Sekhar

If your Cullman is decent enough (stable, accepts head), then you just need to get a tripod head for video. And for that money you can find pretty decent video heads. 
As Hans said, I would not buy a video tripod+head for that kind of money. 

You're right of course, but the question is (and I think this is what Mercer meant as well): where will you actually use/play the H.265 footage today? I guess if you're short on space you could use it to play back on computers that have the codec, but most other players/sites won't play it yet, so it's going to be really limited in its use. It's perfect for recording devices like cameras (that are short on space), but not outside...yet.

Just finished a re-edit of my first wedding the NX1 (fortunately, wedding season is over !), I didnt re-grade, just made it smaller. Hope you guys like it :
https://vimeo.com/148642940
C&C are always wellcome !

Why would you want to export to h.265?

I did a test with these LUTs and the NX1. Love them. Check the video here....
http://m.youtube.com/watch?v=WUHgyPtvilI

Turns out the rumor was fake. Samsung UK denied any Nikon acquisition of NX system. 
Also, Samsung US has said they won't be pulling out of camera business. 
What happened to the claim that EOSHD doesn't post rumors? That's two rumors in a month, both false
 

Every shot in this video except the rooftop was shot with V-Log L 10 bit on the GH4/Assassin.
Thanks to Sandro and Nicolas Maillet for helping me with a couple of Twixtor shots.

Folks, I had a chance to cover a stage event last Sat and used NX1 and NX500 for a two-camera shoot. Both were at DCI 24p, with NX1/Samsung 16-50 covering the whole stage and NX500/Canon 70-200 the center. Thought you might be interested in how these two gems capture the image and how much flexibility 4K gives in reframing when outputting in 1080p. Comments/critiques welcome.
 

Thanks Mercer. Believe it or not, the zoom you're seeing with the NX500 shots is at the wide end (@70 on the Canon 70-200 L lens)! And even that I scaled down to 50% in post because I wanted to cover everyone. Also, shooting wide (less need to pull focus) and placing both cameras close helps when shooting as a one-man crew.
And yeah, a documentary would be good; I need to find an interesting topic.

Don't know how I missed this. It looks good. You really can't tell a difference in quality between the NX500 and the NX1. A separate angle all together could be interesting for future videos, that way you can really work close ups of each woman separately, which I'm sure they'd love. 
And once again I enjoyed the subject matter. Since it seems you are so involved with Indian/American community, it would be interesting to see a documentary about the collision, for lack of a better word, of the two cultures. 

Folks, I had a chance to cover a stage event last Sat and used NX1 and NX500 for a two-camera shoot. Both were at DCI 24p, with NX1/Samsung 16-50 covering the whole stage and NX500/Canon 70-200 the center. Thought you might be interested in how these two gems capture the image and how much flexibility 4K gives in reframing when outputting in 1080p. Comments/critiques welcome.
 

Also consider NX500. IMO it produces great 4K video that's pretty close to that of NX1. I just did a two-camera shoot with it and the two videos were virtually indistinguishable with a few tweaks. It's currently on a big Black Friday sale from Samsung off $300 from $799.99 to $499.99.
One aspect with NX500 you need to know is that it shoots in crop mode that makes wide shots a bit hard, but it can be huge advantage when shooting tight because you get free ultra zoom. I made multiple posts on this (e.g., see NX500 as teleconverter), search these forums and you'll find these and a lot of other posts on the camera.

Folks, I had a chance to cover a stage event last Sat and used NX1 and NX500 for a two-camera shoot. Both were at DCI 24p, with NX1/Samsung 16-50 covering the whole stage and NX500/Canon 70-200 the center. Thought you might be interested in how these two gems capture the image and how much flexibility 4K gives in reframing when outputting in 1080p. Comments/critiques welcome.
 

I'm sure there are folks who resort to various tricks/gimmicks like fancy emulations to make up for not knowing how to tell a story. But those who do know use looks to serve their creative intent. E.g., I'd think a science fiction like The Martian or war and desert films will want to get the gritty look with ultra sharp (and possibly low shutter angle) imagery that might not work for say a feel-good romance. So, it's not all bogus.

I've had this same problem, but only when the camera was shut off or went to sleep. I figured it was parking the internals of the lens in a safe position. Is your camera doing this without going to sleep or being turned off?

Thanks Tupp, my issue is not with achieving focus: what I get with the NX1 assists (zoom and peaking) is excellent and tack sharp. The problem is that if I stop the recording and resume later, the focus is off even though I didn't touch anything else. It doesn't happen every time, so I'm baffled. I believe this has something to do with the lens being focus-by-wire and not true MF, so somehow the camera is resetting on occasion. Sadly, NX1 is like an eccentric genius, and it does have its bizarre moments.

