Parker

Here's a wedding I just finished earlier this week, shot entirely on the NX1 with hacked bitrate, with the NX-L Speedbooster, mostly on Rokinon 85 and 50mm cine lenses, except the gimbal shots which are on the NX500 and Rokinon 12mm.

And here's a fun, kind of artsy little piece I helped a buddy with for a university project a month or two ago, it's also with bitrate-hacked NX1, NX-L, 85mm, and one or two shots on the 12mm and a 35mm Zeiss Jena (the macro-ish stuff at the beginning). But T1.5 with the speedbooster lets in a LOT of light, I still had to have ND for almost the entire video to keep my 180 degree shutter, even in such low-light conditions, ISO 100, pretty cool!
 
EDIT: I forgot to mention that the first video is graded entirely with Neumann film's cinema LUT, while the second one uses Ricardo's Vellichor LUTs, albeit heavily pushed.

Here's a wedding I just finished earlier this week, shot entirely on the NX1 with hacked bitrate, with the NX-L Speedbooster, mostly on Rokinon 85 and 50mm cine lenses, except the gimbal shots which are on the NX500 and Rokinon 12mm.

And here's a fun, kind of artsy little piece I helped a buddy with for a university project a month or two ago, it's also with bitrate-hacked NX1, NX-L, 85mm, and one or two shots on the 12mm and a 35mm Zeiss Jena (the macro-ish stuff at the beginning). But T1.5 with the speedbooster lets in a LOT of light, I still had to have ND for almost the entire video to keep my 180 degree shutter, even in such low-light conditions, ISO 100, pretty cool!
 
EDIT: I forgot to mention that the first video is graded entirely with Neumann film's cinema LUT, while the second one uses Ricardo's Vellichor LUTs, albeit heavily pushed.

Zhiyun Crane Unboxing // How to balance // 3 tips for using in the field
 
 

@sondreg and @Kisaha and others have expressed that I share some of my work with the NX-L. Obviously Enna is probably going to supply us with a sweet review, but I guess I can post some of my work with it so far as well. I've shot tons of stills with it (if people want to see some of those, let me know) as well as several video projects that I can't really release yet since I'm still in post with the clients, but here's one I can realease that I shot entirely on the NX-L (except for the wide angle/gimbal stuff, that was a NX500 and 12mm on a zhiyun crane), but apart from that everything in this video shot with the NX-L and rokinon 85mm. At the very least it shows off the dreamy full-frame look the NX-L provides as well as clearly maintaining sharpness and detail. I'm also happy to answer any questions. Once again, @lucabutera has done an absolutely amazing job with this wonderful piece of kit. Anyway, here's the vid: 
 
 

@sondreg and @Kisaha and others have expressed that I share some of my work with the NX-L. Obviously Enna is probably going to supply us with a sweet review, but I guess I can post some of my work with it so far as well. I've shot tons of stills with it (if people want to see some of those, let me know) as well as several video projects that I can't really release yet since I'm still in post with the clients, but here's one I can realease that I shot entirely on the NX-L (except for the wide angle/gimbal stuff, that was a NX500 and 12mm on a zhiyun crane), but apart from that everything in this video shot with the NX-L and rokinon 85mm. At the very least it shows off the dreamy full-frame look the NX-L provides as well as clearly maintaining sharpness and detail. I'm also happy to answer any questions. Once again, @lucabutera has done an absolutely amazing job with this wonderful piece of kit. Anyway, here's the vid: 
 
 

@sondreg and @Kisaha and others have expressed that I share some of my work with the NX-L. Obviously Enna is probably going to supply us with a sweet review, but I guess I can post some of my work with it so far as well. I've shot tons of stills with it (if people want to see some of those, let me know) as well as several video projects that I can't really release yet since I'm still in post with the clients, but here's one I can realease that I shot entirely on the NX-L (except for the wide angle/gimbal stuff, that was a NX500 and 12mm on a zhiyun crane), but apart from that everything in this video shot with the NX-L and rokinon 85mm. At the very least it shows off the dreamy full-frame look the NX-L provides as well as clearly maintaining sharpness and detail. I'm also happy to answer any questions. Once again, @lucabutera has done an absolutely amazing job with this wonderful piece of kit. Anyway, here's the vid: 
 
