Do clients recognize/accept NX1 for gigs?

belleandlilsebastian said:
Oh yeah, for the price point its unbeatable. I would've gone with it, but I got a good deal on a used NX1 bundle from a wonderful person on here
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Every time I edit the NX1 footage, I look up at my big HDTV and just go "wow"; I'm delivering 1080 but using 4k footage on a 1080 timeline. Once I have the basic cutting done, I can reframe to give a reason for a cut or to punch in on some strong statement. It's a real game changer to have sort of a "2 camera" look, and the reframed footage just looks killer. (I do transcode to ProRes though, but I like that I can conform all the footage during processing; I tend to go to 30p vs. 24 often for b-roll, gives some shots a nice touch of drama that doesn't read as slow mo). With some older aperture-ring Nikkors, it's a wicked look.

I've got no prob with lens adapters, got a few for my Nikkors and also for some 1960's FL glass which I still need to test -most I've paid is about $15. I didn't get one of the S zooms, but the little kit lens is dynamite on a steadicam or rig - the AF and OIS are really useable; it's pretty "clinical" even wide open and I need to experiment with some screw-on diffusion for rigs without the matte box. It's a ridiculously tiny lens for what it does. 60 and 120 FPS steadicam stuff looks magical though.

The NX1 is a little "controversial" between H265 and the rumors of death; it's really a weigh-the-pros-and-cons deal; but the color is great and hopefully I'll get a couple years out of the body. It's a few years ahead of the market in many ways. Shocking amount of power for a $1k body.
 
belleandlilsebastian said:
Oh I know-- with proper grading the G7 can hold up v. well, and since all my glass is Nikon F-mount, I'll probably get one as a new B-Cam in a year or two. But for me, I do have a decent number of gigs that are more run-and-gun, and need a super quick turnaround-- sometimes same-day edits even. The OOC colors on the NX1 (which i ended up getting) for me were miles better than panasonic's for my personal preferences. Moreover, while both the NX1 and GH4/G7 are super sharp, I find that sharpness way less distracting on the nx1 for some reason.

It's definitely just a personal preference thing though-- the panasonic cams are great.
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Here is a project I'm finishing for a local international school. I shot it with the G7 and 14-42 kit lens. It's a 60 sec commercial that will be played in the movie theaters. Looking forward to see how the little consumer camera holds up on the big screen.
https://youtu.be/9Y61mdI7HUY
 
ROCKMORE said:
Wow that is pretty disappointing. And I thought only Canon treated they customers like $hiT.
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It is one of the stranger Camera Company stories in recent years: Explode onto the scene with a couple of great cameras - one that's astounding in its price bracket - constantly respond to users and improve the firmware FOUR times in a little over a year....and then call it quits and leave the market entirely and shut down operations.

I just bought an NX1 and I'm not the slightest bit worried because it's already had its kinks worked out and been improved to the point that it doesn't matter what becomes of the original maker. Samsung Electronics will still service them, and they're not going anywhere.

All my Nikon mount lenses work perfectly on the NX1 too. I'll be shooting with it for years to come.

That's still way better than Sony and Nikon that just dump out DSLR models, never offer updates on them, and then introduce the next version in a year or 18-months...totally killing manufacture and development on the previous models.
 
DPStewart said:
That's still way better than Sony and Nikon that just dump out DSLR models, never offer updates on them, and then introduce the next version in a year or 18-months...totally killing manufacture and development on the previous models.
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Amen to that. Sony actually taught me a valuable lesson about this. Coming from canon I had thought that buying into the a7s would be a 3 year investment with decent resale value. I was wrong. Worse was the total lack of Sony support when it came to firmware and feature updates, even canon had done more for the 5dmk2 firmware wise than Sony did for the a7s. So now I look at cameras for what they can do for me now and for as long as I plan to own them. This Samsung will serve my purposes quite well regardless of support for the next year or so, and it was 1/2 the price of the Sony to boot.
 
If Samsung wanted to go all in - meaning a total commitment to their lineup including 50x zoom point&shoots like Z300, fixed lens bridge units like Sony's RX series, enthusiast/pro gear like NX1, full frame pro line like 1D X MKII, fixed lens camcorders like DVX200, ILC pro cams like FS5/7, higher end pro models like C100/300 MKI/II and all for a reasonable price - they could have had a much longer staying power. Instead, they just dipped their toes in the water and said, "Screw it".

And that leaves the Japanese photo-video cartel in power and a wholly unreasonable self-crippling of products that would not have existed in a non-colluded market. Samsung really just should have sold their tech to Huawei or Xiaomi and let them flood the store shelves with the $1,999 1D X MKII clones. Without competition, prices for the higher end stay 20%-30% too high for 20-30% too long stretches of time.

