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Ever since I gave up my Nikon D5200 a few years ago for the Panasonic GX7, I've been dearly missing one lens. The 17-50mm f2.8. I tried the 12-35mm f2.8 on the Panasonic but didn't like it. Then the Samsung NX1 came out along with the 16-50mm f2-2.8. At the time, it was way above my budget. So I've since considered other systems such as the Sony but for one reason or another, they didn't fit my needs. But now, over 2 years later, I've finally been able and willing to pick one up. Luckily as well, the camera body is entirely unused. The manufacturer sealing was still in place. One of the first things I do when I get a new camera is to compare it to my other camera(s) for things like colour, dynamic range and noise. I've made many such tests before but never usually post them. This time I've taken the time to do it properly and edit it together for all to see. First up is the X-T2 vs NX1 shootout. The main point of this was to see the differences in colour and tonality. See the video description for all the fine details on settings. And next is this high iso comparison with two other cameras I currently have. Again, you can see the video description for all the setting details. Some thoughts on the differences between the X-T2 and NX1: AF-C and focus pulling with AF works much better on the older NX1 than the X-T2; in video anyway. The 16-50mm f2-2.8 is a ridiculously good lens, image wise. And the focus rings works just like a classic lens. The grip and button layout of the NX1 is far better. I've always felt the retro styling of Fujifilm were a detriment to their functionality. The downside to the NX1 is that it is far inferior to the XT2 in low light. The last shot in the shootout was shot at ISO 800 on the NX1 and 1600 on the XT2, yet the NX1 shows less detail and more muddiness due to the noise reduction. Also the NX1 is far sharper in 4k and HD but has more aliasing and moiré in the latter. Anyway, I'd really like to hear your thoughts on the difference between the images I'm yet undecided of which system to keep, even though the NX1 would finally fulfil my want.. or need of a 16-50mm f2.8.

Here's a shot I got a couple of weeks ago with the Phantom 4 Pro+. Really impressed so far.

@Inazuma Thank you for your work! Respectable results for the older cameras, keeping good up with the new X-T2... I love this camera and shot about 25.000 photos with it...But low light and low contrast (tungsten) are simply a desaster - not in stills only...

Also if you need to 'mix' bass frequencies you may be better off using a good pair of headphones as these will have a more accurate base response than a cheap subwoofer setup in an untreated room. By 'good' I don't mean mega expansive either - Sony DMR 7506 or equivalents are 'industry standard' for monitoring recordings and should be part of anyone's sound production kit.You will still be better off mixing the mid an upper frequencies with monitors as they will give a better stereo presentation but bass is not very directional so use headphones.

What's your budget?

It's annoy to switch from normal to slowmo because now you found you have to stay back since composition changed

The 16-50S is one of the main reasons staying with the mount. I can't think of any better overall lens for an APS-C sensor. Image Stabilization, good focus dampening (or whatever it's called), fast AF (fastest on the system at least), 2f for its wider focal lengths (almost prime territory really), dust/splash proof, good build quality, iFN function (I just put the ISO there) and relatively light (for such a lens) that goes from 24-75mm. Those few extra mm in the wide end is a huge thing for me. If you only have to own one NX lens, let be it. I have a moderate collection of legacy lenses but I have replaced most with NX lenses.

This is my debut work, that took me 2.5 years to finish. I've learned so much from this community, that I just had to post it here. This is a music video for the band where I sing. Shot on BMMCC with contax glass, rangefinder and isco s8 2x. Big shout out to @Tito Ferradans @richg101 @ken and @Hans Punk. You guys are all listed down in credits for providing so much help with getting into the whole anamorphic thing. I was making those credits in hurry and totally forgot to include @Bioskop.Inc so a special thanks and an apology goes to you!

If the paying job is a wedding, I think the Mavic will be more than fine. If the paying job is a Netflix show, well maybe not. Although I see plenty of last-gen 2/3" sensor drone footage on reality TV. It looks fine. The Blue House guy's mavic footage looks a million times better.

