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A Pocket/BMCC hybrid with Global Shutter (or just improved RS like the Micro), would be the way to go. It'll be bigger than the Pocket, but smaller than the BMCC & have better battery life, screen & a cooling system to get 60p - it won't be 4k, but 2.5k in RAW & 1080p ProRes. This would be perfect.....

The colors are totally different. The focal lengths aren't even the same either. Weird comparison video.

Ttbeck, very interesting! I'm definitely in for a glassless intelligent adapter at a nice price ;-)

Hey luca, I've been absent a while. Could we see two raw files with the same lens (one with your NXL and one with just a glassless adapter). Also, is there space in your current design for pass through electronic pins? I do intend to take a (long) shot at the electronic communication and am wondering if I could work on one of these directly. Waiting still for some parts from China to make my attempt at doing it with a glassless adapter.

They really should make a BMPCC/BMCC combo and even call it a BMCC mark II. DSLR sized form factor. Articulating screen. Canon battery. SD or CFast 2.0 card slot. EF and MFT mounts.

somehow Bloom has been able to make canon colors look like sony. Otherwise beautiful work and a lovely camera.

Finally arrived from Park Cameras today after they kept inexplicably delaying its dispatch! I've sold all my other cameras now except the Nikon D5500 so can't do any direct comparisons but the rolling shutter at 4k definitely looks better than it did on the a6300 Some quirks I've found so far: Dynamic Range and Noise Reduction options are locked to defaults in video mode. When in manual focus mode, can autofocus using the AF-L button before recording but not during. Can't set a custom whitebalance in movie mode (as in, the mode where you point the camera at a white/grey object). No bitrate options. All recordings are at 100mbps. That's it for now. Looking forward to doing some shooting with this camera!

Have my NX1 with me so will be interesting to compare And 1D C too

I once bought a cheap, used Canon EF 24-105 f4 L lens with a scratched front element (2 scratches, ca. 5-10mm long and 1mm wide). Didn't even show at landscape pics with f/8.

A story without words about the demobilized soldier watching with drone for the neighbors Inspired by Fargo (TV series) Budget: 15$ All work in Davinci Resolve Studio 12 Shot on Canon 5D Mark III with Magic Lantern (ML RAW) and DJI Phantom 3 Thank you for watching

I have to admit, even though I've read Canon will never make a camera better than the NX1, this one has me intrigued. DPAF and a touchscreen combined with 5-axis is everything I wish was on my a6300, despite the lack of 4k. Very tempted to take this one for a test drive with the EF adapter and the 17-55/2.8 IS.

Interesting. The noise in the blacks for the latest firmware for the C300 II, especially with Canon Log 3, is really low. This test shows the improvements: I haven't done A/B tests, however just pulling up the blacks and seeing basically no noise in my quick tests with Canon Log 3 was very impressive. The low-light image looks better than even the A7S II (didn't test crazy high ISOs). Since Canon was able to improve noise performance on the C300 II, perhaps the 1DX II with dual Digic 6+ processors can also provide even better noise performance in the future with a firmware update. Someone mentioned a full-frame 5DC rumor (or perhaps that would be the 1DC II?). By crippling the 5DIV for video, they've left open the option to make a full-frame cinema camera (maybe that's also an option for the C700 with the rumored sensor swap capability; 5DC/1DC II would be the b-camera option). I think even some of the die-hard Canon bashers are realizing that color is number one, which is why there's so much emotion around lack of other features, such as slow motion, log formats, video aids, and crop factors. If Canon didn't have great color, there wouldn't be any controversy- people just wouldn't use or care about their cameras.

Maybe I was wrong...I do like the look of this though

The head is detachable - they are sold separately.

Somehow I missed this review of the GX80's IBIS vs the GX8... interesting.

I never understood if raw video has the same coloring possibilities of a raw still image. If so, then Mountneer is most definitely right

No.

The DPAF stands out again, stunning. He's a brave man going around filming kids on a playpark though, in the UK... You could get a right beating if the wrong person thinks you are filming their kid.

I'm on the same path and I have EF lenses already and shoot a lot of pictures so it's kind of a no-brainer for me as soon as the price is right. Just need those fan-boys to start selling off their mk3s for mk4 upgrades .

They've probably seen the Chinese Z Camera E1 by Imagine Vision Tech and the DJI Zenmuse X5(R) and went like... hum, especially now that there's Xiaomi quadcopters, why not go do something like that as well?

D750 indeed seems top pick. Not sure about a successor... is it due/are there any rumors? Haven't heard anything, think it's on year 2 of a 3 years cycle. M5 looks alright, actually. Although then you'd probably want to get the EOS-M lenses to match and then you're stuck to it. Maybe D5500 until that D750 successor comes out makes a little more sense? Sony/Samsung/Panasonic have the better slowmo options, but you've ruled 'em out already! :D Wildcard choice: Fujifilm X-T2.

