noplz

Step back and take a breath.
Canon product development aren't stupid. Neither are they at Nikon. And Nikon is barely at the hybrid video/stills party.
So what's at play?
Pure business strategy.
You touched on it.
Camera companies could care less what Andrew Reid or I have on a wishlist.
Why bother compete with Sony/Panasonic?
We sometimes forget that Japanese manufacturing operates as a giant consortium, with players 'accommodating' each other in support of the bigger picture.

If you enable dis, it'll introduce a small cropping.

I am very honored by Andrew's review.
Some fast Aps-c lenses could work on NX-L without vignetting.
I think the Sigma 30mm 1.4 Art lens could work fine, getting a nearly 35mm 1.4! But I did not test it.

I am super impressed with what Luca has done with the NXL.
He's sent me one for review!
It is super sharp and cinematic. Has the full frame look completely. Trying it with the Canon 35mm F2.0L IS but will also use it with the 50mm F1.2L... Big low light boost to the NX1!

NX-L is a 1.08x crop over full frame, which is nothing.
APS-C is 1.5x crop!
On the NX500, that had a 2.3x-ish crop in 4K, so with the NX-L that turns into a 1.6x crop, which would be fine with the Sigma 18-35mm F1.8. Come to think of it, that's a pretty nice combination

You're in luck mate, looks like the gen2 is just finished and available from the creator (luca) here:
https://m.facebook.com/NXL-284084538620105/

You're in luck mate, looks like the gen2 is just finished and available from the creator (luca) here:
https://m.facebook.com/NXL-284084538620105/

The NX1 is still so interesting...a unique combination of virtues no other manufacturer has put into the same body at a comparable price since. 4K, nice 120p/1080, solid AF, large comfortable body, long battery life, very good stills, and fairly good color out of the box. Cross a GH5 with an X-T2 and you'd pretty much have it.
I think the Fuji is a better option than people make it out to be. There's a crop, but it's only 1.17x over the native, and there are plenty of speed boosters available. Battery life is decent with the battery grip, which also has a jack for direct power/battery charging with a wall adapter. Very good AF, about on par with the A6500. Very, very nice colors out of the box, and a lot of room to customize them in-camera. Tilting screen, nice (if slightly quirky) ergonomics, and one point over the NX1: a solid, complete, and affordable lineup of native primes and zooms. Stills are of course lovely as well. 
If I were replacing an NX1, that's what I'd go with. The G80/85 have some other weaknesses that may bug you, and the AF is not useful for video imo. If you do go the micro four thirds route, definitely get the Olympus 12-40 instead of the PL 12-60. Great manual focus clutch, amazing close focus (practically a macro), minimal breathing, and has a beautiful creamy look. 

Wait I have the 16-50 3.5-5.6 not the S version!
night! 

@Andrew Reid Cheers!
https://www.produzionidalbasso.com/project/samsung-nx-camera-to-full-frame-with-nxl-adapter/
Probably has a couple left, but he isn't in the forum lately.
No aperture, just speedboosting! People seem excited about the quality, some say that it is equal, or even better than Metabones speedboosters.
He has more videos about NX-L.
This is the thread,
 
to cut a long story short, the crowd funding campaign doesn't exist anymore, the he was working on a Aputure Dec to NX conversion, but he is lost for the last couple of months now.
https://el-gr.facebook.com/NXL-284084538620105/
If you care about the NX-L, drop him a message on facebook (the crowdfunding campaign email doesn't work anymore).

