froboy88

I'm sure you can't go wrong with any of the options you've listed!  I read through this thread as I am always comparing these low-cost cinema cameras.  

As a fs700/odessey user I sometimes long for the simplicity of the fs7: internal recording, cine EI, only one unit to worry about.

The weight of the external recording setup adds up quickly.  At least with the odessey a  single NP battery isn't enough for more than an hour of recording, so I usually use V-mount batteries and can run all day with them.  I don't know for sure but I bet if you include v-mount power with the fs5 you're pretty close to the fs7 in terms of weight.  Granted the fs5 can be rigged down to work on a small gimbal.  So while the fs7 is simpler, it is hard for me to consider giving up 4k 120p burst.  Its just so much fun, even for 3.5 seconds.   

Something else to consider is that S-log (or whatever gamma you pick) from the external recorder is based 12bit linear raw.  Thus it has less bits in the lowest stops then internal S-log.   This means that in some situations the internal Xavc from the Fs7 is better in terms of color and noise in those stops.  I end up treating the FS700+odessey as a 12-13 stop camera instead of 14 to make sure skin tones get enough bits.  I haven't compared internal and external on the Fs7 but Alister Chapman has a good article about it.  
I wonder if the 12bit output from the Mavo suffers the same problem.  Sonys own F5/55 don't have that problem because 16bit linear has so much more color info in the lowest stops.  Arri uses 12bit raw, but its logrithmic so it has more bits in the lower stops then linear and doesn't suffer the same problems.  I skeptical that 12bit linear can be in the same league as 16bit, or even if it offers much of an improvement over 10-bit log.  
This is a bit of an extream example: FS700 HFR 240FPS raw to pro-res on Odessey Pushed a lot more then it should.  There's just not much in the shadows, granted 240fps is sort of worse case scenario as far as noise.   I would hope that 16bit from the f5/55 would be better in terms of noise and color in the shadows.  I would very interested if the Kine 12bit can hold up any better?  My gut says no, there's a reason high-end cinema cameras don't throw away those bits, but I can't help hoping for a miracle in my price range :)
 

This all has me wishing the fs7 had 4k burst.  It would be a no-brainer upgrade for me, but alas it does not.  The F55 with R7 recorder looks amazing (4k 120p continuos 16bit X-ocn w/ 30seconds of pre-record) but is in a totally different league/ price range.  Still, the limits of 12bit are totally workable.  Don't let it freeze your decision.  Get a camera, make stuff!  Good luck! I'll be watching how it goes.


 

I think its hard to judge softness and even aliasing from a youtube stream.  We're talking about 8mbps.  The downloadable footage will tell when its available.  Still looks to be the best implementation of overcrank in a DSLM yet.

I can't talk from personal experience, but I've heard the samsung lenses manual focus is by wire.  Setting up repeatable focus pulls and follow focus might be tricky with them.   If you're shooting primarily video, you might go with the art lenses.  Plus the art line can get the mounts switched so if sigma supports NX mounts in the future they could be setup for that.  If weather sealing is a priority then the two samsung pro lenses are the only options at the moment.  Optically either is an excellent option.

I can't talk from personal experience, but I've heard the samsung lenses manual focus is by wire.  Setting up repeatable focus pulls and follow focus might be tricky with them.   If you're shooting primarily video, you might go with the art lenses.  Plus the art line can get the mounts switched so if sigma supports NX mounts in the future they could be setup for that.  If weather sealing is a priority then the two samsung pro lenses are the only options at the moment.  Optically either is an excellent option.

I found this posted on facebook it was shot all using the NX1.
Starting to see more and more nice videos short films shot using the NX1 now. I still think its the Underdog camera many are missing the potential of.
My second one will be here tomorrow.
 
Wish they had a Vimeo version