Leaderboard

When talking about the Samsung NX1 camera, in the comments you clearly distinguish 2 types of people: The pessimists and the optimists. 1) The pessimists are those who have never had an NX1 in their hands; 2) The optimists, that is, the enthusiasts who own an NX1 and are happy and satisfied, some of them sold the NX1 by switching to another camera but regrets the NX1. I do not want to speculate on the news of a possible NX2 (although I would have reason, considering that I worked a lot and lost time to support the NX system with the NXL speed booster), I just want to say to the defeatists who think it is not convenient for Samsung, that the camera market is niche, which in 2018 will drop an asteroid on the earth, etc ... Maybe Sony is crazy about investing in the photo market? Yet he took a lot of the market away from Canikon! Nobody knows the business dynamics of a giant like Samsung, sometimes certain products are produced for different reasons, to be present in that sector too, to show muscles, to satisfy customers, to experiment with superior technologies to be used in another sector such as that of the smartphone.Some time ago I hypothesized that after the release of Red Hydrogen on the phone market, Samsung could get a professional camera that was able to incite fear to the Red camera, this thought is not so crazy if you think about it. The Iphonenauti sect is difficult to erase but the sales of the Galaxy 9S could be annoyed because of the many guys who are passionate about photography and video that would buy a Red phone instead of a Samsung. Did Samsung expect double the NX1 camera sales? Well, just double the sale price and get a better result! I for the NX2 would spend twice as much as I paid the NX1 and buy the new Galaxy 9S, why? Simply because it knows how to do everything right, it is a small and light camera that never disappoints you. When Andrew says that Samsung is the only one who can do it, it also means that Samsung has cut many design costs derived from NX1, also has all the components that are used in other appliances. I think they should focus only on a high-end model, the NX2, the top of the class, no compromise, the best camera on the market with a single set of S lenses including the monstrous 300mm f2.8 ready and never marketed! A dream maybe but dreaming does not cost anything and then it is not so far from reality.

@Trek of Joy So true, great comment. @timmyturntable "glad I bought it, nothing else is worth trading for it yet" class here too... Like @lucabutera said, after the mobile phones exploded in poeple's pockets and coats what happened? Samsung increased its profit in the mobile department! If they offer that spec list (that will never happen, we are just having some fun here) for 3.000$, tell me who isn't going to consider one of those? Instead of the , let's say, the new 90D that barely will have 4K.. Come one, NX1 was an unbelievable machine, in more than one senses (continuous 78 minutes video, for some this is significant), no over heating in the worst conditions (I know!), unbelievable ergonomics (subjective, but not really!), great JPG engine, colors, AWB, DIS and DUAL IS with some lenses, the unique workhorse S lens and dead cheap very sharp pancake primes, etc. What you were buying back in 2014? 16mgpxls GH4, 16m,gpxls Fuji (not even doing any video) 70D, and 7D, and a6000.. Come on people.. All I can say is, glad I bought it, nothing else is trading for it yet, and now I am spending money on other stuff, rather than consider buying my 3rd or 4th camera after I abandoned NX1 (or never bought it!). P.S actually I bought a 3rd and 4th camera. A NX3000, NX500 and another NX1! Guess what, I do 3-4 camera low budget jobs, I give the smaller cameras to all my relatives to take pictures, and everyone is happy (me too!).

Well the UPS man just dropped off the GH5s, and I can tell you from my first experience with HLG on the GH5s, if you favor the shadows and blow out the highlights there are gobs of data to recover those highlights with.

This is where I stopped reading. Just a bunch of BS.

Unfortunately YouTube is turning pretty bad. Google ditched their "Don't Be Evil" motto a long time ago :-(

According to my understanding, Panasonic created VLog L to better work with the GH4/GH5's native 12 stops of dynamic range possible from the sensors. Full VLog is created for the 14 stops of dynamic range possible from their Varicam line. So, adding full VLog to the Lumix cameras would not give a better dynamic range as the sensors cannot capture more than 12 stops.