To Sandro, the NX1 is far more enjoyable to shoot with than the A6300 and the A6500 didn't solve any of the rolling shutter issues and just papered over the overheating problems in firmware. Less crop? I assume you mean in the 4K 30p and 1080p 120fps modes... no still crops in a bit like the A6300. But in 4K 24p there's no crop (again same as before).
MountneerMan GH5 vs NX1 -
They overlap in some areas and have pros and cons, with some things I prefer on the GH5 and some things I prefer on the NX1, so here goes...
The NX1 is of course Super 35mm in terms of sensor size and the look, and GH5 needs Speed Booster to get that look. The GH5 is also double the price and Speed Booster will add to that. The advantage though is you might save money on the lenses if you already have Canon stuff. The GH5 is great for Canon lenses. The NX1 has no adapter that controls aperture of EF lenses yet and no Speed Booster (what happened to the third party one?)
The image quality is quite close between the two, with the GH5 + Speed Booster having about 1-2 stops better low light performance, but still a maximum of ISO 6400 really, whereas NX1 is 3200, 1600 to be safe. Take into account 1 stop extra light from Speed Booster and GH5 is definitely comfortable at 3 stops brighter than the NX1. That's the difference between 1600 and 12,800 but ask yourself if you really need usable 6400 at F0.95... rather than usable 3200 at F1.4! It'll cost ya!
Colour is a strong point of both, but the GH5 has the option of proper LOG. The NX1 stores a LOT of dynamic range in the standard non-LOG files and there is option to raise blacks, reveal more shadow info, prevent highlight clipping and adjust gamma curve so it's pretty good in this respect - and a LOT easier to grade.
Rolling shutter is a big win for the GH5. Ergonomics are a big win for the NX1.
Battery life is good on both but GH5 wins. There is a battery grip for the NX1 which sensibly doesn't require you to take the battery door off the camera or the battery out, it slots into a pin-out on the base of the NX1. ALL battery grips should be designed this way!
Both weather sealed, as long as you also use a weather sealed lens.
Samsung S 16-50mm OIS is weather sealed and one of the best zooms ever made. F2.0-F2.8 and super sharp.
Stabilisation on the NX1 in DIS can be hit and miss but when it works, it uses very advanced custom hardware chips to completely lock down a shot, more effectively than Warp Stabiliser. It's 5 axis and amazing if not much is moving in your shot. Sometimes exposure changes and sudden movements in the frame cause it to lose track and have to regain its composure within a few seconds, but that can spoil a shot for sure. The GH5 is all-round more consistent with the 5 axis in-body sensor shift but surprisingly for locked down shots the NX1 is less floaty and completely still like on a tripod. You don't need to enter the focal length for manual lenses and it is even more effective when using a Samsung lens with OIS. I find it works best with 35mm lenses if you are adapting a lens with no optical IS.
On the stills side, NX1 is superior for resolution and has very good dynamic range in the RAWs. GH5 is superior for continuous burst rate, stabilisation and adaptability to Canon EF glass.
I use a Novoflex Sony Alpha mount adapter with my NX1 and the 35mm F1.4 G, 85mm F1.4 Zeiss Planar. The 35mm is an evolution of the brilliant Minolta design and the 85mm is an evolution of the Contax Zeiss 85mm F1.4, one of my all time favourite lenses. These are the only two lenses I find myself needing on the NX1 as I have the Samsung 16-50mm F2.0 to cover the rest and when I need AF. One important point about the Sony Alpha 35 + 85 I mentioned is that they are much lighter and smaller than the Sigma ART equivalents for Canon and Nikon mount. Of course you can get a Nikon adapter for the NX1 which adjusts aperture, just like the Sony Alpha adapter does, but I think Sony Alpha glass is a bit undervalued on the used market, with some real gems in the lineup.
Video AF, I believe Philip Bloom did a big test of this and included the NX1. I rate it quite highly for this. The NX1 has phase detect pixels on the sensor so AF is really rather good in video mode - not quite Dual Pixel AF good but close. Sony's on the A6500 is hit and miss, sometimes works well, sometimes does stupid things. The GH5 doesn't have phase detect AF pixels so it relies on a very fast sensor scan of 240fps in stills mode and Panasonic's DFD technology to analyse focus and in that mode it is very fast. In video mode it falls back to the frame rate you have selected for the recording so in 24p the AF is really rather dog-slow and in 60p still not as good as the NX1.
On the codec side they are quite different. 10bit and superior 1080p codec, 4:2:2 on the GH5. The 10bit 4K really is lovely and 8bit 4K 60p very nice to have. The NX1 is of course an 8bit camera but the image quality is right up there, like a JPEG still, it just doesn't quite grade as well and there's still some macro blocking even at 160Mbit in H.265 with the hack, although I still rate it as a good performance. The Canon 1D C's 4K is also 8bit and this eats image quality for breakfast. 10bit on the GH5 really comes in handy for improving Panasonic's colour science (although it's not just 10bit responsible but a lot of other nice stuff going on) and for LOG it helps too. However it does make for files that are almost impossible to edit natively straight off the card at the moment, so you will have to transcode. Then again you should do that with the H.265 files from the NX1 as well, although Premiere does now support H.265 you will get smoother editing performance by using EditReady to convert them to ProRes.
Anything I've missed, let me know...