Last post! The problem ain't the Mavic, Mavic so small and capable is just amazing, the "problem" (not for DJI!) is product placement and net profit. If Mavic had the Phantom 4 Pro camera, it would be 98% of their sales. Now they have the Mavic Pro, the Phantom Advance, the Phantom Pro and the series of their Inspire's and more advanced cameras. Mavic here is in back order since Xmas(around there, maybe before?), there was a bunch sold before then and no more Mavic's. Also, who is competing with DJI? They are very kind to give as Mavic and a 1" camera to their Phantom series (again, with the same camera, no one would buy Phantom!). @Parker For weddings Mavic is just great, one of my business partners has ordered one since November (for that reason), and I consider buying the Phantom 4 Pro because it is possible to buy one in this country (!) and is more appropriate for my line of work (corporation, low budget short films, documentary series etc).

@Ronnie Amighetti Why do you have 4 pairs of the same headphones? How many headphones do you own?! I smirk every time I hear "it was very popular a ton of year ago", let's see a quote from a review: "Sony isn't telling, but my numbers confirm that Sony actually sells at least tens of thousands of these MDR-7506 every month!". Sound ain't video, 0,001% of the population uses cameras from the 70's, but a great amount of professionals use sound designs (Sennheiser MKH416, Sony MDR-7506 and a lot more) from the 70's. I also here a lot of those about the 416, but when I go out it is my first choice in any weather and condition. Those two tools are responsible for maybe the most of the media you have ever heard in your life, they must be worth your pity at least.. Steinberg is great, I was also consider it, but I read a lot of reviews with drop sound and drivers issues back then, maybe now it is better. Audio Technica ATH-M50 are industry standard too and probably better for indoors use. Sony is 2/3 of the price usually, but there are at least other 20 very interesting models (I used to love Koss and Beyern Dynamics back in the day).

Since the full sensor is much bigger than say 4K... Couldn't they crop the sensor to get those last few FPS? Not saying they would be interested in that. Probably would need an ML type hack.

A7s2 120fps fhd is soft. Rx10ii 120fps looks better and more sharp. Today did test of 120 and 180 fps on gh5 and it looks great, i think

The Mavic has its merits. It's a tiny drone that fits at the bottom of your bag. Similar thing for the GoPro camera. Sometime you can not carry a big camera around. Yeah, that's the main issue with the Mavic/P3P and GoPro. The bitrate max out at 60mbps which is way too low for the 4K. It's not related to the sensor. Despite its m43 sensor, the X5 Inspire 1 also had a 60mbps bitrate which generates the same issue. Yeah, the Inspire 2 ProRes or Raw is great but the drone is 8x time the price and is a massive pain to carry arround. It's like trying to compare a FS7 and a GoPro. Doesn't make much sense.

i think the OP just wanted to improve his Mavic footage - not get a job shooting pro video work......

@Shirozina I know, but 1" sensor is a huge upgrade from a 1/2.3" one and I found it acceptable for low budget jobs, with smaller sensors, even for "low budget" corporate videos you may have issues. In the last corporate video we did the client didn't like the drone footage, done by our usual drone pilot but used the Phantom 4 because we didn't have the budget for a better one (he charges a lot less). The rest of the footage was Canon C100markII. Having a 1" sensor on such a low price drone, that is a revolution in image quality, similar to the Mavic's revolution in size and weight, if they mix the 2 revolutions together, then we have evolution (homo dronalis/Neadrontal/Dronopithicus or something!)! "Serious results": the absolutely minimum for paid work.

The Phantom 4 pro is still a 'drone and action cam' so don't pin your hopes on it delivering 'serious results' ( whatever they are......)

Wow! had some great time in the wider Manchester area a decade and a half ago! studying in Midlands, partying in Machester (was doing videos for some teams up there, and otherwise!). Watched in 1440p. Seriously, I am impressed with the NX1 performance, I was expecting a much better image from X-T2. From the Sony's NX1 is in most modes miles ahead though. In the high ISO test you did I was impressed of how good NX1 performed in 3200ISO (I am not using them) and it proves that with a limited ok lighting source the results are much better. The one thing that I want to point out (and is a great advantage in my book) is how great the 16-50S lens is. Not something to underestimate, as a NX1+ S combo can achieve great things (do not forget that similar lenses are 2.8-4f or 4f, so a small handicap in ISO is excused for the greatest megapixel count in crop world). Also NXs ISO metering is the most accurate with Sony second. Fuji's 6400ISO is consider to be close to 3750ISO +_ 100ISO, while NX is close to 5400(something like this, I do not have the time to double check it right now, the Fuji number is accurate though, just can't remember the NX exactly). I am not sure that means, just mentioning it!

