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I had no Idea... here you go https://www.ifixit.com/Device/Samsung_NX1 Now get to work making an active ef mount!

@Inazuma Handling, ergonomics and shooting experience are at the end of the day matters of personal taste, preferences and experience. The shooter has just to be okay with his camera and its limitations and flaws. As long as a filmer and his audience are satisfied with IQ of a camera, everything is going to be alright....

Yeah, I'd like a Olympus E-M1 Mark II body, with Sony APS-C sensor performance, Fujifilm processing and compact solid Sigma lenses native to the mount in relation to sensor size. Everybody's pretty good at their own thing. Nobody really nails it all. I guess that's how they survive. Keep people wanting for more...

Leica Noctilux F1 would be F0.64 brightness on this puppy... I am going to try it out.

Love my little X-T10. Apparently the 20 will also have a touchscreen Hope they keep the same size and don't bump up the price too much. Like others have mentioned here, the XT2 has some major ergonomic quirks. But when I go home and load up the footage on my monitor, all is forgotten and forgiven for the beautiful image it gives

Good cameras never become outdated... ;-)

You will pay as much a recorder that does 4k 60P Than a GH5 cost sad to say. Convergent7 is the only one I know that I would recommend. It is and has been a top pro item for years now. They do a lot of updates on their stuff which helps a lot. Not that Atomos does not. Convergent7 has a serious proven track record behind it. But it is on the thick side for sure, and 7" Looks pretty stupid on a BMPCC I can tell you.

I was looking through some xc10 videos and found this... must be a fake, surely? or us it possible to get this shallow dof by zooming in on the subject and standing back? There is a shot where you see the guy in the mirror and it does look the size of the xc10 looks like film... beautiful.

Yeh but a .64x booster would result in a wider view than most ff lenses are designed for. Like eg. A 24mm ff lens on a .71x booster on an apsc would result in a 17mm focal length which is 25.5 when used on the crop body. On a 0.64x youd end up with 23mm

Now I really need to know what camera was used because the camera used to shoot that video is obviously capable of making intelligent, respectable, young women look like a couple of tarts.

In the comments on that same vid: (Although commenters don't seem to believe it's that camera either) And when "Michelle" isn't exhaustively testing cameras, she's making gems such as this:

It can't be the XC10: 1. XC10 has 8 aperture blades. Video shows 10 sided bokeh 2. Video is supposed to be shot in 4k, yet it's in slow motion. There's no 4k slow motion on XC10. 3. In the mirror shot, the lcd screen is flipped horizontally. XC10 screen only tilts vertically. That's a bullshit account - here is the same vid on someone else's account: Description: Trying Out My New Canon EOS 1D 4K PROFESSIONAL CAMCORDER camera With 5 - 100 mm Lens

Here is a grab

Yeah it probably is the XC10. It definitely has the same look the bokeh. Have you seen @BenEricson videos with it? They're in one of the two XC10 threads... unbelievable job... looks like 16mm.

This is helpful; I'll try this; I agree something is going on with the midtones when I shoot with the contrast all the way down. Thanks!

@joema Because turning down contrast, sharpness & co. in a higher end camera makes it completely impossible to distinguish it's native footage from 720p coffee machines. Just try it the other way around...just deliver footage OOC out a 5d x (without ML) and let us compare between this footage and (let's say) a GH4 1080p. Every bet, that it can be distinguished.... 1080p is 1080p and there is not only "colour science". The Canon colour science is just ONE criterion where Canon excels - while it's failing in many other ones (measured at today's requirements and offers of competition). Look, the BMPCC delivers phantastic footage OOC and is NOT known for "oversharpened footage" OOC. And this little camera at about 1.000 EUR of a small company blows a "legendary" camera like the 5d iii in 1080p out of the water and competes with current "resolution kings" --> take a look... Before beginning with my films (during the last year, mostly political documentaries and interviews) I made a small survey by comparing OOC footage of the 5D iii with footage of the FZ1000 (!) - native 1080p. You think it's an inappropriate comparison? Nope...After asking about 50 "normal Joes", there were only 6 (!!!) who prefered the 5d iii footage. All other people told me to prefer the "clear sharp footage, realistic colours, contrasts, etc., etc." of the FZ1000. It seems the 5d iii is a "nostalgic filmmaker darling" without much detention of nowadays audience... There are out here many guys wanting the camera manufacturers to hear on filmmakers...Why do filmmakers not hear on their audience? In this forum there is much talk on DR, 4K, 8K and current and future standards like HDR 10 and Dolby Vision...On the one side...on the other side, some shooters seem to glorify 720p footage. My standing is quite in the middle - I would just be very happy with a "real 1080p" and some other useful features out of a Canon DSLR. Have you ever took a look to 5d IV and 1DX ii 1080p? It's much worse than on any current 500-800 Euro Pana hobbyist camera...Is this horrible and highly overpriced lack of 1080p quality the future of DSLR film making?

