M Carter

Glad you got one Michael,
I haven't used my d7100 that much since buying my nx1 back in june.
It's really really good.
Get the latest firmware, You can do this in Camera with Wifi.
The DIS is really really good. Don't discount it yet. Especially with the Nikon zooms I know you have.
I like it a lot with my 80-200 and tokina 28-70.
I actually just found a 16-50 little pocket zoom that you got and am waiting to get that. ( I have no samsung native lenses, only my Nikon mount stuff and other random glass)

I'll let you know across the net couple weeks. Always loved Nikon's color, since the D7000. But my 7100 sensor gets noisier every shoot - ugly horizontal crap.
That's more like it:

I'll let you know across the net couple weeks. Always loved Nikon's color, since the D7000. But my 7100 sensor gets noisier every shoot - ugly horizontal crap.
That's more like it:

I'll let you know across the net couple weeks. Always loved Nikon's color, since the D7000. But my 7100 sensor gets noisier every shoot - ugly horizontal crap.
That's more like it:

I'll let you know across the net couple weeks. Always loved Nikon's color, since the D7000. But my 7100 sensor gets noisier every shoot - ugly horizontal crap.
That's more like it:

Booking are kind of blowing up across the next few weeks so I took a shot at the NX1. Got the little power zoom for an extra $200 - $1299 seems like a good price, though it may plummet after the holidays. Waiting for a lens adapter, I have a sack of nice old Nikkors.
(This camera is filed under "I own it, lower budget no-rentals gig gear". As an aside, all the research I've done on video for the web and for ad landing pages suggests if you have a business, you're an idiot not to have a video. Leads and conversions jump from 80 - 300%. Really pushing one-man, corporate stuff for 2016 - I wouldn't mind filling my calendar with some small gigs, and I usually end up re-writing their copy, designing ad campaigns and landing pages, even redoing their site. I'm an agency with in-house video, man!)
First impressions - 
Menu system and custom controls were easy to setup and after an evening of playing around, it's feeling pretty second nature. I have yet to shoot a single still though… but have a nice custom setup, love having the mic volume on the wheel. (Could never remember where it was on my Nikon). (I use an external recorder, but wit several Nikon bodies, line-out from recorder to camera for a scratch track? Stage the gain properly and I often used the camera audio.Hhaven't tried that with the NX, we'll see).
Wonkiness: couldn't find a few things I've read about - realized it doesn't have the latest firmware. Guess these have been sitting in Amazon's warehouse...
Wonkiness 2: Sometimes the EVF (or the display) doesn't come on at powerup, it's one or the other, and the button doesn't work. Toggle the power and it's fine.
Wonkiness 3: No matter how I set things, the fast/slow settings only show "fast" -1080p, etc. I have 120 fps in the menu but I like that the camera will conform the footage. May be a firmware thing?
The AF - fack me, I can use the hell out of this. Not for narrative/editorial work but for events and steadicam - man, I can see using this fairly often. I'll want to test it a lot and see it on a big monitor, but… impressed. I expect to have non-native glass on this most of the time, but nice to have it. Probably get the 2-2.8 at some point.
The autofocus default when you leave video mode - already trained myself to hit delete key (set for AF) and toggle the AF off. Kind of a hassle but now second nature.
The lens stabilization - thumb's up. Again, events and steadicam, godsend. No DIS in this firmware, doubt I'd use it anyway.
LOVE the WB controls - I've got WB set to the down arrow, right by my hand. Easy to grab a custom, and I love the color matrix controls for every preset - unless I'm going pretty artsy, I really prefer most of my look in camera other than keeping the blacks detailed and open.
Really love the EVF. I tried my loupe on the panel, but (A) the evf detector gets confused by the hinge on the loupe and (B) this body is kind of small - my loupe won't slide down far enough without some drilling. I may just skip the loupe for shoulder mount work - it's a great EVF.
Ran some footage through editready, reasonably fast - not much different than converting H264 to Prores in Streamclip, unless I downscale which seems to double the time.
The native 1080 looks very good to me, I guess one of those firmware fixes really came through. I saw a bit of jaggy aliasing that was a bit cleaner with UHD downscaled.
Overall - pretty pleased, but with a touch of genuine sadness - if Samsung is really abandoning this part of the market, it's a shame. The NX1 is simply a remarkable first shot. I know plenty of folks here dismiss it, but man - you're talking about a $1k body. It's got bang for the buck like nobody's business.
 