That is so generous. Snatch their hand off.
The X-T2 is the only thing that comes close to the NX1 even after 2-3 years...
I prefer the NX1 over that (have both) in all respects apart from low light and 4K rolling shutter.
I am quite comfortable using the NX1 at ISO 3200 as long as I have a good exposure, fast lens, master pedestal +15 and RGB range 16-235, to prevent the blacks from crushing and losing all the shadow detail. Noise at ISO 6400 makes it a bit less usable, so my limit is usually 1600 or 3200.
But let's get real
One has to balance practicality, usability, cost, all sorts of stuff.
To get better low light without sacrificing too many features, your only choice (for 4K) is the A7S II, A7R II and 1D C. So triple the cost of a used NX1. TRIPLE!
The X-T2 is more fiddly and crops the sensor in 4K. You'd need to invest in new lenses maybe too?
A6500 could be an option but I don't enjoy using mine... ergonomics are shit and rolling shutter the worst I've ever seen.
I believe even though reliability has let you down and the freshness of new models entices you, that the trusty NX1 is truly special and should be perceived with unless you can jump to a $3000 Sony and put up with the worse ergonomics.

I dont know what other samsung gear you have currently but I would maybe try and push back to get a refund for your other lenses as they are now useless to you than consider this as your chance to get out of the system at a really good price.
Disclaimer to all the fan boys. I plan on keeping my NX1 until it dies then putting it up on the shelf as an important camera history relic. I think the NX1 will be a great part of camera history with a great story that I witnessed first hand.

Is the NX1 a great camera? Absolutely. Is it still competitive in 2017? In some areas surprisingly yes. Should someone with no investment in NX gear and no need for NX1 specific features (really only h.265 comes to mind here) buy one in 2017? No way, Jose.
No warranties, no repairs, no replacements. Any money you're putting in now you will never get back. EVEN IF the NX1 was the best camera ever made I still wouldn't recommend buying one now, unless you can find one with lens for really stupidly cheap.
That being said, would I trade my NX gear for a GH5 or a6500? Heck no lol.

Is the NX1 a great camera? Absolutely. Is it still competitive in 2017? In some areas surprisingly yes. Should someone with no investment in NX gear and no need for NX1 specific features (really only h.265 comes to mind here) buy one in 2017? No way, Jose.
No warranties, no repairs, no replacements. Any money you're putting in now you will never get back. EVEN IF the NX1 was the best camera ever made I still wouldn't recommend buying one now, unless you can find one with lens for really stupidly cheap.
That being said, would I trade my NX gear for a GH5 or a6500? Heck no lol.

Is the NX1 a great camera? Absolutely. Is it still competitive in 2017? In some areas surprisingly yes. Should someone with no investment in NX gear and no need for NX1 specific features (really only h.265 comes to mind here) buy one in 2017? No way, Jose.
No warranties, no repairs, no replacements. Any money you're putting in now you will never get back. EVEN IF the NX1 was the best camera ever made I still wouldn't recommend buying one now, unless you can find one with lens for really stupidly cheap.
That being said, would I trade my NX gear for a GH5 or a6500? Heck no lol.

if they could hack the nx1 to do 6.5k video and/or cropped 4k then it would extend it's life another million years.

This is pretty cool: the OFX plugin architecture used by Resolve (and other high-end tools) is relatively simple and clean (unlike Adobe AE/PP, which is a unfortunately a mess (at this point, disaster is perhaps a more accurate description)). Third-party developers can have empathy for Adobe's in-house developers who have to work on the core product: it's no wonder there are so many bugs and development progress is slow. For years I had asked for example HW acceleration examples from Adobe which show a basic plugin which can directly access GPU memory, run GPU code, then store the result in GPU memory. All that was ever provided was a pointer to ancient/obsolete code which used OpenGL, and required copying the video frame from CPU RAM to GPU RAM and back (which makes the whole thing just about worthless). In 5 minutes of googling I found an example OFX plugin which does everything I had asked: processes everything from GPU RAM (no copies to CPU RAM and back), has complete examples for both OpenGL and CUDA, and the overall code is clean and relatively simple. Very cool!
https://github.com/baldavenger/SoftClipV2.1/blob/master/SoftClipPluginV2.1.cpp . https://github.com/baldavenger/SoftClipV2.1.
This is exactly what I'd found for plugin development for AE/PP: https://www.eehelp.com/question/gpu-accelerated-the-development-of-ae-premiere-pro-plugin/ (bold emphasis mine):
This is a joke, and explains why third party plugins for Premiere never ran anywhere near as fast as Adobe's internal plugins/effects.
Premiere and After Effects are at least 10 years past due for a complete rewrite. It's kind of impressive they've kept it clunking along all these years, however they'd be better off (if they haven't already started) doing a from-scratch rewrite, just like Apple did with FCPX. Maybe even switch over to OFX for plugins/extensions. Keep the clunky version of AE/PP around while the new version is beta released and developers port their code over to OFX (unless it's somehow possible to make a compatibility layer and load old plugins (probably not worth it given the ancient convoluted design)).