Lovely colors! Really like what the Fuji XT2 does with it's color science. Just one question, is it possible to get more information in the highlights? They seem to blow out quite early.

IMO the XT2 is Fuji's first serious attempt at video. As such it should be cut some slack. Yes it's missing a couple of things and has a few quirks, that hopefully firmware will address.. but overall it's a very solid effort. The 4K image is excellent, the film simulations unique & brilliant. Gorgeous color science. One of the best auto WB of any current system. Then with Fuji X you get an excellent range of compact lenses with aperture control (who wouldn't appreciate that?!!!). Top notch Made in Japan build quality. Lovely design.. Manual controls. Basically all the stuff that's made Fuji X a cult among still shooters.. The ergonomics.. well clearly they are geared towards photography, and as such they are pretty much perfect on the XT2. For video, it's a little hit & miss. But no mirrorless camera is perfect in this domain, and overall I like the ergonomics a lot lot more then Sony's.. that require all kinds of button pushes and LCD navigation to get to basic functions.. Also love the view mode button on XT2, allowing direct LCD/EVF configs, very handy for gimbal work etc.. Now that's not to say a lot could be improved. I haven't used this cam on any professional work yet as I'm still putting it through it's paces. Lack of internal log being my biggest complaint for my type of work. But despite all its quirks and limitations, I still find it a fun camera to use and capable of superb IQ..

I typically use a LUT as my base line, and grade from there. I too use iwltbap LUT's, and he has good ones, some I barely have to do any further grading while others will need a bit more. Don't expect to just drop in a LUT and be done. Usually needs some work

its one of the biggest clusterfucks of 2017

I have a 2 hours seminar (indoor) filmed. Had no problems. Camera I had connected to the power supply. This goes even without Batterie. The really only problem would be if a recording "durcho" longer than 1 hour should be. (30min limit) I can only agree with Mathias - everyone has their preferences. Just one thing I would like to say - I would never judge a camera with which I have not "intensively" apart. There is really much nonsense about the x-t2 written mainly by those who had the x-t2 not even in the hands. I had tested a C100 - 7D - RX10 II - and a A6300 a weekend. But the feeling and the image quality had none of the mentioned. Although the weaknesses mentioned by Johnpais really are true - there are also other (only ext. F-log) which is still to come. But I'm really looking forward to "every day" with this great camera. And I also agree with the statements of Trek of joy - even to 100%. sorry my English was Translate

For those complaining about the shutter speed dial - lock it on "T" and use the back dial like any camera. I keep mine on T at all times and use the back dial to adjust I can go from 30 second exposures to 1/8000 pretty quick. I never use the SS dial on top. I ride the shutter all the time when recording as I only have one vary-ND, and its rarely on the lens I'm actually shooting with at any given moment. Its no different from any DSLR, you don't have to use the top dial. Moving the focus point is a bigger deal to me, and until the a6500 it was impossible without a few button pushes, the joystick on the Fuji makes it a lot faster/easier. I was shooting a penguin in Southern New Zealand last week and followed it around with quick adjustments with the stick. Like Mattias, I prefer aperture rings. Fuji's Manual focus aides are better too, and the EVF is bigger and sharper compared to all Sony's. The rear LCD is better too, and it doesn't dim one bit when you record 4k. And focus magnification isn't super soft like Sony's. My Fuji has not overheated once - also a big deal for me. I shot 1200 stills and 20 minutes of 4k video on one battery in Sydney a few weeks ago and it was blazing hot, not sure why anyone would call that abysmal. Turn off your camera between frames/takes and don't spend a lot of time reviewing shots and you'll be amazed at how much you can do with a single battery. I have four others, since leaving DSLR's a few years ago to shoot mirrorless, I carry a lot of batteries. Sony loses significant charge overnight when you're not even using it. My Fuji doesn't. Can't tell you how many times I put a fully charged battery in my A7rII and it was only at 90% because it sat for a couple days. We could go on. Pick one and shoot. As always YMMV, but shooting video with the XT2 for me is far more intuitive than with the A7rII and a6300 it replaced.

