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Six, Hundred, Thousand, U, S, Dollars! Madness.

899$ for that ? They must be CRAZY ! Theire mods are no dif. than most filters that we can put infront of a regular lens, for that price (and they even mention it on the video) I could get tens of vintage glass, or go for an Art lens + lens baby or something, this is doomed to be a failure at that pricetag.

The Scarlet-W looks like the best camera they have made in a while. Again, don't preorder. Wait for it to come out. Do tests. Rent it. Use it against other cameras. Then decide. Pre-order a $10,000-$20,000 piece of kit is perhaps the dumbest thing in the world to do. Find out what surprises can happen with their camera. How it handles dynamic range, etc etc. How its fan works - all that stuff. Early adopters always get burned. I ususally wait a year after the camera is out to buy it. And in the meantime rent it for gigs and test it.

Just finished a re-edit of my first wedding the NX1 (fortunately, wedding season is over !), I didnt re-grade, just made it smaller. Hope you guys like it : https://vimeo.com/148642940 C&C are always wellcome !

looking to invest in my first audio recorder... I was about to get the default Zoom H1 most suggest as a starting point After looking around there are three I have found within striking distance... they vary from $70 to $110 New 1) Zoom H1 $70 (no tax) 2) Tascam DR-22 $105+ Tax 3) Tascam DR-40 $110 (no tax) I make mini docs recording interviews and sometimes audio performances (Next project will include recording a bag pipe performance) The DR-40 is really raising an eyebrow as it's discount is major usually priced $180+ and has 4 channels... But it is huge compared to zoom H1 ( was looking to mount my recorder on my NX1) Could you give any thoughts on these choices? Is there some product I should be considering at this cheap price point that I'm not? Thanks

Booking are kind of blowing up across the next few weeks so I took a shot at the NX1. Got the little power zoom for an extra $200 - $1299 seems like a good price, though it may plummet after the holidays. Waiting for a lens adapter, I have a sack of nice old Nikkors. (This camera is filed under "I own it, lower budget no-rentals gig gear". As an aside, all the research I've done on video for the web and for ad landing pages suggests if you have a business, you're an idiot not to have a video. Leads and conversions jump from 80 - 300%. Really pushing one-man, corporate stuff for 2016 - I wouldn't mind filling my calendar with some small gigs, and I usually end up re-writing their copy, designing ad campaigns and landing pages, even redoing their site. I'm an agency with in-house video, man!) First impressions - Menu system and custom controls were easy to setup and after an evening of playing around, it's feeling pretty second nature. I have yet to shoot a single still though… but have a nice custom setup, love having the mic volume on the wheel. (Could never remember where it was on my Nikon). (I use an external recorder, but wit several Nikon bodies, line-out from recorder to camera for a scratch track? Stage the gain properly and I often used the camera audio.Hhaven't tried that with the NX, we'll see). Wonkiness: couldn't find a few things I've read about - realized it doesn't have the latest firmware. Guess these have been sitting in Amazon's warehouse... Wonkiness 2: Sometimes the EVF (or the display) doesn't come on at powerup, it's one or the other, and the button doesn't work. Toggle the power and it's fine. Wonkiness 3: No matter how I set things, the fast/slow settings only show "fast" -1080p, etc. I have 120 fps in the menu but I like that the camera will conform the footage. May be a firmware thing? The AF - fack me, I can use the hell out of this. Not for narrative/editorial work but for events and steadicam - man, I can see using this fairly often. I'll want to test it a lot and see it on a big monitor, but… impressed. I expect to have non-native glass on this most of the time, but nice to have it. Probably get the 2-2.8 at some point. The autofocus default when you leave video mode - already trained myself to hit delete key (set for AF) and toggle the AF off. Kind of a hassle but now second nature. The lens stabilization - thumb's up. Again, events and steadicam, godsend. No DIS in this firmware, doubt I'd use it anyway. LOVE the WB controls - I've got WB set to the down arrow, right by my hand. Easy to grab a custom, and I love the color matrix controls for every preset - unless I'm going pretty artsy, I really prefer most of my look in camera other than keeping the blacks detailed and open. Really love the EVF. I tried my loupe on the panel, but (A) the evf detector gets confused by the hinge on the loupe and (B) this body is kind of small - my loupe won't slide down far enough without some drilling. I may just skip the loupe for shoulder mount work - it's a great EVF. Ran some footage through editready, reasonably fast - not much different than converting H264 to Prores in Streamclip, unless I downscale which seems to double the time. The native 1080 looks very good to me, I guess one of those firmware fixes really came through. I saw a bit of jaggy aliasing that was a bit cleaner with UHD downscaled. Overall - pretty pleased, but with a touch of genuine sadness - if Samsung is really abandoning this part of the market, it's a shame. The NX1 is simply a remarkable first shot. I know plenty of folks here dismiss it, but man - you're talking about a $1k body. It's got bang for the buck like nobody's business.

