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I'm certain it isn't worth three times as much. And with the overheating, I'm not convinced it's worth as much as the NX1... Certainly not if you're using it primarily for video. Imo, the NX1 is punching way above its weight. While I was honestly hoping the A7rii would be an all around champ, the overheating issue appears real, and while it can be mitigated it cannot be fixed (an external recorder defeats the point of this camera). The main flaw of the NX1 H.265, is not really a flaw... It future proofs the NX1.

I recently came across the below video and thought it looked pretty good. This was shot on the NX1. I think it shows that the NX1 can truly be as professional as you choose to make it. In the right hands it can produce very good results. For me this really does beg the question that I'm seeing popping up more and more... Is it worth it to spend $3k + for a camera body when your story could be just as compelling being filmed on a more budget friendly option. And before anyone brings it up, yes yes yes I know about the transcoding from h.265 overhead, but I suspect the downside of h.265 will soon be an upside as support for the new standard becomes widespread. Indeed, in due time I have little doubt many will be seeking out h.265 cameras.

Is it just me or is it absolutely crap? Time for Samsung to stop ticking off the marketing features boxes and go for a real update with actual problems fixed such as the manual focus issues.

Actually, I always argue with box office, record sales, home improvement design, etc. Creating materials and content for the largest collection of market requires a certain mundanity that allows for that broad appeal. It's why comedy slapstick will never go away. A 5 year old and a 95 year old can relate to it; Rich man or poor man. It's not anything great, just silly. Which is fine, but nothing that necessarily needs to be exalted and appreciated on a particularly impressive level. On the other hand, you can't hand Faulkner to a 12 year old and expect him to have any profound self-reflection after reading through it. You can't get most people to do that. It's just beyond their grasp. Thus, less accessible. Which book is more impressive and which has broader appeal: http://tinyurl.com/ogmx44b or http://tinyurl.com/nc4n33d Same concept goes for the cheap door you'd buy at a Home Depot or that new Taylor Swift album. So, no, I don't readily agree that financial success is in any way a marker of creative success. Not in this society. The complete opposite.

Well that took a bloody long time! But I've just this minute completed my new reel and site. It's not "announced" until Monday.... social media campaigns etc blah blah. But it's live! Check them here: View my new showreel and website! Some info Each and every image - I shot, lit, edited, graded. A little directing. Very involved in creative ideas. Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Up Artist). For the geeks - cameras used are Sony F55, FS7, FS700, RED Epic, GH3, BM Pocket. All images are music videos, but going for commercial/corporate work aggressively into the next year. (and still many music videos). The aim is to have 100% new material for Showreel 2016. Max creativity required. Anyway, if you like it or don't like it, whatever. Just thought I'd share.

Here more info: https://www.divergentmedia.com/blog/samsung-nx1-h265-luminance-ranges/

looking at it i noticed it has a "video game" look, what strikes as odd in the cinematography of this movie, is that everything shot is very clear and wide and that does not resemble the way we actually see things, our eyesight is not that good. so since there is no faraway blur in the backround objects it seems artificial to us. and this is why old dated westerns like 1971s "The Hired Hand" will still kick this movie to the ground in terms of cinematography.

I found the cheapest way to get a 72mm +0.5 diopter filter lens, which is less than $20. Bought a Tamron Close Up Adapter for 28-200mm Lens and a 72mm uv filter, $0.99--the cheapest one. Through out the UV filter's glass and replace with the Tamron glass, which is easy to take apart. Their size fits perfectly.

I don't work in full-frame equivalents, as I've only shot APSC and S35 for the most part. 28mm is indeed my favourite. The old Zeiss 28mm F2 to be precise. A lovely feel, for some voodoo reason! it works with very close focus and wide aperture enabling a closeup separated-background feel as well as broad views. 50-60mm is your punch in 'saying something really important' view. 21mm is establishing and small-room shots. Not for much more unless you're stuck for framing in general. Unless of course the piece demands everything be wide... it's so personal and relies so heavily on the material you're trying to express visually, you've got to be honest, trust your guts and do what you think feels right. YMMV of course!

Well I have to disagree... Sort of... The a7rii is just as much about 42mp images as anything else. So if the goal is an all around camera, then the clear choice is the A7rii.

Yeah, but trying to nail down the specifics, like what lens (Samsung vs. other, OIS vs. no OIS, 1.02 vs. 1.03, etc.), what situations (long vs. short), what kind of movements, etc. I will experiment myself and post, and hopefully we can put all the experiences together to come with a guide of sorts. Everyone with NX1: please test and post your experiences/footage!

JazzBox, LUTs are resolution independent. You can shoot at any resolution and apply it.

It's Sunday! Thwack...Thwack...THWACK!!! ....i'll get my coat..

