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Hello. Here is my new music video, shot mainly with Lumix GX80. And also with DJI Phantom 3 and B-Cam Canon 70D.

I'm with Mercer, the XC10/15 sounds far more suitable for you than a D7500. Deep focus, lots of detail, strong codec, and (in standard mode) accurate color (which I'd imagine is important for real estate). It'd be worth keeping the D750 alongside it for the agent interviews and stills (if that's a concern), but if you don't plan to, I'd sell it post haste if you want to get the most you can for it. That said, don't sell or switch cameras based on what some nerds on the internet who don't make a living from their images tell you. The D750 is a great HD camera. If you're happy with the images, your clients are happy with the images, and the camera doesn't make your life difficult, then why change it? You'd be better off investing in some lights or support gear, and just work on improving your craft.

Fuji need Nikon's long lenses thats for sure. Or more to the point, my Fuji's need my Nikon long lenses on them! Which you could turn round and say means Nikon need Fuji's mirrorless bodies for their lenses. Fuji want to get into the sports and photojournalism game in a big way and Nikon want to stay at the front of it with Canon (who you feel could push out a mirrorless quickly if the potential Sony threat actually materialises) so its a partnership that would get both of them where they want to be a bit quicker from that point of view. If all that ever came of it was an autofocus F to X mount adapter it'd be worth it ! Sounds more like a deal that is to do with 'Japan stuff' (for want of a better way of describing cultural and/or political nuances that don't always seem obvious to Westerners like me) than it does with actual products though?

Panasonic needs to leave dfd af and figure out how to compete with dpaf because amateurs and professionals without large crews know how much time and energy this saves on a shoot. Panny can come out with the best features but dpaf is joining the idea of canon colors on why most will go with them knowing that their overpriced cameras are being crippled.

Yeah unless you are specifically being asked for 4K, then I wouldn't switch. The D750 supplies a beautiful image.

Great video. A lot of work went into that. amazing what you can do with a GX80 and a bit of imagination!

The nikkor 50 1.4 mm AI is a Lens from the 70s. Any actual Lens will butt rape it.

Hi all! My G7 support next ISO: <item id="menu_item_id_sensitivity_80" enable="yes"/> <item id="menu_item_id_sensitivity_100" enable="no"/> <item id="menu_item_id_sensitivity_125" enable="no"/> <item id="menu_item_id_sensitivity_160" enable="no"/> <item id="menu_item_id_sensitivity_200" enable="yes"/> I setup ISO 80 and record video, next read exif and see this ISO : 200 ...... ...... Program ISO : 80 It is unclear what is really ___________________ Me interesting camera support "Master pedestal" someone tried to regulate it? :D ___________________ I also wonder how the picture is transferred in real time from the camera to the application

This could get messy

Years later and still in top ten? (#9) and rated better than a $7k+ Leica? (this is a money is no object rating any price criteria) Im sure it would be higher in sub $1500 rankings and this is mid 2017 after all the big boys have blown their load of new cams. Fake News?? http://cameradecision.com/lists2/Top-Rated-cameras

I hear a lot that you should focus on one job, especially in filmmaking, because it's a "collaborative process". But my spirit guide lately has been Jim Lujan (writer/character designer/animator/voice actor/composer/editor). Today I was looking a lot at where to start learning to compose music for films.. which is a job made up entirely of skills I don't have (but with time, anyone can do basically anything of course). Then I started thinking I was being dumb.. I still want to believe at least learning some of everything is going to be helpful, even if you never end up doing it, just for ease of communication with your team maybe (actually I'm keen to do it all as well) - but I know I'm closed minded at times and possibly in the minority, so I'd like to hear some opinions. I know Tarantino was very relieved to get the advice from Terry Gilliam "As a director, you don't have to do that. Your job is to hire talented people who can do that -- Your job is explaining your vision. Your job is articulating to them what you want on the screen." Is the biggest risk that I do it all and just don't realize that I suck at half of it?

http://menexmachina.blogspot.com/2018/07/egpu-for-video-processing-on-laptop.html

Indeed, Canon has not released what the bit depth will be with the new codec. However, they did state that it will be to SDXC media.

