IronFilm

If size is a priority, then you should go for one for one of the Sony RX100 series. Sony RX10 mk1 / mk2 or Panasonic FZ1000 is also worthwhile checking out, good for the newbie shooter just starting out. Otherwise Sony A5100 / A6000 or Panasonic G6 / G7 or Nikon D5200, or all good to check out.

If you're in the UK, the promotional price for the G7 is just too good to overlook!

I'd go for the Tokina 11-16mm f/2.8 for sure, *if* you don't mind the extra weight. Get it in a Nikon F mount, and a RJ Lens Turbo. For a huge zoom range, the Nikon 24-120mm f/4, or the Panasonic 14-140mm? (I used the 14-140mm today as my only lens on my G6! Shooting with it and GoPros, for a car review video for a YouTube channel.

Daaaaamn!! Makes me feel bad about my recent G6 purchase for only a bit less :-/ Oh well.... life goes on! I can't get such a crazy good deal in NZ any way. http://www.amazon.co.uk/gp/bestsellers/electronics/430660031/ref=sr_bs_1 G7 is now the most popular seller in the category!!

Yeah when the URSA Mini 4.6K finally launches, and if it lives up to expectations, it could be the answer to all that. However at nearly US$5k (then once you add in CFast, V-mount, EVF, battery plate, etc..... you very quickly add on thousands more!) it is in a radically different price bracket to a NX1! Even an NX1 which is double, or triple the price, is still in quite a different price bracket to an URSA Mini 4.6K

Ohhhh..... of course!! That would by a lovely "extra" to include. Even just simply an open SDK would be a huge leap forward over anything else being offered by the competition. Now I've got a nicely balanced 5 *must haves* and 5 wishful "nice to haves". Why partner with Blackmagic??? Samsung has in house far far far faaaaaar more experience with processors. Just going open source with their firmware. like benymypony said, would take care of this. No need for a formal partnership, so long as they make it easy to play with then people will come (Doesn't even have to be open source firmware, as that might be too much of a dream. Could be a public SDK, or even just a good open API. Properly done in exposing it, not like Sony's half arsed camera API). You do look at the side of a camera and wonder surely it can't be that hard to squeeze out a few extra fractions of a square centimeter to upgrade the HDMI port to a full sized one...... especially if it is a video focused stills camera!! Such as a GH4, BMPCC, or A7s mk2, maybe they'll finally come to their senses with the GH5 or A7s mk3 and give them a full sized HDMI connection? At least BMD to their credit gave the BMPCC mk2 (aka BMMCC) a full sized HDMI port!