 

@sondreg and @Kisaha and others have expressed that I share some of my work with the NX-L. Obviously Enna is probably going to supply us with a sweet review, but I guess I can post some of my work with it so far as well. I've shot tons of stills with it (if people want to see some of those, let me know) as well as several video projects that I can't really release yet since I'm still in post with the clients, but here's one I can realease that I shot entirely on the NX-L (except for the wide angle/gimbal stuff, that was a NX500 and 12mm on a zhiyun crane), but apart from that everything in this video shot with the NX-L and rokinon 85mm. At the very least it shows off the dreamy full-frame look the NX-L provides as well as clearly maintaining sharpness and detail. I'm also happy to answer any questions. Once again, @lucabutera has done an absolutely amazing job with this wonderful piece of kit. Anyway, here's the vid: 
 
 

@sondreg and @Kisaha and others have expressed that I share some of my work with the NX-L. Obviously Enna is probably going to supply us with a sweet review, but I guess I can post some of my work with it so far as well. I've shot tons of stills with it (if people want to see some of those, let me know) as well as several video projects that I can't really release yet since I'm still in post with the clients, but here's one I can realease that I shot entirely on the NX-L (except for the wide angle/gimbal stuff, that was a NX500 and 12mm on a zhiyun crane), but apart from that everything in this video shot with the NX-L and rokinon 85mm. At the very least it shows off the dreamy full-frame look the NX-L provides as well as clearly maintaining sharpness and detail. I'm also happy to answer any questions. Once again, @lucabutera has done an absolutely amazing job with this wonderful piece of kit. Anyway, here's the vid: 
 
 

Looks Like your getting some free press... Cool NX-1 user in South Korea(I think... Maybe he was on the samsung team?) just dropped a promo for an NXL review.
 
 

I might take another look at the gh5 in the summertime once it has been out in the wild for a while and recieved all the promised firmware updates and features fully added. I can't really see myself getting one new though, $2k plus a $650 speed booster (a must-have for m43 in my opinion) means it's not exactly a cheap option to move right over to.
My NX1 and NX500 continue to astound me, especially now that I have one of Luca's super awesome NX-L's to play with. IQ wise, for me, the files coming out of the Samsung's have more than enough dynamic range, detail, color, and yes even low-light ability (with a fast lens I just very rarely need anything higher than 1600). I had a wedding shoot earlier this week with awesome results and I'm shooting a short film tomorrow with them and am fully confident in their ability to capture great images.
I will certainly be very jealous of the 4k 60p, 10-bit color and super cool 6k 4:3 anamorphic mode that GH5 users are going to get to play with though.
 

@Kisaha I've been meaning to write about my thoughts on the nx-l for a while, now that I've put it through the paces a little bit with several shoots. I really like it... Definitely does what it's supposed to, happily makes lenses wider and faster. I've done a few shots with the same lens with and without for comparison, but nothing crazy clinical like I assume people on here are interested in seeing, as far as a scientific breakdown of how chromatic aberration and sharpness might be affected by the adapter. 
One negative, I was sad to realize that my contax Zeiss lenses won't mount to the nx-l at all, so that was a bummer. Oh well. Lenses I've used and liked so far with it include the rokinon 50 and 85, Nikkor 80-200 2.8 and 28mm 2.8 ais, Helios 44-2 and tokina 28-70 f2.6-2.8. The venerable sigma 18-35 is still surprisingly useable as well, with vignetting obviously but on the longer range good enough for my uses. 
The design Luca created is pretty ingenious, the back element, which is square, spins around freely so that it can sit right up near the sensor and then the rest of the adapter can spin around it and lock into place. The build quality is fantastic, really looks very smooth and professional, like it was made by samsung for the nx1. 
I've got images and video I've made with it that I can post if people are interested, but once again I just haven't taken the time to do super scientific comparisons or anything. It's just immediately become a part of my image-gathering workflow and I consider it money very well-spent. 