To add to the @DBounce post, the upgrade will be free. "8bit 4:2:2 XF-AVC 4K internal codec coming Q1 2018 as free firmware"

So here are my priorities: 1) Can shoot both stills and video 2) Speed both on site and in post (due to low budget - usually only $200 to $300 for a 1:30 minute video to a 2:30 minute video, and the real estate agent / homeowner might only allow me a limited time on location) 3) Low light and High Dynamic Range capability 4) Depth of field: the more DOF, the better 5) Ability to use on a gimbal 6) Video Image quality Yes, video image quality is at the bottom. As for which one(s) win in each category: 1) As a stills camera: D750 > a6300 > a7s original 2) On site / PP speed: D750 > a7s original > a6300 3) Low light / dynamic range: a7s > d750 = a6300 (but the sony cameras are HARDER to work with to get that dynamic range / low light) 4) DOF: a6300 > D750 = a7s 5) Ability to use on gimbal: It's a wash, really: a6300 works well on Zhiyun crane I own, but LCD screen is dismal. a7s could work on Zhiyun crane. D750 won't work on Zhiyun crane, works ok on Beholder DS 1 I also own, but probably would have to sell both Crane and DS1 and buy Ronin M for the D750. 6) Video image quality: a6300 > a7s > D750 (but the amount of work that needs to go into the Sony footage to get that better image quality makes me question whether it is worth it). So that's kind of everything. In summary Option A: Sell Sony a6300 (and back up a6000, sony lenses, Zhiyun crane, Beholder DS1), buy a Ronin M and an ultra wide lens for the D750, and enjoy ease of use / quick turnaround on soft(ish) 1080p footage that might have a little less DOF, or... Option B: Sell my Nikon gear, stick with the Sony a6300 and enjoy the sharper image and increased DOF, but then deal with the longer times required on site and in post, or... Option C: Sell my Nikon gear AND sell my a6300, buy an a7s and ultrawide lens for video (easier to use than a6300 but not as easy as the D750), then use the a6000 for shooting stills. Big drawback I see is having two ultrawide angle lenses (one for the full frame a7s for video, one for the crop sensor a6000 for stills) Anyway, thanks for reading this long post. Your thoughts are appreciated.

CFast is today the best compromise in speed, size, power consumption and price. In fact at least 3 camera manufacturers use/supports them: Arri, Blackmagic and Canon. Canon has 6 cameras with CFast support: C200, C300 II, C700, XC10, XC15 and 1Dx II. There are at least 4 manufacturer of CFast: Sandisk, Lexar, Transcend, Delking. Too me it looks like an healthy ecosystem. CFast is based on proven PC technology and are basically a mini SSD based on eSATA and use the same/similar NAND memory as most SSD. They are already available in 512 GB size and I'm sure we sill soon see 1TB ones view that they share the similar tech as SSDs. The cool thing that are very fast when connected to a PC so when I need a quick turnaround I can even edit directly from the CFast card. I much prefer a standard with an ecosystem that custom proprietary solutions also based around SSD like RED that are even more expensive or even DJI with Inspire 2. In theory every camera could have a eSATA connection/slot and use standard SSD but the power consumption and size would make difficult to use in camera like the 1Dx II, XC10/15 etc... even on a C200 would require it to be bigger in size, with M.2 would be a bit better but still require space. I agree CFast will not survive, like floppy, VHS, CD, Microdrive etc.... even today HD will probably be extinct at some point but CFast in the next few years it seems like a safe bet. In 5-6 years from now 512 GB would be a small size.... people have 256 GB thumb stick today... There are some new fast SD cards but they still are quite unreliable in maintaining sustained write speed and the camera needs to have an interface that really push that bitrate and they are still about 50% of the speed of CFast. At the end It all depends how good is the SD interface of the C200 and how much test Canon will/want to invest to be able to reliable save 300/400 Mbits XF-AVC directly on the SD slot. But I do agree it would be cool if they enable this.

I am more of the "old school" type, so shooting everything in manual, but I did a performance a few days ago, and when I was in the other side of the venue for some handheld shots, I decided I wanted to do a wide shot, but my monopod/tripod were a few minutes away, so I tried a few shots with DIS+16-50S IS and I had 100% success. It is the second time this year that I am using it with very good results. Of course it is not a very reliable way for continuous shooting, but for smaller things it can be valuable, I guess, that was the 4th or 5th time I ever used it! Also NX AF seems more reliable in video than a6300, this is from gimbal experience this year also (I wasn't using AF before at all).

I quickly went to search their FB feed, here's the post from March. I bought mine via Amazon when they had a sale on it back in November, so it was way before that whole "authorized dealer" mambo jambo. From the stores that have it in Germany, I had good experience with Marcotec in the past, I also think they're an authorized dealer (they had the official Smooth Q pre-order in Germany).

