Kisaha

SmallHD Focus. I was pulling focus, mid day, on a scorched Mediterranean vineyard. I do not even have the shade.

Ergonomics, UI, menu system still, and definitely best in business. NX500 is still at the top of the "smaller" sensors at DxO. I bet if they tested the NX1 with a better firmware version that would top the charts also. Our GH5 cameras already have their "skin" peel off, LESS than a year of use. Build quality in both my NX1 cameras is exceptional, one is heavily used which I bought used a couple of years ago, still going strong being my main camera most of the time. Sensors still no dead/stuck pixels. 74min continuouss video recording. I did a couple of photographic jobs with the GH5 and the results are night and day. Not even close, plus the most APS-C megapixels count still in the industry. H265 is mainstream, even the torrent sites share everything in H265. 500MB of the Expanse series, is equal or better than 2GB of the expanse in H264 (just downloaded some episodes recently and I was shocked of how good the small H265 were). I consider the NX video AF more reliable than a600/a6300 cameras I have used (it could be user error of course, I couldn't find anything on that paranoid menu system). The S lenses, unique and a great advantage. The 16-50 is THE workhorse. Top screen, everyone's snobed back in the day! Great Super Amoled Screens. Best wi fi/bluetooth implementation back in the day. Others catched up though. Color science still better than most. No issues with my battery grip! I did a 3 hours photo shooting the other day, just half (and a bit more I guess) of my battery gone. No overheating in the hottest Mediterranean summer days. Not even the NX500. Mic in and headphones out IN body. Not even this is a standard, even in those days. DIS (I know, it isn't IBIS but it's there, and working). If I found more time I will add some more.

Yes, there is an official representative and all, just happens to be one of the worst in terms of pricing for pro equipmemt. I get that with Rycote stuff as well, the representative here is extrememly expensive (they also represent Sanken, Sachtler, Arri, e.t.c). AudioTechnica/Sennheiser/Rode/DPA/Zoom have the normal European prices here, the rest are extremely expensive. For tax reasons, warranty and other studd, it is easier to buy localy, even if it is slightly more expensive, when the price difference is huge, I buy from EU. Buying expensive equipment for other continents is prohibitive. North America is out of the question. Huge custom charges+taxes+bureaucracy (wasting days in the custom office which is outside the capital). I am really tempted to go with the Marantz as a cheap intermediary solution for now, until I see the F8n release and compare with the 10T, but I need to know if it is "better" than the 60/70, or at least equal to the Tascam 70, or else there is no point, really! What is improved in the F8n vs the F8? Is the F8n(or F8) more preferable than the F4?

Have anyone used the Marantz? Is it better than the Tascam 70?

DJI slowed down a bit this year, the new Phantom is kind of a disappointment, and they are not changing their tiny sensors in their smaller drones. Which is not great for us. 1" Mavic Pro type of drone is my dream.

Interesting. Do we have a price for it? The 60Mbps Mavic Pro file definitely is not enough anymore. Anafi is a tiny, non-popular Greek island, by the way.

@BTM_Pix I haven't follow the thread carefully, but the Sound Devices MixPre are usb interfaces also. @IronFilm So, what are the differences between the F8n and the F8? And where do you put the F4 among them?(less ch. Obviously, but also worst screen, and what else?). The F4 is 600euros here, the F8 900euros, the mixpre6 is 1400€(wtf?!) and the 10T amd F8n aren't here at all. I am really tempted to go with the F4. The price difference is huge, and it is nit bad at all. The F8n has improved both the limiters and headphone amp I believe. What else?

You stole it! Can't wait for your opinion about it. Stoler!

Canada/Greek post "lost" my Audix! Could have been stolen from outside my place though, they do this, just leave boxes outside our door.

It gives me a European price of 749€ and free (?!) shipping. 20-25 days delivery. The price seems right!

