Kisaha

Excellent comment John, the sound, it really screams no budget, and sound is the first to suffer in very rushed productions. Sound post is bad as well.

Good effort though, NX1 is quite capable, I tested the low light capabilities of a6300 recently and I started feeling the NXs is starting showing its age, especially for video.

My "hear/test" microphone is the 416, which I have 17 years of experience with it as a boom operator. Honestly, mic placement is 65% of the job, but it seemed that sound recorders for video stayed behind technologically.

Since the 5DmII revolution, you can have 4K video with adapted lenses, or not, for a few hundred euros, and since the Zoom revolution, well, it took it some time!

I thought that the DR701D has the best pre amplifiers AFTER only the DR100mkiii, and the DR100mkii's pre amplifiers sound better than any Zoom I have heard (I haven't the F8, and obviously F4) already.

Plus, I want to be able to recordwireless,plus +48v mics at the same time, something that it is not possible with my DR100mkii at the moment (if anyone knows anything about the subject, please let me know!).

These are the main points, plus 701 has some more I/O it seems that could be handy to have.

We have to see it first, but it will be between this, and the DR701, and I never owned a Zoom before..

Sorry for coming back, but Tascam DR100ii+iii and the 701D, have AA+internal bettery. The latest ones can play with usb power banks also. Plus their pre amps sounded much better than Zooms (I haven't heard any of the latest Fs though). 

These are not small feats..being able to continue recording after the AA batteries have been depleted is something of great significance for run n gun sound and/or big interviews/scenes. Zooms (until now) were never intended for video work, it was a similar to Canon 5Dii video accident!

I was considering the 701D for next year, but now I will definitely consider the F4. Reminds me the good ol' Edirol a bit..

Also, any comment on the new DR100 vs the previous one, vs the F4?

It seems like Zoom did it right this time. DR100mkIII is also out, and Tascams are offering an added rechargable battery, which is a huge deal on the field, but the design and form factor of the F4 is exciting!

How is it possible to get this lens for 375?! 800 is the less I have ever seen it (including shipping costs). 

http://m.ebay.com/itm/7-inch-Ultra-HD-IPS-Screen-Video-DSLR-Camera-Monitors-Supports-4K-UHD-3840-2160P-/162187715597?nav=SEARCH

Any ideas/opinions about this one?

What Neway do you have?

How's the focus peaking solutions?

The Q5 seems perfect, but it is 430€, near recorder/monitor territory. I can imagine that pretty soon we will have very good combos for less than 800€. For now, and simple monitoring, a small and cheap Neway CT500HO seems to do the job sufficiently, until next year, that more companies (Atomos and CO) will have complete solutions. The 5 inch monitor/recorder is a big market, and I can see tenths of products soon to be released.

Does anyone has the aforementioned Neway? Being Ikan'd OEM manufacturer (so they say) must mean something. 

I am about to buy a 5-7inches monitor for my NX setup(mainly, but it could be nice to be able to use it with C100i+ii or C300/JVC LS300 if possible), and I recently noticed that there are a few options on ebay and elsewhere (Neway seem to be the Ikan OEM manufacturers, Kooletron, Lilliput, noname ones, strange name ones).

Does anyone have any buying suggestion?

The aforementioned Neway seem like the best, very cheap, option, but I am wondering if there is a slightly better (probably larger) one for slightly more money (a couple of hundreds more), and I am not so sure that a touch screen on the field is a good idea (the whole week I was filming in vine yards, and the 7inch Ikan took a lot of bitting, and mud, and humidity, and heat, and grapes juice!).

As always, all input highly appreciatable

The Senheisser 400 is a joke of a Senheisser, get the 600 and Rycote wind protectors (there something from Sen as well, but I haven't tried it and it seems expensive, maybe it is alright).

The new Tascam DR100mkIII will be the extremely cheap recorder industry standard for now on.

The wireless kit is probably the most expensive kit of your gear. Check the Rodelink first, and if you are not happy, there is no other way around it.

You have to consider if you want your sound (and image) to match exactly your 4 years of work, if so, you have to buy the same input devices (especially for sound).

Good luck, and sorry for your adventure, maybe even better than an insurrance, have an assistant (a sound recordist perhaps)!

These Neway seem really interesting. They are not native 4K though. Do they have any quality construction, or are they going to fall apart asap in the field?! 

Ikan are not much better thought, actually they seem quite expensive for what they offer (the expensive models).

I was talking about an adapter, not a speedbooster, it could be possible to adapt to m4/3 or other APS-C. NX lenses are a lot of thousands in the wild, maybe the sales weren't encouraging to sustain a whole ecosystem for a couple more decades, but a one-off adapter  is something that could sell easily a few thousands copies, in perspective, if someone makes one and sells off ebay, then it is not a bad business to do. In 4-6 years time, when NX won't be relevant any more, it would be nice to use S lenses, or the amazing 85 on a 8K camera. I believe most people with such lenses (or a collection of primes, or the 60 macro, etc), will be willing to spend 400-600$ to sustain their collection of lenses. Definitely it will be cheaper than built from the begining in a different system.

