IronFilm

Andrew, I know you have wrote on the forum that you had send back the NX500 already because its 4k crop is horrible, but seeing that you have just done such a thorough review on the EOS M3 which you have found very lacking video-wise, wouldn't it be fair for the NX500 to have just as thorough a review, given that its video and stills chops are above the M3's at roughly the same price?  You just left a lot of folks expecting your 2nd installment on the NX500, me included, and at least for me I didn't realize that you weren't going to until I read your posts on the forum, after opening your main page daily to see if you had finished your review and wondering why it took you so long, so many folks don't yet know that you won't have a thorough review on it.  Please Andrew, give the NX500 the benefit of the doubt: it surely has a better 1080p than all other APS-C stills cameras out there, doesn't it?

​Sorry, I meant the Samsung NX500 - costs the SAME, and has all the features of the EOS M3, except the soft video, and it has a 28 MP sensor and a 4K option. There is a transcode...

I just took another look at the video. The GH2 actually still looks quite good in this test, and the colors are pleasing to my eye as well. 

I completely disagree that the D5300 has a rubbish image. I've seen some amazingly filmic stuff shot on the crop sensor Nikons, and very much appreciate their strong color science, great low light capability, sharp 1080p, and surprisingly good dynamic range/highlight roll off. I would never own one, but that's because I can't put my FD or Minolta glass on it, not because of its video quality.

Very encouraged the EOS M III's improved performance. It's not up to GH2 level--not by a long shot--but it's decent, and features that Canon color science everyone raves about (and I just like for certain projects). My enjoyment of the original hinged mostly on it being a great pocket cam with the 22mm f/2 (an exquisitely good pancake lens) and that it's a Canon sensor I could finally use my glass on. Once we see what can be done with this puppy on proper projects, I'd definitely consider picking one up...or an LX100. :D

Cheers!

Better to spend an extra 800 than waste 800 completely!

I'd go for the LX100 over the M3 in a heartbeat.    That said, the M3 looks better than the 70D and 7D so at least there's progress on the Canon front. 

​I bought mine used. But I heard they will declare low customs value, eBay style.

For me - I would simply be happy if my A7s had IBIS and real weather sealing.
Internal 4k is neither here nor there - the fact that it can do 4k is good enough (and I think people make a much bigger deal about internal 4k than it really is - yes, I know it's handy to have and all the rest of it, but a camera that does great 1080p and is also able to do 4k is really enough for most occasions, especially with 4k recorders coming down in price).
I'd rather 10-bit HD than 4k internal - if they brought out an A7s with IBIS, weather sealing and 10-bit 1080p in XAVC, then I would upgrade (assuming it was a similar price to when it was initially released)
Sony just upped the RRP on the A7s not long ago as well (at least in Australia) - which would seem pretty strange if you had a successor coming soon.

this doesnt sound like something that panasonic would do. i hope. however the wording sounds very solid and not like "the gh5 will have ibis!!1 yolo" -trash rumors.
i would most definitely switch system if its a paid update. even if its just a few bucks. the competition is extremely high these days, with lots of other companies to switch to. Panasonic has never been "great" about firmware updates (not terrible either) and going this route would make me sell my gh4 immediately and get a NX1. (im on the edge anyway) this kind of marketing and selling scheme disgusts me. Panasonic said themselves that the feedback and sales on the gh4 are way better than expected. why not give a little bit back to the users, as an action of good faith? that way theyd be building trust for future cameras, which is something the need badly. lets face it, we all know that the NX2 will be better than the GH5, so trust, believe and good faith is something they should be aiming at. i have trouble understanding, why so many companies dont get that.
but until its official ill be leaning back and sipping ice tea

The $/min is a great consideration for this as well, never something I really thought of much before, but the difference between 25c/min and $31/min is enormous.

​I have a feeling that rumor will be proven untrue.  It just doesn't make sense with so much competition out there in this segment. 

Good to hear! Good for you as well
I use the Sigma 18-35mm on the GH3 with the Speed Booster and I'm still amazed at the results after every shoot. When shooting a medium close from someone with this beast at 35mm, there is almost an 'anamorphic like' distortion / perspective thing going on. It's by far the most beautiful lens I have ever used. If it only it was a 17-50mm it would literally never come of my camera.

