Kisaha

The rumor was "some people in Samsung are still having fun with good ol' NX1 design and modern entrails", well, that's how I read it through the lines! It never was, "there is going to be a new NX camera out". Staying in one system saves you as much money as probably moving to another system, soon-sh. If I sell everything right now, I will probably gather more money than I spend (and I bought brand new most of those), but to sell 4 different form factored mirrorless cameras (2 pro ones) still relevant and in a few important (for me) features still on the top, and 7-8 lenses, flash systems, a lot of accessories, to buy one A7rIII and 1 lens? and I do not even care about full frame. I know a lot of people going through various systems since abandoned NX. Some went Eos M, they were expected a pro mirrorless soon, but didn't happen, so they moved to m43, then Sony brought the a6300/a6500 but they were overheating, too many limitations on the ergonomics side - not really great native lenses, then Fuji was the talk of the town, then disappointed by the limitations they went Sony full frame, then Panasonic had the GH5 out. Others went back to dSLR. Of,course I do not know anyone change all those, but I know people change as much as 3 systems since then, and they are quite few. Newer focusing systems need faster lenses, that is why we have newer versions of older lenses. People change all the time, especially if you want to be on the peak of the iceberg, I am too old in this (photo/video) to laugh when people say "yes, but you will have to change system soon". Of course I will, and of,course you do too! I started with super 8 and Zenith camera (brought by my father by the then U.S.S.R, if anyone remembers), then I had a Canon AE-1 and Pentax Spotmatic. Then I went Canon EF (in film days), FD lenses were useless, in the same brand, and EOS M is a different mount, and the Nikon will have a new mount soon. Do not pretend that you buy something that lasts forever. Not even your car, or your own body lasts a lot! For all I know I will be shooting with my mind in 12 years time.

Go check ebay prices and compare the prices with 2014 equipment. There are a few reasons why people are still buying NX. I bought most of my equipment after NX was out. We are not naive primitive people, most of the NX crowd are very informed bunch.

They just got bored with the previous president's pet project (which he was already on a coma, or dead when the decision was taken anyways), and they just cut it. As simple as that. To make amazing cameras takes a huge R&D resources, and on a declining market, who cares? Probably the newer generations in the company (the son of that said president is in jail right now, I think) don't even use a dedicated photo camera anymore. Now it would be the time for a NX1mkIII, and that would be so much better than anything else, that it could dominate the market (now, in 2018, 4 years after the release of NX1 and with 3-4 cameras in between). They needed only 2 cameras per couple of years, a NX500 and an NX1, they not only had 3 of those, they had another system in 1"! Too many mistakes, not a lot of will. The most tragic figures are the passionate people on that department (does anyone remember the guys from the lens R&D? They almost cried when talking about making lenses!), they gave a lot of thought on that project.

@Inazuma I do not have the time to write my complete thoughts (good for the people trying to read all the pages I usually write!), these days, because of a couple of deadlines, but you got the point. My perspective is from a "blue collar" film and video technician (with "white collar" education I must say!) standpoint, and the absolute/perfect image is not my holy grail. I want good ergonomics and reliability when I work (heat dissipation/power management) with good image without too much post (with the ability to do a little tweaking later, if I will). That is why I found my sweet spot in NX, and C100mkII cameras. Workhorse cameras! When I work in bigger projects, usually we use rented cameras, there is no shame in renting equipment! I am also a hobbyist photographer, and with the NX, I can even do a couple of photographic jobs per year, and everyone is happy so far. Win win situation. I have said myself millions of times, the ISO performance in video is disappointing, but then again, it doesn't change the way I shoot, or creates any issues. I would gladly take a NX with a couple of stops better ISO performance, but it isn't a deal breaker, because we managed to do our job with worst equipment, not a long time ago (smaller sensors, slower lenses, big/heavy/expensive lighting e.t.c). Now, the only manufacturer that brings new tricks (and abilities) to the table, is certainly Panasonic. Right now there are so many GH5's around me, that I buy equipment with those in mind (Edelkrone GH5 version, SmallHD Focus GH5 version e.t.c), for some personal reasons (disclaimer here!), I won't go m43 right now (even though I have used the LS300 a few times the last couple of years for some small projects), but the truth is, GH5 and GH5s, are pushing the envelope. I would be waiting a little bit longer, to see where the market heads. Until then, I will keep my 2014 cameras, close to the next decade, and that, is a triumph of the system, on its own device.