If you look at the camera from a photography point of view I would agree with you but when it comes to video and especially when you use the camera during events that require quick action, like weddings then I"d agree with Viet on most of his points. Eventhough filming rules state that as a rule of thumb, the shutter speed to be double the number of frames per second there are many event videographers that use the shutter to compensate for quickly changing light conditions, you might say, use a ND but if you have to move between in- and outdoors quickly a ND can be a pain. Having a dial on camera that you can easily turn with your thumb or index finger without changing the position of your hand is a big advantage. I also prefer a aperture ring on the lens but only if it's a declicked one but again here I can imagine that a dial on camera might make it easier to change on the fly without introducing shake in your shot, personally I set the aperture and don't touch it anymore during a shot, even if light intensity changes, you choose a aperture depending on the dof that you plan to achieve, change the aperture during a shot and the dof changes, something I never want. A missing physical record button, if that would be the case, is a big issue, fine if you have all the time but again for event shooters not being able to change between video/photo mode quickly or not being able to hit record instantly without having to dive in a menu system would make a camera useless.

One more lens test for this week - BMPCC with Holga lens (Super 8 emulation):

Been shooting with the XT2 for the last two months after shooting with Sony and the NX1 recently, not sure what good ergos are if you consider the XT2 bad, and it completely outclasses anything Sony has in the same class. How are manual control dials for ISO, SS, and aperture bad, along with a better EVF and LCD than most of the competition? Plus the menus are logically organized and you can group anything that can't be included in the Q menu or placed on a custom button in the "My Menu" menu. Custom WB's are much easier than Sony too. But Sony wrote the book on poor usability, so they're easy to pick on.

Do you have the processing power and storage capacity to edit Raw?? And to give up doing 4K to boot. Not counting a softer 1080p output. Hmmm, interesting. Not knocking the Canon, I am looking at a C100 soon to buy myself speaking of 1080p output. I agree with maybe doing the MKII and keeping the A7s. Easy to spend your money though.

Great content! Still looks ungraded to me - flat.

Though in the past every time "the world" did something, it usually made things worse.

Sony's own catalyst browse software has the fastest "official " way to deal with slog footage. It's a free download.

You broke the skintones entirely. Back to the drawing board with that one.

JVC does brilliant things out of this sensor, it is not the best sensor around (800ISO the most), but it can do Prime Zoom function (it really works! ) and put most lenses ever built, plus there is a metabones there for anyone going larger. The most interesting part is that the sensor is made by JVC (they bought out a small sensor company a few years ago), and JVC, if I am not mistaken, is partially owned by Panasonic, I would expect them to make their own sensors, at least for their flagship, instead of buying them by their main competitors (Sony).

The most convenient camera I am using the last few years, for run n gun TV documentaries (they are calling them just documentaries here, but in reality, they are run and gun) is the C100(I and II), most of our budget short films, we are using C300 with Canon cine lenses. My mirrorless system is Samsung NX which I found terrific ergonomically, unlike Sony cameras that I am using from time to time, but I wouldn't buy them, and ergonomics are playing a part for NOT buying them. I am in the industry since the film-film years (i was a boom op and lightning technician those days, so not having to do with cameras, I have shoot film though but in smaller productions, and taught film in film school), and the camera crew were 3-5 people, now they are two, and most lower budget jobs just a camera man. I am not even mentioning the new trend of "one man band" that I detaste, but unfortunately I have to do it from time to time (I am going with 2 or 3 NX cameras), and size/weight/ergonomics count a lot then, as the rest of the equipment I use. It is not nonsense at all when you do not have the budget, and/or you do not have the people, and all these cameras we are mentioning (Fuji, Pana, Sony a6xxx, NX) are for the ones with neither, so ergonomics are really relevant! Actually, I am surprised that anyone is against ergonomics, ever, with anything! Even your car's handle has to be ergonomic, or your drawer, or your basement's closet, ergonomics are something I give a lot of importance in my life. @Mattias Burling sorry for the off topic. I stop now! But Fujis DO have great ergonomics!

Definitely something I will look further into if the budget allows me to. On the other hand, I see the potential of the mk3 to become a full time production horse, with the 1920x1280 (anamorphic), 3200 ISO and slow motion functions that I (am still struggling with this) can live with

I’m a filmmaker turned travel vlogger using the GH4. I’ve been shooting in Cinelike D and trying various LUTs each episode. For the latest episode I slapped EOSHD Pro Color on an adjustment layer across the whole episode and took the saturation down to 70%. For this fast turnaround content I look for a LUT that works across many lighting situations. EOSHD Pro Color seems to be a great fast way to add a look. GH4 Lumix 12-35mm Cinelike D (Default Settings) Heliopan Vari ND Airport shots at the end on G7X mkII LUT: EOSHD Pro Color Edit in Adobe Premiere CC2017 Mac

