kidzrevil

I assume the real big one is increasing the bit rate; from there, possibly investigating internal sharpening or noise reduction? Seeing what's in the processor pipeline and getting more control over it? Where does the shadow blocking come from, things like that? Maybe the first hack isn't even a hack, but a pipeline view of what's going on, to see what's actually possible. 

Somewhere out there is the guy who wrote the damn firmware. Wish we knew someone at Samsung… there's the fastest track to this, is anyone from the team still there and could they get the OK to do this on a freelance/spare time basis?

I did a test time ago comparing a still grabbed from video to a downsampled raw image. Nr is the biggest difference among the two, so I guess it's heavily present in video.
 
P.s. a collection of suggestions was compiled here on eosHD.

While you can get decent enough details with a good lens, I think the NX1's sharpness and detail is unrivaled in this price category.

I cannot sing the praise of 5D loud enough.
I was one of the first people to buy 5D2 and had it for 5 years with not a single issue until I moved onto 5D3. I have been using ML RAW for all my work for last 2-3 years and while it can crash, you simply restart the camera and keep on shooting. Lately I have been having issues with a one random corrupt pink looking DNG file but that might be 3rd party battery grip..
For my style of work the storage is not an issue - I bough 4x 128 GB cards which are enough for 3 hours of shooting - when I need more, I have DIT assistant to copy the files or do it myself. You can transfer MLV files into virtual DNG via MLVFS and then use Resolve to get your footage fairly quickly. I then keep ProRes master and delete MLV files. The only expense at the moment is buying 2TB external drive every couple of months (£80?).
 
I am still waiting for a camera that would actually be better than this and would not cost more than £5K.
 
I think these videos show the colour depth you can get with 5D pretty well:
 
 
 

you can actually rent a 5D3 or 2 with magic lantern pre-installed (and with a bunch of fast CF cards) here in the UK - So am sure you will find someone in the US.
The main reason ML development has become less frequent is because the limits of what can be squeezed from those cameras has pretty much been reached. And the main developers are now working on the code for an upcoming open source camera. Most incremental ML updates are tweaks and occasional bug fixes. You really need to invest decent time in the ML forum to learn things properly, it is not exactly 'plug and play' - but the payoff is well worth it.
 

Upscaling to 4K is better. It gives the video roughly 30mbit. But I have lately started going 1440p (2.5K) as well. It gives almost double the bitrate than regular HD (I believe 16mbit) but doesn't take as long and saves space. I good middle ground. So I upscale HD and get a little crop leverage in 4K.
1440p monitors are also a bit more common than 4K still.
The dimension is 2560x1440.

hehe, yes. I used the conditional tense to leave the door open to some new project by samsung and/or some hacked fw ;-) 

I use it and to reduce damage to the grain by youtube/vimeo I find it best to oversharpen the main output before export.  So I don;t apply any sharpening to the footage, then I overlay some fine grain like 4k gorrilla grain, then apply sharpening onto the nested grain and footage.  get the sharpening to the point where it's perfect when viewed at 100%, then boost it a tiny bit more so it starts to look a bit graggy.  then go back to half way between 'perfect and 'graggy'   the grain and footage behind it glue together nicely and the grain has enough edge to be seen as detail to be preserved by the youtube/vimeo compressor.  I also feed them a 2560x1440 file rather than a 1920x1010 file - even if the original footage was only 1080p.  seems to maintain more of the grain.

Hey Kidzrevil, can you start making a clean list of these resources - like links to the NX1 Firmware versions, and links to known NX hack activity - all in your original post on the first page?
That would really totally not suck at all if you could do that. 
THANKS MATE!

I have liked the results I've had using fine grain very lightly.

Although I'm going to have a go at using the Super16 grain the way you suggested.

Oh yeah.  I overuse it to a fault.  
Anyway, one of the ways to get better encoding results when putting a vid on you tube, I hear, is to uprez it to 4K.  Not sure how this would affect film grain, but it's worth a shot.
You're SOL with vimeo.

Dude, you're gonna get such sharp images with those Milvus lenses that you're going to need to switch back to 720p.
Thanks Sir!
Ya know...funny you should mention the SLR Magics..
I really had it in my mind that I was going to put a whole set together, but then a big bunch of multi-cam work came my way, I bought three more Blackmagic cameras, and then I needed to get a bunch more lenses that matched the Nikkors and Samyangs I already had... so sadly the SLR Magics that I do have are now my "odd man out" so I'll probably sell them. They're still mint though - I take better care of my glass than I do of my ass.

nx1 is the best hybrid, imo, and the best apsc camera overall. The only drawback is that nx system might be dead.

