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​Well yeah, every option should (although some only ever so briefly) be considered. But we're not talking price range here per se. It's mostly because they are comparable to a considerate degree. Both are 4K capable hybrids, with built-in stabilization and they share the fact that they're non-interchangeable lens systems with flexible optics. And then you're going to throw a 1080p RAW recording cinema camera in the mix that doesn't even take stills or includes glass with a decent range of coverage and sensitivity. If you're considering the LX100 and the FZ1000 I don't really see how you think the BMPCC fits in there in terms of comparability. Sure; from a price point they're close, but they're different sorts of cameras altogether. The LX100 is nice as allround everyday camera. Don't add no nothing, just have it with you (perhaps some neutral density filters) and go about your day, always having that little powerhouse with you if the occasion arises. Same goes for the FZ1000, though it's more an allround travel cam with a higher degree of flexibility, but with some added chunkiness to it. Both have their ups and downs. Surely you can use them in a production environment as well. Though perhaps in limited capacity and rather as added specialty to another camera that's being used as main cam. Sure, you can consider numerous other cameras, like the BMPCC, but then you might as well consider everything... from the GM1, GM5, G6, GX7, GH3, NX500, A5100, A6000, D5300 and D5500 all the way to the GoPro Hero4 BLK or everything upwards from that for that matter, GH4, NX1, A7S, D750, D810, 5DmkIII, 1D C and upwards of that even. And actually. You should. You should consider each and every single camera out there. Might even throw in the E-M5II, don't know why one would, but you can consider it for a brief second. Same goes for the Arri Alexa Mini, although it might be entirely out of your price range (but hey, renting is still a thing). Or hey, forget what I said, just use your smartphone instead! The BMPCC is great because it's pushable due to its RAW recording possibilities. It's small and easily adaptable within a modular system. Footage looks great. Nice 'n flat, pretty great dynamic range for such a sensor. And... and... em. Hum. Well. Em. What's not to like, really? Well... perhaps... it's not for stills, so forget hybrid use. No built-in stabilization. Bad crop/difficult to get wide shots. Doesn't come with glass, you probably end up buying a couple of primes and having to swap 'em all the time. Not particularly high frame rates. Fills your cards up rather quickly. Goes through batteries like it's nothing. Screen isn't the most ideal. This is not a point-'n-shoot, you need to carefully set-up your shot. No blind use with mode and setting dials and tons of (customizable) buttons, just some navigation buttons. Not to mention it's all rather just basic functionality. Audio handling is poorly done. Oh. And last summer it was on sale with spectacular prizes. People were anticipating a successor soon... or a catch. Nope. Nothing of the kind. But the knowledge of putting down money for a camera, of which the amount months back would've bought you 2 of 'em (with no apparent reason other than the fact they can), that kinda stings, doesn't it? Anyways. In the end... it's great if you use it purposely. But it requires a very different approach than the LX100 or FZ1000. Listen, I have the BMPCC... but not instead of the LX100 or FZ1000. They simply can't replace one another. That's why I have all three. And the GH4. And the GH2. And the E-M1. And the D5300. And several action cams. Although, surely that's the most ideal situation: not having to choose one to stick with, just have plenty of tools so you can put each tool to each specific use without compromising due to of the drawbacks a single solution would bring with it. Bit tougher if you have to pick one. It will depend on how you use it. Hybrid (stills/video) or not (video only)? Does size and weight constrict you? Do you need an all-in-one solution with a spontaneous point-'n-shoot character? Do you mind swapping out lenses and rigging your gear? How are you going to handle power supply? Are you going to use it in a production environment? Quality requirements? Gradeability? Need for slowmotion? Storage/archiving? Would you need specific system requirements for quick editting turnarounds? There's a lot that can make you go one way or another. There isn't a universal solution that meets the requirements of all shooters out there. Pick something that suits your individual needs the best... which can be any camera, really... just not sure if you want to take a too long look at the BMPCC, when you were thinking a LX100 / FZ1000 would nicely fit in your way of shooting. They might be similar at initial purchase, but are pretty much worlds apart. And with the BMPCC you're not even there yet after getting the camera itself...

Well, looking into the company, it must've been part of some kind of optical comparator for inspections and optical measurements. Not sure how anamorphics get involved in that... and not sure whether it's the inspection end or the projecting on the circular display end... http://www.starrett.com https://www.youtube.com/user/lsstarrett/videos Given the possible newspaper background maybe has to do something with this as well: http://www.google.com/patents/US3450464?hl=en . But I think it's fair to say you shouldn't count on it to be any good for anything cinematic given its designed purpose.

Hi I just got my NX1 yesterday! I'm using iFFmpeg 5.4 decoding to prores. What's optimal setting to exporting in prores? I've test all the different settings in the prores drop-down menu but I got the exact same file size regardless the setting I selected. Did I miss anything? Any input will be much appreciated! Can anyone share their iFFmpeg workflow please? Thanks!