http://www.eoshd.com/2015/11/official-statement-samsung-withdraws-from-camera-market-in-germany/ Andrew suggested Samsung should make a cinema camera, and thought that is such a great idea it deserves its own thread. (waves to Samsung reps! Hopes they're reading.... one can but hope!) I don't think it would take much more to get there (well.... it would be a significant sized project for Samsung for sure, but easily well within their grasp to pull off). All they need to do is increase the size of the NX1 body the minimum amount needed so it can do this (perhaps C100/C300 shape/size? Although, I'd much much rather have the ergonomics of an FS5/FS7! But even if, g-d forbid, it has the shape of an FS100/FS700 then I'd still be "ok" with that that!): Make space for dual mSATA slots, perhaps mSATA already in their own simple plastic casing like what Atomos does with SSDs (I think Sound Devices made a good choice going mSATA on their small PIX-E5 recorder, and in a small camera it makes even more sense over the large SSDs). Dual slots are needed so you can write a proxy to the 2nd slot, or just simply if you need the extra bandwidth when doing 6.5K raw at high speed. Can't stick with SD cards, as they won't handle 4K ProRes HQ, which leads me onto my next point....Add DNxHR / ProRes, whichever licensing of DNxHR or ProRes is easiest for them to get. Though having ProRes HQ would be preferable I suspect over DNxHR (just because ProRes is more commonly recognised by the market, thanks to BMD and others widely using them), plus ProRes 444 or even raw would be dreamy! (but maybe a little unrealistic in a $3k camera?!)Add two XLR inputs. Make its HDMI port a full sized HDMI port. Add two SDI outputs (important to have two, what happens if one breaks? You'll have a nearly useless camera for many people, as SDI is for them *essential*. Plus is very common to run more than one monitor in a production environment, thus got to have two)I think if Samsung did this (and nothing else, just the five points listed above: mSATA + DNxHR/ProRes + XLR + full HDMI + SDI inputs) for US$3,000 then they'd have a huge huge indy cinema camera hit on their hands! The next DVX100 or 5Dmk2 of our generation?? Even if it came out at US$5k I reckon it could maybe still be rather successful, although it would be up against the URSA Mini 4.6K, Sony FS5, and Canon C100 mk2, all at a similar price point. (plus whatever else comes out in the next 6 months) For bonus points Samsung could do: Camera mount: just before, I'm assuming they're sticking with the Samsung NX mount that the NX1 has, and only making the body a little bit bigger. As Andrew mentioned perhaps their mount held back sales of the NX1, maybe this cinema camera should have a different mount? Ideally I'd like to see them use the Sony FZ mount (as this would mark it out as a true cinema camera, able to be used with the best of the best cinema lenses, yet also allowing tremendous flexibility with this mount!), next best choice would be using the Sony E mount, 3rd best is Micro Four Thirds (like the JVC LS300). Branding/marketing/licensing issues mean I expect sadly all of these are out of the question. Thus I feel the best Samsung can realistically do is create their own open cinema mount, which has similar features to the Sony FZ mount. But make it completely open and easy for anybody else to adapt. Thus Samsung will start off by selling their Samsung Cinema Camera with the high prestige PL Mount, but in a blink of an eye we'll see third party manufacturers offering adapters for everything you can possibly imagine (like they do now for the Sony FZ mount!).High Speed Options: apparently their engineers managed 6.5K 240fps in testing, maybe we could at least get this cinema camera to give us 1080p 240fps or 4K 60fps?High than 4K resolutions: give us all 6.5K resolution from the sensor!! :-oRaw: need I say any more? This could hit it out of the park! What are your thoughts? Remember, it should be based on the existing underlying NX1 technology (so not too much more R&D is needed for Samsung to get it to market), or using commonplace readily available tech (such as mSATA, or SDI connections) and hit a US$3k price point or at least not more than a couple thousand over that.

Lindesay27, blame Canon for not outputting audio over HDMI!

It is shit shit shiiiiiiiit at low light compared to a Sony A5100/A6000 or Nikon D5200/D5200/D5500! Don't buy a Canon

jeffpb7, love the look of it! However the audio is messed up :-/ I'd focus on that next time.

I think his problem is the 5Dmk3 doesn't output audio over HDMI?!?!

It is against the laws of science to be able to record it without a clean HDMI! (as you'd end up recording the overlays as well, obviously) Sony A6000 or Nikon D5200 are both good choices instead, better than the EOS-M. Curious why you went for the Tango? Thought they'd be on the way out with gimbals being so common place now. Ha!! Wonderful :-D :-D

No, it isn't the only monitor. The Video Devices PIX-E5 does that as well, but it costs two or even three times as much. The pushing the competition to stay competitive is already happening as I'm very glad to see! (and I have taken advantage of with my purchase of a Samurai Blade ;-) ) As Atomos announced the steep price drop on their HD recorders back at IBC. Might just maybe lead to a knock on effect of Convergent Design's offerings getting cheaper as well? (or even RED and their monitors getting cheap too? lol, maybe) Wonder if this might even lead to BMD shaving a hundred bucks or more off the price of their HyperDeck Shuttle 2?? As at their current pricing it makes almost no sense why a person could pick that over a BMD Video Assist. Yup, Nikon's D5200/D5300/D5500 is absolutely heaps better than Canon's APS-C offerings. http://www.eoshd.com/2013/02/nikon-d5200-vs-canon-5d-mark-iii/

That is my logic too for why I went for a Samurai Blade over a Video Assist!! But I might pick up a BMD VA as well anyway in 2016 if I see a price drop, or it takes a leap forward in firmware updates. That can go either way, some people can prefer the very cheap price and large size of an SSD, while others will prefer SDXC

I'm going to get the BMMCC as soon as it goes on sale for half price! ;-) Same way I got my BMPCC.... :-D

Stick with the Nikon system and get a Nikon D700, or the D600. Either are available for very cheap for a full frame camera. Or splurge out and get the best of the best (GREAT video too, the best from a DSLR), and buy a D750!