5Dmkiii has it all already.

Yep, I'm pretty sure you can use the 60p feature like 5D3 (I haven't done it myself). Yes it has 1:1 crop mode and I'm pretty sure it's centred, the preview in LCD has accurate framing anyway. You can check resolutions here - http://rbrune.github.io/mlraw/ (but it's just under 1080p for continuous record, unless you shoot a 4:3 or 5:4 aspect).

The 5Dmkiii is dropping fast now. So a 7D is more like a 1/3. But I agree, budget and needs is what decides. If one needs full frame then the 7D is out anyway. And of course the opposite if s35 is once preference. A few questions, does the 7D record raw slowmo? At what resolution can you get continuous? Does it have a 1:1 Crop mode and if so, is it centered?

But is it really? The only camera imo that has caught up to it in the price range is the 5Dmkiii. Which is an even older camera. Other than that the BMPCC still is the cheapest Raw cinema camera out there (with proper quality HD and unlimited recordning). If one wants a better screen, audio and battery there is the BMCC for just a little more. Sacrificing the size. If one wants slowmo there is the Micro. Again sacrificing the size and price. But then one might as well get the 5Dmkiii. The BMCC definitely has its place but the Micro is, imo, not a good option unless you need it for specific things like drones etc. A pocket version 2 would be cool. Probably needs a fan for slowmo. Not sure if the 2.5K sensor has global shutter ability, if not it cant happen. Its tricky imo to say what they could do. A BMCC with better screen, slowmo etc is the URSA mini. A pocket without the screen and added slowmo is the Micro. A BMPCC with better screen, audio, etc is the BMCC. They seem to have it covered. Cinema, studio, big Ursa, Ursa mini, Pocket, Micro Studio, Recorders, Editor, etc. One thing that's missing is for example highspeed. Like an affordable Phantom type deal. That would be cool. Long way till NAB

If Yi does to Panasonic what Kinefinity is doing to RED (or heck, Yi is doing to GoPro!) then we've got very exciting times ahead indeed! :D

THIS! x1000 this. I feel rather than a BMPCC v2.0 (unlikely!) we will instead see a new camera which overlaps with the BMPCC (like the BMMCC does) but more importantly fills in another different little niche that BMD hasn't done yet. (such as a dedicated gimbal camera? Like has been possibly rumoured)

Of course it looks good, it's pretty close to the 1dc, clog be damned. But slow motion (and cute music) are naturally crowd pleasers. A bit of a cheap trick, really. 24P, under challenging light, with movement, capturing motion - those are the stress tests.

If I could afford these two, I think my lens GAS sickness would be cured for good .

Wow, what a great example of what the GH3 can do in the right hands! Truly excellent work. If you don't mind sharing, what lenses and settings did you use in this video?

So up until this point I have been trans-coding all my NX1 footage with RMMC to ProRes LT however I recently picked up a GTX 960 4GB on sale that has a HEVC hardware decoder. Using MPC-HC with hardware decoding turned on the HEVC footage plays back perfectly at full resolution (4k). However in premiere pro CC it still drops a significant amount of frames even at 1/4 resolution and even before I add it to a timeline. Is there any settings I need to configure in premiere to turn on the GTX 960 HEVC decoder or for improve the playback engine to HEVC? EDIT: I did check and CUDA support is turned on.

I have both camera's. I shoot mainly weddings and I own a GH3, a G6 and a G7. My collegue uses the GH4. Which camera is 'better'? Well, in terms of IQ the G7 has the edge simply because of the 4k mode. In 1080p mode, they are (all) pretty similar though. Maybe a slight edge to the G7 in low light being a bit less noisy at ISO 1600 and above. Nothing striking. Just make sure you never have to go higher than that. But there are many more factors which make a camera good or bad. The GH3 is still my main cam. Why? - Much longer battery life then G6 / G7 - The abillity to use an EXTERNAL MONITOR (G6 / G7 cannot) - Body handling - Headphone jack (G6 / G7 do not have it) For me, these are of the upmost important. As well as reliability. The GH3 has not let me down once since I've got it over 3 years ago. Never overheats and never fucks up. *knocks on wood And the image actually still strikes me every time I use it. Yes, it is time for something new and maybe the GH5 will be it. But until then, this is my A-cam. Here is an example of what it can do

Picking up ProTune was the best thing GoPro did. But that is more in the realm of professional work, and most of those features are wasted on people who don't want too much work in post (except movie makers). Also, when they picked up ProTune, people (arguably) weren't using them too much foe grading. They should have had better low light and battery life along with other things. And STABILIZATION. Also, GoPro prices have been the biggest cause of its Financial Downfall. I don't want to give you the figures, you can check any source that seems reasonable. GoPro is seriously down.