For that kind of money they could have made it autofocus , those fancy guys. Meanwhile in China. http://www.sonyalpharumors.com/this-is-the-new-zonlai-25mm-f1-8-e-mount-lens/

For telephoto / wildlife a 7D Mk II with Sigma 50-150mm F2.8 beats 5D Mark III with 70-200mm F2.8L any day, just so much nicer to carry around than that fat bastard I am using the sigma zoom on the NX1 for 4K at the moment. It is also par focal!

Why would you want to export to h.265?

Half baked firmware and still lots of issues. Might end up being ok but not there yet.

Guys a shop is selling it 630$ (body only) here ! Really tempted, but not sure if price will still go down... Still seems like a bargain

The benefit of a FF-APS-c speed booster is a lot greater since the availability of fast and wide lenses for FF is pretty good. In medium format terms your point is very valid though since there are still limitations on how you could go about trying to replicate a 150/2.8 for medium format, when using a FF lens. on paper you;d need a 105/2 lens for full frame in order to match a MF 150/2.8 and this 0.7x focal reducer (assuming the focal reducer is actually delivering good performance). HOWEVER, you'd actually need a 105/1.4, stopped down to f2 in order to obtain both the dof/fov ratio as well as the image quality you can obtain from the 150/2.8 MF lens wide open. There are NO 135mm format lenses that will replicate the balance of IQ and dof/fov that is achieved by a 150/2.8 on medium format. The OTUS line of lenses somewhat bridge the gap. The new 28/1.4 at f2 on FF will likely outdo my Schneider SA 40/3.5 on 645 in terms of resolution, while providing similar fov/dof. But at £3000 per lens they become less viable. You can get 3 of the schneider 40/3.5's for the price on a single otus. This brings an interesting point, in that if you look at the optical diagrams of the otus lenses they are infact not that far removed from a high end MF lens with a focal reducer stuck on the back. Since OTUS lenses are the only real option for wide open shooting with superb IQ on FF, these would be the closest direct comparison against high end lenses on medium format. OTUS 28mm at f2 on the A7Rii will probably be a close match to a 40/3.5 wide open on a 6x4.5 frame of portra400, drum scanned. if this focal reducer squeezes the image onto a smaller frame transparently then in some cases and with the best medium format lenses bought at good prices you'll have a poor mans OTUS.

Interesting camera.... If the Raven has an interchangeable lens mount, I'd stick with that... Gotta laugh at the "obsolescence obsolete" tag red stand by. In the time the c300 got a mk II... Scarlet has gone mx > dragon > W (with Raven in the mix too).