Well it's more because of the NX1 horrible NR that nothing is good for night shooting. Anyway the GH5 is way too expensive for me, add a speed booster cause I'm for s35 look and you add even more money. For instance how do I get same field of view of the tokina 11-16 I got on the NX1? Sony a6300 only does that in 4k 24p, Fujifilm xt-2 just crops in every 4k mode, GH5 needs expensive accessories. I'm currently still an hobbyist and I can't quite justify spending those amounts

So I've been back down to Philip Bloom's beach again (hah!) - this time with a tripod, BMDVA and Samyang primes at golden hour. Bloody windy, but a nice light. Hope you like it.

Thanks, I only had a G7 to hand at the time and just dug my GX80 out and it takes the ISO commands but doesn't action them in video mode. ISO50000 in stills is a go though! The Cinelike D Hue controls are definitely working on my GX80 though and I think I've seen a GX85 user confirm them on his somewhere else in the thread.

For me, I click on the "low light" tab and all is right in the world with my "precious" (A7s) still number 1 for that and still a respectable #29 overall. Interesting that #1 low light is still the first version A7s while the A7sii is rated higher overall but not for low light.

Indeed you can!!!...I was going to go the route of the EVA...unlike the Varicam, which would have to have a specificproject pay for it, I could buy the EVA (I seem to remember you gave your producer a bit of a heart attack when you spent a fair percentage of your budget on those Anamorphic beauties!)...anyway...I own a large collection of lenses and without a flexible or optional mounts, I'm looking at the UMP...a member on this forum shot a comparison between the UM 4.6K and theGh5..,they cut very well together, as will the Varcam LT if a get a couple of big projects funded....back to your film if I may,....I never saw anything but the trailer, which I loved...is it available on ITunes? I found every aspect of the film stunning...acting, cinepatography....your Male lead and of course your directing..and writing...would love to see it if there's Çcpd

Wait I have the 16-50 3.5-5.6 not the S version! night!

Oh, ok, I read this. I was expecting you knew something about the FS5markII. This Cinealta will cost 8xEVA+4xC200

Canon already stated that they will be updating the firmware for free to include a XF-AVC codec. This codec will likely be 4k 10bit 422.

I would ask for internal 10-bit 4:2:2. It's the minimum quality capture format I use for serious work, and most often what my clients request. All the C200's competitors in this price bracket include it--FS7, UM46, EVA. Comparing the C200 to the GH5 does seem somewhat antagonistic. Different camera styles in different market sectors at quite different price points. The EVA seems like a more natural comparison, and it's the camera I'd pick over the Canon. Super light weight (2lbs), great efficient 10-bit codec, high frame rates, Varicam color science (best in the biz imo), internal proxy recording, SD cards (more common, easier to source, and more likely to survive than CFast as a format), and the ability to (down the road) record nearly 6K raw with an external recorder to much more economical SSDs. The DR is still a question mark for me. Canon claims 15, but so did the C300 II, which didn't look nearly as good as the Alexa/Varicam. I have no doubt it'll be stronger than the C100 I, but by how much remains to be seen. I'm also curious whether the MP4 files can handle that kind of DR stretch without artifacts. Could be, but I'm guessing it'll be necessary to go RAW if you want access to the sensor's full latitude. That brings me to the Canon Codec Conundrum™. I was shocked to hear they'd incorporated an internal RAW codec, and truly applaud them for pushing themselves on the image quality front. There will definitely be some growing pains with NLE support, and media/storage costs will of course be a problem, but who in their right mind expected this from CANON? Definitely not me! However, here's the problem. Now the C200, like the 5DIII, confronts its users with a choice every time they shoot: sacrifice quality and enjoy the nice file sizes in 8-bit, or step up massively in quality to RAW and deal with the bulky files and a more labor-intensive workflow. I can easily see people considering this the best of both worlds--MP4 for doc/events/corporate, RAW for narrative/music videos/commercial spots. I truly hope it turns out that way; however, I can see just as many wishing they had a reasonable middle ground that gave them a higher-end image without the as much overhead. For me personally, I fear the camera falls into a real no-man's-land. I'll withhold any definitive judgments until I see more footage and hear more first-hand reports (and hopefully get my own hands on it), but as of now my eye is squarely trained on the EVA and Sony's big announcement. YMMV.