@InazumaFirst of all I will express personal experiences and opinions. I put the disclaimer here, because.. Then, it is not only us. If you check Ebay prices, they are rather high for a 2 years "dead" system. I am trying to find a 50-150 for less than a 4 digit number and is rather difficult (if not impossible). This is a dead system, and I am trying to find a used tele zoom. The camera has some advantages, even 4 years after its release. Do you remember back then? 16mgpxls m43 and Fuji, and a6000 for Sony. 70D for Canon, and that was the competition. Can you imagine how I felt when I used that camera back then?! Like I was using something from the future, and it was, indeed. Also, I saved money just NOT changing system. 15fps/28mgpxls BSI = these specs haven't been beaten yet. Samsung surprisingly put a lot of effort and thought in their color science. Sometimes I shoot the Vivid profile notched down, and I am ready to deliver. Can mix up well with a lot of cameras when I work as a camera person for other people's projects, events, etc (that is my income number 2 by the way) people never complain (actually, they are always complaining, but after the post everything is fine!). You do not want to know with how many cameras it has been mixed. Do you remember Sony Zombie Skin? Not here. Then we have the ergonomics, menu system, touch screen implementation, screens - even the shoulder thingy that the G9 and new Fuji put in fashion again, Samsung had it first! These are the best in business. I shoot with a lot of cameras every year (except Fuji, no one is shooting Fuji for video over here, only a couple or three Nikon photo pros have Fuji, that I know). Seriously, the grip of this thing and the feel when you work, is out of this world. How they possible did it with their first pro camera? It's above me really. The camera is from 2014, I bought it in 2015, since then I have bought 3 more cameras. A NX500, a NX3000 and a second NX1! I can shoot 4 camera live performances. I put the NX3000 with the a-m-a-z-i-n-g and tiny NX10mm fish eye in the center of the stage - only rec and its enough (this is a specialized shot, so I do not worry for the lesser codec and quality, I treat it like an APS-C sensored GoPro), NX1+16-50S near the stage or on a monopod (usually a very experienced camera operator here), the NX500 and the other NX1 I do from the sound engineering cage with the 30mm (or the 12-24, depends) on the NX500 just a wide shot and the 50-200 on the best tripod we have for moves and closer look of the stage. NX1/NX500 records 78 minutes straight 1080p, which I believe is better quality than a6xxx cameras, and no one of the cameras have ever overheat (the shows vary from 120 to even 200+ minutes). The NX1 has no crop whatsoever. Very good 120/100 high speed shooting (not the best of course, much better than Sony APS-C and Fuji XT2 didn't even offer any). Records in very cheap media their regular bitrates. H265 is everywhere right now, even in mobile phone, definitely my 3 years old TV and all the editing suites. Has a headphone out (that some specific cameras have not!), USB 3.0 I believe - which charges the camera the same time, but I do not, because the power management is excellent (when I shoot with Sony people, it is comical how many batteries they carry and have to charge all the time). It has DIS, coupled together with some lenses OIS (mainly the S lenses, but the PZ is very good too) offers excellent Dual IS for SPECIFIC circumstances (and obviously crops), at least they had that covered too. Canon did this last year, to put things in perspective. Now your issues. I do never use the EVF. I read it in some other forums a while back, but I wouldn't even know, so I can't really comment. I am working since 1999 and I was educated and a hobbyist before that. Do you thing we were shooting 4000 ISO film or video? I said myself, that the biggest issue is the noise reduction, but for a stop or two, I can't cancel all the previous advantages. If I'd care that much, I would have bought an A7s instead of my other 3 NX. Also, that can be defeated easily by the workhorse 16-50S which is 2f 16-20mm/20-23mm 2.2f/24-32mm 2.5f, and 2.8 to the end, a faster prime probably, or the speed booster NX-L. I know, it is not ideal, but I do not like to shoot in darkness. Photography = write with light (I know, it's Greek language!), it isn't Scotography (write with darkness!). That's some. I am sure they are more, like the wireless capabilities and ease of use that by that time were unparalleled etc etc