I think you may be right. Contax 645 lenses will definitely yield more of a benefit from this than 6x6 hassy's. Been examining that photo of the unit and the optical element doesnt look big enough to trasmit what would be required from the 110mm/2. The 645 80/2 might be a little beaut on this, but still... for the price of this adaptor and the contax 80/2 you could get a sigma 50mm/art and get the same look and obliterate the resolution. If metabones made a 0.55x unit for 6x6 lenses with 80mm+ image circles with sb ultra performance and apo correction for the hassy F lenses on digital sensors then we'd be cooking! the 50mm/2.8 would result in a 28mm/1.6 with great mtf. the blad 50mm at 2.8 on full frame almost matches the c/y 50/1.4 at f2.8 when compared for resolution on a7rii. compressing the resolution by almost twice would be amazing in resolution terms.

Yep, I have Premiere but still haven't started moving projects to it. On my list… but I like having stuff in ProRes anyway, between after effects and sending clips to clients, etc.

adobe premieres latest update supports native h.265 clips from the nx1

This is exciting. I highly doubt this unit will have optics of quality good enough to make investment in decent medium format glass worthwhile. ie, even my Hasselblad 40mm/4, 50mm/2.8, 80mm/2.8 110mm/2 and 150mm/2.8 and this adaptor will only result in a set of lenses equating to:- 28/2.8, 35/2, 56/2, 77/1.4, 105/2. This will be a formidable set no doubt, but at around £3000 for the hassy lenses (at current ebay prices) and probably £500 for the adaptor, as well as each of the hassy lenses being upwards of 1kg each! the excitement is damped since for £3500 you can get an incredible set of 35mm format lenses that will likely match the look, with moderately better image quality. Now, if metabones are watching and create something like this but with optics at the level of the SB ultra, then the hassle will be worth it (for resolution). Unfortunately there aint enough fast (f2.8 or faster) medium format lenses like the shutterless hasselblad lenses to make the act of developing a truly superb focal reducer worthwhile in marketing terms. That said, I'll definitely be getting one of these. my hassy's will deliver pretty good resolution and squeezing the lp/mm tighter with this (providing optical performance is good) will make the 110/2 a badboy!

I've got one arriving monday. I also shoot wildlife and nature stuff, but it'll take over on video duties as well. I'll shoot a variety of things when it arrives but based on all of the footage I've seen it looks about on par with the 5D3, if not a hair sharper

I'm getting pretty near 22/s35 already. I'm looking at this, actually to put on front of the Rangefinder: http://www.adorama.com/CILWA006X82.html?hotlink=t&svfor=5m&gclid=Cj0KEQiAkIWzBRDK1ayo-Yjt38wBEiQAi7NnP_kA8nV502UdpJIeqRmENb_H_u4tFuqvZ7P6JlouYC8aAh8z8P8HAQ

Don thanks for all your research and testing on this. It was beneficial to my documentary group as we investigate more effective workflows in the 4k era. Re Quick Sync and filters, I just did a test on my 2015 iMac, where I have both FCP X 10.2.2 and Premiere CC 2015.0.2 installed. I exported a 5 min H264 4k clip from my Sony A7RII. On both FCP X and Premiere I applied color correction and sharpening. I did not render the timeline in either one which forced this to happen during export. Below are my numbers (note this is on the same physical machine): Premiere CC 4k H264 export, 1-pass VBR: 12 min 40 sec FCP X 4k H264 export, 1-pass: 3 min 45 sec Premiere CC 1080p H264 export, 1-pass VBR: 7 min 38 sec FCP X 1080p H264 export, 1-pass: 2 min 15 sec. This is almost certainly due to Quick Sync although I don't have a Xeon machine for comparative testing. Others have tested similar scenarios on Xeon-powered Mac Pros running FCP X and they are a lot slower at exporting to H264 than i7-powered machines. Quick Sync may seem like a "one trick pony" because (before Skylake) it only did MPEG-2 and MPEG-4/H264, and only worked in single-pass mode. However I cannot see any visible difference in my tests between single and multi-pass modes. My group's workflow like many others involves final H264 products for web upload. So while a "one trick pony", it is a very effective one.