This was just announced. Looks like interesting new competition for the GH4. H.265 could be huge. Lens selection could be an issue, but honestly I don't know anything about Samsung cameras.

Samsung NX1 Mirrorless Digital Camera EV-NX1ZZZBZBUS B&H Photo


Specs, from B&H:
28.2MP BSI APS-C CMOS Sensor
DRIMe V Image Signal Processor
4K Video Recording at 24 fps
UHD Video Recording at 30 fps
3.0" 1036k-Dot Tilt-Touchscreen Monitor
XGA OLED Electronic Viewfinder
Advanced Hybrid Autofocus System
205 Phase-Detection AF Points
15 fps Burst with AF
Samsung NX Lens Mount

Specs look beastly to say the least. Hope to see some bitrate and buffer numbers soon. And the Samsung lens selection seems very good, although I cannot speak from experience (on the quality).

I hope Sony, Samsung and Fuji thrive, since the same mirrorless lens designs from 3rd party manufacturers can be designed for all.

"The codec is a successor to H.264 and is capable of providing ProRes quality at 1% of the file size (that’s 5Mbit bitrate for 500Mbit quality video)."

On the spec sheet the sensor is described:
6.5K Super 35mm sensor with 4K (4096 x 2160 at 24p) and Ultra HD (3840 x 2160) video mode
and as:
14bit raw stills at 28MP (6480 x 4320) from effective 28.2MP, total 30.7MP Samsung

Can someone please explain, the correlation between the 2 different descriptions. Because its the same sensor after all.

Sounds great spec wise.

I'm really hoping Canon comes with something like this!!

What people don't realize is that while H.265 visually allows for less bitrate for the same visual look, it's actually throwing away more data, so that is not good for color grading and post. That's what a high profile is for in the specifications, and currently there is no high profile in HEVC that would be broadcast production compliant.

Remember HDV and the BBC/Discovery? Same would apply for HEVC and 4K.

14bit raw stills at 28MP (6480 x 4320).

And probably just 8-bit in 4k video (like the 1DC).

-- peer

...it's actually throwing away more data...

But is it really throwing away more data? It might have fewer bits but might retain more of the original input. Said another way, the result might be a more accurate representation of the original image, regardless of bit count.

My understanding is that h.265 allows multiple macroblock sizes, finer and wider motion compensation, and includes more feedback loops to reduce errors. If the Main 10 profile is used, it can code 10-bit values and there is evidence that 10-bit coding is actually more efficient than eight bit coding, due to the smaller errors to be compensated for during coding.

Will the coding be better in this camera than say a Canon DSLR? Too soon to tell. It depends on the profile, bit rate and implementation. But the fine hair in the sample images looked great. I didn't see mosquito noise in the high frequency areas or course blocks in the flat areas. If nothing else, it's promising.

My main concern is about rolling shutter. All of the video demo material used highly stabilized cameras. More and more, I want a camera with a global (or near global) shutter. Was the controlled motion of the cameras an artistic decision or is it there to hide flaws? We will see...

It's going to be a nightmare for the bleeding edge of post workflow compatibility regardless. Remember the days of Mainconcept, Cineform and HDV?

So true about workflow. It will be a while before NLEs and graphics cards include efficient, native h.265 decoders.

YouTube 4k sample

"their sensor is able to do a full pixel readout at up to 30fps in 7K and so there’s no crop in 4K video mode."

Interested to see what this APS C sensor can do compared to the competition.

OK, now it's a party... the Samsung promo reel looks like it's pretty good, unlike the rather scary Panasonic promos. Decent dynamic range, looks like it handles the shadows fairly well, good solid detail. Could be a winner...

Wonder how much it'll cost for a "system" with lenses, batteries, flash for stills... never really considered Samsung for a imaging/camera company, but they might have something here!

But is it really throwing away more data? It might have fewer bits but might retain more of the original input. Said another way, the result might be a more accurate representation of the original image, regardless of bit count.