 
 

Yep, I have Premiere but still haven't started moving projects to it. On my list… but I like having stuff in ProRes anyway, between after effects and sending clips to clients, etc.

Booking are kind of blowing up across the next few weeks so I took a shot at the NX1. Got the little power zoom for an extra $200 - $1299 seems like a good price, though it may plummet after the holidays. Waiting for a lens adapter, I have a sack of nice old Nikkors.
(This camera is filed under "I own it, lower budget no-rentals gig gear". As an aside, all the research I've done on video for the web and for ad landing pages suggests if you have a business, you're an idiot not to have a video. Leads and conversions jump from 80 - 300%. Really pushing one-man, corporate stuff for 2016 - I wouldn't mind filling my calendar with some small gigs, and I usually end up re-writing their copy, designing ad campaigns and landing pages, even redoing their site. I'm an agency with in-house video, man!)
First impressions - 
Menu system and custom controls were easy to setup and after an evening of playing around, it's feeling pretty second nature. I have yet to shoot a single still though… but have a nice custom setup, love having the mic volume on the wheel. (Could never remember where it was on my Nikon). (I use an external recorder, but wit several Nikon bodies, line-out from recorder to camera for a scratch track? Stage the gain properly and I often used the camera audio.Hhaven't tried that with the NX, we'll see).
Wonkiness: couldn't find a few things I've read about - realized it doesn't have the latest firmware. Guess these have been sitting in Amazon's warehouse...
Wonkiness 2: Sometimes the EVF (or the display) doesn't come on at powerup, it's one or the other, and the button doesn't work. Toggle the power and it's fine.
Wonkiness 3: No matter how I set things, the fast/slow settings only show "fast" -1080p, etc. I have 120 fps in the menu but I like that the camera will conform the footage. May be a firmware thing?
The AF - fack me, I can use the hell out of this. Not for narrative/editorial work but for events and steadicam - man, I can see using this fairly often. I'll want to test it a lot and see it on a big monitor, but… impressed. I expect to have non-native glass on this most of the time, but nice to have it. Probably get the 2-2.8 at some point.
The autofocus default when you leave video mode - already trained myself to hit delete key (set for AF) and toggle the AF off. Kind of a hassle but now second nature.
The lens stabilization - thumb's up. Again, events and steadicam, godsend. No DIS in this firmware, doubt I'd use it anyway.
LOVE the WB controls - I've got WB set to the down arrow, right by my hand. Easy to grab a custom, and I love the color matrix controls for every preset - unless I'm going pretty artsy, I really prefer most of my look in camera other than keeping the blacks detailed and open.
Really love the EVF. I tried my loupe on the panel, but (A) the evf detector gets confused by the hinge on the loupe and (B) this body is kind of small - my loupe won't slide down far enough without some drilling. I may just skip the loupe for shoulder mount work - it's a great EVF.
Ran some footage through editready, reasonably fast - not much different than converting H264 to Prores in Streamclip, unless I downscale which seems to double the time.
The native 1080 looks very good to me, I guess one of those firmware fixes really came through. I saw a bit of jaggy aliasing that was a bit cleaner with UHD downscaled.
Overall - pretty pleased, but with a touch of genuine sadness - if Samsung is really abandoning this part of the market, it's a shame. The NX1 is simply a remarkable first shot. I know plenty of folks here dismiss it, but man - you're talking about a $1k body. It's got bang for the buck like nobody's business.
 