The micro four thirds standard specifies electronic communication protocols, mount specifications, and flange distance. It does not dictate a specific sensor size. So any implication that Panasonic couldn't put an oversized sensor in the GH5S without violating the standard is completely baseless.

So back on topic The false colour moire is there in the A7R III shot (top) but not with the D850 (bottom frame) D850 Flat profile =/= Hybrid LOG Gamma Certainly their most capable 4K camera yet. Better than D5.

GoPro Hero 6 Black 505€ I bought a Yi 4K+ 268,06€ shipment included. That´s the problem of GoPro.

Thank you to all who have resurrected this thread - you reminded me that I have to cancel my Vimeo plan before the end of the month!

If there’s already an X-H1 thread let me know. I did a quick search and didn’t see one. I for one am really excited about this camera. Here are the rumored specs from Fujirumors: -Better AF than XT2 -IBIS that can work with OIS as well for dual IS. -Same sensor as XT2 with same slight crop on the sensor in 4K -Internal F-Log -Phase Detect AF in video! (Hopefully with face tracking enabled in 4K!) -Top LCD -Internal 8bit 4:2:0 4K -Headphone Jack in body instead of on grip. February 15th IBIS alone is enough reason to get me excited about this camera. Not to mention the incredible color science and phase detect AF!! And all the incredible native lenses too. Really awesome. What do you guys think?

Yes. Yes it is. Running new 10.4 They added LUT support... wow only took 5 years! First thing I tried to do was arrange the workspace... nope, can't move jack shit around. Just toggle on/off panels and resize panels. No, scratch that - first thing I tried to do was a drag and drop of selected media from Finder to the media panel in FCPX. Won't work. Have to go through the shitty import panel! Next... Tried to make a favourites bin of regularly used effects and basic transitions. LUT, colour correct, etc. all in one place, always present on screen ready to be clicked on. Nope. Too hard for Apple's programmers?! There are still too many tacky presets and effects to wade through to find the basics. An overwhelming number of iMovie style transitions and gimmick effects. Why are these in a pro editor that costs £300? Finally, at this point was tearing my hair out... So I tried something REALLY SIMPLE. Fade in and out of a clip. Ah but no... Even this simple endeavour landed me on my arse. Perhaps I just don't know how to do it right, but the intuitive way is this... Drag transition onto start of clip, and one onto the end of the clip. It would only do the end. Oh, ok. No fade in for me then! Then, it brought up a complaining OK/cancel box about not enough source material to apply a cross fade... Whatever. Clicked ok, and it seemed to shift timing of the clip! WTF! But I had my fade-in and out! Want to hear something really funny? I then dragged the clip to somewhere else on the timeline to check the positioning tool and it dragged the clip there and forgot to bring the fade-in/out with it... WHY WOULD YOU WANT A FADE IN AND OUT TRANSITION WITH NO CLIP!? Piece. Of. ShIIIIIIIIIIIIIIIT. But yeah... LUTs. Performance wise it is good though... I'll give it that.

I was also in the market for a variND filter and decided to go with a set of fixed ND filters. Variable ND is a basically two (non-circular) polarizers on top of each other. My reasoning for not getting a variable ND was the following: 1 - chance of accidentally changing the ND strength. 2 - not vary accurate ND strength value marking. 3 - making it difficult matching two different shots from different cameras if I ever wanted to have a B-cam At the end having bunch of NDs is going to take more space and it's more work ( @DaveAltizer - h/t for XUME) and more expensive. But it'll provide better image quality, and more repeatability and lower chances of accidental exposure changes in middle of a shot.

I would recommend against Vari ND and get a nice Tiffen ND kit with XUME magnetic filter adapters. I have this same kit and using the magnets are a breeze! Vari ND is always terrible because it takes the natural reflections out of people’s skin tones. Not to mention the price you pay for one with minimal image shift. Also Vari ND vignettes really easily. But mostly the reason I don’t use them is the way people look with them. It’s two polarizers put together so it’s going to remove those reflections.