@StryfeIt's amazing how forward-thinking that camera was. I am so glad I went full NX back then instead of GH4. Even if I had Panasonic lenses, I would have probably changed them until now, for faster/better AF and better IBIS cooperation, so loose-loose situation. Sadly, I do not own the 50-150, but a childhood friend has it, and always it blows my mind! I could add there the amazing workhorse 16-50S. I consider it a more versatile buy, than the Sigma 18-36. It's not amazing after the 45mm, but the Sigma doesn't even go there. For video, with the right settings, I believe NX AF is more reliable (reliable I said) than a6300's. When I edit - simple stuff mostly, I am not a high end editor or colorist - I am truly amazed by the information I find in unusual places! I have noticed, a little bit of grain (a little bit!) reveals more information in the shadows (e.g branches in trees, in the background, that seem completely black to start with). Edit: ISO is the only disappointment, actually, not the ISO performance per se, but the terrible NR. I try not to go above 1600. Also, non punch in to focus, but excellent SAMOLED monitors, and excellent focus peaking (it must be, because I watch some stuff for a wedding I did in September, and most shots were in focus!). DIS+IS = DUAL OIS, if you do not have very fast changes of motion, it works.

of course, of course. The price is right though. A7i & ii (and the whole series to a point) had a lot of basic issues and were rough around the edges. Better grip, battery, 4K, touch screen, new sensor and some improvements, can bring a lot of people to the full frame field. No real facts though. We will see. The market will be very strong, very soon (with the latest announcements, a couple from last year, and the next ones!).

So, If you are not a sports photographer, is the A7iii, for a portion of the money, a better option than the top-flagship-high end?! Except if it doesn't have something simple, like no ports except a micro USB2.0, just for the shake of market fragmentation and what not. Interesting though, and the price seems right.

After posting in this thread (my experiences with the GH5+12-100 combo were recent, that's why the enthusiasm), I believe that the best lens for your job is the one you already have! If you shot just one focal length, maybe a great native and very fast lens could be all you need, taking the camera one step back or forth isn't a huge deal and you can achieve interesting results. I remember in the video cameras days, we were shooting interviews for TV from the back of the corridor, or on another room, or from outside the house (!) to achieve some kind of separation. Sensors were counting on a portion of an inch back then! I have heard good words for some - ultra expensive - primes from Olympus, but I guess in the price of one, you can grab a couple of Veydras and be a happy camper. Good luck, and hope to see your work soon!

Everything is perspective. As I said, a prime will do the job perfectly, I thought the OP asked for a zoom lens, so my experience with this lens is that is a "do it all" zoom workhorse, we had one for each GH5, and an Olympus fish eye for some special shots the director asked for. I do not even have any of the footage, my work is to shot (or do the sound) and deliver whatever I have to the editing people. The only high pro work I do in post is sound design. Obviously a 1.4f lens will be much better than a 4f one, but the 12-100 can be put in the camera, and never taken off until a specialized need. Depending the project, a zoom lens can save ones job. If there is no time limit, or the crew is sufficient, then you can go full primes, but in television that has happened only once in my career, when I did sound for a little while in one of the greatest Greek productions ever, all the rest were done with zoom lenses. You can try with whatever tele zoom lens to experiment with subject separation, the kit lenses (the usual 50-200 ones) will usually be around 5.6-6.3f, and their optical qualities are worst than this zoom. In my line of work (TV, live performances, events) I do not have the time for these, and that is why I do not own any 85mm lens (I do own sets of FD and M42 lense, but haven't use them for years now). For whoever works with m43 and needs a zoom, I will always suggest this one, until I use something better and more convenient.