My name is Andrew Kramar I'm from Russia (Excuse me for my english) I have an anamorphic projection lens - meopta anagon 2Ñ…, and I decided to remake it for my BMPCC)) original meopta anagon 2Ñ… This video was filmed with the original projection lens+MIR1V on BMPCC minimum focusing distance - 5 meters http://www.youtube.com/watch?v=e7XYXwSo4x4 I decided to disassemble the lens to bring together close to each other And now the minimum focusing distance 30cm Then I decided to make a new case for the lens as Folding Bellows)) Video with a modified lens http://www.youtube.com/watch?v=W0g7DEC76Ig http://www.youtube.com/watch?v=Sc4AHSq8LFs

You do have to figure out how to make it work and in what situations to use, then it's not absolute crap.

24mm F2.8 IS 28mm F2.8 iS 35mm F2.0 IS 100mm F2.8 Macro IS 200mm F2.0 IS 300mm F2.8 IS And a few others but oddly no 50mm or 85mm yet. Ultrasonic IS on the above lenses is very good, better than IS on the Sigma or Tamron zooms.

Thanks for this, very good read.

Ive never said there was any quality loss on the A7rII, why should it be. It's just that if the Digital stabilisation in the NX1 doesn't have quality loss I see zero reasons to buy the A7rii over an NX1. And, no, I wasn't hopeful about the A7rii at all, I was extremely skeptical from day one. That's why you won't find many comments by me in the threads about it. And it was when looking at the price it got here in Sweden I decided to go for 16mm film instead.

my understanding is both settings record the exact same information. what you are changing is the flag that tells your NLE how to display the image data -- across the full range (0-255) or across the broadcast legal range (16-235). but I don't think it inherently changes the data captured by your camera, only how that data is mapped out when you're looking at it. and as andrew noted, when you have a file flagged to mapped the data across the full range and an NLE that overrides that flag to adhere to broadcast values of 16 to 235, it's going to clip 0-15 and 236-255. I shoot 16-235 because everything I produce has to adhere to broadcast standards. if I didn't things would look pretty effed up on blu-ray to television. one of the reasons I love media composer is the full control you have over the luminance range (data/full vs video/broadcast) when importing clips.

Since there is no way to directly edit H265 files in premiere and a transcoding step is required, did you try transcoding to H264 with the proper 0-255 range? Premiere should be able to handle 0-255 footage if the codec supports it. My understanding is that Prores is a broadcast coded that uses the limited range (16-235 for 8 bit). So the clipping either occurs when you transcode the H265 into Prores or when the prores actually uses the illegal values that are clipped then by Premiere. The problem is that using the limited range 16-235 you are throwing away 1/3 of the space.

Yeah, I'd say it depends on your priorities. If you love to crop, use lenses without IS handheld, and regularly print 24x36 and larger, the A7RII is for you. If you prefer cleaner low-light images, take long video clips that can't be paused for overheating, and don't mind an external recorder, the A7S is becoming a pretty good value. Always decide what you want out of a new purchase first. Then, and only then, should you start perusing cameras to find one that fits your wish list.

Could you clarify, because I really don't get your point at all. But if you mean what I think you mean my response is, No, do absolutely not depend on After Effects. The whole "Fix it in post" strategy is and always been a bad strategy. If you want steady shots, just bring a tripod and be done with it. Same goes for stabilisation, lens or in camera, it's nice to have. Sometimes very nice. But it's not gonna make your video for you. YOU need to work for it. Making sloppy exposures, bad audio recordings, etc just to "fix it in post" is gonna bite you every time. Fix it in camera.

I would argue that one never needs image stabilization. It's nice to have, not need to have, especially for video, for which many other vibration-dampening solutions are available.

A video we just completed with NX1/NX500 for a label this week https://vimeo.com/brainstem/review/136679800/daa914d0aa

Very intresting wolf33d. My two cents is I would not trust a camera with a movable sensor for landscape photography. There are heat dissipation issues and the slightest software/hardware glitch and the sensor become unaligned to the lens and you get blur. Many photographs ALREADY go crazy with micro-focus issues with fixed lenses and sensors. For centuries, it has been true in photography, and all machines, if it CAN go wrong, eventually it will. This is ALL theoretical but in my "real world" I need to have the most confidence that the least amount of stuff will go wrong. That's subjective, sure. I pick up a Nikon and I get this sensation from the camera "I will always turn on. I will always get you a shot quickly and competently." The question is very simple and should be respected. Are the trade-offs Sony made to get in-camera stabilization worth the risks one takes in long-exposure photography. Unless one works in landscape photography opinions should be circumspect? Bottom line, thank you for having the guts to post your opinions in a "4K is the be-all and end-all of all things camera" Forum. I say that with Love for EOSHD

"Die NX1 bietet das derzeit mit Abstand sauberste uns bekannte 4K-Bild in der 4K Kamera-Klasse unterhalb von 10.000 Euro an." "The NX1 offers currently by far the cleanest 4K image, we know in the 4K camera class below 10,000 euros." Quote of the following (sponsored) Article: http://www.slashcam.de/artikel/Sponsored-Workshop/Samsung-NX1---Teil1--Drehpraxis-und-Setup.html And here the Link to their Clip: Youtube: https://www.youtube.com/watch?v=IRBKaQf_DGk Vimeo: https://vimeo.com/134698607