Here is what they say about the bitrate 40Mbs at another website.
Samsung NX1: price, specs, release date confirmed | Digital Camera World (http://www.digitalcameraworld.com/2014/09/15/samsung-nx1-price-specs-release-date-confirmed/)

What’s more, the new DRIMe V Image Processor allows the Samsung NX1 to support 4K UHD video recording with no need for external equipment. As our testing team notes: “Samsung is using a new codec, H.265 (HEVC) and 40Mbps for its 4K video. This is claimed to have the same image quality, but half the size of 100Mbps H.264 footage.

On the spec sheet the sensor is described:
6.5K Super 35mm sensor with 4K (4096 x 2160 at 24p) and Ultra HD (3840 x 2160) video mode
and as:
14bit raw stills at 28MP (6480 x 4320) from effective 28.2MP, total 30.7MP Samsung

Can someone please explain, the correlation between the 2 different descriptions. Because its the same sensor after all.

The 6.5K corrolates to the horizontal resolution (6480 pixels) of the sensor. Generally people use total pixel count when talking about still photos but only one dimension when talking about moving pictures - usually vertical resolution when talking about video (eg 720p, 1080p) and horizontal resolution when talking about cinema (2k, 4k).

Here is what they say about the bitrate 40Mbs at another website.
Samsung NX1: price, specs, release date confirmed | Digital Camera World (http://www.digitalcameraworld.com/2014/09/15/samsung-nx1-price-specs-release-date-confirmed/)

What’s more, the new DRIMe V Image Processor allows the Samsung NX1 to support 4K UHD video recording with no need for external equipment. As our testing team notes: “Samsung is using a new codec, H.265 (HEVC) and 40Mbps for its 4K video. This is claimed to have the same image quality, but half the size of 100Mbps H.264 footage.

Actually, they're reporting that they actually have a "Pro" mode that ups the bitrate to 80Mbs for HEVC:
The camera records H.265 at 80Mbit/s in Pro mode, 40Mbit/s in HQ mode. Samsung told me the Pro mode is equivalent to H.264 at 160Mbit/s but I doubt this figure, because to my knowledge H.265 delivers greater efficiency than that.

Well they sure chose some pretty shots for their demo reel!

Interesting blind analysis of a pre-production model.

Link (http://www.digitalversus.com/samsung-nx1-sony-a77ii-nikon-d750-your-favourite-was-samsung-n36235.html)

Of course we're more interested in the video aspects, specifically 4K.

Autofocus testing.

Link (http://blog.naver.com/relala81/220143085921)

Tests of continuous autofocus (CAF) - moving the camera and letting the camera shift focus automatically; focus pulls - changing what is in focus using the touch screen; and locking focus - moving the camera but maintaining focus on the same object.

Samsung NX1 (with 16-50mm S Lens) 4K Test Video: Bokeh, Focus Shifts, and Focus Pulls, Close Up on Vimeo

Here it is more clear: this is a competly new Approach:
Samsung NX1 vs Canon C300 (image quality) - EOSHD (http://www.eoshd.com/2015/02/samsung-nx1-vs-canon-c300/)

Praises of the SAMSUNG App concept in the comments

EOSHD opinion: smartphones are not killing DSLRs, apps and online services are - EOSHD (http://www.eoshd.com/2015/02/eoshd-opinion-smartphones-are-not-killing-dslrs-apps-services-are/)

Colorblind? NX 1 Portrait's look all less plastic than Canon D 7MkII
Samsung NX1 Review | Sans Mirror ? mirrorless, interchangeable lens cameras | Thom Hogan (http://www.sansmirror.com/cameras/a-note-about-camera-reviews/samsung-camera-reviews/samsung-nx1-review.html)

On my UHD 55" Samsung Youtube Files Sensor just cinematic analog film transitions into white. But the grading kills it
Samsung NX1 Gamma DR 1.2 Test- Currier Museum (4K) - YouTube

This is a rough-cut 4K video testing the low-light prowess of the NX1 + 16-50mm S lens. This was edited in Power Director 13 Ultra, which processes H265 files *natively*, and exported as an XAVC S H264 4K video.