This is what Fuji does to us! Just put a 4:2:2 8 bit codec (if you can't make it 10bit) in there, a better touch screen implementation, a few wireless options that in 2018 most (not all, most, I have to be very careful how to use my non-native language) have and most (same as before) expects, and everyone would be happy! The camera is not ground braking in anyway, so it won't stay in history for something that did first time, or extremely better than any other, so in the end, sales will indicate everything.

@User stuffwhitepeoplelike

The history of this decision is well documented even by before the film was out in the cinemas in 2002. We discussed the same this subject extensively on film school. They didn't have the budget to shoot the whole thing in film, nor the time, so they had to take "an artistic decision", other people prefer B&W for some similar reasons (cheap 16mm film, rather than color 35), we do such decisions every day when we do not have the budget, the crew, and/or the time, and I do call them "artistic decisions", because in the end, you make a plan and you follow through. Cassavetes and Italian neo reailsm are two of the strongest influences in my life, and they were really far from perfect technical. Hipster in my terminology is someone that takes the motto "form follows function" in the opposite direction. I love nice and beautiful designs, but the purpose of its intended use is not to look at it, but e.g hold it -when this object is a camera - for 5-8 hours per day and earn what I can because is my only sort of income. The first time I read about "hipsters" was in W.S Burroughs "The Junkie", a book published in 1953, since when I read it, I have a comical description of this term in my mind, which changes every decade or so.

I have total respect for you and your opinions. Never brought the subject matter again! I hope Fuji the best, a little bit dissapointed, that's all. I was expecting it to be my next system, as we all know NX is dead, and I do not really care for full frame aesthetics, price, size, weight, sadly, I see that I will have to look elsewhere soon. That happened with the C200 also, I was expecting it to be my next workhorse camera (together with the 18-80!), and then I realized it is missing something essential for my workflow. Those decisions is small markets such mine, are make or brake. All the best.

"If I had shot those on a big negative, it would have looked absolutely stunning," Dod Mantle reflects. (now it doesn't?!) In those particular instances, of course, we would not have been allowed to shoot and take up so much space [in 35mm] for two weeks at such a delicate time before early-morning rush hour." (no time/no budget for film?!) "As I watched the morning light come over St. Paul's Cathedral with all of these beautiful violets, yellows and magentas, I thought, 'How much of this information am I going to be able to maintain on the final print for a massive throw in a big cinema house in London or the States?'" (did he maintain that information?!) They didn't have the budget and the time. They used 6 XL cameras for those 2 reasons, they couldn't afford 6 35mm cameras in anyway, they didn't have the time to close London for weeks of filming. time = money + (35mm = more money + close London for a month or os = even more money ) = money they did not have. They lacked both, the movie is great anyway, my point was that some times you take a decision based of your resources, and Sod took this decision for other reasons. In anyway, when you take a decision, you stand firm to that decision and try to do your best.

@Mattias Burling Not a lot of haters here, of everything, that is why we like to communicate and participate in most topics, with the best of our intentions (mostly). I believe there is a nice and creative community going on here. I always liked everything you did and said (I was pushing that "+1" button we used to have, or whatever it was all the time!) and I am surprised that as of late you have acquired a passive-aggressive stance that you mostly accuse others of, while defending curious decisions and older equipment, on a mainly tech forum. You have the right to your opinion of course, and no one ever tried to silence you (of course), but we have the rights to our opinions too. The truth is that this camera is not going forward the whole industry, like A7s, NX1 and GH5 did in their time. Is a better, sturdier version with better implemented "luts" in built, of an a6500. I would never buy an a6500, if I could buy this for 500euros more (yes, gladly to pay the premium), but there are other options in the market, equal, or clearly better, so better waste my money on better sound/editing equipment/or my family than go Fuji for this camera and a couple of lenses that they DO NOT have and I do. If this is the best Fuji can do, then it won't be enough to compete in 2018 with the rest. m43 already offer a a couple better options (and we are waiting for a new Olympus soon with better video specs), the few NX "fanatics" won't change - no way - for a stop better ISO performance really, new Canonikon mirrorless are at the gate and there is a very mature A7rIII, and an A7sIII to end all the video orientated hybrids (that's what Sony would like to do). We are not haters, the statement that Fuji does is not that powerful enough. I would like to see those 2 cheap hybrid - Cine lenses have great autofocus, then it could be an option against Canon/Sony offerings, but it doesn't even does that.