@kye suggested (actually he declared) that his camera's internal mics are doing the job great, maybe he can help you with his approach. The DR70D is a good recorder for the money, for the rest, I couldn't dare to offer any advice. Directionality has nothing to do with wind. None at all actually. Proper wind protection for mics is very expensive, and there is a specific reason for that, a wind problem can completely destroy your takes, and your shooting day, that is why the alright solutions (Rycote Gloucestershire offer the cheapest good wind protection, K-Tek also, but with limited variety) cost probably as much as your whole sound budget. They also offer https://www.youtube.com/watch?v=30P--8lu6nk if you do it the Kye-way. Rode NTG4 or the MKE 600 are good budget directional microphones. Most good brands have some good low cost such mics. AKG, BeyerDynamics, Audio Technica. My advice? Find a friend that does sound, or someone more experienced and invested on it, sound needs a decent budget, to just work. Edit: actually the Video Micro is a surprisingly good performer, but its disadvantage as an on camera mic - it is too wide, is an advantage for recording guitar, as it acts as an cardioid mic (takes more "space"), just get it closer to the guitar. Voice usually needs more directionality, especially outside, and you need directionality to avoid other sound sources.

Who calls their employees "Geniouses"? A Head Genious? So, there are lesser geniouses? Like feet geniouses? This whole company is a joke. We are shopping a top new mobile phone in the family, and iPhone 8 and X cost here almost twice the price of a top Android phone, and 200-400€ to the new Samsung S9, which admittedly is a much better phone (in specs at least), and they are so ugly, big and heavy, with the worst SAR numbers in the industry. No way any Apple product worth the asking price, and even Chinese brands are offering design these days, and great servicing. Seriously, there is no excuse.

This is a completely different product. The great idea behind Lukilink is that you can turn a device you always have with you as a monitor and keeps everything small/light and cheap (some pledge 79€, or less for it). Something to appeal to both amateurs, that they do not want to spend much and love their mobile phones, to professionals, that want a cheap backup or a secondary, or triple monitor. The 700$ device you linked is nothing like the above.

This month supposed to be the shipping month. No news so far, ignoring of all our messages, no questions answered. They seem to have a working prototype (and not a great one, but there must be something), but nothing else. Among 3-4 people, 100.000 euros isn't a great amount of money to scum professionals all over the world, especially if you are a well know one. I am waiting to hear from them, or else we should start a campaign all over the internet questioning some practices and promises. There always be a need for an additional monitor in most productions. It could be just great to have such a device on your camera bag at most times, as a backup, a secondary monitor, e.t.c I own the Focus, and I wouldn't expect such a cheap device to be equivalent (lag?), but my mobile phone is 600nits (a lot more than most cheap monitors in the market) and 5.7", so alright for basic monitoring. Can't beat the Focus though!

This isn't even Super 8 18 frames. It shouldn't be advertised as a 4K camera. Does it crop also? I understand this is an entry level camera, but there is another one (X-A5/4K-15frames also! and there is the cheaper A3) recently released, and it costs 650euros here (kit), so this is going to cost more, which is problematic if you read the market. Also, these 2018 releases, will be replaced in 2019? Fuji will have huge difficulties competing with the rest. X-T3 is going to be a very important release, if they fail to deliver, their sales number won't be stellar, to put it mildly.

What camera are you using it with?

In Europe they are still servicing NX cameras. In my country, the last NX camera imported was the NX300, but even thought they abandoned the market since then, they are still servicing NX cameras, in 5-10 working days usually.

