Kisaha

This is a normal practice of Sony. I remember since the EX-1 and EX-3 days, and before that with the camcorders we were buying for 4-7000€, one week a camera was 6700, the next was like a bit under 5000 (true story!). Same with A7s/r I and II. I have a specific friend that bought a6000 just before the announcement of the a6300, and bought the a6300 2 weeks before the announcement of the a6500! I am not sure if he is going to buy the 6500 now..

The funny thing is, that to buy the a6300, he sold a Canon 6D and a 24-105, which the Canon after so many years had lost as much value as the a6300 in 7 months.

Mirrorless cameras are considered as mass production items, with small life cycle, and so they are priced as such, Canon seems to follow this with their M series, (Sony/Samsung/Panasonic which are elecyronics companies are doing that for years) but not with their dSLRs that they consider pro cameras.

Well, there is, just google it. It was in tgis years NAB.

Completely off topic: 

Man! your babies are so cool, that I do not even care about cameras anymore! 

It seems that they are going to post 4K 120fps videos of you here, in a few years time with the NX1 that they will have hacked on their own, while you sleep!

They seem very lively and very intelligent, congrats!

There is another fact though, Nikon eas aleays a photo company, and photo isn't equal to video. Until very recently in time, pbotograpby and filmography (or videography) were completely apart in theory and practice.

Nikon's perception of the truth that says "there are two kinds of people..." shows that for them this is an issue, not an opportunity, as they are excelled in making photo cameras (look how much better results are squeezing out of the same Sony sensors) and the negative accent of his replies show the "agony" of a craftsman of the past that is not willing, or able, to follow the modern world's reality.

Electronics companies like Panasonic, Sony and Samsung are more adaptable of what people need, and the market can do to people like these, so it is normal to see the most innovation (so much, as it becomes gimmicky), features, and marketing tricks out of these companies.

I have the outmost respect for Nikon, and if I was a still photographer it couod have been my bramd of choice but soon it will be number 3 (Sony is already eating up its sales) and the future is not that bright.

Fuji (another traditionalists and photo experts) with their interviews of the last 2 years, are declaring that video is number one priority for the evolution of their system and that they have recognized the need of the market for hybrid cameras.

Honestly, last year's rumor that Samsung could give Nikon the NX system was the best thing could happen to Nikon. Imagine a NX1+D500 = NXF1 Nikon mirrorless with all the innovation and technology of Samsung, and all the right decisions and wisdom (and lenses!) of an image specialist as Nikon.

Ttbek: We are all expecting your review, as soon as you receive them!

@kidzrevil: wherever you go, NR is haunting you! I am wondering if the 15 is better in that specific matter, as people with the 15 have recorder no ghosting, maybe it handled NR bwtter, or it is just the limitation of the sensor size.

You have to consider the 1.53 crop factor that your camera has. A 28mmx1.53=is closer to standar than wide-ish. So, I would advice you to spend most money on a ultra wide zoom for starters (as most of the focal lengths are covered already).Another thing to consider is the different optical qualities all these different brands and lenses have, it is wiser to "invest" in sets of similar behaviour. I have FD and Pentax of similar years (and a few oddballs here and there ofcourse, we all have!).

Another thing is that newer lenses are better optimized for newer sensors, so legacy lenses is not always a panacea. It is tempting to buy a loy of cheap old ones, but consider a couple of very good modern lenses with image stabilizer/AF and other electronic modern goodies.

I heard from my Nikon friends that the 17-50 and 17-70 Sigmas are good value for money, and in your post, most of the lenses are overlaping one another.

It just went down a few thousands during the summer! Even if it goes down, it will be more than twice the price for a long long time..

I honestly would prefer a C100markIII instead, with similar to the XC15 files, but a C100 nevertheless. C300 is a different animal than the 100 and you would need an upgrade to everything you own (tripods, monopods, sliders etc) to tame it sufficiently. We have one in the production company I work; most of the times I go with the C100ii.

You always have to consider the fact that the camera that you use now, is better than the one you haven't, or can't get!

With the C100ii you will keep 98% of your clients happy, and with the XC15 the rest of them, and it seems like a very good 2 way system too. You got 2 cameras for less money than the rest of your options.

I will try straight away (in a few days!). Thank you very much for the scientific approach.

What do you think about the other profiles (especially the normal)?