My client don't know anything about the cameras. They'll mutter RED, 4k and slo-mo from time to time - but that's about it. They just want high quality images and trust me to deliver. They care more about my ideas and creativity then my tools. I help create the ideas, I shoot, edit then deliver. All in-house. So "burning in" doesn't apply to me. Only tried Slog3. Personally my clients love the FS7 results because of the slo-mo and cinematic look achievable. 
The 10 bit is a big deal. It saved me on a shoot where the main image didn't work out and we ended up making a green screen from pale green rags and green gels to light it. The DIY screen was awful and blotchy but it really pulled off in post! 
My main rental houses have multiple FS7's and they are almost always booked out. One of them said that their Epic isn't going out because people are trying the FS7. So to answer you question... This camera is making major waves! Don't know if the C300 mk II will change that. 
I used the ND outside. Didn't notice anything, I couldn't really say as I've only done most of my shots in controlled lighting. 
You can balance the camera by using lighter lenses and putting a V-lock on the back. Used it this way, seemed fine although it was mostly on sticks that day. 
 

​Kristoferman , I'm the founder of the company who's in charge of european distribution for Kinefinity, we're based in Berlin
and you're right, it's hard to find the needed information on kinefinity cameras because it's spread all around the web,
 
 
here are some helpful links for anyone who's interested:
1. the facebook group of Kine Users: https://www.facebook.com/groups/kinefinity/
2. independent forum run by the same guys who made the fb group: http://kinecommunity.com/
3. a collection of videos by one of our dear customers from Amsterdam: https://www.pinterest.com/pixelstudiostv/kinefinity-kinemini-4k-review/
4. the Main website - run by the Beijing based HQ: http://kinefinity.com/
5. the Europe based website (basically a clone of the main website) : http://www.kinefinity.tv/
6. contact for US buyers: pls PM me or send me an email to contact@kinefinity.tv and I will forward your request to the L.A. based sales rep
7. contact for EU buyers: pls check the kinefinity.tv website
Finally for all kind of tech related questions, inquiries, sponsoring requests etc. you can contact either me (kf.tv) or sales@kinefinity.com directly
 
Hope this brings a little light into the dark
cheers
Michel

​https://www.youtube.com/watch?v=pTmj6NoByz0 - 10:05
^Faymusmedia says the production camera can be used at iso 3200 (boosting in post), and the ursa mini is supposedly better
this test could be faulty - he seems to maybe have some bias, and of course the youtube compression is denoising it a lot for us (I've heard plenty that it is completely unusable by that point, those with experience will probably confirm)

The more I think about the DVX200, the more I like it. I shoot live theatrical events (concerts, musicals, plays) and my life would be much easier if my camera had the image quality of the GH4 but with a great servo zoom lens, ND filters and XLR inputs with proper controls. Imagine that, a GH4 with the usability of my old DVX100! Assuming the reviews and footage are good, once it comes out this fall I'm probably going to get one or two of these for my business. I'm tired of dealing with still photo lenses to shoot video. I'm tired of dealing with clunky XLR adapters. I'm tired of dealing with a camera that isn't designed for video first. The DVX200 solves all of my problems in one camera.
I do wish Panasonic had ALSO introduced an AF-200 with the same specs except a m4/3 mount. But for my needs, the DVX200 is exactly what I need. I just didn't know it until they presented it!

​The reason they do this is because there is a market for them to offer this cheaper options, thus it is in their interest to serve them too which expands their customer base and increases their company's revenue. Which enables them to do even more in the future. 
However... the cost to physically redesign the hardware and offer different actual hardware configurations is waaaay too costly for a small niche item. While doing it in software is relatively cheap, just go to flick off a setting here and there. 

​The funny thing is, you can completely turn this around.
You could say this is a 10 grand camera originally, but if you don't need certain features such as WiFi, Dual SDI or that battery grip you can knock the price down let's say by 1.5 grand.
A different example: I like the URSA, but the iPad on the front annoys me. I would gladly save £500 and get rid of it, buying an extra CFast card instead.

