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Partner with Blackmagic for the processor. ProRes a-go-go. Partner with Magic Lantern for the firmware updates. They didn't seem to have a problem giving us one for raw video did they?! +1 for full size HDMI. I think just with those 3 relatively simple changes it would sell to pros for $3000.

http://www.eoshd.com/2015/11/official-statement-samsung-withdraws-from-camera-market-in-germany/ Andrew suggested Samsung should make a cinema camera, and thought that is such a great idea it deserves its own thread. (waves to Samsung reps! Hopes they're reading.... one can but hope!) I don't think it would take much more to get there (well.... it would be a significant sized project for Samsung for sure, but easily well within their grasp to pull off). All they need to do is increase the size of the NX1 body the minimum amount needed so it can do this (perhaps C100/C300 shape/size? Although, I'd much much rather have the ergonomics of an FS5/FS7! But even if, g-d forbid, it has the shape of an FS100/FS700 then I'd still be "ok" with that that!): Make space for dual mSATA slots, perhaps mSATA already in their own simple plastic casing like what Atomos does with SSDs (I think Sound Devices made a good choice going mSATA on their small PIX-E5 recorder, and in a small camera it makes even more sense over the large SSDs). Dual slots are needed so you can write a proxy to the 2nd slot, or just simply if you need the extra bandwidth when doing 6.5K raw at high speed. Can't stick with SD cards, as they won't handle 4K ProRes HQ, which leads me onto my next point....Add DNxHR / ProRes, whichever licensing of DNxHR or ProRes is easiest for them to get. Though having ProRes HQ would be preferable I suspect over DNxHR (just because ProRes is more commonly recognised by the market, thanks to BMD and others widely using them), plus ProRes 444 or even raw would be dreamy! (but maybe a little unrealistic in a $3k camera?!)Add two XLR inputs. Make its HDMI port a full sized HDMI port. Add two SDI outputs (important to have two, what happens if one breaks? You'll have a nearly useless camera for many people, as SDI is for them *essential*. Plus is very common to run more than one monitor in a production environment, thus got to have two)I think if Samsung did this (and nothing else, just the five points listed above: mSATA + DNxHR/ProRes + XLR + full HDMI + SDI inputs) for US$3,000 then they'd have a huge huge indy cinema camera hit on their hands! The next DVX100 or 5Dmk2 of our generation?? Even if it came out at US$5k I reckon it could maybe still be rather successful, although it would be up against the URSA Mini 4.6K, Sony FS5, and Canon C100 mk2, all at a similar price point. (plus whatever else comes out in the next 6 months) For bonus points Samsung could do: Camera mount: just before, I'm assuming they're sticking with the Samsung NX mount that the NX1 has, and only making the body a little bit bigger. As Andrew mentioned perhaps their mount held back sales of the NX1, maybe this cinema camera should have a different mount? Ideally I'd like to see them use the Sony FZ mount (as this would mark it out as a true cinema camera, able to be used with the best of the best cinema lenses, yet also allowing tremendous flexibility with this mount!), next best choice would be using the Sony E mount, 3rd best is Micro Four Thirds (like the JVC LS300). Branding/marketing/licensing issues mean I expect sadly all of these are out of the question. Thus I feel the best Samsung can realistically do is create their own open cinema mount, which has similar features to the Sony FZ mount. But make it completely open and easy for anybody else to adapt. Thus Samsung will start off by selling their Samsung Cinema Camera with the high prestige PL Mount, but in a blink of an eye we'll see third party manufacturers offering adapters for everything you can possibly imagine (like they do now for the Sony FZ mount!).High Speed Options: apparently their engineers managed 6.5K 240fps in testing, maybe we could at least get this cinema camera to give us 1080p 240fps or 4K 60fps?High than 4K resolutions: give us all 6.5K resolution from the sensor!! :-oRaw: need I say any more? This could hit it out of the park! What are your thoughts? Remember, it should be based on the existing underlying NX1 technology (so not too much more R&D is needed for Samsung to get it to market), or using commonplace readily available tech (such as mSATA, or SDI connections) and hit a US$3k price point or at least not more than a couple thousand over that.