Though you can do that (Deadcode wrote), it's not recommended. FCPX is not good with clips that are isolated from their card-structure bundle. Through the import dialog, FCP will copy selections from the card by wrapping them in a Quicktime container. That's the way it works. But keep in mind: 1. because of the skimmer, you can browse the card very quickly, find your shots and import only selections - in case you think you need to save disk space. 2. you can alternatively just import everything and do the qualifying and organization later on (you did it in the Finder? - waste of time). Forces you to copy from the card. Into the Library or to an external folder. Links to clips without copies ("leave files in place", the Premiere way) is possible (by copying only the MTS files to disk or by drag&drop), but you shouldn't do that! 3. either way you can start editing while the clips are still being imported = in effect that's editing directly from card. The concept of the primary storyline. In this (e, w, d, ctrl+shift+y) you create the spine of your narration. If you have text (off comments or an interview), you put that to the primary and all illustrating clips are then connected (q). For a music video, you'd first select the music track and hit q. From there on, you connect everything to the black slug. Connected clips can move freely (no need to use p). The magnetic timeline is locked. To lock a connected clip in it's position relative to the music, just overwrite it to the primary storyline by hitting cmd+alt+down. The following 10.3 show is staged of course. But it's done by a master. You think FCPX is inferior to Premiere? Watch it from beginning to end, particularly what he does in the timeline, and imagine what ordeal this had been in a track-based timeline:

@webrunner5 came gunning and firing into 2018! or his 16 years old grand son hacked his account! Some of that is true thought, earlier digital cameras just can't compete in today's world. Of course anyone can use anything, and there is a niche for almost everything in this life (and world), negativity and aggression is not needed on tech forums! The fact is that Fuji has the best APS-C mirrorles lens selection and not much else really, also some glorious holes on that line up for videographers and modern and quick AF. Tere is a lot of work to be done (upgrading, replacing creating some lenses also), and not much of time. The JPG and film simulation excuses are just not enough to take you to the next decade. Most JPG engines are adequate these days (how many amateurs have you heard complaining and comparing JPG? they are just amazed that a non phone can take pictures, most of the time), and there are unlimited plug ins and settings that can achieve anything, anyone wants and needs. In this new era of photo/videography data transfer rates, codecs, heat dissipation, etc are equal to color science and ergonomics. Arguably Sony managed to get a huge piece of the pie (beating Nikon in some instances and markets) with the worst ergonomics, heat dissipation, color science in industry, winning just on the specs list, and sensor technology. That took them to the next step (now) and (arguably!) they do better in all those with their newer cameras (A7mkIII/A9) and their future seems more established than most of the older players. I am sure that whatever Fuji engineers had in their mind, they got scared after the GH5 and GH5s release. I had a lot of Fuji digital cameras in the past, but their ILC line just isn't good enough for a true hybrid (50%-50%) experience.

You are the oldest young person I have ever met. 2018, 2018. I think you are jealous, envious of the stuff people had my age years ago. Think Sony, Sony. Hey it was neat at the time, all we had, but it is old crap tech now. Sure I get to tell you what is best. You seemed to have lost your bearing, your train of thought, drifting in the universe, lost in space. I am here to help you son. Just kidding. I like the way you Roll as they say. Keep up the good work. You do interesting comparisons. Stuff I would have not thought about. Well, some I would like to forget I owned, but. You are a lot like I was when I was young. I had a lot of money so I bought a lot of stuff. Lots of it. But the best way to go is to have one great thing in each category and hang on to it. You never get good at at of it, and sometimes the newest thing is not really the best. An Arri Alexa comes to mind as having one thing that is the best. They are cheap enough to buy now.