My needs are evolving and the A99 II makes sense for a lot of reasons. If you think it's just GAS then that's up to you... Your call. I do like gear and have a lot of it, it's my passion and EOSHD would not exist without my interest in the gear. You know what is a passion killer... Snipers like you.

Does anyone make backpacks for my old Mac Pro towers so I can edit 4K at Starbucks? Must have exposed area so everyone can see the Apple logo

that af does look good. Canon please put 4k 10 bit in the XF-AVC firmware update

Oh my! if it ain't one of the greatest selling points since sound put on celluloid, then this camera ain't selling s*#t!! Seriously, why a "pro" wouldn't want something like this in his workflow, it's beyond me.. I am 98%, the people that do not care about Dual Pixel AF, have never worked with it, at times it is really liberating (it is just a tool, for the right moment it can be valuable though). I am putting another 25euros on the Rage Against The Machine album.. but don't tell anyone!

I use this for my PC when I need to edit at Starbucks.

I would like to be paid by the camera (from the CF slot), and revive the NX line (you used to shoot NX don't you?!).

I, too, am excited. I have already saved 75euros in my secret stash (which is the Rage Against The Machine Vinyl, no one will search there!), and I want the CN-E too. If you do something, let's do it right!

Looks good to me. Have to see what Panasonic brings, but as of now I am definitely leaning towards the Canon. It seems to match really well with the C300. Feels organic, with nice motion cadence. I'm thinking of the C200B with a loop for the LCD, or possibly... if that proves difficult to deal with a separate EVF. Not sure if I'll spring for the Canon CN-E 18-80mm T4.4 also, or just use my L series lenses. It's food for thought.

Very nice! Here's mine with Canon 85mm and Lie709 Sigma 18-35:

The more I use the GH5, the more I love it. http://imgur.com/a/Ff6ME

Canon are stating 15 stops DR... Same as C700 and C300 ii On the C100 ii and C300... They state 12 stops. It's the new sensor and that is a BIG deal There are two things stopping this being a slam dunk .. 10 bit codec and 2K raw Bloody Canon!

This mount may well be another "Yagh" moment for Panasonic...(1) if they think they're going to win over canon users (who love the colors from Canon, NOT Panasonic), good luck with that. (2) The EF mount they are now offering is a DSLR mount....not a professional mount...you can't shim a Cine Zoom with this mount to achieve par focal (3) Their M4/3 customer base is much larger than the Varicam base...far more potential there for selling a "bigger brother" to the GH5 than Varicam down...If I owned a Varicam, I would have several GH5's as crash/Bcams...not the EVA...and lastly...for those who think a smaller sensor...say s16 or the pertinent available lenses are of now value....I suggest you watch Hurt Locker...best picture/best director oscars in 2008....not 40 years ago...if you call it a Cine Camera, there is an implied suitability for Indy filmmakers and as Panasonic is slowly but surely deepening it's reach into the Cine market, this is not the way their....to wit....the overwhelming complaints at Cinegear about the mount, to the point where Reps were mumbling that they were considering other mounts too....Panasonic sold a lot of GH x cameras and for those here who think you can't use them professionally my advice is, get your head out your ass!... an upgrade from their GH and G series cameras is where the market path lies for this camera. @Kisaha to be clear...I'm agreeing with you!

Being brutally honest, most of us here are just camera consumers, right? How many of us are truly filmmakers? I mean, truly? I know I'm not half as prolific as I should be to call myself a "filmmaker." Not really. I feel more like an enthusiast than a filmmaker. In addition to that, it's much more satisfying to complain about stuff I want, but then is undelivered --when it's not perfect, that's a convenient excuse to avoid doing the difficult creative work. (Well, okay, I'm projecting...but I've had my GH5 for a month now and haven't really done anything special with it.) Point is, if you put a decent camera in my hands, I should be able to make something. If I don't, it's not because a company failed to deliver an "x" or a "y" or a "z." Anyway, that's my filmmaker existentialism...pay it no serious mind. Turn back to talk about skin tones, MSRP, and camera mounts.

