Arizona Sunset

Inside of ISO 1600, they will be similar.   The NX1 video degrades at 3200, whereas the A6300 seems to degrade at 6400.   This is not the case for stills.  
I have an NX1, and A6000, and they are totally different cameras.  The NX1 is a joy to shoot with, higher hit rate on shallow depth of field, easy to use and fun to interact with. 
My opinion?  As good as the A6300 is, the NX1 retains APS-C champion hybrid status for 2 more years.  The only competition will be from the GH5 with 4k 60fps, if they can pull it off, which they will have to do remain in the game. 

If you are unable to buy a camera for a long time, the GH4 is a proven workhorse and should provide a stable platform for use.  With Panasonic weather sealing on their lenses and body, it would make a better "really long term" investment.
Alternatively, you might be able to pick up a camera like the NX1 and S lenses in Europe at rock bottom prices by then.  
I'd skip the A6300 simply because Sony's focus will never be APS-C - the lenses available and fine tuned for APS-C today are all that you get. 

Inside of ISO 1600, they will be similar.   The NX1 video degrades at 3200, whereas the A6300 seems to degrade at 6400.   This is not the case for stills.  
I have an NX1, and A6000, and they are totally different cameras.  The NX1 is a joy to shoot with, higher hit rate on shallow depth of field, easy to use and fun to interact with. 
My opinion?  As good as the A6300 is, the NX1 retains APS-C champion hybrid status for 2 more years.  The only competition will be from the GH5 with 4k 60fps, if they can pull it off, which they will have to do remain in the game. 

I think that's the appeal of the X-Pro2 over the X-T1 even - it's classic, a photographers tool more than a digital experience.  Shame about the lack of 4k and moire, but I'm tempted nonetheless. Fuji said they knew their weaknesses were autofocus and video a while back, and it's so good to see the results. I personally found their lenses noisy and jumpy, quirky almost, for video, but with a beautiful image, and their cameras are improving with each generation.  Like Olympus... A bit more legacy and heritage... A bit more to go.
Do tell us more about the moire - when, where, consistency, frequency. And the autofocus in video... 
Just a crumb or two...

The D750 is an amazing hybrid camera, yes, and most folks like the handing, operations, features, and, critically, colors better than the S II.  
For what it's worth, I have an NX1 and S II, and unlike Mattias, I kept the S II for both 4k and 1080p quality and integrity.  I don't shoot with SLOG and I don't shoot with a tripod very often, and the latter factor played into my decision a lot.
D750, X-Pro2, NX1, E-M5 II even - they all are less predictable than the S II with artifacts and handling of patterns in all modes - it's just the way it is.  But they also are better stills cameras, with more neutral color science.  
Pick your poison!

The D750 is an amazing hybrid camera, yes, and most folks like the handing, operations, features, and, critically, colors better than the S II.  
For what it's worth, I have an NX1 and S II, and unlike Mattias, I kept the S II for both 4k and 1080p quality and integrity.  I don't shoot with SLOG and I don't shoot with a tripod very often, and the latter factor played into my decision a lot.
D750, X-Pro2, NX1, E-M5 II even - they all are less predictable than the S II with artifacts and handling of patterns in all modes - it's just the way it is.  But they also are better stills cameras, with more neutral color science.  
Pick your poison!

The D750 is an amazing hybrid camera, yes, and most folks like the handing, operations, features, and, critically, colors better than the S II.  
For what it's worth, I have an NX1 and S II, and unlike Mattias, I kept the S II for both 4k and 1080p quality and integrity.  I don't shoot with SLOG and I don't shoot with a tripod very often, and the latter factor played into my decision a lot.
D750, X-Pro2, NX1, E-M5 II even - they all are less predictable than the S II with artifacts and handling of patterns in all modes - it's just the way it is.  But they also are better stills cameras, with more neutral color science.  
Pick your poison!

The D750 is an amazing hybrid camera, yes, and most folks like the handing, operations, features, and, critically, colors better than the S II.  
For what it's worth, I have an NX1 and S II, and unlike Mattias, I kept the S II for both 4k and 1080p quality and integrity.  I don't shoot with SLOG and I don't shoot with a tripod very often, and the latter factor played into my decision a lot.
D750, X-Pro2, NX1, E-M5 II even - they all are less predictable than the S II with artifacts and handling of patterns in all modes - it's just the way it is.  But they also are better stills cameras, with more neutral color science.  
Pick your poison!

That honeymoon phase... ain't nothin' better... 
Awesome!
For context, then, here's 1/10 X-Pro2 retro experience compared to 9/10 X-T1 digital experience (almost every video I shot with the X-T1 had visible moire in it):

In contrast, an NX1, S II, R II 4k crop mode, has all lines vertical and clean.
The NX1 is a prime example of having clean 4k but 1080p with a bit of moire in it (not unlike the X-Pro2, actually), unlike, say the A7S, which is clean through and through. 
An interesting specimen, the X-Pro2, nonetheless.  
Color me yellow, jealous.  