Samsung NX1 + 16-50mm S Lens 4K Test Video: Indoors in Dim and Contrasy Light on Vimeo

This museum has much more challenging lighting than the museum in the video posted just above. No grading was done (this was a test of the native capability of the camera).

It is weatherproof, so

Samsung NX1 4K Video: Early Morning Snow on Vimeo

Samsung NX1 4K Video: After the Snow on Vimeo

Samsung NX1 4K Test Video: Campus Thaw on Vimeo

NX1 vs LX100 vs BMPC4K
4K Video Showdown - Samsung NX1 vs Panasonic LX100 vs BMPC - YouTube

NX1 4K Video
Spring Starts - A Samsung NX1 4K Video Test - 30mm f2.0 - YouTube

NX1 HD 100fps Slowmo
Samsung NX1 100p Slowmotion - Goofing Off - YouTube

Samsung NX1 4K Video: Minneapolis Dawn on Vimeo

I have to ask, is there an EF mount adapter for this camera? video looks gorgeous!

I had the same question. I did some quick research and found some "dumb" adapters on Ebay for around $12. I'm not sure if an adapter that allows iris and focus control exists yet but I'd be surprised if one doesn't eventually come out.
Canon EF EOS Lens to Samsung NX300M NX300 NX2000 NX210 NX30 Camera Adapter | eBay (http://www.ebay.com/itm/Canon-EF-EOS-lens-to-Samsung-NX300M-NX300-NX2000-NX210-NX30-Camera-adapter-/321092224699?pt=LH_DefaultDomain_0&hash=item4ac29686bb)

Here is a link from Metabones site. Metabones® (http://www.metabones.com/article/of/faq) It says NX will not be supported.

Samsung NX1 4K Video Minneapolis Dusk on Vimeo

well, that puts a shitty spin on things. No EF adapter with AF. #stuckatcanonsmercy

there is this one, but no electronics.

FotodioX Canon EF Pro Lens Adapter with Tripod Mount EOS-NX B&H (http://www.bhphotovideo.com/c/product/995046-REG/fotodiox_eos_nx_samsung_nx_camera_lens.html/pageID/accessory)

I had the same question. I did some quick research and found some "dumb" adapters on Ebay for around $12. I'm not sure if an adapter that allows iris and focus control exists yet but I'd be surprised if one doesn't eventually come out.
Canon EF EOS Lens to Samsung NX300M NX300 NX2000 NX210 NX30 Camera Adapter | eBay (http://www.ebay.com/itm/Canon-EF-EOS-lens-to-Samsung-NX300M-NX300-NX2000-NX210-NX30-Camera-adapter-/321092224699?pt=LH_DefaultDomain_0&hash=item4ac29686bb)

Here is a link from Metabones site. Metabones® (http://www.metabones.com/article/of/faq) It says NX will not be supported.

Specifically, they exclude a speed booster, but probably a smart adapter is possible.

Testing the Samsung NX 60mm macro lens.

Samsung NX1 4K Test Video: High ISO Macro and Macro Focus Pulls on Vimeo

Focus peaking works superbly to get focus spot on and the focus mechanism is silent.

Samsung NX1 4K Video: New England St. Patrick's Day Parade on Vimeo

with 16-50mm PZ lens; all CAF.

Samsung NX1 4K Video: Whitney Woods at End of Winter on Vimeo

with 16-50mm S lens.

Samsung NX1 4K Test Video: The NX 50-200mm Lens at Full Extension on Vimeo

Samsung NX1 4K Test Video: High ISO Macro and Macro Focus Pulls 2 on Vimeo

Uses the NX 60mm macro lens.

Samsung NX1 4K Video: Early Morning in Union Station, Washington, DC on Vimeo

Samsung NX1 4K Video: Union Square Shoot on Vimeo

How's the audio for this camera?

I noticed in the specs, that it's stated as:

For H.265 = AAC (MP4)

For AVI = LPCM


I wonder why Samsung didn't just use LPCM for both instead of using the lower quality AAC for H.265 recordings.