^ DPAF is a game changer, especially for gimbal work etc.. First short shot on C200 in Canon RAW:

This camera takes SDXC, and let's get real for a minute: raw is wholly unnecessary for 98% of the camera's target market. The Varicam LT may be 'only' a few thousand more - but Starr factoring P2 cards and the price jumps drastically. And since when does the LT do raw internally..? The FS7 doesn't even have a proper EVF. Stick a loupe on the LCD and voila - you've got the same solution as the FS7. You know the URSA Mini also doesn't come with an EVF? And really, the 'back of the body' EVFs on the C series and FS5 are next to useless. But sure, feel free to denigrate a camera based on the cost of wholly unnecessary accessories

@Andrew Reid Cheers! https://www.produzionidalbasso.com/project/samsung-nx-camera-to-full-frame-with-nxl-adapter/ Probably has a couple left, but he isn't in the forum lately. No aperture, just speedboosting! People seem excited about the quality, some say that it is equal, or even better than Metabones speedboosters. He has more videos about NX-L. This is the thread, to cut a long story short, the crowd funding campaign doesn't exist anymore, the he was working on a Aputure Dec to NX conversion, but he is lost for the last couple of months now. https://el-gr.facebook.com/NXL-284084538620105/ If you care about the NX-L, drop him a message on facebook (the crowdfunding campaign email doesn't work anymore).

The D750/D810 replacements should have 4k, coupled with the great color science etc; could be pretty interesting.

Yeah the crop is dumb and I suppose for interiors you would need that wide end. But it is a really nice 4K image. And the 1080p is gorgeous as well. The Tokina 11-16mm would cure that or for low light their 14-20mm f2 could work. Here's a 4K video shot with the D500 which has identical video as the D7500. This looks like it was shot in the Flat Profile and it doesn't look like he did any, or much adjustments in post, but it still looks great. Of course, this type of video doesn't really help you make a decision for what you need in a real estate video camera. But it's still a nice video... In all honesty, if you need 4K for your work, you may be better off with an RX10ii or an XC10. The FZ2500 does really nice video as well. The high bitrate, all-i 1080p in CineLikeD is really good and at no time did I feel like I should have shot in 4K.

Hi guys, with all the advices readen on this topic, here is my last work with the gx80. I hope you will enjoy ! Any feedbacks are very welcome... and I know there are still many things to work on ;-)