I quote a whole segment of the DoP of the 28 days that said clearly he would prefer to shoot on glorious 35mm, and all you got to say is that I do not have the right to have an opinion??! wow... Pi is one of my favorite films ever, it doesn't mean I still like the latest Aronofsky films (Black Swan/Noah/Mother! - Didn't care much). That goes with others as well - Lynch is another one, later Trier, etc. Image has nothing to do with it. I was educated in experimental cinema and video arts, where the quality of the image was the last parameter we analyzed, if at all.

@GreekBeast That was my point exactly! Your second older video, was more to my liking, didn't have a constant movement of its shots, that caused me nervousness. I didn't like the photos zoomed in (you should have shot 4K, and make the zoom ins, or zoom in from 100% to 120%, even this small-ish difference is enough to make your point and does not harm your image, hell, sometimes I do 100-105% zoom in and is enough to make my statement). Ibis is a huge trap, EVERYONE I know have fallen into. My advice is, do not forget your other stabilized methods. A TRIPOD SHOT IS A SHOT USING A CAMERA ON A TRIPOD! Nicosia, yes, but I traveled a little bit, I had many friends in Cyprus from Uni in UK. I leave in Athens by the way (a Greek, but not a beast!). @Frank5I will add again the same lens I did before, because I believe 2 times, that is the best lens for the job! Olympus 12-100 4f!! The separation when you shoot wide open, and above 50mm, is tremendous. The ability to have hard stops on your 2 focus extreme is unparalleled and very useful on the field, the quality in most focal lengths is outstanding, MSC ("Movie & Still Compatible") focusing system, minimum focusing distance at 0.15m (0.49ft)!!! with x0.6 magnification, real 5 stop image stabilization, fully splashproof/dustproof/freezerproof and so small and light! Sorry to say, but the new Pannasonic 12-60 handles like a toy in front of this, is 2.8 only on its wide end, and goes to 60mm, great little lens, good offer, but the Olympus is screaming business! If you do not really care about versatility, just buy one of the primes the people mentioned above. No need for a zoom on an interview situation really..

I just read the @Andrew Reid post. Very logic opinion as always, no brand-glasses, spot on. I will be waiting for the people's experiences around here, certainly isn't a worthy upgrade to my system.

I have 4 batteries among my 2 NX1 cameras since almost 3 years now (the first 2 had lost a little bit of their charge). When we go for work with Sony cameras, or even the new GH5 (it consumes a lot more than GH4 in my experience) we take 6 batteries for each camera, and definitely we will charge during the day. a6xxx cameras especially are power hogs and people (friends and co-workers) using them with power banks attached on monopods or tripods with velcro or gaffer tape. A7rIII is a much more complete camera with the bigger grip (for full frame lenses, do not forget) and the bigger battery. This is a mature camera, a camera to be taken seriously for advanced users.