I might take another look at the gh5 in the summertime once it has been out in the wild for a while and recieved all the promised firmware updates and features fully added. I can't really see myself getting one new though, $2k plus a $650 speed booster (a must-have for m43 in my opinion) means it's not exactly a cheap option to move right over to.
My NX1 and NX500 continue to astound me, especially now that I have one of Luca's super awesome NX-L's to play with. IQ wise, for me, the files coming out of the Samsung's have more than enough dynamic range, detail, color, and yes even low-light ability (with a fast lens I just very rarely need anything higher than 1600). I had a wedding shoot earlier this week with awesome results and I'm shooting a short film tomorrow with them and am fully confident in their ability to capture great images.
I will certainly be very jealous of the 4k 60p, 10-bit color and super cool 6k 4:3 anamorphic mode that GH5 users are going to get to play with though.
 

It seems the camera industry is moving away from enthusiast photographers to professionals for full steam now, the reason why I think the NX series did so badly is because they were targeting regular people like smartphone users instead of the professionals. 
I come to a point in my life were having the latest and best is vanity, I had my Xperia Z for almost 4 years now and I see that I rarely use it for much else than what you would not be able to do in a low end device anyway, sure it may not have the fastest processor out there and not the greatest camera even for its own class back then, but it gets the job done.
The same goes for my camera, its materialistic obsessive to continue purchasing newer and newer products because you want the quality to be superior, its not true a good camera wont make you a good photographer, its the way you use that camera that makes you a good photographer, whether your work turns out good or not. 
I seen modern Chinese movies shot with 16mm Soviet cameras you can get off eBay for like 80 dollars and these movies have better cinematography than most Hollywood movies and they were a lot more enjoyable story wise too. 
GH5 looks like a good camera no doubt and price wise is very good as well 1999 dollars for such great features? Its a steal if you ask me. 
But I too used to be like "Quality matters" but I had time to use my NX1 now which in a few months now is almost 3 years old, think about that for a second, over 2 years old and still produces excellent images and video, the hack has also done a lot for us but it would been even better if they managed to make it spit out MJPEG's with little to no in-camera processing specially making it shoot 2160p60, but I wont complain they did an excellent job non the less. 
I for one wont be upgrading for a long while, this camera will stay with me for at least 6 years in total, and one day I will use it for a full feature film, I grew up with Soviet cinema and I know that masterpieces are not dependant on camera equipment but only the ingenuity if their production crews. 
This does not mean a shitty Nokia phone camera is the tool for the job, there is of course a limit and there always will be, for photography most pro photographers seem to say that around 4 to 6 megapixels is really the sweet spot for digital delivery but if you go print you must go higher, 1080p seems to be that sweet spot too, even though 35mm produces up to 6k digital prints if it is low clean ISO film, 1080p still looks great even on a big screen but for me 2k is minimum in a cinema, most cinema projectors are only 2k too. 
Its been a while since 4k has been out and overall the adoption of 4k screens is very slow still, 1080p came out for the first time in the late 80s, you can start to imagine now how long it will be before 4k is universal standard for everything. They did not even start to get serious about 1080p until 2006 when Blu Ray was being released despite there being a delivery format that supported HD delivery in the 90s like the D-VHS and MuseLD.
Another thing I noticed, majority of movies and TV-series are produced at low cost and quality is not generally very important, often they just rent big 4k cameras without giving much about its capabilities as long as it just shoots the resolution they are happy enough. 
Also most Hollywood films these days are shot behind green screens and more time is spent in the editing rooms than the scene. 
A good camera is not essential these days even in the industry as most movies uses low range colours and shadows and purposely crushed, video for TV are usually decapitated before being broadcasted in order to limit the bitrate they often kill colour depth and destroy dynamic range to fit it in the standard hence they end up looking very greyish. 

I have used the NX1+16-50s quite a bit on a Ronin M, pretty awesome combo. Obviously pretty big and heavy though. I now own a Zhiyun Crane, but personally I prefer to use a little bit lighter setup with the handheld pistol-grip-style stabilizers like the crane, since the easy mobility and lightness are why I bought it. It's definitely a little trickier to balance the heavier the lens, and the 16-50 is pretty robust. The crane's powerful motors are certainly more than a match for the weight though, once it's balanced properly. 