Are you sure?  
This makes me think, G7's big brother, not A7S II's little brother (the noise starts dancing around everywhere, shadows, highlights, etc, right at ISO 3200 - this is not as a good as the R II in s35 mode even):
 

Inside of ISO 1600, they will be similar.   The NX1 video degrades at 3200, whereas the A6300 seems to degrade at 6400.   This is not the case for stills.  
I have an NX1, and A6000, and they are totally different cameras.  The NX1 is a joy to shoot with, higher hit rate on shallow depth of field, easy to use and fun to interact with. 
My opinion?  As good as the A6300 is, the NX1 retains APS-C champion hybrid status for 2 more years.  The only competition will be from the GH5 with 4k 60fps, if they can pull it off, which they will have to do remain in the game. 

S-LOG 2 with Stills colour mode seems to avoid the worst of the white balance problems S-Gamut introduces. Weird reds in sunlight, that sort of stuff.
S-LOG 2 is of course good for LUTs, better than any other profile, so if you want to make use of your custom looks in post shoot S-LOG 2.
S-LOG 3 is a joke and to be avoided due to the banding in skies, etc.
S-LOG 2 however does sacrifice tonality and colour for more dynamic range.
The Creative Styles are all a bit naff and will toss your highlights onto the fire, very very bad for dynamic range.
Vivid however has lovely contrast, colour and a punch to it, with no effort in post.
The Picture Profiles are a weird mess of old video profiles from Sony's boffins, a lot of them hopefully fired by now because they did a terrible job.
ITU 709 for example looks like a Canon C300 that somebody threw up on.
It's so far away from Arri, Fuji or Canon that it is quite laughable.
Once you realise there is only one good Picture Profile aside from S-LOG 2 and that is Cine 4, matters improve a bundle.
Cine 4 preserves the most highlight detail of any of the non LOG styles or profiles on the Sony cameras.
I dial up the saturation and lower the black levels to improve colour and tonality, gives it a nice saturated Canon-like feel direct off the card and it doesn't then need so much fuss in post.
I really like the results and dynamic range is very close to S-LOG 2 once the latter is graded and normal contrast introduced back to the image.
I would usually prefer to shoot with Cine 4 as it avoids the weird colour and compression issues that so many people seem to have with S-LOG 2 occasionally.

Tough call.
In part due to the excitement about the potential NX1 hack, and in part because I missed it, I picked up an NX1 recently.  It was $2800 for the NX1 + 16-50 S, 50-150 S, 10-24, grip, batteries, and case.  At that price, I could have had a D500 and kit lens, or just an S II, or just a lone f2.8 telephoto. 
The NX1 is clearly the value proposition here. 
But the S II is a monster of a camera with massive creative potential, and if you have legacy glass or a big piggy bank, is a great choice.  You can run Zeiss primes stabilized on the S II.  With native lenses like the 24-240mm, you can use 1080p crop modes (1.5x, 2.2x, or just digital zoom that is mostly lossless) to hit 500mm FOV.  It's 1080p is demonstrably superior to the NX1.  I actually like it's colors, skin tones in RAW stills and have a lot of success in LR - in video it's a bit tougher, but it's possible when you nail exposure.  The biggest selling point, of course, is low light.  Into the evening, you can shoot the S II at f8 and be cleaner than the NX1 at f2 - in light that the NX1 won't autofocus in.
It's not an easy decision, and would be made easier if the NX1 had IBIS, or shot clean into ISO 6400, but it doesn't.  Decisions, decisions...

Inside of ISO 1600, they will be similar.   The NX1 video degrades at 3200, whereas the A6300 seems to degrade at 6400.   This is not the case for stills.  
I have an NX1, and A6000, and they are totally different cameras.  The NX1 is a joy to shoot with, higher hit rate on shallow depth of field, easy to use and fun to interact with. 
My opinion?  As good as the A6300 is, the NX1 retains APS-C champion hybrid status for 2 more years.  The only competition will be from the GH5 with 4k 60fps, if they can pull it off, which they will have to do remain in the game. 

A7S II is contrast based AF, the A7R II is phase and contrast hybrid.
Phase detect active with Canon lenses with the Metabones adapter on the latter, it can be very fast.
Lack of native NX lenses, hmm... not really!
S 16-50mm F2.0-2.8 OIS?
S 50-150mm F2.8 OIS?
85mm F1.4? (It beats my Zeiss wide open)
30mm F2.0? Lovely cheap pancake
45mm F2.0? Again very cheap, light, fast and sharp!
Those are the best ones... not a bad line up and covers 16-150 all at fast apertures.
AF is best on the S premium zooms
What else would you need? Plus you can adapt Nikon, Sony Alpha and a ton of other lenses to it with adapters.

