vaga

^ doubt it's a regional thing.. for example the Full Sail University (FL) tech package consists of an FS5. if you're producing 4K (which most TV productions aren't) then FS5/FS7 really is the only place to go within the under $8K run&gun/doc/ENG cameras. they're definitely out in the wild, NYC homie shot this on a FS7 couple weeks ago:
 

Samsung NX1 16-50S Hack: Vasile 5.01 150mps Normal Gamma, Costum profil, Premiere CC with R709 LUT, Filmconvert Grain 50%

I am now doing groundwork for mods that will be a lot more advanced. This is why you are likely to not see any visible progress for a while. In essence I am trying to zombify the di-camera-app to enable bi-directional communications between it and my mod infrastructure, and to introduce the possibility to "drive" it from the mod runtime..
If successful this should allow many things, potentially including native UI integration, true BBAF, native integration of focus stack & focus pull, etc. etc. My plan is to make it an extensible and open framework upon which others might build on (e.g. Otto) to deliver things that work in coordinated manner with the native app, and that are aware of what the native app does. This will allow, for example, to have the UI permanently up to date regardless of what the mod does (as opposed to today where mods do not update the UI because they are independent of di-camera-app).
NB. Nothing above is a promise or commitment and you do not see any timeline, do you?
PS. I still covet that lens ;-)

I have installed version 5.2 on my NX1. Thank you very much Vasile! There are now slots for Normal bitrates so no I can use different bitrate setup for timelapse (eg. 320 Mbps), 4k30p (180), 1080p60 (150), 120fps (100-110Mbps),...
Also activation of GUI via luminance button is great choice... I really do not see any downsides now!
I am wondering what will come next... silent shutter on NX1 would be great ( I know it is very complicated - I saw your post to Marco od dpreview).
However this already outperformed what I have ever expected from whole NX1/NX500 hacking project - custom bitrate settings for each resolution which runs without any waiting and so smooth... BIG THANKS.

Actually I'm looking for a sub 750€ (new) nx1 body or sub 550€ (used but perfect) and can't find one for those prices. Same for nx500 with {400;250} figures.

I'm experiencing the opposite. People that are seeing what my NX1 can do (especially after the bitrate hack)  are now seeking them out but can't find them.

No, start buying them! All of them!

NX500/NX1 have programmable hardware and in essence you set up the hardware which resized the input for the encoder. We found the registers, but working with them directly is problematic as soon as you update part of the registers stream gets out of sync and drops out (outerbeat gets the credit for that one). Modifying the encoder's resolution can't be effective at all by itself, as no matter how you change it's recording resolution the feeding video will be already downsized. This at least should be quite clear.
You can change any resolution to any other (with NX-KS it was available even for the last firmware) as they in fact only shuffle the available resolution, so you don't set anything "real".

When it comes to MJPEG, something similar will be much easier achievable by setting  IPeriod: 1 (or 0?), thus forcing HEVC with I-frames only. This is something that I shared with the vasile more than a month ago, when there was still some illusion for cooperative work. ; )  My linux skills are far less advanced and takes me more time to figure some of the things, and this was not on my list.

cheers

You got double the sensor real estate to cover compared to full frame. It's got to be an incredibly fast readout, or the image is gonna be mush. Especially with the shallow depth-of-field.
Until recently, medium format cameras used CCDs. CMOS sensors are actually a recent development in this arena. Maybe going back to those would be a smart idea. Imagine the motion cadence!
My dream would be a 645 sensor purpose-built for video with a lower pixel count. Maybe 6K or 8K spread out over a 60mm-wide sensor area. Bigger pixels = low-light monster. And then use the space between the pixels for the circuitry required for a global shutter.

Agree on your medium format image observations, the look is truly special and different to full frame.
The 4K from 50MP isn't impossible.
Remember the A7R II for $3k does pixel binned 4K from 42MP. And it actually looks pretty ok, with less rolling shutter than the native 4K Super 35mm crop.

I took the Full Frame Look (vs. S35) challenge and created images that were equivalent: http://brightland.com/w/the-full-frame-look-is-a-myth-heres-how-to-prove-it-for-yourself/ . Some folks posted 'debunking' shots with MF vs. FF but didn't use equivalent camera settings per the math (and not even the same framing).
The math and physics also apply to MF vs FF. If it's possible to match via the equivalence equations an MF camera + lens to a FF camera + lens, the images will be identical. However, part of the difference is the sensor technology and software processing, where Phase One appears to really shine. Thus comparing a Canon 1DX II or Nikon D5 to a Phase One (any recent) may still show the Phase One providing a better image. If that wasn't the case, there wouldn't be a market for these very expensive MF cameras.