If you are fine with the Rode sound (and why you shouldn't), then I would advise you to get rid of the Sennheisser, get an NTG-3, and later on buy the Audix. The 3 is very different than the 2, it doesn't replace it per se, and you can always do with a backup mic anyway (I always take 3 boom  mics with me on any job, and at least a lav more that I should, plus a stereo mic just in case).

NTG3 is different than the 416, I do not know how this rumor is sustained, it took me less than a year of 3 different jobs to realize that.

Obviously the Rode has a wider polar pattern and less frequency sensitivity to the two extremes (especially the low end is less pronounced than the 416). So, if two microphones have different patters and different acoustic qualities, then they are different in my book. I do not say that it is a bad microphone (it is excellent for the price), but that it is different. I would say that it favors more amateurish behavior on set, as it is more forgiving than the absolute 416.

After working a full 2 years on 3 TV documentary series with the Rode mic (and blimp) and various other jobs in the middle, I went and bought the 416 with the Sennheisser basket/blimp. Since then I am avoiding the Rode even if I have to offer my 416 for free; not because it is bad, I just prefer what I am getting from the 416. Also, the Sennheisser blimp is night and day against the Rode. I can't even stretch that enough. The new Cyclones are really bad at the moment, they are not ready to compete with the classic zeppelin design yet. I would say Sennheisser -> Rycote (classic design) -> K-Tek -> Rode 

If you have the power module, ME64/ME66 can be an excellent two way system for exteriors and interiors the same time. That used to be my main set when I started with sound. 

Since then I followed a bit the hype of the Rode microphones, but if I managed to get rid of the cheap NTG (they sell extremely low for new), I will go for a MKE600 for crude sound work, when the delicacy of the 416 doesn't cut it. Wish I could afford the 30 & 40, which are the mics I usually rent when I have the budget and the time.

The warmth that you are mentioning is the forgiveness of the polar pattern and less dialogue orientated acoustic quality of those mics. They are just different. Mics are like lenses, of course you can do a feature with a 50mm, but it is probably better to have a few more options. For indoors you need different microphones that those mentioned. A 64, a 40, an Oktava, the Audix, Schoeps (if you can afford them), a DPA e.t.c It is like to do an interview on a 1.5m wide room with only a 300mm lens; you probably need a 35mm for that..

No, I didn't missed your point, it just isn't  argument-proof; and yes, it does make sense, but in the wrong side of Sense-O-Meter.

As I explained (with both my examples) the price you pay NOW, for two years of use is adequate, as all the rest of the options are all far more expensive, more than double the price, and when not (in case of the Canon M really) isn't technologically on par with the NX system.

The NX1 is more than two years in the market, and there isn't a clearly better APS-C mirrorless camera, still. As I already explained, if someone bought the NX1 with the kit lens for 1499$ two years ago, he had the bargain of the century (almost).

Now, if you have already some NX stuff, maybe it is still a better deal to get some more NX stuff to make your life and production better. Also you have a two camera system for interviews, live coverage, sports, theater e.t.c and that doesn't mean that it won't have any value in two years time.

How much value has the a600 that one bought a year ago for 1000$, when in a few months, a6500 will be a few hundred more than that price? 

True story: http://www.katerelos.gr/product/43887/sony-alpha-6300-body.html?ref=3 This is the price a friend of mine bought his a6300 a month ago, and it is still the price. That is 1600$, with not even a front wheel to change the aperture/shutter speed and he had to sell a Canon 6D and a couple of lenses for that.

NX1 is a pro camera, and as such it is a whole different experience. The whole approach is pro, and with protected from the elements body.

Also, it has EVF, much bigger battery, best ergonomics in class, better HDMI out, 120 fps in Full HD (best in class), faster SD writing speeds (and buffer), larger bit rates, mic in and headphones out, and a few other things I guess. Even one of the audio ports (not even both of them!) and some slight changes makes a different model for Panasonic and 2-3 hundred $ more! So yes, NX1 is really an upgrade, a big one.

Then, if you sell your 500 and get 400$ back, what other system you can construct consisting of 2 cameras (NX1 and NX500) a pro lens and another good prime (an S lens and the 30 or 45mm) for similar money? 

What gear lasts for ever? Even Sachtler tripods costing multiple times 1500 haven't lasted forever, and even Sennheisser 416s have been to service for various reasons. do not even mention latest digital stuff, that I won't see them last not only 5 years, not forever (which is an incredible large amount of time to be consider as a reality)!

2 hours ago, MountneerMan said:

 

"I agree however like I mentioned we are all going to need to change systems eventually and if not buying a NX1 now is the difference between getting a one "pro" lens(24-70) or two "pro" lens(24-70 & 70-200) when you do switch systems in one or two years I would suggest you save your money.