 
 

Booking are kind of blowing up across the next few weeks so I took a shot at the NX1. Got the little power zoom for an extra $200 - $1299 seems like a good price, though it may plummet after the holidays. Waiting for a lens adapter, I have a sack of nice old Nikkors.
(This camera is filed under "I own it, lower budget no-rentals gig gear". As an aside, all the research I've done on video for the web and for ad landing pages suggests if you have a business, you're an idiot not to have a video. Leads and conversions jump from 80 - 300%. Really pushing one-man, corporate stuff for 2016 - I wouldn't mind filling my calendar with some small gigs, and I usually end up re-writing their copy, designing ad campaigns and landing pages, even redoing their site. I'm an agency with in-house video, man!)
First impressions - 
Menu system and custom controls were easy to setup and after an evening of playing around, it's feeling pretty second nature. I have yet to shoot a single still though… but have a nice custom setup, love having the mic volume on the wheel. (Could never remember where it was on my Nikon). (I use an external recorder, but wit several Nikon bodies, line-out from recorder to camera for a scratch track? Stage the gain properly and I often used the camera audio.Hhaven't tried that with the NX, we'll see).
Wonkiness: couldn't find a few things I've read about - realized it doesn't have the latest firmware. Guess these have been sitting in Amazon's warehouse...
Wonkiness 2: Sometimes the EVF (or the display) doesn't come on at powerup, it's one or the other, and the button doesn't work. Toggle the power and it's fine.
Wonkiness 3: No matter how I set things, the fast/slow settings only show "fast" -1080p, etc. I have 120 fps in the menu but I like that the camera will conform the footage. May be a firmware thing?
The AF - fack me, I can use the hell out of this. Not for narrative/editorial work but for events and steadicam - man, I can see using this fairly often. I'll want to test it a lot and see it on a big monitor, but… impressed. I expect to have non-native glass on this most of the time, but nice to have it. Probably get the 2-2.8 at some point.
The autofocus default when you leave video mode - already trained myself to hit delete key (set for AF) and toggle the AF off. Kind of a hassle but now second nature.
The lens stabilization - thumb's up. Again, events and steadicam, godsend. No DIS in this firmware, doubt I'd use it anyway.
LOVE the WB controls - I've got WB set to the down arrow, right by my hand. Easy to grab a custom, and I love the color matrix controls for every preset - unless I'm going pretty artsy, I really prefer most of my look in camera other than keeping the blacks detailed and open.
Really love the EVF. I tried my loupe on the panel, but (A) the evf detector gets confused by the hinge on the loupe and (B) this body is kind of small - my loupe won't slide down far enough without some drilling. I may just skip the loupe for shoulder mount work - it's a great EVF.
Ran some footage through editready, reasonably fast - not much different than converting H264 to Prores in Streamclip, unless I downscale which seems to double the time.
The native 1080 looks very good to me, I guess one of those firmware fixes really came through. I saw a bit of jaggy aliasing that was a bit cleaner with UHD downscaled.
Overall - pretty pleased, but with a touch of genuine sadness - if Samsung is really abandoning this part of the market, it's a shame. The NX1 is simply a remarkable first shot. I know plenty of folks here dismiss it, but man - you're talking about a $1k body. It's got bang for the buck like nobody's business.
 
 
 

I've been really impressed with season two of "The Leftovers". Overall pretty impeccable filmed. They do a lot of handheld and occasionally miss a focus pull, but it works with the aesthetic.
However - night scenes with a fairly openDOF - you can really see the soft filters in the bokeh. Watch the birthday party scene early in season 1 - every party light has a grid of black dots. Stuff my mrs. doesn't notice, but man - really surprising to see something so odd. I've caught it in season two every here and there, but nothing like that party scene.