It's a bit lens dependant. The 35mm F2 WR and 18-50mm F2.8-4 OIS work best in AF-C mode but it's definitely not very reliable all the time.
The 35mm F1.4 and 56mm F1.2 have really noisy AF motors and big heavy glass elements to shift... so don't work as well.
I think the A6300 and X Pro2 share a very similar sensor and phase-detect AF is on the chip.

Yep the X Pro 2's colour is effortless, you don't need to do anything to it in post and if you just want 1080p, it's a lovely simple solution.
The magenta cast in the S-LOG 3 footage though is down to the user not being knowledgable enough with grading tools to correct it.
S-LOG is a bitch to work with, so it is partly the camera's fault and partly the user's.
I don't blame anyone who has trouble getting the colour from Sony cameras to match Fuji! It's hard!

I use Movie Studio Platinum and rate it almost as highly as you do. However there is one big problem that has driven me away from it into the arms of Resolve, which I also rate highly.
The problem is that the UI is not compatible with 4K display resolutions so I struggle to see and use the interface on my Windows 10 laptop with a 4k display.
I hope the new owners of these excellent Sony products sort this issue out soon, but I am very happy with Resolve 12.5.

I do not know - on my camera EV always generates double events and it is impossible to combine it with OK :-( I could change it in the release but it would be untested by me - or I could put in a disclaimer that it does not work for me.

I really liked the ev + ok on nx1. Never gave problems.

I guess it depends on whom you ask. To me the hack only overcomes artificial marketing-imposed limits. In any case I bricked my burner NX500 (oh, my personal one too - but that one is still awaiting repair) and Samsung repaired it without a peep under warranty.
Now I do not TRULY know if it was me - the motherboard was replaced and to my knowledge nothing I was doing could have caused a hardware failure - but in any case they fixed it under warranty.
YMMV.
rgds

As on dpreview forum - I would like to thank you very much....  It works great - as without hack - very fast, no delays, BUT with high bitrates... simply wonderful :-)
Any chance you could use different button combination than OK+OK for UI? eg. thash+thash (or even EV+EV as on NX500 could be better). Because when I have performed some changes in menu I have accidentally evoked UI because of fast pressing OK+OK... Setting bitrate for "Normal quality" would be also nice..., but these are small details. I really do not want to bother you with them ;-)  

I think warp stabilizer is causing that. I need to check original footage again. Bitrate was 180mbps

so, any footage coming from nx1 2.5k 200mbs hack? thx
 

and Nikon F, I would pay half my soul for one, it would make the camera have a very long life with these adapters. 

I hope that, in the same way, the crop can be optionally implemented into nx1!

From @NXKS2

Removing crop-factor and custom resolutions on NX500.
... it appears that we can control the crop factor (remove it) and even have custom resolutions, by controlling the EP_Resize registers. As you can see for NX500 all non-crop simply have the same value for the scanning and output (ex VGA), where the crop modes have one scanning resolution and another for the output (ex DC). For removing the crop, we don't even need to recalculate values, just repeat the input to output value. However setting those is a bit trickier than expected....
4K DC
[20826000] 0140000E 10000000 0438000C 08700000
VGA
[20826000] 05000000 05000000 03C00000 03C00000

Source: https://www.facebook.com/NXKS2/


 

These are the two most annoying things about nx1 video mode to me lol would be awesome to get them fixed.
I wish video standby defaulted to single auto focus, not continuous which typically sucks. Or if your nx1 lens doesn't have a focus switch then manual mode all the time would be handy.

Yes. I often shoot as a single operator running 3 or more cameras simultaneously. If I'm recording a full band set, or an orchestra, or a long lecture, I'm usually actively operating a camera that is far removed for several static cameras. If they only record for 30 mins at a time, then I'm missing a minute or more of potentially crucially coverage (an entire guitar solo, for example) from my main camera to walk around restarting cameras that are spread around the concert hall. 
For someone looking for an A cam, a recording limit probably isn't a big deal. To me, these small ~$1,000 cameras are useful as B, C, and D cams, which I often need to let run unsupervised for long stretches of time.