I understood that the focus changes when you stop recording.  I was giving you some work-arounds in lieu of a proper NX1 solution from someone familiar with the camera/lenses.
 
If there isn't a better solution, you could just focus after each time you press record or try covering the contacts with electrical tape,  as I mentioned.  Of course, you could also just use a manual lens from some other manufacturer.
 
Be careful using peaking with tight apertures -- critical focus might not be where you would like.
 

As NX1 owner - I've often considered the NX500 as a second camera.  Top things that have held me back are: no DIS for video.  significant crop in 4k.  Of less concern but still present:  no EVF, no mic jack, no peaking in 4k.  Things that are differences, but are not of concern to me are no Gamma DR,  70 MB/srather than 100 as the recording size. Advantages I appreciate are lighter weight and selfie screen LCD position option.
To me if the used or sale price is within $500 difference I would go for the NX1 - which will be the case in the future, I predict.

Ah, OK. We all have our favorites. My experience with Bogen/Manfrotto hasn't been as good, unfortunately: my Manfrotto 755B (MDeVe) broke after relatively light usage with one of its leg locks suddenly cracking. Really bizarre. I can only hope it is rare.
Anyway, good luck in your search, and do post your findings back here.

One day last week I was reading a post about the Blackmagic Micro Cinema Camera, when I read a comment by @Zak Forsman regarding the Sirui video monopod. It was perfect timing because I was in the middle of searching for a good monopod. I had narrowed my choices down to a model by a company name Cinetree and a Manfrotto model. I had heard of Sirui but never read any reviews on it. Zak gave it a glowing recommendation, so I headed over to eBay to check it out. Luckily, I found a "New Other" model for sale at a 30% discount...
Sold.
 
The monopod arrived 2 or 3 days later and I was immediately impressed with the build quality and how lightweight it was. The fluid pan function is butter smooth and the tilting, swivel base is just as smooth as the panning. The built in foldable feet are sturdy. But when I extended the legs, the top and bottom section was tight, I could barely extend them. I figured that this is why it was sold as new other... it was probably a return.
I, immediately, went over to Amazon and read some reviews and the tight leg seems to be a common flaw of this unit. Apparently, when the sections of the leg are extended with a lot of force, the female metal end digs into the male plastic guide cap and scrapes off shavings of plastic, the leg gets clogged and it becomes very tight to open and close. Some buyers received their monopod that way, others had the issue occur over time and others never had a problem at all.
I had two options, pack it up and return it, or take it apart and fix it. Since every other aspect of the monopod: the price, the fluid pan, the swivel, tilting base and oversized feet were exactly what I've been looking for, I chose the latter... take it apart and clean it. In less than 10 minutes, I had the monopod sections apart, cleaned, relubricated, with WD-40, and reassembled. It works just as new. Perfect.
I attached a video of some clips I took yesterday down the shore. After about a half dozen cups of coffee and a half a pack of cigarettes... I realized I need a little more practice with it... or less vices that cause uncontrollable arm spasms. But either way, I am extremely happy with it and it is worth every penny I paid for it. Does it replace a tripod with a good fluid head or a steadicam? No. But for run and gun shooting with a small footprint, it's exactly what I was looking for.
 

Looks great, love the colors. I also liked the way you did the voice-over and focus. The music didn't quite work for me though. Also, I'm not sure about your goal, but if you wanted to use this as a bio/promo video, perhaps you should add (even begin with) your best pictures, we don't see much of your work. Overall, great job.

Folks, thanks to EOSHD, I discovered Benjamin's awesome LUT pack. Today I tried one of his LUTs (this is the first time I'm using an LUT for grading) and thought I'd share the result in case you're interested in getting/using his pack.
I shot this with NX1 in 4K 24p with DR gamma, -10 sharpness, and -5 contrast; edited as 4K; and resized to 1080p using some scaling/zooming to get the framing I wanted. After some basic color correcting, mostly to match the colors, I applied Benjamin's LUT 9090 to prep for LUT and then used 9240.
All this was in SpeedGrade, and while the process was pretty straightforward, for some reason it was dog slow on SpeedGrade to see the results (anyone has an idea why?), so could only experiment with a few LUTs (that really is the hard part IMO, finding the right LUT).
 
 

Sandro, Rocky Mountains is just a wrapper, it doesn't convert anything: it simply presents a convenient interface to gather what to needs to be done and then calls FFmpeg under the covers. Since it's FFmpeg doing the conversion, the time will be the same whether you call FFmpeg through Rocky Mountains or directly call it as I do. I see little benefit to using Rocky Mountains (or other wrappers) and find it much more convenient to directly use FFmpeg since it's a single step: drag all the files onto the FFmpeg icon, done.

Yes, what we need is something that survives a supernova, which as we know film does.

Sure, whatever.