If it didn't say Soderbergh in the titles, I do knot know if we would be talking about it, here, there, anywhere, or ever. The aesthetics and style was similar, and that was almost 15 years back. Obviously he is an acclaimed director, have won the Cannes and everything, and our shorts went a few festivals and gained a grand once, and most of us are humble and plain film and video technicians, so I guess my opinion is nothing, because Soderbergh is best friend with all the Oceans, and all. I am not bombed by the "iPhone" aesthetics because I do not take part in any of those. I use some, only for my job and very close friends. There is so much white noise around us, all the time, I can't afford to waste brain cells for things I do not care. Why exactly "Pi" and "28 days later" are here? (after Mulholland, including this, I lost interest in Lynch, Eraserhead to Straight Story, one of my favorites, later on, just experimental for the hype of it.) Pi was shot in 1997-1998 in 16mm, and 28 days later around 2001-2002 with Canon XL cameras. The first is amazing, in everything, the second, could do with a little better image. I remember back then those cameras were workhorse cameras, like the C100mkII are today. Can you not make a film with C100mkII today? of course you can, the 35Mbps codec is a joke in front of raw from Arri and Red, but you still can do it. We were using Letus's adapters with better lenses as well. Later on, we did a lot of work with the EX3 Sony cameras, again, Letus and whatever you could throw in front. But I will let Don Mantle himself to explain the situation. "If I had shot those on a big negative, it would have looked absolutely stunning," Dod Mantle reflects. "It was extraordinary to see those city streets deserted. I knew how beautiful those could have been, but we made an artistic decision and I stood by it. In those particular instances, of course, we would not have been allowed to shoot and take up so much space [in 35mm] for two weeks at such a delicate time before early-morning rush hour." Even at 4 a.m., traffic control could hold back angry commuters for just so long as scenes were shot at Piccadilly Circus, Westminster Bridge and the Docklands. These sequences necessitated the use of as many as eight Canon XL1 MiniDVcameras to cover all angles, allowing shots to be made as quickly as possible. "I placed them all and framed them all," Dod Mantle recalls. "It was very difficult because we had to deal with Walkie-Talkies, screaming commuters just out of frame, police asking when we'd finish and six or eight people operating cameras. Even my gaffer, Thomas Neivelt, and producer Andrew MacDonald were operating some of the cameras. I was trying to Walkie T-stops knowing that they were at six different angles in accordance to the constantly rising sun. It was hell. "As I watched the morning light come over St. Paul's Cathedral with all of these beautiful violets, yellows and magentas, I thought, 'How much of this information am I going to be able to maintain on the final print for a massive throw in a big cinema house in London or the States?'" and there is a lot going on about post, and choices, and filters, and techniques, etc etc They didn't just take one of those and shoot natively. So, the above choices were made from need, and Inland Empire and Soder/s choice is out of need to be different, for no particular reason at all (which I call "hipsterism in motion").

Beautiful Cyprus! stayed there for a summer teaching Robotics and Cinema on a kid's summer camp at Fredericks! Just out of curiosity, is there any shot in your video on a tripod?

So. Extra video crop, no headphone jack and 15 minute record limit. For being targeted at video shooters they sure has a funny way of showing it. Even NX1 has all these video attributes and more. The H265 codec reaches (or exceeds) the 200Mbps H264 threshold too. Records 78min continuous by the way, and it is much smaller and lighter.

@BTM_Pix since you came back, all your posts are spot on! You brought some fresh air with you, from wherever you were! In the whole video there isn't any IBIS shot (it could be, but I am sure it hasn't), or internal recording. Anyways, I agree with Matthew Allard ACS Newsshooter Team Tristan Pemberton • 2 hours ago Not a bad effort, but too many limitations in my opinion. Don't see a lot of people outside Fuji ecosystem buying this. Probably Sony users will move to the A7sII for less money (it is already sold for similar money brand new), Nikon users are waiting their own mirrorless (there is a significant pool of Nikon users using Fuji as their mirrorless system), Samsung NX is dead - but we are not changing any time soon for lesser or equally good cameras, m43 crowd are better with their GH5 and GH5s's, and Canon, well, it's Canon, they stay Canon!

https://www.imaging-resource.com/lenses/olympus/12-100mm-f4-is-pro-m.zuiko-digital-ed/review/