The chinese are going to turn this industry inside out next few years

Hopefully that slogan isn't my only good, creative idea I have.

Yup. Olympus was beating Panasonic before it had 4K video. Now, why stay with Panasonic? But I would love to see some Raw video trickle down into any of the brands feature set. Just give me 1080p 24p Raw and I'll sell off all my lenses, buy the 12-35mm 2.8 and be done. I know Raw video is for a niche market, but I can't believe how the majors just allow BM to monopolize it. If Panasonic was bold enough to put 1080p raw video in one of their consumer/prosumer cameras, half of BM users would probably switch over in a millisecond. I think it would be a much more valuable feature than 6K video at this point. I can just imagine the commercials... Little Billy's birthday party with the depth and clarity of a motion picture. Billy cuts into the cake with his bare hands. Everyone laughs. Voice over... "Life's raw moments deserve raw video." It would be cool but it won't happen.

I would love to see an upgraded pocket. 2.5K. Up to 60p. Better screen. Better battery life. A sleep mode that disengages, or saves battery power. Keep the same form factor and MFT mount.

Ha, his reasoning for lack of C-Log is complete BS. As Squig says, he's basically just told everyone who paid 5k for a C100, or more for C300, that they paid for a 'sticker'. Right... and there was me contemplating paying for that sticker... The probable reason is that Canon cheaped out on the processors to save money, or haven't worked out how to draw the heat away from their DSLR, so in 4K it's not possible due to extra processing step. Or – and call me cynical – Canon left it out on purpose to protect C-Line and save development costs . Fine, it's primarily a stills camera, but just say it as it is (like Matt Frazer from Panasonic would - he's awesome and honest). Enough of the BS, Canon, it's like listening to a politician not a camera manufacturer, and trust me, we've all had enough of that Can't wait to see what Panasonic deliver with the GH5!! You know that everything they can put in, they will put in, in order to deliver the best tool they can for filmmakers. Paid update for VLOG like last time? Maybe, but will still be way less than half the price of the Mark IV. I feel so happy with my decision to stick with Panasonic bodies, investing in lenses and equipment to go with their cameras, as I know when it comes to the next upgrade cycle they will have my back.

I'm a first generation american in fact. Both parents english. Woke up to tea, for gods sake.

This is so tedious. It's incredibly ignorant to keep on saying "off the shelf sensor". To keep on re-iterating this means zero understanding of what it actually takes to make an image, especially so if you want to brag about being an academic in screen culture. Olympus cameras are highly praised for their look, yet they use "off the shelf" Panasonic or Sony sensors. Somehow they're renowned for their look, because of the whole image processing pipeline, even though they use the same sensors used in many of the G series panny cameras. Olympus don't have a patent on their "look" though. So same sensors, totally different imaging outcomes, none of which are patented. They do highly customise their sensors, and there are lot's of ways you can do so...the CFA for example... Leica are the same, they have also used "off the shelf" sensors in the past and somehow they too are praised for their look, and also, surprise surprise, have no patent for their look, and yet, it's the very reason many buy them. I thought you'd have wised up by now, but you keep digging in on the ASICS and sensor design. Here's a clue. ASIC's have nothing to do with the sensor design. You assumed so because of Land's comment, but then you couldn't explain why some cameras don't seem to have ASIC's. I've challenged you and you haven't answered. According to Land and you for quoting him, the prerequisite for a cinematic camera maker is designing your own sensor AND ASICs and yet you can't account for Canon, Arriflex or Blackmagic... what do you think they're using if there isn't an ASIC ? How is the ASIC linked to sensor design ? In what way is using an ASIC making the sensor design more credible ? What do other camera manufactures use if they aren't using ASICs ? ASIC's run the camera, not the sensor.... ASIC's aren't related to sensor deisgn any more or less than FPGAs are. You still haven't brought up the alternative yet because you don't know. Go google FPGA. You posting history is entirely relevant when your credibility is at issue. Your backflipping contradictory posts are just as insightful as when you first posted them. And yeah, it's pretty normal for companies not to protect their IP using patents which require them to publish in detail the IP itself. I'm pretty sure RED will have a patent on RedCode, but not your precious ASICs. JB

I haven't used one, but I think ef lenses will work with the adapter as well There will never, ever be a camera as capable as the NX1. I know because you come to every thread about a new camera and remind us.

And please do not forget about bitrate hack (180Mbps for 4K and 1080p100fps!) and also speedbooster is on the way!