To Sandro, the NX1 is far more enjoyable to shoot with than the A6300 and the A6500 didn't solve any of the rolling shutter issues and just papered over the overheating problems in firmware. Less crop? I assume you mean in the 4K 30p and 1080p 120fps modes... no still crops in a bit like the A6300. But in 4K 24p there's no crop (again same as before). MountneerMan GH5 vs NX1 - They overlap in some areas and have pros and cons, with some things I prefer on the GH5 and some things I prefer on the NX1, so here goes... The NX1 is of course Super 35mm in terms of sensor size and the look, and GH5 needs Speed Booster to get that look. The GH5 is also double the price and Speed Booster will add to that. The advantage though is you might save money on the lenses if you already have Canon stuff. The GH5 is great for Canon lenses. The NX1 has no adapter that controls aperture of EF lenses yet and no Speed Booster (what happened to the third party one?) The image quality is quite close between the two, with the GH5 + Speed Booster having about 1-2 stops better low light performance, but still a maximum of ISO 6400 really, whereas NX1 is 3200, 1600 to be safe. Take into account 1 stop extra light from Speed Booster and GH5 is definitely comfortable at 3 stops brighter than the NX1. That's the difference between 1600 and 12,800 but ask yourself if you really need usable 6400 at F0.95... rather than usable 3200 at F1.4! It'll cost ya! Colour is a strong point of both, but the GH5 has the option of proper LOG. The NX1 stores a LOT of dynamic range in the standard non-LOG files and there is option to raise blacks, reveal more shadow info, prevent highlight clipping and adjust gamma curve so it's pretty good in this respect - and a LOT easier to grade. Rolling shutter is a big win for the GH5. Ergonomics are a big win for the NX1. Battery life is good on both but GH5 wins. There is a battery grip for the NX1 which sensibly doesn't require you to take the battery door off the camera or the battery out, it slots into a pin-out on the base of the NX1. ALL battery grips should be designed this way! Both weather sealed, as long as you also use a weather sealed lens. Samsung S 16-50mm OIS is weather sealed and one of the best zooms ever made. F2.0-F2.8 and super sharp. Stabilisation on the NX1 in DIS can be hit and miss but when it works, it uses very advanced custom hardware chips to completely lock down a shot, more effectively than Warp Stabiliser. It's 5 axis and amazing if not much is moving in your shot. Sometimes exposure changes and sudden movements in the frame cause it to lose track and have to regain its composure within a few seconds, but that can spoil a shot for sure. The GH5 is all-round more consistent with the 5 axis in-body sensor shift but surprisingly for locked down shots the NX1 is less floaty and completely still like on a tripod. You don't need to enter the focal length for manual lenses and it is even more effective when using a Samsung lens with OIS. I find it works best with 35mm lenses if you are adapting a lens with no optical IS. On the stills side, NX1 is superior for resolution and has very good dynamic range in the RAWs. GH5 is superior for continuous burst rate, stabilisation and adaptability to Canon EF glass. I use a Novoflex Sony Alpha mount adapter with my NX1 and the 35mm F1.4 G, 85mm F1.4 Zeiss Planar. The 35mm is an evolution of the brilliant Minolta design and the 85mm is an evolution of the Contax Zeiss 85mm F1.4, one of my all time favourite lenses. These are the only two lenses I find myself needing on the NX1 as I have the Samsung 16-50mm F2.0 to cover the rest and when I need AF. One important point about the Sony Alpha 35 + 85 I mentioned is that they are much lighter and smaller than the Sigma ART equivalents for Canon and Nikon mount. Of course you can get a Nikon adapter for the NX1 which adjusts aperture, just like the Sony Alpha adapter does, but I think Sony Alpha glass is a bit undervalued on the used market, with some real gems in the lineup. Video AF, I believe Philip Bloom did a big test of this and included the NX1. I rate it quite highly for this. The NX1 has phase detect pixels on the sensor so AF is really rather good in video mode - not quite Dual Pixel AF good but close. Sony's on the A6500 is hit and miss, sometimes works well, sometimes does stupid things. The GH5 doesn't have phase detect AF pixels so it relies on a very fast sensor scan of 240fps in stills mode and Panasonic's DFD technology to analyse focus and in that mode it is very fast. In video mode it falls back to the frame rate you have selected for the recording so in 24p the AF is really rather dog-slow and in 60p still not as good as the NX1. On the codec side they are quite different. 10bit and superior 1080p codec, 4:2:2 on the GH5. The 10bit 4K really is lovely and 8bit 4K 60p very nice to have. The NX1 is of course an 8bit camera but the image quality is right up there, like a JPEG still, it just doesn't quite grade as well and there's still some macro blocking even at 160Mbit in H.265 with the hack, although I still rate it as a good performance. The Canon 1D C's 4K is also 8bit and this eats image quality for breakfast. 10bit on the GH5 really comes in handy for improving Panasonic's colour science (although it's not just 10bit responsible but a lot of other nice stuff going on) and for LOG it helps too. However it does make for files that are almost impossible to edit natively straight off the card at the moment, so you will have to transcode. Then again you should do that with the H.265 files from the NX1 as well, although Premiere does now support H.265 you will get smoother editing performance by using EditReady to convert them to ProRes. Anything I've missed, let me know...

That is so generous. Snatch their hand off. The X-T2 is the only thing that comes close to the NX1 even after 2-3 years... I prefer the NX1 over that (have both) in all respects apart from low light and 4K rolling shutter. I am quite comfortable using the NX1 at ISO 3200 as long as I have a good exposure, fast lens, master pedestal +15 and RGB range 16-235, to prevent the blacks from crushing and losing all the shadow detail. Noise at ISO 6400 makes it a bit less usable, so my limit is usually 1600 or 3200. But let's get real One has to balance practicality, usability, cost, all sorts of stuff. To get better low light without sacrificing too many features, your only choice (for 4K) is the A7S II, A7R II and 1D C. So triple the cost of a used NX1. TRIPLE! The X-T2 is more fiddly and crops the sensor in 4K. You'd need to invest in new lenses maybe too? A6500 could be an option but I don't enjoy using mine... ergonomics are shit and rolling shutter the worst I've ever seen. I believe even though reliability has let you down and the freshness of new models entices you, that the trusty NX1 is truly special and should be perceived with unless you can jump to a $3000 Sony and put up with the worse ergonomics.

I dont know what other samsung gear you have currently but I would maybe try and push back to get a refund for your other lenses as they are now useless to you than consider this as your chance to get out of the system at a really good price. Disclaimer to all the fan boys. I plan on keeping my NX1 until it dies then putting it up on the shelf as an important camera history relic. I think the NX1 will be a great part of camera history with a great story that I witnessed first hand.

seems I'm the only one in 2017 still filming with this awsome camera lol