It's a problem that only came up when cameras got smaller and lighter. They don't have a lot of inertia anymore and thus require an active effort to be keps steady,

good article, this is EXACTLY what im talking about when i tell people how profound this is. i fundamentally agree with what youre saying tbh we might not know HOW that changes our day to day reality in a literal way, but it MUST, right? i say yes but i am not richard feynman "look him up" was a little condescending lol. btw id like to recommend a great book to everyone called Feynman's Rainbow. the author Leonard Mlodinow details his time as a postdoctoral student spent under Feynman's wing, and although its a little sad as feynman fights cancer, the author makes a lovely analogy between artists and theoretical physicists, in that both must create a problem to solve, or find one to work on that cant be solved – theres more, its fascinating. good book "I think I can safely say that nobody understands quantum mechanics." ~ Richard Feynman

They down rated Canon because the cameras didn't have the highest DR at base ISO. They can not give a camera a higher rating than they can measure. Once you got to higher ISOs, those Canon cameras would often be as good (if not better) which is why you don't just go off the headline figure. The latest Canon cameras are as good as the competition at base ISO now so they get higher scores for example, they measured the 5Diii at 11.7 stops of DR but the 5Div gets 13.6 stops (nearly 2 full stops). At higher ISOs the improvement is less than a stop. That plus the other improvements is why the 5Div gets a much higher score. Many of the situations where a much lesser camera gets a higher score, that is what they measure but if you look further, you will find the lesser cameras fall away much quicker. Sometimes the lesser cameras have higher pixel counts too. With Nikon for instance, if you want 24mp and only shoot with top class manual focus lenses like an Otus at base ISO, you may well be better off with a D5## than getting a better more expensive camera. Besides DXO, Bill Claff has a pretty good site for sensors. http://photonstophotos.net/ His chart (not all cameras are there). http://www.photonstophotos.net/Charts/PDR.htm

I'd be really interested to see the result of this combo.

After a few more tests yesterday I can safely say that even if it looks way too reddish at first sight, i wouldn't pass up too quickly on it. I finally managed to find a proper correction for the GX85 white balance. A1 M1 works for me. On top of that I'm finding useful to underexpose a bit, working with zebras at 70% and exposing for faces details instead of zebras at 100% and trying to preserve highlights. If you just expose ETTR you almost always clip the red channel which turn faces and skin into a bit of a mush. My 2 cents. PS: I'm also dialing down the LUT mix to about 80%.

I got the Rokinon 12mm cine lens for my bmpcc, and I love it so far. These were all shot wide open, and I was surprised by how sharp it is. Nice bokeh. And I love the perspective of this focal length on this sensor size. I usually prefer a wider lens, previously owned the Rokinon 10mm, but much prefer this lens now. Maybe my focal length tastes are changing. This might be my new favorite lens.

For me is samsung, canon and then sony. It's actually very subjective.

Comparing NX1, A7R2 and 1DXMkII... I rank them as follows: Canon... Sony... Samsung. They are all great camera, but I prefer low light on the Canon. The noise is more organic. The Sony rules for resolution. The Samsung had the best UI. Video performance: the Sony always felt a bit videoish to me. Regardless what processing I would do. The image was also more fragile than the Canon in post. The NX1 seemed to lack DR. The Canon files are the most flexible. I would have loved to see a NX1MkII... I think a lot of potential was there. The 16-50s lens was wonderful. I loved my Sony, but the Canon is in another league. I can not recall a time where I looked at an image coming out of my 1DXMkII and thought it didn't look great. By right any one of these cameras are good enough for the work most people will do. If you have the means the Canon is an attractive choice. The A7R3 will likely be out soon, so if Sony is your poison... you might want to wait. The Samsung only makes sense if you can find a really good deal. I don't see myself parting with my Canon any time soon... It's an epic camera.

The NX1 downsamples from 6.5k (full sensor readout) hence I wouldn't call it "over sharp". It's simply as sharp as it should be coming from that high res. It's the only hybrid camera doing this from such a high res, AFAIK.

I think that video is correct. The 1DC was also less sharp when directly compared to a GH4 or NX1 back in the day. Of course we can argue endlessly about which image is better, the (over) sharp GH4/NX1 image or the softer image of the 1DC.

There is a very deep power struggle going on right now. Let's be thankful so far. The other side wants WW3. The other side wants division. Let's unite for peace. Let's envision the world we want to create and make it reality.

Interesting take don't know how I fall on this....yet

180fps looks like it does suffer aliasing and moire to quite a severe level but it's great as a creative bonus.... NX1 120fps probably a bit better but that still has aliasing and moire.

I'm pretty sure you just described Trump. ( more of a celebrity than a politician, he's smug, etc etc. ) hahahahaha

Nx1 is very good at 120fps.

Nha Trang Here's a video I shot of Nha Trang in Vietnam when I was there over the Christmas holidays. I shot it with the Sony a6300 and 35mm f.18 or 10-18mm f4. The only colour corrections I made in post were to do with the highlights and shadows. The colours themselves were adjusted using the camera's white balance settings based upon the settings in the PDF.