Emanuel

4K if you like 15fps! Lol

Another video with the different shutter angles
 

RED ONE MX (forget about the first version), is an incredible camera, but it is very heavy, and there are many other options out there which are better, but if you don't mine to use a heavy camera and you get it for a very good price with all its extras (monitor, SSD, etc), then could be an option to consider, to be honest the risk something get broken is low, the camera is really a tank, just make sure you tested it before you buy it, and be sure everything is working.

I'd make the counterpoint that it is easier for a cinema camera which appeals to a niche market to thrive and remain viable than a mass market stills consumer camera.

Jon, I think Matthew meant such ignoring mode underestimated the tool. People were surprised with Samsung's dare. Pity, ended too short.

Jon, I think Matthew meant such ignoring mode underestimated the tool. People were surprised with Samsung's dare. Pity, ended too short.

New Optoma models also to come... :-)

@Mattias Burling NX500 cost half the money of 70D and still is by vast oceans better in most things. NX1 is a direct competitor to those kind of cameras and totally annihilates them. Cameras don't kill people, people do!
@jonpais to ignore something is even worst than a bad review. Ignoring is not accepting, something ignored and not spoken for it doesn't exist. Also, the DPR review came when Samsung decided to kill the division, that same year DPR awarded NX1 as best in its class (including the 7, and 70D cameras by the way), and the 16-50S as the best lens of the year. Too late though. 
Also, when the NX500 was out, everyone laughed about the 4K crop (and the lack of EVF, which for some is a big thing I admit, not for me obviously), when the D500 came a year or two later, with a 8mgpxl smaller sensor, and a huge and heavy body with a similar crop, it became the best camera of its category.
The Cinema 5D's review was the first and influenced most the industry. DPR did the aforementioned good things about the reputation of NX1, but it was too late. Mainly it was managements fault, review of the market/trends (mobile camera phones are much more profitable), power strangle inside the company, and the such.
The camera was great though, and the system back then(and still now for the most part) had a better lens selection (and cheaper, in APS-C always) than Sony, Eos M, Nikon is not competing, and in some specific areas better even than Fuji (of course not as complete, but the S lens is unparalleled, the similar Fuji has no IS and its worst in most metrics, no native fish eye in fuji etc.)  
One of the reasons I am not changing, is because there isn't a clearly better APS-C camera right now in the market (and I am talking native APS-C), nor a better lens selection for what I DO (and I have 4 NX bodies and 7 lenses), or I have to "invest" a substantial 5 figures number to achieve something similar.
I do have the feeling that we will see something soon, maybe the new Nikon, in anyway we will see, and NX is still relevant. Remember, back then GH4 was a 16mgpxls camera, and Fuji also without doing video.
 

https://jimchungblog.wordpress.com/2017/12/15/viltrox-ef-m2-adaptor-tested/
 
 
 
 
 
 

AF sampling speed changing with shutter angle?? This is interesting. I wonder how it works with 4k 60P? What happens with Panasonic lenses?
Thanks for sharing Emanuel.

I couldn't have said it better, and I didn't, you did! 

Yeah I have a t5i and they got their moneys worth out of that sensor LoL. I think they just want to protect the 5D mk IV and the Pro C series stuff. But hell I think, like you think, it is a crazy way to run a railroad in this day and age.

@Matthew Hartman great post, man :-)

I know I should be hawking the 1DC right now.
But, if I were you... Because you are coming from the NX1... I’m sure you haven’t invested in many Canon lenses....
Go with the Gh5... and later the Eva1...
You know that Panasonic won’t disappoint in the long run.... and because your a bonafide film student... you of all people should appreciate the 6K opengate anamorphic mode.... 
 

I shoot YouTube content on my 1DC almost every day and edit on a base model MacBook Pro 13” late 2016. I transcode all my footage to either 2k ProRes LT or 4K ProRes LT using EditReady 2.0. Sometimes I’ll also convert to proxy inside of fcpx if I’m doing 4K. Honestly, I need an iMac pro to handle the footage natively but the best thing about the 1DC (and MJPEG 4K Canons) is the 8bit 4:2:2. Footage from my 5 year old 1DC still looks better than a modern C200 8bit 4:2:0 .mp4 and has better low light too. 
You can even do AF lock on your face really easily for selfie shooting 
 
 
with that being said............... I’m still considering going to 1DX II for the dual pixel AF. It truly would make shooting myself a breeze. 
 
The codec sux on one hand because it’s massive and you need to convert it... but once you convert it to ProRes it truly is a dream when you look at the picture quality. 
Also, the perk with 1DC that 1DXii doesn’t have is the superb Super35 mode. Looks identical to C100 footage. It’s 8bit 4:2:0, but because it’s pulling straight off the sensor, it is super sharp and detailed unlike the 1080p full frame 1DX II image. Again, so so so stupid that NEW cameras like 5Div and 1DXii 1080p is still as soft as it was five years ago on the 5Diii internal. So so so stupid. 