Why all this hate? Did Kodak and Pentax beat you up in school or something? Why get upset over what color or flavor of ice cream one prefers. Im never gonna understand that mentality. Its just seems like such a waste of energy. (Ps. You don't get to tell me what is"best" and except me to blindly agree. Its only your personal opinion and isn't more right or wrong than mine.)

There is always someone willing to pay. And even $1 is more than $0

I saw the movie last year, and it is really a good movie, there are some painted scenes very well achieved and of course other acted scenes, in general was a pleasant experience, the cinema was full, most of the people were from 60+ age....

Just asking, is there a chance that you interpreted HLG as video range in your NLE? My understanding is that it's full range, and it might look clipped when interpreted as video range, even though it is not.

I would say that this wouldn't hold true...Everyone on here likes to argue that the NX1 had so little market share, it seems like the NX2 has nowhere to go but up Additionally, I was drawn to the NX1 for its awesome "future proof" specs...which has somewhat held true. A NX2 with the specs listed in this thread would get the attention of anyone looking for a new camera (depending on price, of course). I also agree with @lucabutera that launching this could put companies like RED on notice that if you want to play in the smartphone arena, we can undercut you here. I fall into the "glad I bought it, nothing else is worth trading for it yet" class...and, I'm really just using it to take pics and videos of my family. It always works, it doesn't lag.

True point @Trek of Joy! Was just reading about how the Women's Ice Hokey team is is a combined North/South Korean team! Which is nice.

Also Andrew, for your second question, while you do ripple edit with trim tool, press ~. It prevents connected clips from moving when you ripple edit the main clip.

Or Tentacle Syncs, seeing as they're so dirt cheap now (or even cheaper secondhand the older model): https://www.bhphotovideo.com/c/product/1372226-REG/tentacle_sync_te2_sync_e_standard_set.html Or my personal favorite, Ultrasync ONE: https://www.bhphotovideo.com/c/product/1336977-REG/timecode_systems_tcb_ultrasyncone_ultrasync_one_timecode_sync.html Which recorder do you use? (with what mics?) Ah true, I forgot for a moment my BMPCC needs the "cheaper" Extreme Pro cards (back in the day they were the most expensive version!!). Well, a secondhand Atomos Shogun is very cheap now, get that and load it up with cheap and huge SSD drives :-D

My wife saw this and was raving about it for at least a fortnight.

Camera Store TV thinks it is crap? Perfect! Now if everyone else in this thread can shut up about how good it might be, and instead go on about surely how total shit this camera must be, then @Mattias Burling will be certain to come along and review this camera with lots of reasons to convince us why it is an awesome camera! ;-) The last missing part of the jigsaw! I'd take a Pentax 645Z in a heart beat if offered at the right price! (already own the original Pentax 645)

Jon, man, from a former instructor to another one... you are a good one! ;-)

I'm with Mattias. Once you learn how it wants you to edit, it's incredibly fast and intuitive. Regarding transitions, one thing that's really cool about Final Cut and Motion is that if you create your own transitions, you can save them as titles and drop them over top of your clips instead of having to put them between. This also allows you to stack them. For instance, if you make a wip pan transition and a spin transition and save them as titles, you can put them both over the same cut points and it will combine the effects. Ryan Nangle made a good video showing this recently. https://www.youtube.com/watch?v=3UI8kjqt09A So Andrew, in your case, you could create a fade as a title and it would stick to your clip. Or you could then make it a compound clip if you really wanted to. It's obviously more of a hassle than what you want, but it also provides more opportunity for creativity, IMO. On the negative side, one issue with 10.4 is that the colour wheels only work for exposure in rec 2020, and the colour board works only in rec 709. See the explanation here: https://www.youtube.com/watch?v=bESH7_p6aRk

Well I would still take a GR over any 2017 truely pocketable cam. Ricoh are actually pretty genius with their camera design but are often a bit ahead of their time with the conservative camera crowd.