Sharing a small clip that I shot in Aug. on a trip to the US with a fellow NX1 user, that is also a user here on the forum, Mr. Adam Bradley :D 
 
 

I like and use all of the above mentioned LUTs with the NX1 and NX500 and would heartily recommend them as well. I'll throw a few more in the ring that I enjoy also: I really like Neumann film's rec.709 cinema lut, it's subtle but really nice, and I frequently use the tried-and-true Osiris M31 LUT with the NX1 with lovely results, as well as James Miler's DeLuts, particularly Sunderland, and various of his black and white ones. I also like how filmconvert plays with NX footage. I haven't really put the new Samsung profiles they released through the paces yet (haven't heard the greatest things about them, unfortunately) but in the past I've had luck using Red Gamma profiles.

Best of luck! In my opinion the color these cameras produce is very malleable, and you can really reproduce an astonishingly wide variety of looks without too much trouble. 

Lots of good recommendations in this thread, always fun to see what other people are using. In my opinion, if you're just starting out I don't think there is any need to get too crazy with any huge investments. My first lighting setup was just 3 aputure Al-H198 LEDs, and they took me a long ways.
http://www.bhphotovideo.com/c/product/1114779-REG
They're only like $60 a piece! I added AC power functionality for pennies which let me run these tiny, portable, (and dimmmable!) high CRI lights on either AC, double AAs, or rechargeable sony npf style batteries. In other words, very versatile! I've shot all kinds of corporate/talking head kind of pro-level stuff using only these three lights and a 5-in-1 reflector for bounce on occasion. Depending on how ambitious your needs are, the whole setup, with cheap stands and all, is easily less than $200 total.
So, a great place to get started. Then later you can assess your needs if you need bigger, brighter. more spot, more flood, fresnel, etc. But for now, I'd start out small. Just my 2 cents! Good luck!

Weddings are kind of my bread and butter. Like most people here I started on Canon DSLRs, but eventually went mirrorless. While I've shot quite a few with the GH4 and A7s i/ii, my tried-and-true favorite combination for weddings for the last 2 years or so is my NX1 with a battery grip (battery life for days!) on a benro monopod. The 4k is fantastic, the 60p is excellent and the 120p is very good. For glass, probably 99% of the time I'm using either the sigma 18-35 or the rokinon 85mm. I have an SLR magic variable ND with xume magnetic filter holders, so I can just clop it on and off any lenses i use in half a second, very convenient for the running and gunning of weddings. Who needs internal NDs when it's that easy. 

For steadicam shots, lately I keep an NX500 with a rokinon 12mm on a zhiyun crane ready to go in my bag when I need some cool camera movement. I've pared down my wedding kit so that I can carry it all with me all the time(peak design everyday messenger for the win!) I have  a nasty habit of setting things down in the moment, forgetting about them, losing them, etc. and it's just so much of a hassle to have too much gear. I've done the whole ronin thing, extra lights, all the lenses I MIGHT need, but then you have the risk of that stuff laying around when you're not using it, just not worth it for me, especially since most of the time I'm a one-man-band.

Like everyone is saying, audio is important (I live in Utah, i.e. lots of Mormons here, so I don't actually film too many ceremonies, just the happy couple coming out of the temple) but for the odd ceremony it's really not too much trouble to throw a Sennheiser g3 or something similar on the priest, and line-out record the house audio with any recorder you want for backup and you're golden. I just don't see much of a reason to over-complicate things. Weddings are easy. Pretty fun too. Good luck! 

I discovered this as well. It's a big deal for my work, but luckily, there's a (mildly annoying) workaround! https://www.youtube.com/watch?v=0evKZXohM7o&t=774s
I'll add one thing that isn't in the video. It's best to have a dummy job first in the queue in media encoder, because you have to stop the queue since it starts automatically. If it stops on a proxy file, then premiere won't be able to find it and you'll have to manually re-attach it. Having a random other render queued first ensures that none of your proxy renders get cut off mid-render. 

Hum, that kind of reminds me of
and...
Does look like practical stuff as well.

