sandro

Love the top picture. 

Got the Nikkor 50mm f1.4 today. Now I just need the 35mm f1.4 that should arrive later this week before my Cheap Vintage Nikkor Set is complete.

I dont have the 16-50S, way out of my budget unfortunatelly, these were all with Samyang 24mm f1.4 and Samyang 14mm f2.8. All of them are videoframes, even though the last ones dont have the black bars, thats because I forgot to add them.

I'm pretty sure Premiere will use all the cores, especially for encoding (h264 is multi threaded).

4K can be challenging to edit, regardless of hardware or software. I use both FCPX and Premiere CC, and FCPX has a major advantage with integrated proxy support.
However you can edit off-line lower-res proxy files using a manual procedure on Premiere. People do this all the time. The procedure is outlined in this article by Tony Northrup:
http://www.rangefinderonline.com/features/how-to/Getting-Acquainted-with-Offline-Video-Editing-to-Ease-You-Into-4K-8988.shtml 
As already stated, defer things like stabilization and noise reduction to the final phase after you've switched back to 4K.

Well, you could buy four 5300's or one MKIII.
On the web, there are hundreds (or likely thousands) of posts, reviews, tests, and so on for these cameras. The major differences are, of course, price and sensor size. Sensor size has a really big impact on your footage and in many cases it's big, big differentiator as far as the look you want to achieve. Then there are dozens of smaller differences, from color rendering to menus to size to… etc etc etc.
I don't think anyone can answer this with zero info about what you want to do (other than the fanboys for either body). For the $$, the 5300 can give a really beautiful look. If you want raw, that's another thing entirely and you should be considering raw cameras. In many ways you're comparing apples to elephants here. If you have the money for a $2400 body, I'd start thinking about what features you really need, what sort of look you want, and which cameras deliver it.
If your budget is $600, you might be hard-pressed to find a better body (new at least) than the 5300. You'll be limited to Nikon mount glass though, which isn't a giant limitation - only about 5 decades worth of glass out there. But it doesn't seem like you've thought this through or done much research. If you're an absolute beginner (and we all were once), get the cheap one and see if you actually have talent in this area first. If you've got money to burn… I dunno, get an Ursa Mini.

Mortgage the house and you can get 16 bit raw photos ;-)

The developer of RMMC is planning on releasing a new version of his much acclaimed H.265 converter tonight. This new version will now have the option for an input LUT.

http://***URL removed***/forums/post/57045260

This will improve my workflow significantly. J
 
I can't wait to try it out with the gammaDR2Log Lut 

This is interesting to see, Amazon has raised the prices considerably since the holidays. I bought nx1/16-50S for $1950 from Amazon in mid December, and now the same package is $2800.

The combination of the 2.2 crop factor in 4k and the Nikon F mount makes for a really uninteresting camera in my opinion. It's like shooting a GH4 with adapted DSLR lenses but no option of a speedbooster. I see it as a pure spec sheet gimmick for marketing.
I went from "omg I need it!" to "why would anyone use that?" in the time between the anouncement and people posting the specs.

Take GH4, make it full frame, add 4K 60, name it GH5 -  i'll take three

Do you guys think that Sony will ever make a FS5 like camera that uses the A7sII sensor?
It seems like the dream combo for alot of people that are used to DSLR style shooting, but would love the benefits of NDs, audio, 10 bit, raw out etc in a relatively small package.

yup lowlith is its weokaness but it bet it could be improved if they didn't apply that heavy NR.

Hi everyone,
As most of you know by now, Im an avid user of the NX1, specifically for video, however, I photograph on a daily basis as a hobby. For the most part im extremelly happy with the NX1 as a stills camera, however, coming from an OVF, im still getting used to the EVF. This might be a "silly" question, but, my EVF does not show exacly how my still will end up looking, I mean, if I change settings (aperture/shutter speed), it does not give me a real preview of what im getting, instead gives me what the camera thinks I should see.
Is there a way to change this ? Are all EVFs like this, and this is common practice ? wouldnt it be better if it gave real preview of what im capturing ?

I don't want to sound negative, but what you are looking for will be pretty bad on any camera system, it's only a question of "good enough". These super-zooms are made for convenience, not for absolute image quality. If you shoot for web galleries or comparable use, all of them are sufficient and so will be the samsung 18-200 I would think.

Can you do the opposite? Record in 16-235 and bring back 0-255?

I've been shooting for a living for over 2 decades, and one of the definitive signs that someone is an amateur is any statement like the above.
That's some massive insecurity you've got going on, man. Professionalism isn't about the gear.  

Keeping the nx mount would be the wisest move. Compatibility with great s lenses (small for what they are) and small pancakes, with many mf legacy lenses, thin body. So a big range of existing and great native and legacy lenses.
 
A nx to F intelligent adapter would make things just perfect. A huge range of bigger but good lenses.
 
The best of both worlds.

I can also suggest to avoid shooting in 120p at high ISO. At 1600 details will be lost big time, I believe due to the bitrate too low for this framerate (?).

The one linked. It only works on G lenses of course. I use it with the Tokina 11-16.

Thanks Tupp, my issue is not with achieving focus: what I get with the NX1 assists (zoom and peaking) is excellent and tack sharp. The problem is that if I stop the recording and resume later, the focus is off even though I didn't touch anything else. It doesn't happen every time, so I'm baffled. I believe this has something to do with the lens being focus-by-wire and not true MF, so somehow the camera is resetting on occasion. Sadly, NX1 is like an eccentric genius, and it does have its bizarre moments.

. Yes and in my opinion that's horrible. the a7rii have more options for recording, less rolling shutter in FF mode, who cares if the ful lreadout is crop? you can use more lenses and use the speedbooster, are they even aware of the speedboosters ? it is dissapointing that a7s is not better in video. At this point, after seeing all the test shots, I am disappointed and have to absolutely agree that a7s ii was rushed, and not needed. It is simply a rip of for the guys who bought atomos. Moreover this camera doesn't offer anything more from the a7rii but a bit better lowlight (really in all the tests i ve seen, unless you want to shoot in moonlight, which you still can with the a7s mark i) and the 120fps in 1080p which is still not that stellar. i am dissapointed, rebranded sensor for 2899USD with a major sunspot issue ? WTF SONY ?! they should have waited, bring out a mature product , and separate it from a7rii with video completely like 10bit, (i dont care if the current processors do not support it, change them) so that we dont need to hesitate between those two. oh god sony why ?! 

Imagine if they could hack the camera and achieve a more "raw" video quality. We could get a similar quality at 6400 like you did instead of that 1600 usable limit.

Its there.

The one linked. It only works on G lenses of course. I use it with the Tokina 11-16.