Why the hate on 10000 lumens? Its a fair and simple questin though. Not sure why it called for pun.

I wish they added 4K60, but yeah, probably not gonna happen. I also wish for 10bit, internally or externally. I'm shooting F-Log with the X-T2 and with 8bit it leaves some to be desired. And I'm not sure if it's just my X-T2 or a general issue, but the camera gets hot relatively fast when you use HDMI out. And thermal noise appears after a few minutes at ISO 6400 and above, which you won't see when you only record internally. Oh and it would be great to have waveforms or rgb parade in video mode. And adjustable zebras.

CMD+T adds a cross dissolve for the selected clip To add favorites effects: add an effect you want on a clip (it doesn't matter the clip), and then click the "Save Effects Preset". You can make a custom folder in which you can have all the effects you use. Drag & drop clips from finder into the timeline/media panel works for me. @DaveAltizerWhile I agree with you on most things about FCPX, I disagree with this: CUDA is not flawed. If anything the only flaw is that it should be used even more like in Resolve. And its not that Adobe has a preference for windows, it is Apple that does not use/allow decent CUDA cards in their systems anymore. If you use the latest cards in the 2010 mac pro then adobe performs great: The same happens if you use an eGPU like I have shown here . And if you try to blame adobe for having a bias for CUDA then I would argue that FCPX has a bias for AMD: The biggest feature that FCPX has, which you see published most often and has drawn many people to it myself included, is the use of intel QuickSync. That gives the most of the fluidity during H264 editing or speed during exports, and is what Premiere lacks. If it wasn't for that and the f*cked up subscription model of Adobe, I would have loved to stay with the feature-rich Premiere.

IMO, FCPX is the best NLE out there for what I do. Ive been working professionally with Premiere and Avid for many years now and Im seriously starting to hate them. So fiddely and flat out dumb. And of course slow. Switching to FCPX is still the biggest leap forward in editing for me. But I remember the initial frustration. It all went away when I decided to learn IT instead of teaching it my way of working. And I have always been able to use LUTs in Final Cut. A funny note. This is the reason why I was the first guy to really try the XC-10 and LS300. True story. Ever since my epiphany in FXPX I started applying it to other stuff. When I see a product get super bashed by people based on specs or quick reviews my new way of thinking is: "That cant be. No way did a big company do all this research and spend money but some how didn't know it would be like this. Its more likely the users that are trying to force their ways and preferences onto the product instead of learning it and how it was intended to be used." So I tried the XC10, LS300, Leica T, Sigma cameras, etc. Had alot of fun with all of them. And now Canons new compact and the Leica CL looks very promising. A general rule for me is hate = interest (And anything the camera store says is the worst probably rocks. Their negative to positive ratio is unmatched.) BTW I also did a speed test once.

I know without a doubt the IQ on this camera will be better than Sony in my opinion. Sony is sticking to their guns with their color science for the most part, and it just doesn't excite me. Even though the a7Riii is such a wonderful camera. I wonder if they will be able to fit 4k at 60fps on this camera? Probably not..

Here is something produced today with a R1 MX, lets leave the image to talk!!!

Wow a Andrew Reid, Philip Bloom shootout at Brighton Beach with new Sony A7s mk III's. Can't wait.

I think this is highly unlikely - it is essentially ending up with their most popular drone having no real advantage in its camera over the Mavic Air (apart from 4k 60p). Personally I think we will see 1 inch sensors on both the Mavic Pro 2 and the P5. However the 1 inch on the Mavic Pro 2 will likely be fairly basic - 4k 30p, fixed 26mm lens, fixed aperture, etc. For the P5, I definitely expect a more travel friendly drone in terms of size and packing. And I think we will see all the high end 1 inch sensor capabilities (think RX100) and quite possibly custom prime lenses. My next drone will certainly be with a 1 inch sensor. If the Mavic Pro 2 has one I will probably take even if it is not that advanced. If not, I will wait for the Phantom 5. One thing I feel pretty certain about is that DJI will come up with a product that will empty my wallet.