I guess the right question is, if NX glass can be adapted to anything else. Eventually, there will be a demand for adapting NX lenses to other cameras, as the people that own such lenses are more than the people that own such lenses and care for the FF look; but that is another thread/story.

I was describing the rental situation in my country. I can understand not a lot of C300ii being rent, as for most cases version i is just sufficient.

C100s are the clear leader in sales as most customers do not even care (or know that exist) about 4K.

Honestly, only in special occasions we rent a Sony for slow motion, in any other case, why would we?

I have the NX system for 4K, plus we use a JVC LS300, all the other cases it is C100i & ii and C300i. We still use 3 Canon markIII occasionally, but if I could convince my other partners they would have been replaced by NX1s instantly! For anything more, there is always a Red with a dedicated assistant for cheap (like 300$ per day), or Alexa.

Except slow motion, I do not know anyone else prefering any other camera over the C100/C300i or ii (depending the budget). C100 and 300 are not winning any specs contest, but in the field are the go to tools for most videographers on the planet, and for good reason too.

Canon they have to step up their game though..

OlikMIA: No, WE are representing a minority segment! As the forum is more video orientated, it is normal to expect people to be more enthousiastic with "cheap" C300iis, than expensive hybrids.

Panasonic is always interesting but they have to overcome their sensor size (I do not see them going FF with the GH5), Sony is Sony (in a bad way). For many people mkIV is just right, maybe it is ok for you too.

Hybrid/mirrorless cameras are the present and the near future. I do not see the point of dSLRs anymore and I am not that crazy about conventions such "I want full frame".

C300ii is a beast. You will see it near 3000$ in no less than 10 years time.

For whoever mentions Sony A7 series as the only true hybrid cameras, I am pointing them to the active little community of Samsung NX1 owners around here. In our opinion, NX1 are more hybrid than hybrid! I am not going to mention specs (even though most are in favor of the NXs) but ergonomics/battery life/menu/heat management is from your cameras of the future.

Have you ever used any other blimp? If not, then yes, Rode is ok. If yes, then you should have noticed that

1) it is the biggest one, with a design that makes it to put pressure (weight) in a wrong manner

2) very bad design, with small bits that usually get lost, and too many components that do need more care and attention during work

3) less wind protection

These are my findings after 17 years on the field using Sennheiser/Rycot(t)e/K-Tek/Rode.

As I said, RodeLink is something I look forward using, as the usual Sony/Sennheiser are extremely expensive. The receiver seems a bit big, but if they do the same job, then it's a bargain.

..and that's why I am sticking with NX for the next few years, and I do not even dare to complain to Samsung, they quited, but they delivered first!

Rode is good for low budget equipment but in the end you get what you pay for, the Rode boompoles and the blimp are the worst I have ever used, recently I bought the new Boom Pro which is a Rycote rip off, and it is worst than the Rycote (there is a licensing thing going on I think).

Now with the Rode-Rycote lyre co-operation the whole line is going up a notch.

The mics are very good value for money, but after a year using continously their mics for work, when I went back to Sennheiser the sound felt right and the Sennheiser blimp, even thought a bit outdated and pricy, it does the job much better. K-Tek as well, in general, boompoles and blimp are a no go for me (I kept the boom pro because it is really light, and for easy tasks it can be ok, but for film/TV certainly is not).

The dSLR kind of mics are very good value for money and very right (again, with the new Lyre system), and much better offerings than other companies, here Rode are pioneers.

I would like to use the RodeLink, I haven't.

In this thread we care about the reality of manufacturing a NX to EF speedbooster,  what it really is, is well documented in other threads/forums/sites/articles.

Whatever little extra we can squeeze out of our excellent NX1s is really most appreciated in this community.

NX1 is an exceptional mirrorless camera that even double the price FF cameras can not compare to, so for the ocassional FF look, it is nice to have a tool for whoever cares about it. Maybe someone needs H265 4K video with a 50mm/1.4f, with the speedbooster it is a normal lens, and a short tele for portraits with the crop factor. The options are limitless. 

Come on people, give the guy a brake! Let him finish his personal project, and then we can propose improvements or be critical in ergonomics and IQ.

In any way, Luca invests his personal time and money, and it is truly admirable what he has achieved so far (something that even metabones didn't touch). I believe that AFTER the product is finished there are a lot of experimenting and testing to check the real possibilities and improvements of the adapter. I hope someone will take it from there and add electronics, even if it takes a while arduino board on a box somewhere!

I use variable ND filters and my impression is that even the ones nearing 100€/$ are not very good and create more problems than solve.

I wouldn't like to have one fit into the adapter, complicates things vastly, and raise the price significantly!

Cojocaru: It is very simple really, it is an EF adapter, then you can adapt to other mounts with cheap dumb adapters (or more expensive ones of course, I just do not see the point buying expensive ones).

One adapter to rule them all. You still need to buy the other mount adapter you need (e.g from ebay).

You then can have the FF look, but still you won't have any electronic control and/or aperture control, which in my opinion (and needs) is more important than the FF look, which If I needed I would have bought from the begining (A7ii is not that bad in that sense, ofcourse NX1 is much better, but the Sony can be found for cheap used, and have all the active metabines/speedboosters).