PS. Neither Red nor BMD, obviously, would have existed in a fully competitive situation. As it is, they have a much lower cost of entry and thus a chance to recoup their investments. Had BMD been as astute with their products as Red, they would have dominated the low end of the pro video. Alas, that was not to be.
 
DLD said:
Samsung wanted to go all in Instead, they just said, "Screw it".

Japanese cartel wholly unreasonable self-crippling of products

.
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That just about covers it. Hope you don't mine me editing your copy lines. This is the way it is, but as a former 7 year member of the Canon club, this is just corporate business as usual.
I was in the market between the NX1, Sony A7s, GH4, and yes even BMD for a year until the G7 came along and I just couldn't resist because of the price.
I've already completed about 50 promos with it since Nov. and needless to say it's filled the gap while I wait for the next great release. I have to say I have been against going Panasonic since the GH1, but now warming up to them.
Since the GH1 they have stayed loyal to the growth of the GH line of cameras. Seeing a company like Canon go back to the stone age at the same time and now seeing a giant company like Samsung make it to the 1 yard line at the Super Bowl and then run out of the stadium with the ball, really makes a company like Panasonic look more trustworthy grow with.
Actually the G7 software is so complete already, any firmware updates would add to the list of things I don't need. It's a great little computer.
I had to cut in some Canon footage today from 2013 to an edit I shot last month with the G7 in 4K, and it's embarrassing how bad it looks, and Canon is still selling the same image quality in it's 2016 cameras.
Sony has also hurt loyal customers with the release of about 6 different A7 versions in a year over $2,500.
I can't say for sure, but I'm thinking of staying with Panasonic for a while.
 
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Panasonic has been allocated the entry level and video - primarily due to being confined to the MFT sensors for the time being - which is why their models have been such good buys. At the same time, it's embarrassing to see D500, D5 and even 1D XII come out with worst video features than NX1, which preceded them by a year and a half. It may not be as bad as a black&white tube set during a 4K flat panel era but it's really two generations behind the current technology that is found on Samsung and Sony.
 
Literally all my glass besides the two lenses that came with it (the 30 and the 18-55) are vintage nikkors, and yeah, I'm LOVING the look im getting out of it with that, not just my 50 1.2 and 85 1.4, but it's breathed new life into my 35 2.8 that I was about to sell.

the 30p for b-roll is a good idea, and idk why that didnt occur to me since i do that minor-slowdown trick on editing gigs where the footage was shot 30p sometimes. the 1080 timeline is a really good call too, thanks.
 
Michael Carter said:
Every time I edit the NX1 footage, I look up at my big HDTV and just go "wow"; I'm delivering 1080 but using 4k footage on a 1080 timeline. Once I have the basic cutting done, I can reframe to give a reason for a cut or to punch in on some strong statement. It's a real game changer to have sort of a "2 camera" look, and the reframed footage just looks killer. (I do transcode to ProRes though, but I like that I can conform all the footage during processing; I tend to go to 30p vs. 24 often for b-roll, gives some shots a nice touch of drama that doesn't read as slow mo). With some older aperture-ring Nikkors, it's a wicked look.

I've got no prob with lens adapters, got a few for my Nikkors and also for some 1960's FL glass which I still need to test -most I've paid is about $15. I didn't get one of the S zooms, but the little kit lens is dynamite on a steadicam or rig - the AF and OIS are really useable; it's pretty "clinical" even wide open and I need to experiment with some screw-on diffusion for rigs without the matte box. It's a ridiculously tiny lens for what it does. 60 and 120 FPS steadicam stuff looks magical though.

The NX1 is a little "controversial" between H265 and the rumors of death; it's really a weigh-the-pros-and-cons deal; but the color is great and hopefully I'll get a couple years out of the body. It's a few years ahead of the market in many ways. Shocking amount of power for a $1k body.
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Forgot to quote you in my prev. reply, but is the 16-50 worth picking up for ~150ish used? I have the 18-55 OIS, and i know there's power zoom and a little wider range at the end, but other than that, is there a big difference in IQ? the wide aspect isnt a big issue for me as I just ordered the rokinon 12/2
 
DLD said:
Panasonic has been allocated the entry level and video - primarily due to being confined to the MFT sensors for the time being - which is why their models have been such good buys.
Click to expand...

What ever they are doing it's working for me right now. If they come out with something new at Panasonic to add to the package like a GH5 it might be worth it, but these cameras are about making money for me and impressing clients with the images, and all the cameras can produce about the same image. If it ain't broke don't fix it.
 
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