I'm not confusing anything, other releases specify two applications for Exynos that will make Samsung tons of cash - mobile and auto infotainment. A NX-whatever is not a money making proposition, it would take years for Samsung to make a ILC that could turn a profit no matter how much of the fantasy-land spec from the original post they could actually make a reality. And profitability will never happen in a declining market when they're starting from scratch with their lack of commitment to actually staying in the game. As mentioned in previous posts, perhaps there's a prototype as a showcase for other camera manufacturers, but they're focused on growth, and after killing the NX that's not an area of growth. Chris

I thought you said it was impossible???

Well we know that Samsung is definitely announcing the S9+ with one of these processors in about 2 weeks time Mobile World Congress in Barcelona Spain. The sad news for north Americans is that Qualcomm has a lock on our market as far as phone tech, and will not allow Exynos processors to be sold here. If you want that phone and processor you'll have to get your hands on an international version. That being said, Qualcomm might have some new features slated for this phone as well. The phone is happening with similar specs in the rumor. As far as an NX2, like you I will believe it when I see it.

Since only the a7r-mk3 really out-specs nx1 and it came out 3 years later and costs 5-10x (considering lenses), having a collection of nx lenses and bodies I'd buy this camera at day 0, like apple fanboys do with iphones ?

And about the Parafocal part. There is No such thing as a cheap Parafocal lens. And by cheap I mean Thousands of Dollars or more for a good one. It just about has to be a Cine lens, and you know how cheap those are, to be built well enough. I am sure there is a few Cheap ones, but not many. The cheapest Parafocal lens I know you can buy is a B4 lens. I have had a bunch of them. IF it has, and it has to, a 2x converter in it it will cover m4/3 imagine circle when engaged. And, and a big And, it has to be a 2/3" one, not the 1/2" one. Most of them are the 2/3" ones. Now I am not sure if the new Sensor in the GH5s will work perfect. I have not been on the Facebook B4 lens section for awhile. I used to contribute to it a lot. I was one of the first to use them on m4/3. Not the first but just happened to have them laying around and got a good deal at the time from a guy in Germany making one off B4 to m4/3 adapters. Now you can buy them for 20 bucks, then 250 bucks and up. They are fun to try if for anything else. They make a Leica lens look like shit quality wise LoL. They are a thing of beauty.They work Really well on a BMPCC, and the BMCC if it is the MFT mount also. You don't have to have the 2x one for them. But you can NOT handhold a B4 lens. Tripod, and a Damn good one at that, only. But you can buy what used to be a $10,000.00 lens or more, for around 75 bucks or more on eBay, Adorama, etc. But for that money most, well all, will have the zoom servo Not working unless you are lucky as hell. The motors in them just flat wear out over time. I am a bigger fan of Fujinon lens than any of the rest. But none of them is junk trust me.

I'll believe it when I see it.

Well... i was interested in how well the GH5s compares to the GH5, 5dmk3 and the a7r3 in terms of lifted shadows on RAW images... just to see how good the sensors are. From the recent dpreview, here's a screenshot of the 4 cams at +6 stops ... Imho, the raised shadows from the GH5s and the GH5 seem similar. They both beat my old 5dmk3 handily. But damn, that A7r3 ... that image quality should be forbidden. If only its codec could keep up