The difference in "hiss" is similar to buying a 4f lens, or a 1.8f lens, you can definitely can do great things with an 4f Yongnuo less but we all crave, or own a fast Zeiss. The mic pre amps play a role in this too, which is the equivalent of the "sensor" in cameras, and a lot of other things that we can discuss. The "isolation" thing is solved by a dedicated person booming the source of sound with the appropriate equipment. Nothing is coming close to that, and technology won't easily replicate this. Safety tracks, yes, but also limiters, the right gain, experience, etc. Plenty of times were that failed. Example. We interviewed a motorbike racer, when we finished, he switched on his 1000cc Yamaha (personal bike, not even the racing one) and he left. Director loved it, but if I didn't have turned the gain all way down (almost to zero), safety track would have peaked, very ugly. All the above are part of the quality of sound. The in built microphones of your Canon equally good to an "ok" stereo mic? What headphones/monitors are you using to listen to your audio? Post is a very expensive procedure, if it's alright with you, it 's perfect, but if I bring sound that needs a lot of post in the production company, I just won't be working for them long. I had such an experience, when the post house did a mistake and load on Avid the wrong mic (a MKE600 I had on camera) instead of my 416. I immediatelly realized what happened when the producer called me (and very angry), but it took them almost a month to solve the issue, because the post house didn't accept that they did a mistake, and the editors and post are always right in our business (because they have the final saying, and are working very close to the directors/producers in their nice air conditioned space!). Guerrilla = a member of a small independent group taking part in irregular fighting, typically against larger regular forces. Referring to actions or activities performed in an impromptu way, often without authorization. What hunting has to do with anything?

I am not sure if it is wise and productive to try to figure out performance and I.Q issues from a "stolen" clip from a pre-pre-pre production model. I am sure they will short most things out, before release (around Christmas, that is!). What it puzzles me, is the absence of 100/120 frames (without crop-ing). If it is capable of 4K/60, why not 1080/120? GH5S is doing 240 on a similar sensor (if not the same). How exactly the "windowed" mode works?

Sorry, but I do not post anything else than words, in any forum, but do you know any camera, ever, not been able to change its f/stop? Just go to Samsung and tell them "my camera doesn't allow me to change the f/stop when I go into video mode"! You don't need proof for that, is a serious issue that affect yours/ours work. Go check with them really soon. Good luck.

@fletch murray You can't change your aperture in video mode?! I am not sure what other people will say, but this is not the normal behaviour of my cameras. As of the 3rd, I am using FilmConvert settings and I am not overthinking it. I had great results with Vivid and Normal as well.

What I am finding is some people with no sense of humor (nothing funny you ever said), no spirit (nothing intelligent), no critical judgement (you have a Fuji from 2014? with 16mgpxls sensor that doesn't do video? great buy), no humility (Fuji arrogance, we can call it check Yuryev's video mentioning Fuji fanboys), no witt at all (seriously, read some books), and not great in writing sentences (I hope English is not your mother tongue). I am just stop-ing here, first because you are a pack of wolves attacking me personally, and that is extremely primitive and pathetic, especially when you do that for thousands of miles away, but more importantly, because you bored me to death.

@Tone1k We, both, have the right to comment on this forum, especially when I compare the ONLY 2 APS-C mirrorless Pro cameras in the market (now there is the X-H1 as well, and in the other thread its color science doesn't look that amazing opposite to the A7iii), and not a mobile phone with the Arri camera, which again, is something that has been discussed in this very forum, indeed. Your previous comment "And I had a 4K shooting phone before Arri had a 4K Alexa........whats the point you're trying to make?" is considered intelligent, funny, or constructive? Obviously, I am here because I want to be informed about the market I work in, and spend thousands of euros per year, and obviously is great news for the X-T2 owners, as I said from my first comments. Also, you are the first person I am hearing that has an issue with Samsung's color science, while Andrew Reid - the owner of this very forum, has proven years ago the exact opposite of what you say. Putting the old Sony cameras, together with the NX in color science is really weird. If you are new here, https://www.eoshd.com/2014/12/lets-see-samsung-nx1-really-capable-shooting-4k-sunny-lisbon/

If you go for a bodyback recorder (I don't even know what that was until now!), as well go with the most optimum one, which is the DR10 series. In some events, when I do camera and we have no sound man, we depend on a couple of those and they have delivered so far. If you ( @mercer ) want to buy the F1, then I am sure it is an amazing piece of equipment. You certainly know better your needs. I wouldn't buy that either, it is trying too hard to be a couple (even three) of things, and it misses in all of them, but it's your money, and your film, and it is very important to be happy with our purchases, a boost in spirit maybe is more important than a boost in sound!

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