Julian

Looks like an amazing camera for professional users with low budget, or amateurs that just want to have a bad-ass pro camera

Too big for my taste. I'd like a dslr-sized URSA Micro though

Maybe modular like the VariCam 35?

To be 'ground breaking' and 'disruptive' it needs to be more than a 4K camcorder...

The hints sound like camcorder, combined with the image on the blog I expect a fixed lens.

Is this an existing model?

I checked the Fairchild website since they use their sensors in the Pocket and Cinema Camera. The chip mentioned on bmcuser is the LTN4625A, you can find all the info on the website: http://www.fairchildimaging.com/catalog/focal-plane-arrays/scmos/ltn4625a

It does tick the 4K @ 240 fps box, but it's a 12MP sensor, not a chip with exactly 3840x2160 pixels like Andrew is talking about.

So no more CMOSIS?

Like Andrew says, XF-AVC is just H.264 with a fancy name, like Sony X-AVC. So Adobe hardly doesn't have to do anything to support the files.

12 stops DR is what you can expect from a 1 inch sensor. A firmware hack is not going to change that.

I'm sure it will find it's market, or Canon will create a market for it. That doesn't mean we - enthusiasts with a hunger for best value - are going to fall for it...

The XC10 opinion article on dpreview is a joke...
http://***URL removed***/articles/1113663915/opinion-why-the-canon-xc10-is-a-big-deal

You got a nice deal there. Doesn't seem to be a regular price drop though: http://snapsort.com/se/cameras/Samsung-NX1-price

Prices in € seem to be pretty much fixed at €1499. I can't find it any cheaper in NL/DE. Might have to do something with the exchange rate of the dollar vs euro. Recently hardware is getting more expensive because of it, so price drops probably aren't very likely at the moment.

The lens has IS (in the lens), it does work when recording 4K. When shooting 1080p you get 5 axis Dynamic IS, which is a combination of lens IS and electronic stabilisation.

In Europe it's still €1499 everywhere.

Official video by Canon. With ugly clipped highlights... (1:00). I suppose it could look better if shot in C-Log and graded properly.

​Wide angle when shooting 4K (27,3-273mm f/2.8-5.6). The FZ1000 crops the sensor at 4K and turns the 25-400mm lens into a 37-592mm.

I prefer the FZ1000 form factor. It's a lot stealthier because everybody thinks you're taking pictures instead of video. This looks more like a camcorder.

Also, it looks like the XC10 can't shoot raw photos. Which makes it a bit silly as a serious hybrid.

Remember the Canon EOS 500D? 1080p @ 15 fps

The Nikon 1 J5 is official now. 4K at 15 fps.. lol. Reminds me of the Canon EOS 500D (1080p @ 15 fps).
Anyway, this probably means the Nikon 1 V4 will get 4K @ 30 fps...

I'm surprised they even used some of the choppy 4K in the promo video:

Yeah, so you know where he gets his inspiration  

Nice effort indeed, but a GH4 successor is not expected soon. I think it might come around Photokina 2016.  

​The GH-series has always been on a 2 year schedule. You can't expect a new model after just a year. 

​Also there are a lot of other cameras in the Panasonic line-up waiting for an update. GX7 and/or G6 successors will come first I think. 

Tried some NX1 files (80mbps 4K) with the same settings on my i7 3770 (4 cores 8 threads), 16GB RAM.

I'm getting about 6.0 MB/s and 16 FPS when converting 4 files at once (I can't set Max Jobs higher than 4).
It makes sense your 12 core machine is faster, but how come you get dubble the fps but the data rate is not that much different? Does that depend on the source files?

When using RockyMountain Movie Converter (4K ProRes LT) it says it's working with a bitrate of around 275000 kbps. This translates to around 35MB/s. The 4 files (46 seconds in total) take about 90 seconds to convert.

With Photon the same job is done in 68 seconds. The resulting files from Photon are a lot smaller though (600MB vs 1,5 GB for RMMC) with those settings.

