Kisaha

@Drew Allegre you are going the right way! one last advice, just try to get one of the hyper cardioid ones for indoors, Oktava could be the minimum you can get, and if you do not move it on a boom (or else needs special technique and mounting accessories) then it is extremely good (for the price) for indoor interviews, this is the one I use on very tight budget jobs (I can handle it on a boom too!). http://www.oktava-shop.com/Small-and-medium-diaphragm-condenser-mics/Oktava-MK-012-01-movie.html remember, even if you test a shotgun mic in your grand ma's living room, with all the sofas and the heavy curtains, there is a huge possibility that your next interview will be on a minimalistic office, or an Ikea's made living room (with hard surfaces and rectangular!), or anything, at least with the hyper, you tried.

Does anyone has an opinion how it compares with C100/C300 mk2 cameras in low light?

I am waiting for the next video! The 3 Cranes are very different in load weight and function it seems.

Amazon owns DPR, that is well known. They are doing those kind of videos for years now, and with all the brands. I do not think that camera makers paying them money every time they review or test gear, cameras, lenses, or whatever. Back then NX1 was the most modern hybrid in the market, I do not see in their review any lies, or trying to push people buying NX. I wish Samsung had paid a few people, notably photographers and videographers, but they failed miserably in their (lack of-) marketing.

Star Wars was the Harry Potter of our generation. Watching 2001, Solaris, Blade Runner, those were the days! I wonder if younger people are watching classics, definitely do not read anymore, but I am just wondering if any teens arewatching Tarkovsky or Bergman, or even some Bela Tarr!

Most of the replies on DPR just arrogant and insulting. DPR wasn't paid by Samsung in anyway, until recently people speculated about being paid by Sony, but their last reviews of Sony are very fair, I would say. NX1 was just cool, everyone with a right mind could see all the potential through the specs, the innovation, traditional ergonomics, a modern hybrid that together with the S lenses was just unbeatable at the time, I do not see why someone had to pay money for someone to see that. GH5 is not even 6 months old in my country, and I see product cycles on higher end cameras to increase. I wouldn't expect a new GH before 2019, and that is when I expect to change system. I have all the lenses I need, I have 4 cameras with all form factors, I have 28 BSI photos and 4K from from 6.5K downsampling, no overheating, best battery in mirrorless, best menu system, a great EVF, good Super AMOLED touch screens, still best wireless implementation (GH5s is very good too), great color, ergonomics. what it doesn't have is great ISO performance, IBIS and 10 bit. The first is the most important for me, we have fast primes and the 2f S zoom, but 3200 and 6400 would be just brilliant, IBIS I do not care, and Crane V2 is cheap these days and 10 bit is very specialized and one has to have the total workflow to do anything with it.

Here in the Mediterranean I did the same observations as NZ! We just finished shooting an on the road TV show for the most prominent network here in souther Europe with 2 GH5s and right now, I have more GH5s around me, than Canon (this is the first, ever, since the 5DmkII era). So many, that I bought my Edelkrone SurfaceONE and SliderONE motion module with the GH5 cable (sadly, no NX). There is a big waiting list here for GH5 and even the XLR thingy that we have ordered for months now, ain't available in my country yet. Real life observations show a trend for sure. Maybe your market is completely different, but all indications show that GH5 is a huge success so far, and honestly, what not to love? A couple of ergonomic mistakes, when Sony is full of them, and a slightly confusing menu system (my NXes have spoilt me!), when again, Sony is a total nightmare, on everything else, GH5 delivers. As of tourists, we have a lot of Asian tourists, and I was doing camera (C300mkII PL) for a Ancient Greek philosophy documentary these days (so being around all the touristicy places), and most of them had mobile phones on selfie sticks, a few "older" men with Canonikon dSLRs, and a few hipsters with Olympus. Most other tourists from other countries are carrying their phones, a few older dSLRs here and there, a few rare and random selection of mirrorless (a5100, a6000, an NX 300, others), and we had like 30.000.000 this year, and because of my work I travel a lot around, so I got an international sense of things. So, no seeing a lot of GH5s among tourists is less an indication, than my pro friends that are moving to Panny after decades of Sony and Canon.

