same could be done with film, then it could last forever, too.
 
 
 
 

Evidently, this guy made it work.
 
Of course, you could also dual boot.

is there an mft to eos-m adapter? could be possible based on flange distance. so a different speedbooster could maybe be adapted to it and more suited for it? less the point of the topic maybe, with regards to price, but just curious

PINK DOT REMOVER: If you have a Mac you'd have to find the old Java pink dot remover.  Don't know where the last one is.  This might be it: https://github.com/Foorgol/PinkDotRemover  It seems the EOS-M is a bit of a dead end since ML doesn't work on Digic 6's yet (EOS-M 3) and may never do.  
#1 MISCONCEPTION ON EOSHD: Some people here don't shoot people in story-telling formats, so often gloss over one of the primary benefits of RAW, which the EOS-M has, even in low resolution--high dynamic range and color depth.  My experience is, even in a perfectly lit scene, if you shoot any H.264 of someone in a consumer camera, and then shoot that same scene in RAW, the RAW will have a more natural look (even though, in the end, you end up with 8-bit output like the H.264).  Why this is I don't know.  Perhaps someone can say.  Anyway, the point is, it wasn't the resolution that got me away from the EOS-M.  Even at 720, it looks beautiful to me--better, again, in a certain color feel than any 4K camera from Panasonic (I currently have the LX100).  The problem was dealing with the pink dots, and worse, the "shutter bug".  
If I'm a filmmaker wanting to do documentaries, or I plan to shoot a lot, I'd go with Sony or Panasonic--each have their strengths.  If I wanted to do a evocative piece with depressed people in the woods I could shoot RAW with the EOS-M.  Anyway, shooting RAW on the Canon cameras is a huge pain, but NO ONE who has ever done it has complained about the results   RAW, on any camera, gives a look that can only begin to be immitated in H.264 on professional cameras like Canon's C line.   What about S-LOG, V-LOG.  I'll probably get flamed.  8-bit is 8-bit.  The log curves are useful for some lighting situation where you want to favor exposure (in highlights usually).  It does NOT make 8-bit 14bit!  What you gain in the highlights you would LOSE in the shadows.  That can hurt skin tones and other things.  End of rant
If I only had $300 for one camera it would be the EOS-M.  Remains, to me, the undisputed best utility still/video/RAW camera of all time!  The next would be the Canon 50D (no pink dots and near 1080 RAW).

Your videos are inspiring and informative.  The "Angry Toddlers" video is what induced me to get the EOSM along with the Fujian 35mm -- that's a magical combination!
 
For those unfamiliar with the Fujian 35, it is an inexpensive C-mount lens that has a wonderful "wonkiness" in its plane of focus, and its image circle covers the EOSM's entire APS-C sensor.  Using the  Fujian with such a large sensor maximizes its focus wonkiness so that it "pops" across the frame.
 
I avoided raw with ML and TL, as the "work flow" early on seemed to be a little tedious.  It was okay to sacrifice a little dynamic range and sharpness, for ready-to-use files that are full HD with all I-frame, high bit rate h264.  Setting the picture style sharpness to "1" (not 0) and then boosting the sharpness slightly in post gives clean/flexible camera files and plenty of sharpness in the final image.

Never tried the 3x crop on the EOSM (nor on the T3i), but I can't imagine that a pixel peeper would be happy using the RJ focal reducer in crop mode.  Lenses only have a finite number of resolving lines within their image circles.  The more one crops into the image circle, the more one reduces the number of resolving lines in the frame.
 
Focal reducers squeeze more of a lens' resolving lines into the frame, but at the same time the focal reducer causes a slight loss of sharpness by introducing another piece of glass into the optical chain.  If the focal reducer is high quality, this tradeoff is optically "equitable" and no loss of sharpness is noticed between the images with and without the focal reducer.  I don't know if the RJ focal reducer will hold up to such a crop, but if you like the look of the Cosmicar 12.5mm-75mm in 3x crop (I love it), it might be okay.
 
Also, the RJ wouldn't bring the 3x crop close to APS-C size.  The RJ focal reducer crop factor is 0.72x, and the crop factor of the EOSM's crop mode is 3x:
0.72 x 3 = 2.16
 
So, the effective size of the frame in 3x crop mode with the RJ focal reducer would be 2.16 times smaller than (or slightly less than 1/2 the size of) an APS-C sensor.

I've got the EOSM and this RJ focal reducer.  Essentially, it makes the EOSM a full-frame camera and gives an extra stop of brightness.  It goes a little soft (with a slight chromatic aberration) on the edges, but most don't notice it unless they are looking for it.
 
When I received the RJ adaptor, the back mount (EF-M) was loose/wobbly and could not be tightened.  Basically, the mount screws were too long and/or the threads were not tapped deep enough into the body of the adaptor.  RJ was diligent in corresponding on the problem, and RJ sent shorter screws which eliminated looseness/wobble.
 
The RJ adaptor mostly stays mounted to the EOSM, as all my lenses except one are old Nikkors and as it prohibits dust from getting to the sensor. Sometimes the RJ gets replaced with an tilt-swing adaptor ( EF-M-to-Nikkor-F), which is a lot of fun.  Almost never used are my EF-M-to-Nikkor-F dummy adaptor and my EF-M-to-EF adaptor.
 
 
  On the RJ adapter, I am considering using tape to fix the "G" aperture adjustment ring to the smallest position, as I don't have any "G" lenses and as you can inadvertently bump it so that it keeps the aperture on "F" lenses from closing without your realizing it.
 
By the way, the EOS M2 can currently be had new for almost the same low price to which the original EOSM sunk, but ML is just now starting to explore the M2.

Regular Magic Lantern for a while has allowed one to boost the h264 bit rate.  The main advantage of Tragic Lantern's h264 is the ability to set all I-frames, so that there are no inter-frame artifacts.  The all I-frame capability combined with a boosted bit rate eliminates almost all perceptible artifacts in h264 at the EOSM's full HD resolution.  By the way, TL also provides this same all I-frame capability on the 600d/T3i (not sure if it does so on the 7D).
 
On the other hand, I believe that regular ML has all I-frame capability in the source code, but it is not "switched on" in the provided builds.  I seem to recall reading in the EOSM thread that someone had enabled all I-frames in the ML source, compiled it and used it without any serious problems.