100% Agree with you Andrew. I discovered the first footage of the NX1 through your video in Portugal if I recall correctly. Now I'm filming a documentary about handicapped kids in Ukraine with the NX1. This morning we filmed in a swimming pool using an underwater sleeve and it was great. This camera sustained rain, snow, and some falls. We already have over 2TB of footage (using hacked NX1 with 120 to 140Mbs bitrate) and almost shot everything with the 16-50S lens. This thing is so amazing. I keep looking for something better and considered many times changing but after renting a FS5 + Shogun and a BMD Urasa mini, I am keeping my NX1. It just seems the only 4K camera (not talking about Red or Arri) out there that actually resolves a resolution of 4K. Everything else (especially Sony) seems like FullHD + to me. Now it's disconnected... and it sucks. (also we are using a Lensbaby 56mm macro velvet which is an NX mount lens. Beautiful crazy footage coming out of it ! Very interesting alternative to the 60mm macro Samsung)

Such an underrated camera... Ergonomics of a Canon or Nikon without the 1970's mirror SHIT Smallest 4K file sizes on the planet but the highest quality compression..... THANK YOU H.265 YOU ARE THE FUTURE IT IS JUST NOBODY ELSE KNOWS IT!!!! Ultra clean and noiseless ISO 800, acceptable 1600, falls off a cliff after that but who cares? So does a RED Epic! Great battery life, great EVF... heck it has an EVF... Unlike my 1D C!! Guess which was cheapest! Articulated screen but still feels like it is built like a tank and I had mine out in the pouring rain.... didn't pose an issue. Weather sealed yet articulated screen.... Canon take note. Just look at the images... lovely! Great colour and detail The S lenses... some of the best Super 35mm this side of PL cinema $30k stuff. It is a goth of a camera It is discontinued Nobody cares about it but the ones in the know... The GX85 has fantastic colour... Just the right balance between natural 'scientifically correct colour' and memory colour.

I love my NX1... I only wish it had a bit more dynamic :'( and Raw haha... well it's a great piece of a camera! Shooting a documentary with it right now !

..and that's why I am sticking with NX for the next few years, and I do not even dare to complain to Samsung, they quited, but they delivered first!

That's a mean looking rattlesnake. Having a camera nearby at a time when the light was interesting was cool enough, but when I'd framed the shot and set the exposure, and a bloke happened to cruise by on a snazzy motorbike...well, what more could you ask for. It's a form of hunting, and it triggers a primal drive.

I cannot speak for Geoff but I got a pretty simple workflow. Adobe Premiere Pro CC 2015 supports HEVC however the performance just is not there yet because my GPU lacks HEVC hardware support so I interchange with the old workflow a lot. Basically its: Shoot Video -> Convert Video -> Edit Video -> Export DNxHR 1440p25 Whereas if I just edit the footage and no colour grading I do not convert the footage and just: Shoot Video -> Edit Video -> Export DNxHR 1440p25 Personally I never convert the 4k footage to the 1080p before edit because its too much hassle for me, but I found 2160p to be vastly useless regarding my export so I always export to a 1440p master file and then I use that master file to create smaller versions like 1080p with lower bitrate etc for my clients, for my YT I only do 1440p because 2160p is a niche at the moment and requires quite fast internet speeds it also creates huge file sizes and at the moment Blu Ray discs which I use for archiving are VERY costly for 50GB and 100GB, if I can slap the entire project on just a few 25GB discs I am happy, but a pack of 10 x 50GB are same price as a pack of 50 x 25GB BD discs. If I convert the HEVC to ProRes422LT I use the LUT, if I edit the HEVC straight in Premiere Pro I also apply the GammaDR2LOG from EOSHD this is only if I use the GammaDR profile but seeing how good colours the camera shoots with the various Picture Profiles, I am actually moving more away from GammaDR and just using the in-camera colours. The reason why people grade a lot of their footage from their DSLR and mirrorless is to get away from that digital look that is infamous today, but the NX1 shoots such good rec709 colours that I think you probably only need GammaDR if you need to acquire colours that are vastly different from the in-camera ones or if the client requests it. There are various programs to convert the HEVC footage with, you probably heard of them like RockyMountain Movie Converter 2.00.0 and ClipToolz Convert V2, for Mac there are others that I do not know about because I use Windows. Because Windows does not support ProRes out the box I use DNxHD or DNxHR. I never export 2160p for personal use or family videos only if the client wants it otherwise I use 1440p which saves a lot of space and allows me to still crop in post if needed, I can crop 2 times in 1440p which is quite good. Because I use Adobe Premiere Pro CC 2015 I do all my grading work in Adobe SpeedGrade CC 2015 but I am also experimenting with just creating LUT's in Photoshop or SpeedGrade from still images and then use them in Premiere with the Lumetri tool which allows me to adjust brightness, contrast and all the good stuff very easily without having to open SpeedGrade or After Effects (SpeedGrade sucks for HEVC editing, better avoid it at all costs until Adobe fixes the performance issue)