It's still significantly cheaper than red though, even considering the extra charges. From what I've seen I like the image more than red too. Only thing really stopping me is the lack of customer service for the US

One thing about Kinefinity..their prices may be attractive, but they're somewhat deceiving
You want 6k, yes of course, add $1000 You want high frame rates, add $1000 You want a battery grip, which does add nice functionality, that's $349, and literally feels like a $30 Canon knockoff You want SDI, that's $349 Wifi, that's $349 Kinestation (dirt-basic software) to transcode from KRW, $349 And the funny thing, is that the base model brain is hardware-capable of all of these features. 6k, wifi, everything. You're paying thousands for firmware to "unlock" these features.
Still no different that Redonomics, but I'd rather see someone truly disrupt rather than copy that shifty model at a lower price point.

The DVX100 had the impossibly fortuity of being
a) an amazing low end broadcast camera/higher-end b camera with fantastic ergonomics and a standard format (miniDV) magically married to an unprecedented feature-set (24p!! and "looks"!!!!!!) that was scooped up by broadcast shooters and wedding videographers alike
and
b) the best "film look"/hobbyist camera for the money by FAR... with mojo (currently only Arri and to a lesser extent Canon and Dragon have mojo)
In my day we had six stops of DR ISO 320 deep focus fixed lenses and 720X480 at best. And we walked six miles through the snow. Uphill. AND WE LIKED IT.
NOTHING will ever target those two markets like the DVX did. Currently, Canon has corned one the first. Sony/Panasonic/Black Magic/a whole heck of a lot of others are scrambling to tackle the second.
This could do well at making headway into the first, though. Shooters who balk at the awkwardness of a C100 and 24-105mm f4 IS will happily migrate to a more ENG-happy all-in-one package and shooters who balk at $20,000 for a C300 and 4k might happily choose this instead. The added depth of field will be wonderful for those who struggle to focus with a Canon, too.
Ask yourself a question.... does raw appeal to you at all? Does a codec bigger than 50Mbps make you happy for the bits or sad for the disk space...
If your answer is yes... you want the fun of figuring it out and encoding and ingesting and grading and making magic, this is not for you.
If your answer is no... I want to deliver fast and make money.... it might be.
The AF100 is VERY well-respected in pro circles. TONS of high end corporate and lower-end tv etc.... is shot on this workhouse cam that is rock-solid. Does the dvx200 have timecode sync? That is the biggest omission. This is really cool but not for me and not for most of you. 
Curious to see how it does. This (4k low end ENG camera/hobbyist camera for the not-super-techically-obsessed) is new idea. Do not want one, however...

It doesn't have a battery or swapable sensors.
It has no NDs... Is about 1/3rd bigger and heavier. It would struggle to mount on a drone. It has no OLPF, so moire and aliasing might be an issue. It has no EVF. It takes much bigger and more expensive batteries. It currently has Max ISO of 1600.
 
Canon has dual pixel AF. Canon have worldwide service centres. Canon has great colour. Canon keeps DR throughout the ISO range. Canon is a low light monster. Canon have built in gamma settings to match other cams. Canon has some kind of AF system for manual lenses. Canon works perfectly with EF lens. 
I'm not taking any sides until I test both... But the C300 has some impressive featured and the Ursa needs EVF and battery plate to match the c300.. So price increases.

Yes I would think we are talking about cinema cameras, as the URSA Mini seems specced for that purpose.
Dynamic range is more important to me, but I do find it very useful if my camera can perform well under low light - it helps when you can use lights with less power (more portable, like LEDs) and be able to get a detailed, clean image. It's true that some shoots can be difficult when you have a tiny crew and a load of Arri Fresnels to rig up. 
My point in being is that many enthusiasts want the next best image quality, and will keep on buying camera after camera like they are chasing the dragon. When will the said enthusiast wake up and realise that moulding the light is the key to maximum image performance? An A7S won't do it for you. If I relied on low light capabilities then a lot of my images would be horrible. 
Those who are documentary/run&gun/shot grabbers/spontaneous - this might not apply to you.