Nifty! I own the NX300 specifically, which is the camera the hack was actually just done on. Hearing the limit is removed is the best news I've got today :-D Reckon I will stick with my GH1 bodies and other m4/3 cameras for my multi camera filming for this wedding season (the good quality GH1 bodies with no record limit, and at a very low price, makes them a perfect set up!), but it now looks very highly likely next season will be done with NX300 / NX500 / NX1 bodies. (their easy ability to be kept charged with a simple USB powerbank is another bonus for using them with long running set ups)

To put it on a tripod? Or monopod? Or should rig? Many many reasons. Or maybe even... to go handheld! There are times when shaky footage is desired and appropriate.

I'm left wondering what solid reasons are there for getting an A7s mk2 over an A7r mk2?!?! S-log 3 would be a huge *huge* reason why for the A7s mk2. As I really like what people have been doing with S-log 3 in the FS7/F5/F55. But in the case of the A7s mk2, it is in a 8bit 420 camera! Which appears to be a little bit pointless from what I've read, if only they put 10bit 422 in it (even if only via externally).

CR1 = info pulled out of my ass, is more likely to be wrong than right! (ditto "SR1" or "FT1" etc, basically 1 is the lowest of the low possible rumor accuracy rating that the website can give it. So take any of those rumours with a HUGE GRAIN OF SALT)

a) I reckon people who use stills cameras for video mostly, are more common than you think. Pretty much every indie / low budget / student filmmaker is doing that. b) Sony now has allowed shoots to not use their lossy raw

I was curious about those Zomei too when I saw them, dunno maybe in a few months down the track when I next go on a filter spending splurge I'll find out

Having just got a recorder for the F3, I've written an entire blog post about my decision process to buy a recorder/monitor as I've been debating which to get for a long while (since even before I purchased the F3!!): http://ironfilm.co.nz/which-recorder-monitor-is-best-for-the-sony-pmw-f3/ Basically my logic process then went, if: a) you have a bit more cash, get the PIX-E5 Because aside from its price (which is pricey relative to a Samurai Blade or Video Assist, however PIX-E5 is cheap compared to any of its direct competitors!) it is practically almost flawless! Especially as I feel 5 inches is the “sweet spot” for an operator’s monitor while shooting, but if you disagree there is always the PIX-E7 instead with its 7 inch screen. b) don’t mind focus peaking / waveforms / vector scopes / etc are missing, get the BMD VA! Some people don’t mind living without these and don’t see what is the big deal, others would shudder at the thought of being without them…. c) otherwise…. am left with the last choice of the three :-P Get a Samurai Blade Or at least, that is how my thought process went. Thus personally I went for the Atomos Samurai Blade, which I’ll use with my PMW-F3. It arrives next week! (it just arrived today at my reshipper service in the USA) You can now rip into me for making the wrong choice :-P Or give me tips on using them together. For instance, I think the tagging (thumbs up/down) on set feature in the Atomos recorders only can be used with Final Cut?? (even though Atomos promised it would work with other NLEs) If there is any way to make it work with Premiere Pro or Sony Vegas (or even DaVinci Resolve's editing?! Just I can't use Final Cut, as using a PC, as does everybody else I work with) please let me know.

How it ended up is I got on eBay a Tiffen 4x4 ND1.2 (four stops) for a hundred bucks, which I expect will be the most often used filter by me initially. (for when the internal ND filters on the F3 simply are not enough while shooting outdoors in summer time) But also got three graduated ND filters of different strengths and one ND8 (three stops) filter, for the ridiculously low low price of only six bucks each!! I thought "why not?", it will at least allow me to much about and compare them. And maybe operate as a back up set in a pinch. Curious to see just how bad these $6 4x4 filters will be!

If colour/DR are top of the list then the choice seems clear: BMD URSA 4.6K!