I understood that the focus changes when you stop recording. I was giving you some work-arounds in lieu of a proper NX1 solution from someone familiar with the camera/lenses. If there isn't a better solution, you could just focus after each time you press record or try covering the contacts with electrical tape, as I mentioned. Of course, you could also just use a manual lens from some other manufacturer. Be careful using peaking with tight apertures -- critical focus might not be where you would like.

Thanks Tupp, my issue is not with achieving focus: what I get with the NX1 assists (zoom and peaking) is excellent and tack sharp. The problem is that if I stop the recording and resume later, the focus is off even though I didn't touch anything else. It doesn't happen every time, so I'm baffled. I believe this has something to do with the lens being focus-by-wire and not true MF, so somehow the camera is resetting on occasion. Sadly, NX1 is like an eccentric genius, and it does have its bizarre moments.

As NX1 owner - I've often considered the NX500 as a second camera. Top things that have held me back are: no DIS for video. significant crop in 4k. Of less concern but still present: no EVF, no mic jack, no peaking in 4k. Things that are differences, but are not of concern to me are no Gamma DR, 70 MB/srather than 100 as the recording size. Advantages I appreciate are lighter weight and selfie screen LCD position option. To me if the used or sale price is within $500 difference I would go for the NX1 - which will be the case in the future, I predict.

That camera already exists, it's called t3i

The best low light camera on a restricted budget? - Is the one you can afford, pure & simple. (800 euros was the amount mentioned) There is no best, just buy something, shoot loads with it so that you can learn its strengths & weaknesses. As far as the OP is concerned, all concert, theatre & ballet venues have lights, to varying degrees - never heard of a pitch black event, never. If you've been hired by someone to shoot an event, then you'll have full access to the stage etc... So you'll be able to shape the light (whatever the brightness/quality) to your advantage & you have to learn to be adaptable! The first gig I was hired to shoot was in a pub, with very few lights & the band were squeezed into a very tight space. I told them that video would be out, but could take some photos - they understood & were amazed at the pictires that i gave them. The last gig I filmed, the lights were too bright!!!!!! Had my ND filter on the whole time & I still had to stop down. If you just want to shoot things for fun, then you're screwed really - bands, venues etc... don't want anyone filming, taking pictures on big equipment (they hire people for that). If this is you, buy something small & compact or just use your phone.

I quote you on this.

The Canon 50mm L was the lens that convinced me to finally invest in high(er)-end glass. I had been shooting a vintage set of Pentax Super Takumars for years (the 50mm 1.4 Super Tak is my first love), but compared to the 50mm L on back-to-back shoot days it just couldn't deliver the sharpness and fall-off of the modern glass. That day and subsequent days shooting the L 50mm (and other L lenses) gave me so much confidence. After an exhaustive search I found that the Leica Rs give the right amount of sharpness and pop in the image, with a comparable amount of... "romance?"... character? that the vintage lenses often provide for my style of shooting and content. If anyone else is thinking of jumping in to the Leica game, over the past year I've compiled this vimeo collection of stuff shot on them (none by me, sadly). You'll find that they're quite versatile.

You can pick the screws up from China. http://www.ebay.com.au/itm/5x-Knob-Rotating-M4-17mm-Thumb-Screws-fr-15mm-Rod-Clamp-Base-plate-DSLR-Rig-/171881965607?hash=item2804f6a827%3Ag%3AEooAAOSw2VJVfqUN You will need to cut them down to fit and you will need lots little spring washers on at least one of the screws to to pack it out of the channel so that tit clears past the motor Yeah with the LX100 its pretty much no time at all once you have learned how to balance the camera. Even if you don't have it quite balanced its so light that the gimbal still works as expected although the better its balanced the more efficient battery life will be. I think the lighter weight on the handheld works really well. The LX screen is a bit of a pain and sometimes i have streamed to the iPhone to use as a screen. Its not ideal but works and he lag on the app is not to bad. I have started using it with an RX100 iv. The tilt screen on that has been very handy.

​Best setting on the NX1 so far. Least banding, nice skin tones, good rolloff and an overall organic feeling. Yeah, lifting the levels should be done in post if preferred -> lower banding!