@Window_Frame
+ @Don Kotlos - In my eyes, it seems Sony made the A9 with sports photographers in focus, so video functions are just a "give away" for documentary work. The A9 has even some nice functions for immediately transmit photos or footage to editorial offices and social media...So obviously it's made with sports photographers and journalists in mind - and not a specialist for more sophisticated video functions...

This announcement crashed the website.
Sorry about that, looking into it with the host.
Anyone else had slow page load times from EOSHD during the last 30 minutes?

I have a small collection of cans; Sony DMR 7506, Sen HD25-2, AKG 701 and Grado SR80. If I want to listen to music I'll grab the Grado's as they are sweet sounding but not very accurate - classic Hi-Fi vs sound production choice. If I was forced into mixing with headphones I'd choose the 7506's - no they may not be the sweetest sounding or most detailed but like studio monitors if the mix sounds good on these it's a good mix. For recording in the field the HD25's are unbeatable but not particularly because of the sound but because the split headband means they don't slip off your head when you look down at the field recorder and they are tough and comfortable to wear for long periods. Bought the AKG's on a whim but the best thing I can say about them is they sound inoffensive. I know there are some fantastic sounding cans out there but for mixing and sound production this isn't actualy that useful. NX10 monitors became studio essentials not because they sounded good but because only a good sound mix worked on them and it ruthlessly revealed poor production - if your mix sounded good on these it would sound good on anything. I'd think you need the same from cans and the 7506's do this as well which is why 1000's of audio pro's still use and trust them.

Hi! What do you guys think , is it smart to buy XC10 now as I want to have an all round camcorder for my street scenes? Years ago I used to shoot with a Canon SX 1 IS in video mode and then I searched for a perfect frame in that particular video clip. What I really liked and I still like those skin tones in my old SX 1. This new XC10 reminds me of SX1: fixed zoom lens from wide to tele , articulated screen , Canon colours ) , no everheating. Sometimes I don't shoot video for video, it's a lot of fun to search for a frame that I wouldn't be able to capture using just a photocamera. And a question to Andrew, please, please, publish your XC10 review! Thanks in advance! 

I've sent Samsung support in the UK (and Norway for that matter) an e-mail describing the issue. I'll post their reply here when I get it

When you buy and sell used camera gear  you need to be careful. A lot of stolen stuff floats around and markets like eBay makes it easy for them to disappear. That’s why a service like Stolen Camera Finder is a godsend.
http://www.stolencamerafinder.com/
I recently bought a Leica T. A lovely camera. For street shooting I would say its the best camera I’ve ever used. Totally in love!
But this is not about the camera.
The price was fine, the seller had a long history, everything seemed legit. He even provided the serial number.When I got it home I tested it out and everything was fine. The day after I had to leave for a tripp and I naturally brought the camera. It was not until I got home that I remembered that I should just do a routine check of the number on Stolen Camera Finder.
Why I didn’t do this beforehand, like I usually do is beyond me…
Stolen Camera Finder works by crawling the internet and sites like Flickr, registering EXIF Data.
In many cameras the unique serial number of the camera and lens are imbedded in the data. You then simply drag-n-drop an image on the site or enter the number manually. If the crawler gets a match its BINGO!
You can:
Find a stolen camera Report a found camera Checkout previous owners of camera Track stolen and reposted images So What Happened?
I entered the number manually and… Bingo!
It had been reported stolen in Spain two years ago. So I filed a report of a “Camera Found” and waited for a day or two.
Since I didn’t hear anything I contacted Matt, who runs the site.
He has now put me in touch with the original owner who lives in Italy and we are working out the details on how it will be returned!
All in all I will probably loose a bit of money since the seller probably wont pay up and/or used a fake name etc. But I will certainly gain a bit on my “Feel Good Account”.
And at the end of the day, I would love it if the same thing happened to me if anything ever got stolen.
A bit of a sunshine story imo
(now back to searching for a new Leica T, like its slogan says, "Easy to use, Hard to forget".)