Or if you have money now that is burning a hole in your pocket and you are the type of person who needs to constantly be buying new gear. Invest in gear support like a mono pod or gimbal. Hell even get a drone all of these will improve your film making more than upgrading to an NX1 from an NX500."

Not really, let's take a serious APS-C camera (a proper one, not the Sony gimmicks).

The new Fuji is 1599$ and 329$ with the grip (without, it isn't even close to the NX1), and the similar to the S lens being 1199$/ if found a NX1 and 16-50S for less than 1399 as I suggested, then it is 1399 against 3127, and in some specific things NX1 is still better (to much better). Honestly, the only thing I can see the Fuji being truly better is one f-stop on video, and maybe the EVF(?), also more battery life, but only with the grip, and the more batteries (that have to be added to the price of 68$ each battery).

So, when the next Fuji will be out, and it will truly be better than the NX1, then you will need around 1599-1899$ more dollars, so 5000$ for a little better camera. People forget that it is not only the cost of the camera you are buying, but the cost of the equipment, to reach that quality/features. People that started with the a6000, have now moved to a6500, with one stop to a6300 in between, and still this camera is not much better than the NX1 (overall quality, ergonomics, battery, heat management, less megapixels, menus, lack of great/some native APS-C lenses, etc), so they are near the 4000$, while they could have the NX1 for 1500$ with the kit lens. 

What I do, is really enjoying my 3 NX cameras with my set of lenses, and they still will be competitive in a couple of years, it isn't like they will suddenly vaporize. When I decide it is time to move on, I will reconsider my options, and I will have more money, as my cameras and lenses are all bought in very competitive prices already.

Everyone has a drone these days, and I prefer to rent an Inspire one, with a pro user (it is between 150-200$ here, for a one full day of shooting, much cheaper if you only need a Phantom one) than do that as well (and spend more money), and gimbals are going to have their revolution this and the next year, I wouldn't consider it a must buy right now, and good monopods with a head can be found new from 150 - 300$.

NX500 is good too. But is my second camera.

In my opinion, NX1 is a much better experience. Best ergonomics, best battery, heat management, 120fps, no 4K crop (all the rest have some kind of crop, even X1.1), best menu system, Operating System, and all these best in class. If you can find for really cheap (less than 899euros, or less than 1399 including any of the S lenses) and you have some NX lenses already, then it is worth it. I don't see any competitive camera for less than double that price soon. Probably the next Sonies will be better (I am talking about overall quality, not a thing or two per camera), but they will be expensive, and they are not going to be here any time soon (the APS-Cs, I expect the next full frame models to be awesome, if based on the new A99 hardware).

I was just saying. I am brand agnostic anyway. I would be definitely stupid defending companies with more financial power than my country, I am sure they do not need me anyway. If a7000 has better ergonomics, menu system, battery life and some refinement, then it may be my next APS-C (and the A9 or A7sIII), but I believe when my NX cameras are not good enough, Canon will be there. We will see, I have a couple more years.

I enjoy, and in peace!

You bought a 6300 (and whatever crop Sony you had before) without IBIS and no decent APS-C lens selection anyways, and no DIS for whenever reason, except no moding/hacking scene at all, that we enjoy amazing evolution to an already very good system; One of the most important aspects (even the Sony representatives make this a huge deal) is the touch screen, that you had to buy 3 cameras (6000-6300-6500) to make it happen (a business partner here bought the a6000 with full price, the a6300 for 1500euros a month ago, and now he has to find a way to buy the a6500, on the same time, I have the same camera, that is a huge financial advancement), while it was always there on the NX1, so yes, we did enjoy our cameras more, for more continuous time and no overheating, ever, just saying (-a logic statement here)..

It is also irrelevant and somehow futile to try to impose views on other people (another general statement, doesn't go to anyone specific). Everyone just has to enjoy whatever equipment has, and 25 years after my first (film) cameras, I have to say that we are living in exciting times and we are becoming a bit spoiled and soft!

Jvc has a native m4/3-super 35 sensor already, and I believe it is designed and manufactured in house, since they bought out a smaller company. I believe that JVC is owned by Panasonic, so that's that. I do not know the math for stills, but for a video orientated hybrid camera, that could be the selling point that will boost it near the top just immediately.

Thank you guys. I think I'll be waiting a few more months to reconsider my options, as I spend some money in accessories and an EVF!