Build in ND filters and body type do not worth two, three or 4 times the money. This is an argument that gets rusty year by year. I do like dedicated video cameras (and prefer them for most jobs), but GH5 is cutting sales from everyone these days, and for a few good reasons. We will see what EVA will sell this year, but I doubt it will be as profitable the GH5 is for Panasonic, even with a lot bigger profit margin. A7sIII has to be the bomb; Canonikon are preparing full frame mirrorless of their own, Fuji seems capable to achieve great things and they got the lenses to offer the total package. 2018-2019 will be very important for the battle of the Mirrorless. Someone eventually will fold, and will fold for good.

@lucabutera Honestly, I am perfect with my NX so far. I would be waiting to see what are the new Canon and Nikon full frames bring to the table, before I decide changing systems, and that will happen probably in 2019 (this year I am investing in sound and lighting) Dual Pixel AF of Canon is the best AF experience yet, and I enjoy using it with the Canon C cameras (for when it is needed), and Canon always produces pleasing images that "common folks" like. Fuji is doing really well and listen to their customers. Sony seems to winning the battle so far. we have to see the new cameras of 2018 to understand where the market goes. What can we keep from NX lenses to other mounts? AF? IS? Electronic aperture control?

What is a "great story" and why can't it happen some other day, or next week? I have rejected jobs between 500-800€ (which are huge numbers for me) but for various reasons (bad directors, I knew that we had to work unlimited hours for a stupid project, or I had something important planned with family etc), but 2000€ is easily a couple of months salary for me, or the new Sound Devices Mixpre10 I am eyeing! Unless, I was earning more than 30.000€ per year, 2000€ for a day is too much money to say no.

@IronFilm wish I was 19, best age ever!! unfortunately in a small country with huge financial difficulties there aren't so many well paid jobs. e.g I see a lot of people working in modeling videos and real estate, which do not exist all in my country, no one is doing this professionally in the sense that happens in other countries. So 2 sources of income less! Reality is different between most of us, this is one world, but is based in un-equality!

I can tell, most people here are camera operators. Shotgun mics work alright in very well treated rooms, or studios. If you want to spend an hour, and have the right sound blankets with you and the tripods and gear, and the space, to treat the room right, or change location in then be my guest. In any way it is much easier to use a more appropriate tool for the job. If you own just one long tele zoom, then it is ok, use a shotgun mic everywhere. I am not going to discuss Rode microphones, but the specific ones mentioned in this thread, wouldn't be on top of any of my lists. Canon dSLRs have notoriously bad mic amps. Whatever you put straight there (except some with good in built amps) wouldn't be broadcast quality. @Drew Allegre if you can rent, Sennheiser MKH 50 is one of the best, ever. Others prefer Schoeps, for me, if you do not do much post in sound, then Sennheiser can be a better bet. Reliable, very hot (signal wise, so you can avoid bad mic amps some) and tough as nails, too. For just little money you can rent one of the top 3 indoors microphone one can use, just put that on perspective with your imaging gear. Just my 2 cents.

@CanonTheBarbarian The sensor is supposedly being made by a company called Jazztower, or something similar (and somehow silly!). It is a multinational company with fabs in 2 or 3 continents, and a big percentage belongs to Panasonic, and they are having a new facility in China (for the very first time, they used to have very specialized labs/fans in America and Israel). So you can add Panasonic to the impressive companies too, even though Panasonic takes most of their sensors from Sony. Then there is JVC that owns and operate sensor manufacturing fabs (like for the JVC LS300). Fuji, that you so much admire - I do too - takes their sensors from Sony. Business wise, too much dependency from Sony, is a clear disadvantage for the other companies, but it is a completely different division under the Sony Corporation umbrella, and - supposedly - the sensor division can make a sensor under Nikon (or who ever) guideline, and the camera division will never learn. At least that is what Sony says! In anyway, sensor wise, things are quite complicated, at one point a year or two ago, Sony controlled the vast majority of sensor making in the world, now there are new players and more investments happening. All in all, this is a great camera, just waiting for the mirrorless now!