Superb as long as you use the Fast Color Corrector in Premiere to remap 0-255 RGB luma range to 16-235
Playback the files in VLC or Quicktime and you get clipped highlights and crushed blacks.
No idea why this is still a problem in 2016, maybe Fujifilm should talk to some Apple guys.
Yeah, absolutely.
It is just like having a Leica M rangefinder that happens to shoot better video than a Leica M rangefinder for 1/4th the price, with an EVF AND AN OVF, can't argue with that
The X Pro 1 I also liked but ended up selling it at the time, lens range was rather limited back in 2012 and it was a dog slow camera.
That was the biggest issue... the dreadful AF and even dreadful manual focus too.
The X Pro 2 is mega fast and snappy, they nailed it. Also, viewfinder and body just seem higher quality this time round. Bit heavier, but amazingly built.
Only weak points are the battery life and it is such a sharp 1080p image that when you do get moire, it is pretty noticeable moire.
1 out of every 10 shot has it, but depends on the subject. Not the kind of camera to shoot a lot of infinity focus shots of buildings with, but for actors it's rarely an issue... brief occurrence on clothing, that's about it. What is amazing is that although it is clearly a moire affected camera, it is wonderfully detailed for 1080p.
I'd put the moire at a similar level as the 5D Mark 2 RAW without AA filter and Blackmagic Pocket Cinema Camera.
It's not the worst but it does happen.

I don't know what menus are you talking about... My X-Pro1 does not have any.. 

The a5100 has a touch screen for focus point selection at minimum, and it's PDAF is similar to the A6000 - it worked awesome, just like the NX1 in my use  
I assumed that it would trickle up to the A7's, but Sony sometimes seems more interested in market share through iteration - the Canikon playbook and all.

Over the holiday season, I strayed from my S II prime kit, and had a very short and intense affair with an NX1, the 85, 30, and 16.  After the rental ended, I felt, well, lonely.  Like I'd given back the best mirrorless hybrid effort to date. 
Watching the NX1 hack thread unfold, and thinking about that 4k, and that in-video PDAF - which I openly abuse - I took a chance on a zoomy "daytime" NX1 kit: NX1, 16-50 S, 50-150 S, 12-24, 16, grip, batteries, etc.  Out the door, $2800 - this is a good deal in the states. 
Arrives early next week.
Couldn't be more excited. 

Over the holiday season, I strayed from my S II prime kit, and had a very short and intense affair with an NX1, the 85, 30, and 16.  After the rental ended, I felt, well, lonely.  Like I'd given back the best mirrorless hybrid effort to date. 
Watching the NX1 hack thread unfold, and thinking about that 4k, and that in-video PDAF - which I openly abuse - I took a chance on a zoomy "daytime" NX1 kit: NX1, 16-50 S, 50-150 S, 12-24, 16, grip, batteries, etc.  Out the door, $2800 - this is a good deal in the states. 
Arrives early next week.
Couldn't be more excited. 

It was written in the .cpp files showing the hz of the sd bus, this would be an incremental increase test that would just be raising it until it crashes or to the limit stated by the sd association. And if it changes depending on what type of file is being written to it. As well as tracking the sensor and chip heat out put to see if it is underclocked for a reason. Lots of fun.
 
 
Not at the point yet, still tearing it down. The base tizen didnt seem to change much through the updates. It was the control files for the camera, written in c and a whole new ball game. I do about 15 hours of work into this a week, which isnt much considering but things are moving. If you wanted me to just make hello world appear it wouldnt really prove much, at least not in the way that this camera works.

 
 
Have not got to that point yet, still diving into the code and doing a control file comparison, as the updates for the camera happened they state what they changed, and that is what the major key point of what Im doing is. Its one of the nexts steps though. 
 
I can update as I progress and post summaries of what I find. Just to find the rgb888 and lut info I had to look though about 15000 lines of code. Its tedious. But worth while for me in the end, so I will continue to dig and deconstruct. And update!

I joined EOSHD to let you guys know that I've been watching this thread, and will support ($100 on faith) a functional firmware improvement that includes some mix of RAW video and higher frame rates. I'd love to see low light video boost (and would donate more to that end) but won't hold my breath. 

I joined EOSHD to let you guys know that I've been watching this thread, and will support ($100 on faith) a functional firmware improvement that includes some mix of RAW video and higher frame rates. I'd love to see low light video boost (and would donate more to that end) but won't hold my breath. 

I joined EOSHD to let you guys know that I've been watching this thread, and will support ($100 on faith) a functional firmware improvement that includes some mix of RAW video and higher frame rates. I'd love to see low light video boost (and would donate more to that end) but won't hold my breath. 

I joined EOSHD to let you guys know that I've been watching this thread, and will support ($100 on faith) a functional firmware improvement that includes some mix of RAW video and higher frame rates. I'd love to see low light video boost (and would donate more to that end) but won't hold my breath.