Got my hands on the Samsung NX1 so I thought Id do a quick simple comparison between my T3i and the NX1 just for kicks. I also show off its overall 4k quality and the on board sound coming from Got my hands on the Samsung NX1 so I thought Id do a quick simple comparison between my T3i and the NX1 just for kicks. I also show off its overall 4k quality and the on board sound coming from the camera. I would just like to add that this camera is absolutely amazing! I filmed this whole video on the Rokinon 24mm f1.4 Canon mount with the Fotasy EF to NX adapter. I graded the clips with Magic Bullet looks within Sony Vegas Pro 13. Actor: Matthew Mahaffey Camera operator: Micah Mahaffey I would like to note all the color banding your seeing in this test is caused by turning the in camera noise reduction all the way up and then compressing it in conversion. So this is a worste case scenario.

​I own the camera and disagree with that. It's decent enough and I can use it effectively to get easy shots because of the 5-axis, but cameras that sell for $500 from Panasonic and Sony are better than the video IQ from the Oly right now. And that's a whole 'other price class...lower. My EM5II is a great cam in my modest collection. It's there for certain work and performs great at it, but it's not the best tool if IQ is your premium.

I like the LX100. Its fun and has the feel of a fllmmaker cam. I would get the LX100 (over the FZ1000) to couple with a future GH5.

Think you've answered your own question! There is no perfect camera for everyone's needs... So just make a checklist of what is most important and get the camera/s that checks as many of those boxes as possible. The D750 seems a very capable camera... I've not used one, but the images I have seen look great and has a feature set that seems to fit what you need.

For what it's worth, my students and I tested the a7s, GH4, 5D MKIII (h264, not Raw), NX1, A6000, 70D, and BMPCC for low light noise + color performance, and all three projects chose to shoot with the a7s. Two of them are low-light night shoots, but one is day. For low light, obviously the a7s wins by a long way over the others -- in noise and color. (Once you start digging into the picture profile menus, you can really carve into the color.) 5D was closest, of course. The rest were just painful in low light (when compared with a7s). We even tried a Voigtlander .95 wide open on the GH4 to see how it would compare to the a7s with a Jupiter 9 at 2.8, and it wasn't close (for noise); the a7s/jupiter won by a mile. In daylight, they were all nice in their own ways. Dynamic range of a7s and BMPCC is nice, all things being equal, but when money is tight, I'd personally take the cheaper camera and spend the extra on lenses and kit. I think they're all capable of good color. Different looks, and different paths to get there, but I've gotten images I like out of all of them. In good light, NX1 and 5D probably take the least effort to get good color, but that h265 on the NX1 isn't a lot of fun right now. It is less work than 5D Raw, but still a big pain compared to other cameras, IMO. Personally, if I was going to go through the pain of converting every shot, I'd probably choose 5D ML Raw right now. I think that gives the best color of the lot, but you gotta really want it. That said, the whole thing is so personal. What works for you -- the camera, ecosystem, and workflow that you will enjoy -- is so different from anyone else. I tried shooting the NX1 for a week and sent it back, preferring to keep my GH4 and a6000. It's a nice camera, but it didn't really speak to me. I felt like I kept having to talk myself into loving it, and then I realized that I just didn't love it. I tried the a7s for a week, and now I'm going to sell my GH4 and a6000. I am truly loving this camera, for both stills and video. It's brought a joy back to the art and craft of image for me. Are there better cameras out there? I don't know, and I don't care any more because I'm loving what I can do with it. So I say, if the a7s isn't bringing you that joy of shooting, sell it and find the camera that does. Regardless of specs and features: if you love shooting with a camera, you'll shoot with it and find ways to make it work. It doesn't sound like the a7s is that camera for you.

I like Russel Brand, and he is well meaning, but god does he talk a load of bollocks. It's developing countries burning vast amounts of coal that produces pollution, not modern cars.

The FZ1000 initially lacked 24p. It has it now with the latest firmware update.   To answer those Qs above...   1. LX100 is better in low light by quite some margin 2. LX100 has the better overall video quality, but they have the same codec and at ISO 200 hard to tell apart 3. LX100 again better picture quality because of larger sensor and it's less noisy. The lens plays a part. The LX100 is simply lovely at wide angle, F1.7 4. Lens quality is similar in terms of sharpness, contrast, etc. But LX100 doesn't flare too well - green splurge 5. Both are "clean" but LX100 is less noisy

The FZ1000 is all about the zoom range. If you need to go really long on the zoom then get the FZ1000. In all other respects the LX100 is better aside from the lack of slow-mo... and a few minor missing menu options. No CineLike D either. LX100 review part 1 http://www.eoshd.com/2014/11/shooting-4k-pocket-camera-exceptional-panasonic-lx100/ FZ1000 review http://www.eoshd.com/2014/11/panasonic-fz1000-review-bargain-4k-super-zoom/

More budget for better audio is always good. People underestimate the importance of good audio. If you're not in a hurry you can see how the new cameras fare first.