So much for 500£ per day.. everything is relative guys, you should do some fact checking about the world, not everywhere is London, nor Paris, nor LA. Socio-economical reality is different, even between territories in same countries. I worked with a Swedish photographer a couple of weeks ago, he is 5 years in the business, while I am 19, he was earning 5-6 times what I earn per year, but then his rent was 2 times mine, his health insurance 3 times mine, he is living in a very organized and well built social state (some people call that Scandinavian Socialism), and while for me it was the coldest days since last March, he went to the pool sun bathing and swimming with other Swedes! What he earns in money, he looses in sun (just a joke, I loved the central-northern European weather when I lived, or visiting places). In declining economies, like the ones is southern of Europe, with thousands of unemployed specialists from the golden decades of 90's and 00's, and hundreds of new kids coming into business every year, from very bad private media schools, there is so much you can ask. In my 11.000.000 country, there is officially 29% unemployment (independent organizations say that is more than 35%), and almost 45-50% on dynamic ages, while almost 400-500.000 of highly educated people have left for other countries (brain drain), your bargaining chips are less than you think. and do think about poorer European countries, middle eastern and African ones, most of Asia, etc. much less than 10% of the world has the ability to earn 500£ on a single day. @Charlie you did your best, and you have the portfolio to support it. For more specialized advice, I think @kidzrevil is doing something similar, but in New York!

You are mad people. 1) First of all it is his first job, ever. I did a lot of free, low payed jobs in late 90's so I can learn different skills in our field. 2) Also, southern of Spain unemployment is at all time high, almost double the unemployment rates of Madrid, Northern Spain and Catalunya. When the rates for a normal 5 days/40 hours per week, is almost 800€ (it is half of those in Greece, unemployment is 30%), and he is probably getting black money (non taxed, but not insured either, that happens a lot in southern Europe), how would you ask for a day inside a studio shooting models? 3) if he got his mirrorless, with a couple of lenses, how do you charge for equipment? Usually it is around 2% of the market value (not when they were new). 4) I can't stress that enough. lack of experience, it is his first job, something happens on set, people see you differently and some how more sympathetic if they know you are just trying to braking in - and you get 200€ - thatn youbhave advertised yourself like - I do it all for 600€- type of guy. It takes one person being on set half a dozen times to realise one is inexperienced, and that is not a good thing. Imagine people being in the industry for decades, you can loose face, and future jobs just like that.

@Drew Allegre they are only 30-30μW (or is it Volt?!), while in Europe the limit is 50, and some pro devices can go up to 100. Their range is terrible -in my opinion - but all the rest are good, even the included lav mic is ok. If they were 50, they would be just amazing, now they are really good. I do not know, or understand feet.

For indoor a shotgun mic is a no go. Do a little research. There are a few options, I am split between an Audix scx1 Hyper Cardioid and a Neumann MT185 myself. If you put a mic on a stand, the Oktava 012 with the hyper cardioid capsule can be your cheapest bet, but I would strongly advice for one of the above. Sony wireless system is quite good. If you up the game with a better capsule then it can be really great. I use both a hyper cardiod and a wireless lav on such interviews.

They called you, so they like your work. That is very positive, Show them some of your best videos, be optimistic and positive, but not over do it. Stay humble, but confident with your art and technic. Pricing can be tricky. Ask them what they want you to do (make a few questions), and you can ask them what is the budget, which is not a joke, as everything has a budget, and maybe additional people or equipment is needed. prepare a few scenarios with your price, if that makes you feel better. Good luck!