Anything goes for music videos for upstart bands; but my mortgage gets paid by business/corporate videos. So no PVC pipe rigs. I have a couple DIY HMIs but they look like commercial units. And I've had zero issues shooting with any DSLR, but I generally have it on rails with a matte box & FF. Several times a client has had to squeeze by the camera in a tight setup and say "I'm being careful, I know that cost more than my house!" Amazing what matte box flags can do… 

Funny, corporate clients - if they've seen your work and it's good - don't really care about the gear the same way getting hired by an agency or media group to operate or DP do. Even so, I've had situations where someone knowledgeable raised an eyebrow at, say, an APS-C Nikon with a Series-E 100 on it. I usually say "look through the VF" and the next thing, they're snapping off phone shots of the lens - "Less a hundred bucks??!? That's my next lens!!!"
I really like using my Kessler as sort of a "fluid tripod" so when all else fails, just rig that sucker up… until someone makes a cast plastic sleeve that fits over a DSLR with a big "Arri" logo on it...

Anything goes for music videos for upstart bands; but my mortgage gets paid by business/corporate videos. So no PVC pipe rigs. I have a couple DIY HMIs but they look like commercial units. And I've had zero issues shooting with any DSLR, but I generally have it on rails with a matte box & FF. Several times a client has had to squeeze by the camera in a tight setup and say "I'm being careful, I know that cost more than my house!" Amazing what matte box flags can do… 

Funny, corporate clients - if they've seen your work and it's good - don't really care about the gear the same way getting hired by an agency or media group to operate or DP do. Even so, I've had situations where someone knowledgeable raised an eyebrow at, say, an APS-C Nikon with a Series-E 100 on it. I usually say "look through the VF" and the next thing, they're snapping off phone shots of the lens - "Less a hundred bucks??!? That's my next lens!!!"
I really like using my Kessler as sort of a "fluid tripod" so when all else fails, just rig that sucker up… until someone makes a cast plastic sleeve that fits over a DSLR with a big "Arri" logo on it...

I am agonizing over which thread to reply to "why we should use color charts" or "why we should always use color charts" - you make things so hard!!!
 

I am agonizing over which thread to reply to "why we should use color charts" or "why we should always use color charts" - you make things so hard!!!
 

I've been shooting for a living for over 2 decades, and one of the definitive signs that someone is an amateur is any statement like the above.
That's some massive insecurity you've got going on, man. Professionalism isn't about the gear.  

I am agonizing over which thread to reply to "why we should use color charts" or "why we should always use color charts" - you make things so hard!!!
 

I've been shooting for a living for over 2 decades, and one of the definitive signs that someone is an amateur is any statement like the above.
That's some massive insecurity you've got going on, man. Professionalism isn't about the gear.  

I've been shooting for a living for over 2 decades, and one of the definitive signs that someone is an amateur is any statement like the above.
That's some massive insecurity you've got going on, man. Professionalism isn't about the gear.  

I think the camera you choose (from this list and similar models) is fairly meaningless. 
I could wake up tomorrow and find someone wanted me to shoot this exact gig. I wouldn't go out and buy a camera specifically for it. If this one project is all you'll ever do in your career, focus on the exterior setting and how you'll get good, clear shots of industrial work on a location. Do you need close-up gear? Overhead shots? Do you need audio? Do they want it to look sort of cool and stylized (jib, slider) or strictly informative/training style? How about scrims, reflectors, negative fill so your outdoor shots can be clear and not confusing?
If you want to shoot all kinds of commercial gigs over the next couple years, get something that can handle a variety of work.
There are only two really major differences in the tools for these gigs - a "video" camera (fixed power zoom, XLR jacks, viewfinder, built-in ND) which is good for more event and news-style shooting but (until you really spend some $$) has a more "video" look (which can be improved by a good operator)… or a more "pretty" camera - interchangeable lenses, control of DOF, larger sensor for a more "filmic" look than most "video" cams. DSLR, BMC, etc. And you need stills, so DSLR is likely the way to go for you. And you'll need a good tripod at the least, and possible good audio gear - field recorder, mic and blimp.
Your list is all over the place in sensor size - do you care about the look from the sensor? And a bigger question is do you (or will you soon) need 4K for reframing, keying, stabilizing. Either way, look into something you can build on and make money with for at least a couple years. Heck, a Nikon D7100 or 7200 would handle this gig fine. 