I'm going to be bold and just state my opinion some may find offensive. To get better video (or better moving images) in terms of the NX1, like Kisaha said you have to move up to a dedicated proper cinema camera, which judging your talent you should be seriously considering.
Even the GH5 or Sony A7RIII isn't going to give you a huge leap in terms of quality except the 10-bit in the GH5/s, over the NX1, but even here the difference isn't going to be staggering.
I'd hate to see you throw your money at these bodies and be let down, because I know your next investment has to really count for you, and I know how much you like the NX1. I know you and I have spoken about this away from these boards, but I want to state it here too for those in a similar situation. I think a lot of us think about this subject a lot. 
This is why I'm personally moving into BMD (still keeping my NX1 for BCam) which seems like the natural step up in terms of cost/quality gain. Dollar for dollar the UMP gives you a ton of bang for the buck, I'm actually shocked BMD is not jumping on the RED/Arri bandwagon and charging an arm and a leg for their products, because they could and still sell them just fine. Kinefinity is another that comes to mind here. This is great news for the industry. Bad news for RED and Arri. 
I've seen the UMP footage cut with the Alexa footage and it holds up very well, they're very similar in terms of DR, aesthetic and how they capture motion. Both look very filmic. The drawbacks of course is the weight and size, ( and limited low light capabilities of a cinema camera) which if you're like me, would mean also updating some of my stabilization gear to support the cam's weight. Sigh. No one said this industry is cheap.
Personally I'm not impressed with the EVA 1, which by the time you outfit the UMP is comparable in price. It's build is very plasticy (although light) and ultimately the image looks less filmic and more "video-ish" to me, much like the GH5. Some ppl like that, it's just a preference thing for me, no hate here. 
Cams like BMD, RED, VariCam, and Arri have a certain "weight" and "depth" to their image, whereas with a lot of the competitor brands the image looks a bit "thin" and "edge-fringed" to me. I struggle to describe the image in technical words but my eyes notice it right away. Perhaps it's because I've only seen "bad" examples online or perhaps it is what it is. 
But hey, it's a wonderful thing that we all have options in the market, so each to their own. 
Like you and I discussed already, it's probably worth waiting a few months. I have this nagging feeling someone is going to drop a bombshell camera this year and give many of us buyer's remorse. IF (a tentatively doubtful if) it's a new NX camera, it's going to crush a lot of competitor's dreams, let's get that straight. And hopefully this time the industry won't lynch mob it like they did with the NX1. 
The sky looks rich in this. 

Talking pure 4K quality alone, the picture seems to have an edge on the D850. Shooting a comparison now, including the GH5S and it's clear. The D850 has less moire and aliasing, more solid and convincing detail, which doesn't have as much false detail on fine patterns. It's a small but significant difference. Codec and colour seem to have an advantage on the D850 as well. I'm surprised. It's like a 'Nikon' 1D C.
I wonder why Sony put all their latest tech into Nikon's 46MP sensor and stuck with the slightly less capable 42MP sensor themselves?
There are other differences though... A7R3 has proper LOG modes not just a flat profile. I've yet to test dynamic range, will do soon.
In low light, I realised I made a mistake in the last test that focussed on the GH5S. The D850 had noise reduction completely off. It really does seem to turn it off and give you a fine noise grain. Need to retest the ISO 12,800 vs A7R3 and see the impact of noise reduction on both cameras, and whether it turns off completely on the Sony (or not) and which has the most capable system of reduction. We all know the A7R3 noise reduction in full frame 4K is pretty much magic. Does the Nikon do a similar job?
If we're talking video features and form factor it's a non-contest... A7R3 cleans up across the board especially with it's superb video AF and stabilisation.

I think maybe you have been on Too many excursions LoL. Your focal is well, out of focus. There is no real definition, meaning of "focal excursion".
As for a zoom you need a 70-200mm equivalent lens. Maybe a 70-300mm, but they don't make really good ones of those. Anything above a 300mm equivalent I don't recommend a Zoom, just a Prime, But there is a 100-400mm that people use. Hard to do handheld. But you get into haze, heat wave problems, too much compression with a lens that long.
Now if you Really want a zoom lens I have had several Fujinon lenses like it. Not a 99, but couple of 70's. Now that 99 will end up being 1700mm, and with the 2x factor on a m4/3 it will be 3400mm, that ought to do it.
https://www.ebay.com/itm/NEW-Fujinon-XA99X8-4BESM-T-8-4-832mm-f-1-7-4-2-2-3-EFP-Box-Lens-Finance-w-AC/281561037688?hash=item418e587b78:g:nk8AAOSwk5FUtCSy

focal excursion? Somehow that sounds obscene! What are you going on a Safari or what. I don't get it?

Working on something now that I think you're going to like ; )

Panasonic knew, and knows they were not going to sell many of these cameras. You might be right but it seems crazy to me to believe it is Not a Sony built sensor , with Panasonic input.
But Panasonic did build the GH1, GH2 sensors. With those and the Gh5s all being multi-aspect type it does not sound like a Sony thing to be honest. I guess someone will rip one apart and we will find out down the road.

Errr... it wasn't like they finished the GH5 and *THEN* started on the GH5S, rather it was started waaaaaaaaaaaaaay before

Robert I don't think that is the case, as per Sony specs the HDMI output of the camera is uncompressed therefore the final bitrate is dictated by the encoding you use (the maximum you can get on the Atomos is Pro Res HQ which at 30p in QFHD has a data rate of 882Mbit/s plus you get the benefit of the 4:2:2 colour sampling)
This is very interesting, thanks Emanuel! :-)