I'm in a similar boat - I do corporate still portraits, product shots, occasional fashion/beauty stills and photo illustration; and I do lots of corporate video. For a schizophremic range of clients.
I can tell you with zero hesitation that on a shoot where they want stills and video - take two cameras unless you're in the middle of a jungle with no assistant. My video setup is way, way different than my stills setup, and even simply changing shutter speed bugs me - one more thing I have to reset (or may forget to reset, knowing me). That, and my video DSLR is usually fully rigged with FF and matte box and my HDMI and audio cables are clamped to the rigs, just short jumpers with female ends, which is faster that the fiddly camera ports (and much easier to see and align the plugs) and hopefully reduces wear and tear.
I shot D7100 for DSLR gigs the last couple years and recently got the NX1. Which I have yet to take a single still with. My thought was move to the better video and keep an eye on Samsung, with the thought I'd eventually have an NX1 and an NX2, and rely on the NX system for stills with their native glass, but keep my nikkors for video, and have two video cams with good image matching.
Glad I waited - I doubt I'll buy an S zoom unless it's a really, really good price. But I'm 2nd nature with both cameras, and I have all my Nikkors with me regardless. Trying to do both stills and video with 1 camera is something I really dislike. But I could understand not getting an NX,even as a 100% video camera, if you have overlords to answer to (I only answer to my wife, who pronounced the camera "pretty".) (Even she was impressed by the view through the VF though…)
I'll also add that 4K is a huge game changer, as a guy that shoots solo often. I shoot a bit wider than in the past, do a 1080 edit to get the flow down, and then reframe the 4K on the 1080 timeline as needed. It's very much like having 2 cameras - punch in for the strongest lines, or reframe to hide cuts without using b-roll - and every frame is gorgeous. I'm amazed how effective it is, and being able to catch stuff like expressive hand motions (I don't go crazy wide, but where I shot 85mm in the past, I may be 60-70mm now). Reframing, and the amazing range of detail and softness you can get with the NX and vintage-ey glass, are the biggest game changes for me since DSLRs and large-chip DOF all happened. Not pushing the NX1 specifically, but 4K is really killer if you have the drive space and should be great for keying and motion graphics.

Yes. Nikon can be adapted to nearly anything because it's the SLR system with the longest flange distance.

+1

Not sure if anyone saw this yet: https://github.com/ge0rg/samsung-nx-hacks
 

https://op-co.de/blog/posts/rooting_the_nx300/#index1h2
I think it would be interesting to talk to someone who already has experience.

I generally bring a shit-ton of lighting to shoots, but I've had several more editorial-style gigs with the NX1 and shot as hight as 3200.
1800-2200 or so is still remarkably clean; and there's something cool about higher ISOs with the NX sensor; it's not that soupy mush you get from previous Nikon and Canon DSLRs - it's just kind of "snappy" for lack of a better word. And really crazy clean considering. I try to get the shadows opened up so I can crush 'em back down - at 4K you can see some fine mosquito noise at higher ISOs. 
I was shooting a gig last week about inner city grocers, and we were shooting products in a beverage cooler; my grip knew enough to look at the setup and say "are you sure we're not allowed to light this? Mannnn…" and I was like "Dude - look through the EVF…" He was kind of stunned. Punchy shots with a lot of life.
That said - watch for deep, deep blacks that really eat the light. Even at low ISO, a black knit sweater can look fine until delivery - then there's something about the NX's blocking that H264 sort of grabs onto and you may get some posterized shadows - kinda ugly and you have to tweak your compression for output. Try to get some big soft fill going, open the blacks, and cut your key a bit, balance it back in post. Or raise your ISO and cut your key back. I don't have months of this camera under my belt, but watch those intense blacks...

+1 +1 +1 I'd totally be willing to pool some money together and donate for a hack that can make this already amazing camera even better.

There seems to be a lot of small forum posts about hacking the NX1, the camera definitely supports 10bit, 240fps in 1080p or even 1440p, it should also spit out 2160p in RAW and it should record 6k in 30 max fps in h265 codec with bitrate probably around 40 to 100 mbps.
The 10bit colours or even 14bit should not cause much more strain on the CPU then there already is, its just requires a faster card.
I would personally be willing to sacrifice my NX1 just to get all these features or at least 2160p raw output. It is a real bummer that Samsung decided not to enable these feature I know they are in the damn camera they are just disabled. 
 
God knows why the fuck they decided to do something as stupid like that, they could have sold the damn fucker for 6000+ dollars and enabled everything, it would be adopted by damn Hollywood for its image quality at such a price range.

Haha! Yeah, well you're comparing it to this brand new NX1 video which is pretty darned amazing in its own right. 
In fact many have said that the NX1 is THE dslr that starts to rival the 5D RAW's general image quality.
However - for post processing latitude and flexibility the RAW still destroys the NX1 codec. It destroys all codecs.

There appears to be a problem with the H.265 codec within Premiere. Blacks are being crushed and highlights destroyed, but it's not permanent, the footage from the NX is just being interpreted incorrectly and a weird curve is being applied.
I have found that applying the brightness and contrast filter to all clips using these settings brings them back fairly close to the original exposure: brightness -3, contrast -15. (Video Effects, Color Correction, Brightness & Contrast), I use these settings on an adjustment layer.
I have found that "Brightness & Contrast" is the best filter for making a difference and returns the clip to almost original settings.
 

Handy tip for testing setups, filters, lighting - without the transcoding step.
Shoot some footage; playback in camera and pause at the frame you want to examine. Hit the Fn button on the camera back; the camera burns a JPEG of the frame.
I've played with this and the JPEG is dead-on with the footage (My camera is set for the best and biggest JPEGs, don't know if this affects the frame capture). Really handy for testing non-motion related stuff without running clips through processing. 

I love the tones here! Nice work!!

Love the top picture.