@Juxx989 As it is, the S is 16-50mm, both wider, and has much more reach at the tele end. It is stabilized, with very good protection from the elements. The 18-35 is faster, but it is not wide enough, as I use my S and Other lenses, extensively at 16mm, and not tele enough for wid ish portraits. I would be much more interested on a wider one, like the Fuji 10-24 but with 2.8f, or a 2-2.8f, an ultra wide S lens, that was my dream when I bought the NX1! A lens like that would be on my camera 85% of the time. Now, the adapter issue. I told before, not a while ago, that a NX adapter to whatever mount, is necessary, as we are moving through the years and are no new NX cameras manufactured. A lot of people took that wrong, I am not going to defend my position. For me is obvious that an active adapter to whatever mount, is necessary for a dying brand. As cameras will become obsolete, or die first, there will be a lot of thousands of lenses around, probably for cheap, that will beg to be used on other cameras. This is a serious business as well. There will be a lot of buyers, more so than the speed boosted ones. Right now I have 4 NX, so I am set for the next couple of years, until the industry moves up a bit, but I also have 7-8 lenses, that I would like to use with a different camera. The NX lens collection was an excellent one, a lot of people underestimated it, but in reality it a great small selection of lenses. 12-24 is my go to lens lately. Small pancakes like the 16/30 ones. The fish eye is my second favorite Lens. The workhorse 16-50S. My favorite 45mm. Very good and cheap generic ones, like the PZ and the 50-200. There is an amazing 85mm and a very good macro. It is a shame so much good glass to go to waste forever. My dream would be a Nikon-Samsung co operation and an official active adapter, working on S35 mode on the new Nikon full frame mirrorless. Nikon is moving away from Sony, maybe a strategical co operation with Samsung will be their saving boat, and Samsung can sell a few hundreds of thousands of ram, CPU, sensors, and whatever Nikon needs.

@IronFilm Who cares about sound, right?! ?

If it still works good, and produces ok images, then most people still use them and do not want to sell for cheap. EX1 is one of my favorite camcorders of all time, certainly my favorite Sony ever. But, All the markings were erased the first couple of months with limited use. the recording media back then were extremely expensive (then you could use adapters though) With today's standards the image falls apart very easily, not easy to mix it up with any other camera I have a lot of issues with LEDs on performances, shows etc It was once a great camera, 6 months ago it was the last time I used it, now it is in my video partners basement, and I am not taking it back for any reason. I now have 4 NX cameras, and when I do a multi camera live performance, all my cameras are close (we add a JVC Ls300 and GH5 if we need more, their sensors are a lot closer).

Ask and let us know. If you could post an image of your issue would be helpful as well. good luck!

@ntblowz Sony depreciates faster than any other brand in my European country. Panasonic is second. Even discontinued Samsung NX cameras are sold more than a6xx ones, and equally to A7 series. Canonikon, as usual, are holding prices quite well. Surprisingly, Fuji are as well, but the sample size is much smaller. It seems there is a cult following that keep their NX and Fuji equipment, so the market is not flooded. NX has the features and modernity to hold on to, and Fuji the retro looks and special photo engine.

@ReinisK I am using a lot of 1600 and a few 3200 ISO, never seen any. It is not true that "almost any camera have some of them", it depends of the camera, the maker, the sensor technology, the QC, the usage rate, over heating, etc I have seen on a 5DmkII and on a 60D we used to have and those cameras are gone. The dead pixels where so obvious that they were always there when we were shooting a video. So annoying. I tend to believe that older sensor technology wasn't ready for continuous video recording, as I have seen numerous of older Canon's suffer from that. I do understand it can be a real issue, and I do worry for mine too. The good thing when you have many cameras -4 NX in my case- is that you can split the usage among them. You should ask Samsung, they do service cameras in some parts of the world, definitely someone in a service center have the ability to remap pixels.

@markr041 what hack?!