I completely agree! Nikon should have hired the entire Samsung camera team and gone to work. Samsung tech, Nikon design input, optics, marketing and brand name appeal = sure fire hit, especially if they did both an APS-C model and full frame like Sony do. Magic Lantern say they were in contact with Samsung just before NX1 was cancelled. Never known such a push into enthusiasts hearts by a big company. Usually they are more interested in selling toasters and microwaves by the millions. Nikon are way too dependant on Sony for sensors IMHO... One change of mind at a Sony management meeting and bang, there goes your sensor supply. Even though there would obviously be contracts, I doubt they are all that far reaching long-term contracts. Here is my ideal spec of a Nikon mirrorless camera for 2018: Full frame, 24MP (6000 x 4000), with clean ISO 12,800 6K video in both H.264 and H.265 format, with further option for ALL-I and paid upgrade to ProRes 422 LT Nikon flat profile IBIS At least 240fps in 2.5K... 4K 120p would be nice too Huge battery in the main body grip, without need to extend size of camera with vertical grip. Make literally the entire grip a battery (like Hasselblad). NX1 inspired ergonomics and control layout Nikon colour science but updated for Rec2020 and HDR standards - wider colour gammut Dual Pixel AF with robust tracking - even with EF mount adapter No F-mount nonsense - do a shallow flange like E-mount for adaptability Wide range of fast primes and official adapter for F mount Nikon logo, understated pro design... but not retro hipster bullshit Df style plastic affair! NX1 or Leica SL style please! I believe this is what we have to look forward to in near future... just don't know who from... Now do it for $2.5k instead of $3.5k and you have yourself instant market share.

The NX1 is so responsive out on a shoot. Never had a snappier camera. The S zooms were state of the art. There is OIS + hardware accelerated warp stabilisation in-camera for handheld shots that are more locked down that 5 axis IBIS. You can even walk with it. When I hark back to my trip in Lisbon with it, got nothing but fond memories! The colour! The easy laidback operation! The insane resolution! Monitoring off an AMOLED right there in the street! Feels like a luxury living room not a shoot! It's super light and the pancake 30mm F2 is a bundle of fun. Loved Ed's new york films shot on the NX1 as well. When it came to some of the drawbacks, many of them turned out to be software related. For example the dynamic range was fixed by remapping to 16-235. Then the firmware update allowed you to do this in-camera and even raise the master pedestal black levels. The blue-sky banding was related to certain transcoding methods for H.265. Again much better now. And you can now edit it natively quite comfortably on a modest spec of machine! The hack then came out on top of the firmware updates... and although the high bitrates in 4K don't make a huge difference, the very fact it happened at all was a miracle and no camera aside from the GH2/4/5 had a larger gang of hardcore enthusiasts around it, with hacking projects, dedicated sites and forums springing up all over. Some aspects of the build quality is as good as the Leica SL, particularly the top panel LCD with sexy orange backlight and the seal on that, the finish around parts of the body is absolutely a class act. It was way ahead of the time... way over people's heads... at a time when the NX range was lower-end heavy and too exposed to the market shift. Timing was just all wrong. The timing for an NX2 now however is just right. Although having said that the US stock market did just crash and there is a run on Bitcoin

Oh I dunno, maybe because Sony didn't make that sensor? https://www.google.com.au/search?client=safari&rls=en&q=d850+sensor+manufacturer&ie=UTF-8&oe=UTF-8&gfe_rd=cr&dcr=0&ei=WZh3WvOQC6PM8gfdsZrwAQ And according to this list (https://nikonrumors.com/2015/12/16/list-of-all-nikon-dslr-cameras-and-their-sensor-manufacturerdesigner.aspx/) some of the most important cameras Nikon has produced (The D3/s & D4/s which arguably pushed the industry towards low light ability rather than sheer megapixel count) were sensors designed in house. It goes against the grain of "Internet Wisdom", but Nikon has more of a hand in designing their sensors than anyone gives them credit for. In any case, shoot any two Nikons of the same generation and the files mix together just fine in the edit. So why does it count against them because they can get a Sony sensor package with Nikon specs and marry that to a Nikon processor and code that does the actual magic, and save themselves the time and cost of developing a sensor from scratch?

If anyone has the Sony 24-105mm F4 lens you might want to read these posts about Focus Shift! https://***URL removed***/forums/thread/4251069