Marco Tecno

I hope samsung adds h.265 8bit 10bit and 12bit 444 and 422 at least to the 1080p. would love to see that also that happening in other resolutions. 
Also they could introduce 2k 1.85 DCI 1998 x 1080.

By "the processor can't" they of course mean "we didn't design it to" or "because we don't want it to yet".
bit depth is a separating factor for market sectors, design of processors is not 'out of their hands', it is part of the segmentation of product lines.

Retarded

Rip-off?

Just tried warp stabilization on Premiere. Just for the motion analysis it takes about 30' for a less than 2' 4k clip. That is with a 8 core overclocked to 4.5Ghz machine! Not that cores matter since it is not a multi threaded computation.  
Now I agree with your point. I cannot imagine myself having to stabilize longer 4K footage. 

Better DR at higher ISO value... LOL this was the argument of canon for years saying there sensor is better than the Sony one. 
Otherwise for the first comment above, yes I agree 13.9 is enough in real life. But when you pay 3200 in the last camera you are sad to get one stop less than D810, obviously. And as you mentioned the worst is with long exposure....
And don't get me wrong, A7RII is an awesome camera. 
I have the feeling 3200 is not the right price considering those quirks..
2500 certainly.

I love my $1400 nx1 but it would Def feel naked without the 16-50 S lens which adds 1200 to the price. 

That's the best looking example I have seen so far.
It's interesting that some sort of inbuilt stabilisation is on Samsung's radar an implemented in a FW update. I hope the NX2 goes the whole way with 5 axis IBIS. That would be a big plus !!

I'm hoping they hold off till fall of 2016. V-Log should give GH4 some extra life. Waiting another year would really add some new tech into the GH line.

It works great with the S-Lenses in "Dual-mode".

Early reports do indicate that it works very well. 
Check this post that links to A LOT of info:
http://forum.doom9.org/showthread.php?p=1694697

Thank you for pointing this out as it often gets ignored: if you switch the NX1 to HD res it's almost a global shutter cam.
When Cinema5d compared shutter speeds in the following chart they had the nerve to show the NX in UHD mode only on the far right - indicating it's the clear loser, while the A7R2 is given its HD crop speed, and the Amira winning even though it's only 2k. In HD the NX would be to the left of the chart. There is a lot of bias against this camera out there.
 

While I'm the first in line to say that there are a lot of features that samsung could (should?) add to nx1, most of which have been suggested by real users (there was a thread on this very site), I think that DIS is not crap at all. If you shoot handeld, it actually makes videos look much better. I'm all but a video expert and I just judge based on what I see. Videos with DIS in which the operator does not shake hands purposefully, are really steady imo.

I think you need to get an NX1 and try for yourself. The DIS is great in some situations. It's a free software addition from Samsung. It never was a selling point for the NX1. But in certain situations when you have to be handheld, or when you have particular lenses, it can come in very handy. I definitely prefer it over premiere warp stabilizer (espescially in terms of time management).

And yes there is some rolling shutter at 4K. If you really need long focal + handheld you might want to record in FULL HD since the NX1 is one of the best camera for rolling shutter management in Full HD. 

Also the detail resolving is so great with the NX1 that you dont feel a lost in quality with the DIS crop. Now what's great, is that if you don't like it, you don't have to use it. 

Thats interesting. 
Hummmm I'm thinking of running some tests myself with the NX1. 

Sandro, it's very clear that you don't like the nx1. Every time you bash it. Why is that? You could simply buy anything else and be happier.
 
Btw I don't see any artifact in my videos when using dis. I'm very happy with it. Now I'd just want samsung to improve the dr, introduce a log profile and implement some of the user requested features.

While I'm the first in line to say that there are a lot of features that samsung could (should?) add to nx1, most of which have been suggested by real users (there was a thread on this very site), I think that DIS is not crap at all. If you shoot handeld, it actually makes videos look much better. I'm all but a video expert and I just judge based on what I see. Videos with DIS in which the operator does not shake hands purposefully, are really steady imo.

While I'm the first in line to say that there are a lot of features that samsung could (should?) add to nx1, most of which have been suggested by real users (there was a thread on this very site), I think that DIS is not crap at all. If you shoot handeld, it actually makes videos look much better. I'm all but a video expert and I just judge based on what I see. Videos with DIS in which the operator does not shake hands purposefully, are really steady imo.

This product has for me a big drawback. It only works for very light cameras+lenses. My nx1 with 16-50s is already too heavy. Not to mention the 50-150 lens!!

Don, that's exactly what I mean (but you expressed this much better than I did). I'd be interested in seeing a comparison with the same luts applied to both 16-235 and 0-255 (eg the one by Andrew first to flatten the image and then another one to make the final image) to see if there is any difference in the final products.

Yes but in between there is a grading step. Its where the extra information might be useful for some people. 
So the test would be 0-255 --> grading  (0-255 rgb space) --> 16-235 delivery  vs a 16-235 recording --> grading (0-255 rgb space) --> 16-235 delivery

What I'd need from samsung is the possibility of storing different settings for video so to recall them fast and handy! Please samsung...

You do have to figure out how to make it work and in what situations to use, then it's not absolute crap.

Auto Exposure Lock

Yes, we know both capture the same info (nothing gets dropped at the top or bottom), the difference is in how they get ENCODED. I.e., which part (lows, mids, highs) gets preference in terms of space on the 8 bits. See comments on the page for the difference and effect on banding.
Here's my summary and recommendation:
0-255. Works for most situations, especially recommended when mids are more important than lows and highs. Uses the entire 8 bit range, so it's the best you're going to get for mids and overall image. Not good if you aren't planning post work. 16-235. Necessary when delivering out of the camera without post work. Also good on high contrast scenes where you want to preserve details in lows and highs at the cost of mids. 16-255. Good when you have critical info in the lows and can't lift the overall exposure because it will blow the highs.