Isn't LPCM usually higher in bit rate and quality than AAC?

Samsung NX1 4K Video: Playing in Washington Square Park, NYC on Vimeo

Samsung NX1 4K Video: Richmond Art Museum on Vimeo

Has anyone shot much in 1080p? I noticing some gnarly issues in high-detail areas. The 1080p is already about as soft as the 6D but then there are these crazy artifacts. Perhaps some sort of noise reduction? There are "smudges" all over the image at times. It particularly is evident around hair and skin-tones.

I'd much rather shoot in 4K and down-rez to HD. Much better results.

Yeah the 4K looks great. I need me my 60p though.

If your TV has a frame doubler (most TVs of recent vintage do), engaging it can make 30p look very similar to 60p.

I do just that with my 1080p plasma and my down-rez'd 4K>HD looks very smooth.

I just got back from BB where they had just mounted the new 65" UHD OLED TV. I brought a couple of 4K projects from the NX1 and it looked superb...including the motion.

Yes, you have to shoot with an awareness of 30p. But done correctly, you should not have any significant issues.

What if your client does not have the special TV needed for the footage to look proper?

4k is still too much for a lot of post production workflows, especially in H.265 which needs to be transcoded for most NLE's. I think it is important for all manufacturers and software makers to not "drink the Kool-Aid" on 4k. We still need 1080p and 720p way more and often use DVD for delivery as well.

The in-camera downsampling should be as good as your NLE these days if done correctly. No excuse for a 4k camera to not produce stellar 1080p. But you can not lose sight of the fact that this is a still camera.

Tim, it seems to me that no prosumer 4K camera offers HD shooting that's as good as an HD transcoded copy from 4K. I don't think it's quite as easy to do as you might think.

Either way, it doesn't seem a big deal to me. When I edit, I edit in 4K and then either make a 4K or HD render. Sometimes I'll do both. It doesn't require any additional editing to make an HD copy of a 4K project.

As far as stills go, I find it exceedingly easy to grab an almost infinite number of 8meg frame grabs from a 4K timeline. Very nice & a multitude of possibilities.

What if your client does not have the special TV needed for the footage to look proper?

4k is still too much for a lot of post production workflows, especially in H.265 which needs to be transcoded for most NLE's. I think it is important for all manufacturers and software makers to not "drink the Kool-Aid" on 4k. We still need 1080p and 720p way more and often use DVD for delivery as well.

The in-camera downsampling should be as good as your NLE these days if done correctly. No excuse for a 4k camera to not produce stellar 1080p. But you can not lose sight of the fact that this is a still camera.

While I agree with a lot of what you are saying, I think calling 4K "Kool-Aid" is over the top and calling on manufacturers and software producers to ignore it is uncalled for. You can go on shooting 720p no matter what innovations there are. More substantively, even if you always deliver at less than 4K, 4K not only gives you higher-quality, lower-resolution videos but gives you more creative possibilities - for example, you can zoom in post, reframe in post and not lose any resolution for the delivery of Full HD. This is not Kool-Aid, this is a real aid to higher quality video.

And as for excuses, what excuses does Canon have for delivering soft and artifact-ridden HD? Being a stills camera is irrelevant (whatever that means). Apparently, as Ken says, it must be harder to downsample in the camera than you think.

Everybody calm down. I am not speaking ill of 4k. What I am calling Kool-Aid is the idea that all of the sudden 4k will be the center of production and 'who needs those other formats'... 4k is a tool, but is way too early to be the main or only format of quality on a camera imho.

Having a camera that shoots great 4k and sub par 1080p is what I am referring to. This was the case when the HD era arrived and cameras started coming out without an SD mode. Well, the next round of cameras had the SD modes put back in. The makers can't dictate how we need the use the cameras to make money.

btw, being a stills camera means it probably does not have the processing power for video as a dedicated video camera. The mid level 4k video cameras have excellent 1080p as they utilize quality downsampling from the 4k imager.

Back to a video (4K, sorry):

Samsung NX1 4K Video: Enjoying the St. James River Area in Richmond on Vimeo