Blackmagic's video assist seems like a no brainer for the money, but cheaper/other monitors are good options, in case I do not go for a recorder.

I still use my Pentaxes, I just put them on a closet, instead of under my bed that stayed for 15 years! 

Definitely C100mkII, and spend wisely the rest of the money for sound, and you are good to go out there and make some money!

60D and SL1 are just way inferior, you will be excited using the mkII, you can get a cheap 18-135 STM that is my run and gun choice, and having already the Tokina, the 50mm and the 24-70 you can have better quality from quite wide to tele-ish range, if the 18-135 doesn't cut it, but for corporate, or live, it does the job most of the time.

Probably you have some money left to get the new M after a couple of jobs (and when the price comes down a bit) to have it as a second camera, or backup, and/or photographic one.

NX cameras have the only 28mgpxls BSI APS-C sensor, two years ago; plus DIS (Canon makes it really a big deal on the latest M, just saying), the right form factor for serious use, amazing battery life for a mirrorless, the best UI and OS (of course this is subjective), a right collection of lenses for some of us, the right codec(H265) for some of us (and for all, pretty soon), no heat problems, a breath of new life fror the second best mod/hack scene in the industry, 15fps, some cool AF tricks, best connectivity options in industry (used too, I do not know if there is anything better now), best touch screens (others catching up here too), and a few other things.

What's not to like? Oh, yes, they have exited the market for good..and no RAW video.

Wow! After 17 years in the bussiness, have worked in 4 countries, 2 Bachelor Degrees, 3 diplomas, is good to learn something new.

+1 Axel! Obviously filmic language is far more than technical specs, absolute numbers and dogmatic apprioaches. 

Everything is a different tool, that we can choose to use, or not, for specific reasons amd that forms our language. If you choose some form of stabilization, or not, for no good reason, then something is not thoroughly though tin your projects. You choose the words when you write and speak to make meaningful statements and communicate, film is just that, and words and writings is just a tool of the myriad different ones, stabilized shots, or not, is another.

Actually I completely agree. I am waiting for the F4 (do not care for 8ch at the moment), stepping adjustment issues (if Iam understanding it right) is a no go for me, and of course you have to trim "when and why", and digital gain with step implementation is a post nightmare when you do!

There is a recent trend here(Greece) with one man sound departments, especially for documentary series, so my evolution is to have the ability to have some kind of control while booming. The market is just a mess at the moment (for financial, political and social reasons), so I have to upgrade wisely, as sound is often overlooked and very badly paid.

Very true. My main profession is sound since 1999 that I finished sound school, but I have a BA in Film as well and I have done most things in the industry so I do everything, but I am not mixing responsibilities in projects and I do not believe in one man's bands . 

Nagra: huge problems with suddenly peaking with no apparent reason and I had to restart. Because I couldn't explain what was going on to the production (I had asked for it, as I knew the pre amps were amazing, and they really were). thankfully I found a workaround that it was fast and reliable (I immediately going to 0db, switch off the pre amps first, the the recorder, and then I had to wait 2-3 seconds, and the opposite to switch it off, honestly, I am amazed that I coped with all this hassle) that no one ever noticed (actually is the first time I share this "experience"!), but I had to do it a few dozen times per day. Some other software related glitches. That was 8-9 years ago for a horror feature in UK. Sound was impressive, the software related problems were just too much.

I had tested the device, upgraded the firmware and it was brand new, so I was the first one to use it.

Sound Devices: a promo video for a fashion magazine in Greece, while recording starting to distort the sound and buttons weren't working properly in that state.

Corporate video: while playing back started running faster and faster and I had some issues with pressing the buttons (maybe the first and main problem had something to do with the buttons been pressed abnormally)

In both cases I had to "restart", I managed to cope, but the whole situation (and not very cooperative clients) were too stressful. The first one was tested by me beforehand, the second brought by the production company. anecdote: In the second case they brought me a half opened 416 very badly deformed, which worked as new!

These Sound Devices were rented and the second one seemed like it was overused.

I had some issues with the Fostex FR-2LE as well, and I didn't like the sound/the build quality/the operational system, the good ole deck Fostex was brilliant to use though, and the DC-R302 is a very interesting design, I consider it better than the LE but a bit outdated too..

All in all, there isn't a perfect recorder yet (as there isn't a perfect camera), but it is good that the options are broadened. I am pretty sure the F8(F4) will bring better devices and better prices to the segment, something we really need.