Interesting, I'd like to see your comparisons, as it's not a problem I have noticed, and I do use my NX1 extensively for stills as well. What would constitute a super low contrast scene exactly? Shooting directly into the sun/washing everything out? I typically tend to underexpose (which I suppose would innately make things more contrasty) since the sensor protects shadow detail so well, but highlights burn easily (also speaking only of stills here). And I do understand the need for high ISO of course, but personally I almost always shoot my lenses wide open, just the aesthetic I prefer for my work. Being able to stop down and deepen the depth of field without worrying about noise is certainly an advantage though, especially when the cam is on a gimbal or moving quite a bit, Unfortunately a luxury NX users don't have! 

Keeping on topic though, for me personally, other than lusting after some sweet 4k 60P that it unfortunately can't provide, the NX1 truly brings everything to the table that I need in a wedding camera. YMMV of course. 

@Kisaha I'm planning on posting my opinion of the NX-L in the next couple days! I've been using it quite a bit for a variety of different work, I'll be posting screenshots. I really like it so far though! 

Not who you asked, but I really find the NX1 quite useable in all but the most pitch black of situations. With an 85mm T1.5 on there, especially combined with the new speedbooster I recently purchased from @lucabutera, which gives a further stop in light gain, I never have to take things above even 1000 ISO really, and normally I'm far, far below that. I really doubt you're going to be filming in a church that is darker than what ~T1.2 and 1000 ISO can illuminate. Worst case, filming in 4k, if it's a static scene drop the shutter from 1/50 to 1/30 and you can soak in even more light. Sonys are cool, but I pretty much never need anything higher than 1600. That would be one crazy dark wedding. 

Nope, definitely not. Only Mormons can go inside, and certainly no filming or anything like that would be allowed. For a typical Utah Mormon wedding video I film a romantic/stylized bridals session/first look thing, b-roll of the temple grounds, which are always very lovely, then the couple coming out of the temple to family cheering, hugs, etc. Then it's off to the reception for the cake/garter/bouquet/dancing and exit. And they're all just exactly like that, so sometimes it's hard to make them seem different. It's nice not to have to worry as much about the audio of all the speeches and ceremonies and more traditional wedding stuff like the rest of y'all though. 

Sounds like you could've been Parker Walbeck. Devin Graham's trusty shooter.
 
Man, I'm waiting on the Instamics to ship out! https://www.indiegogo.com/projects/instamic-the-smartest-microphone-ready-to-record-video-music#/

Weddings are kind of my bread and butter. Like most people here I started on Canon DSLRs, but eventually went mirrorless. While I've shot quite a few with the GH4 and A7s i/ii, my tried-and-true favorite combination for weddings for the last 2 years or so is my NX1 with a battery grip (battery life for days!) on a benro monopod. The 4k is fantastic, the 60p is excellent and the 120p is very good. For glass, probably 99% of the time I'm using either the sigma 18-35 or the rokinon 85mm. I have an SLR magic variable ND with xume magnetic filter holders, so I can just clop it on and off any lenses i use in half a second, very convenient for the running and gunning of weddings. Who needs internal NDs when it's that easy. 

For steadicam shots, lately I keep an NX500 with a rokinon 12mm on a zhiyun crane ready to go in my bag when I need some cool camera movement. I've pared down my wedding kit so that I can carry it all with me all the time(peak design everyday messenger for the win!) I have  a nasty habit of setting things down in the moment, forgetting about them, losing them, etc. and it's just so much of a hassle to have too much gear. I've done the whole ronin thing, extra lights, all the lenses I MIGHT need, but then you have the risk of that stuff laying around when you're not using it, just not worth it for me, especially since most of the time I'm a one-man-band.

Like everyone is saying, audio is important (I live in Utah, i.e. lots of Mormons here, so I don't actually film too many ceremonies, just the happy couple coming out of the temple) but for the odd ceremony it's really not too much trouble to throw a Sennheiser g3 or something similar on the priest, and line-out record the house audio with any recorder you want for backup and you're golden. I just don't see much of a reason to over-complicate things. Weddings are easy. Pretty fun too. Good luck!