Also just noticed that the files from Photon have less contrast - RMMC seems to clip the blacks and whites where Photon still shows detail. Interesting, because the RMMC file looks the same as the original file when played back, but this might be another playback issue with contrast/blacklevels...

Trying to do some benchmarks, but when I drag & drop a NX1 file into the program it just says 'Calculating...' and nothing happens?

Nevermind, didn't have ffmpeg.exe in the right place, running a test now :)

It's still a $6500 camera with an EVF from the devil's arse

There actually is a very nice wide, bright and native solution coming up: the Voigtlaender 10.5mm f/0.95. Won't be cheap though. Probably well over €1000
http://voigtlaender.com/10,5-mm-f-0,95-nokton.html

Or the Kowa 8.5mm f/2.8, same price range...
http://www.kowa-prominar.com/special/wide_lens/index.htm
Expensive, but good: http://whimsical.nu/2014/12/01/a-kowa-prominar-8-5mm-f2-8-micro-four-thirds-lens-review/

@JFR: And switching to a C100 II is going to make that difference?

The video by The Delivery Men you are showing is great. Is it great because it's shot on a C100? Would it be worse to watch when they had used a GH3 + Speed Booster? Maybe it would have a little more noise... who would care... it still would be awesome, because it has great production value. It's not the camera that makes it that good, it's the talent of a pretty big team:

Agency - The Delivery Men
Story - The Delivery Men
Staring - Jessica Perrin, Dietrich Schmidt, Diane Perella, Walter Allan
Directed // DOP - Joe Simon
Written - Hussain Pirani
Executive Producer - CANON CAMERA, Brent Ramsey
Producer - Gina Gatto
Casting Director - Sarah Dowling
Hair and Makeup - Misha Fruge
Gaffer - Derrick Mitchell
Grip - Chris York
Production Assistants - Katie Mcgaha, Derek Fuller
Editor - Hussain Pirani
VFX - Graham Hutchins
Color - Joe Simon
BTS Camera - Tyler Gorrell

You have a speed booster, if you put the Sigma 18-35mm on it you get something close to 12mm, so I don't see the point of the 12mm f/2.0.

Also, the 10mm is a dslr design. They do sell it with m43 mount, but it's still the same lens, just with a 'built in' adapter. That does make it a nice tight fit, but wouldn't it be preferable to get a Canon/Nikon mount version and put it on your speed booster? Then you can use it as a 7.1mm f/2.0. Not sure about the optical qualities though, haven't used them myself.

edit: not sure if the 10mm will completely cover the GH3 sensor with a speed booster though, since it's an aps-c lens.

Even a 4.3" 800x480 DP4 costs $599. How much money do they make on these things?

I wish smartphones had video input options... I'm already walking around with a nice 5" 1080p screen...

The SmallHD 502 on-camera monitor features a Full HD, 1920x1080 LCD display. With a pixel density greater than the iPhone 6 similar to any 5" Android smartphone in the price range of $300-500 that has been released the last few years.

record one video stream into three different container formats, frame sizes and frame rates

Is that even possible? (recording at different frame rates)

​Sigma 8-16mm if you want very wide.
Sigma 10-20mm if you want cheap wide angle (used less than $300)
Tokina 11-20mm f/2.8 (or the previous 11-16mm 2.8) if you want wide + big aperture
Samyang 12mm f/2.0 (comes in NX mount) 
 

That's a very old image, showing the Nikon 1 V1 with some 'concept' accessories that never hit the market. Even though the V1/V2/V3 aren't targeted at soccermoms they lacked 24 and 25 fps options.

This is a promo movie for the Nikon 1 J4, says enough I wouldn't expect the 1 J5 will suddenly be aimed at filmmakers.

The big question is WHY though. Nikon doesn't have to protect any film business.  When they introduced the Nikon 1 V1 in 2011, it would have been appealing as a small video camera if it had at least proper framerates.

Technically speaking, Nikon could make killer video cameras in the 1 series. We've seen what people managed to do with the 30/60 fps raw burst. They just have to stick a huge buffer in it and give it a 24 fps raw option....