Oh sh*t, that Kangaroo must be annoying! Try a different cable perhaps? You might just be unlucky with that. (had a similar issue with my F3+Samurai, until I swapped it out)

Nice tests and interesting results and conclusions. "The grip and button layout of the NX1 is far better. I've always felt the retro styling of Fujifilm were a detriment to their functionality." Depends imo. If you use it for stills, given that they are first and foremost still cameras, then the "retro" controls are far superior in speed and functionality.

Not a 2x crop with a speedbooster! And yes, that fact that your 50mm suddenly becomes a 100mm when you select slow mo on the A7sii is a huge inconvenience in a run and gun shoot.

https://www.attackmagazine.com/reviews/the-best/ten-best-nearfield-studio-monitors/2/ Also worth getting a good USB audio interface rather than running them direct from your computer. I've got the Presonus E5's and they are very clear and uncoloured.

@Henry Silvestriz Perfect then! I believe NX1 is a true (probably the first) hybrid. 28 megapixels APS-C BSI sensor, fast operation, unbelievable ergonomics, great H265 video that won't fill your cards and/or hard drives immediately. Couple it with a few great lenses and you are set. Only thing that considers me is that the 50-150mm is still expensive, and not readily available, and it would be probably great for such a trip. The 16-50 and the rest of the lenses are normal to low cost solutions. You, again, have to be aware that these are going to be your "last" NX buys, if you spend too much, then you are probably not going to gain that much back, but the camera is good to go for a few more years near the top. Look at it as a lease plan! Other solutions are the Nikon D7200 (not that good on video), and the new X-T20 maybe.

This is how I figured out it was a luminance issue. When I tested the re-wrap, I tested on a working 8-bit file. I stacked the mp4 above the mxf file in Premier pro and when I hid the mp4 file it was obvious that 1) The frames didn't match up and 2) the contrast was different.. as if Premier pro was reading the wrong luminance level. So then I did 3 more mp4 files at different luminance settings and the limited range ones looked fine, even sometimes matching the frame perfectly. Then I tried it in 10-bit and found the 10-bit files work without having to re-wrap as long as luminance was not set to full range (0-1023). So, I just decided to wait it out for Adobe and just shoot in limited luminance for now. They stated they are working on it, and should have it out soon

your absolutely right @Orangenz apologys , i just got so frustrated with adobe products lately

I think another model with a 12MP sensor only makes sense if they upgrade the autofocus to match the A9 etc, otherwise what would be the justification for an (inevitably) more expensive model. There is no one snapping at their heels to keep prices down. If they can read 20MP @ 25fps (as in the A9) then I guess maybe they could read 8MP @ 60 fps, and maybe (lineskipped) 2MP/HD @ 240 fps. The challenge though is writing this much data to the card.

..Kinshasa I agree with you completely. I have both, Samsung NX1 and Sony A7s II, and no doubts.. I love, really love the NX1. It is able to make me want to shot video every day. In few words: under the 1600 iso is now, in 2017, still unbeatable!

Who would be interested in Optical Flares presets for anamorphic adapters/lenses? I've already made one for the Anamorphot 2x with the range finder, using Tito's video as a reference. Anamorphot 2x.ofp

@Henry Silvestriz Depends, if you can find a great combo with the 16-50S, then I say it will be great for the next few years, and cheaper than the new future cameras (as you see the flagship models are reaching 2000$ territory body only). If you like to have the best and the latest, then wait for the next Fuji or Sony (the next ones, not the current ones), or buy the GH5. Definitely NX1 is a peek to the future, unbelievable ergonomics, battery life, H265 codec, some excellent and cheap lenses (fish eye, 30mm + 45mm). If you add more info about your intended use, we may be more helpful @Santiago de la Rosa If you have NX500 and you know what it is, then you would find NX1 just amazing. Completely different cameras though, the one is a pro hybrid, the other ain't!

Im in the same situation right now. Second hand prices are good but hard to find NX1 in Europe. I have buyed my second nx500 a week ago. Image vs GH5 is still comparable and I prefer h265.

The whole idea of this profile is to not shoot in S- LOG 2 so you can use the footage with no or minimal grading. It also gets around the problem of banding and macro blocking artefacts that come when you reverse the LOG curve in post / grading as the huge compression applied to the internal codec throws away so much of the tonal info it can't be properly reconstructed later.