Oh, please. The only thing that's kept me from buying a BMC (original cinema camera) is sensor size, and I'll eventually find a used one with a speedbooster, they show up every week. That's a camera that excels at pretty-much one thing: really pretty footage that can be graded like mad, for projects that don't need extensive keying but beautiful IQ on a "let's try to avoid a bunch of rentals" budget. So you're saying a "professional" would, what, go hunting for wide primes with no distortion vs. adapting lenses they already own? I've seen speed boosted Zeiss and Nikkor AIS 28's on that sensor and it's lovely.
I'm a "professional" - I make my living from pitching concepts, writing scripts, and shooting or animating commercial (IE, promotional vs. entertainment) projects for businesses, including some good sized brands. Sad to discover that owning a speedbooster for a specific purpose would make me an amateur.

I think the camera you choose (from this list and similar models) is fairly meaningless. 
I could wake up tomorrow and find someone wanted me to shoot this exact gig. I wouldn't go out and buy a camera specifically for it. If this one project is all you'll ever do in your career, focus on the exterior setting and how you'll get good, clear shots of industrial work on a location. Do you need close-up gear? Overhead shots? Do you need audio? Do they want it to look sort of cool and stylized (jib, slider) or strictly informative/training style? How about scrims, reflectors, negative fill so your outdoor shots can be clear and not confusing?
If you want to shoot all kinds of commercial gigs over the next couple years, get something that can handle a variety of work.
There are only two really major differences in the tools for these gigs - a "video" camera (fixed power zoom, XLR jacks, viewfinder, built-in ND) which is good for more event and news-style shooting but (until you really spend some $$) has a more "video" look (which can be improved by a good operator)… or a more "pretty" camera - interchangeable lenses, control of DOF, larger sensor for a more "filmic" look than most "video" cams. DSLR, BMC, etc. And you need stills, so DSLR is likely the way to go for you. And you'll need a good tripod at the least, and possible good audio gear - field recorder, mic and blimp.
Your list is all over the place in sensor size - do you care about the look from the sensor? And a bigger question is do you (or will you soon) need 4K for reframing, keying, stabilizing. Either way, look into something you can build on and make money with for at least a couple years. Heck, a Nikon D7100 or 7200 would handle this gig fine. 

Oh, please. The only thing that's kept me from buying a BMC (original cinema camera) is sensor size, and I'll eventually find a used one with a speedbooster, they show up every week. That's a camera that excels at pretty-much one thing: really pretty footage that can be graded like mad, for projects that don't need extensive keying but beautiful IQ on a "let's try to avoid a bunch of rentals" budget. So you're saying a "professional" would, what, go hunting for wide primes with no distortion vs. adapting lenses they already own? I've seen speed boosted Zeiss and Nikkor AIS 28's on that sensor and it's lovely.
I'm a "professional" - I make my living from pitching concepts, writing scripts, and shooting or animating commercial (IE, promotional vs. entertainment) projects for businesses, including some good sized brands. Sad to discover that owning a speedbooster for a specific purpose would make me an amateur.

Now, someone, please… a decent and affordable flip-up loupe for the VA. I've been looking for something I can use for HDMI, and as a VF for renting BMC cameras. 

Y'know, the OP asked "does it also bypass the camera colourimetry too"...
With HDMI, you're getting whatever comes out of the HDMI input - so if your color profile is set to monochrome, you'll get a B&W image. It's not like a camera raw file.

Man, I shoot several theatre events a year - music shows, band gigs, concerts (from local guys to smaller indie stuff) and they're rarely situations I think of as "low light". The only times they're low light is a band playing the bottom-of-the-rung live clubs with no lights or no stage. If someone wants to **pay me** to shoot like that, I bring a DJ truss and a dozen 300 to 650 fresnels. 
D7100 frame grab, this camera had an old push-pull 80-200 2.8 on it (yeah, that's Emmylou, and yeah, at 68 she still gives you chills):
(EDIT: this was video not a still)