Olympus OM-D E-M5 first impressions

Olympus OM-D E-M5

For me the OM-D is a superb stills camera with question marks for video. So satisfied I am with it as my main stills camera I’ve replaced both my Fuji X Pro 1 and NEX 7 with it for stills. Much better AF and the lens range were certainly a factor in that, but this camera also combines the retro good looks of the Fuji with the operational fluency and advanced featureset of the NEX 7, as well as offering superb 5 axis image stabilisation inside the body.

But how does it do for video?

Read moreOlympus OM-D E-M5 first impressions

EOSHD at DPReview – final summary of 5D Mark III’s video abilities

5D Mark III at DPReview

Read the full comprehensive Canon 5D Mark III review at DPReview

DPReview have now delivered their verdict on the 5D Mark III, with a contribution to the video section (as an independent voice) by myself, Andrew Reid. I felt it necessary to be frank over the shortcomings, as it is only right you are aware of them on a $3500 DSLR body. But do keep in mind that the 5D Mark III is still capable of stunning video, like the 5D Mark II before it but a little bit more refined.

Read moreEOSHD at DPReview – final summary of 5D Mark III’s video abilities

Nikon D3200 and Samsung NX20 – hands on with two new budget video DSLRs

Samsung NX20 vs Nikon D3200

There are two new cameras are on the DSLR video radar. The new NX20 is Samsung’s answer to the GH2 and similar in many ways (though crucially not one, as we’ll see in a moment).

A nice surprise is that it has a 1920×810 2.35:1 anamorphic cinemascope mode.

It is also interesting in that it’s one of the first ‘smart DSLR’ style cameras with features that make the iPhone and Galaxy S such a compelling photography tool.

The Nikon D3200 is a much improved (in video terms) entry level model for just $699, nevertheless featuring a spectacular 24MP sensor and Expeed 3 image processor from the $5999 D4!

Read moreNikon D3200 and Samsung NX20 – hands on with two new budget video DSLRs

First review of the GH3’s kit lens? Panasonic 12-35mm GX Vario F2.8

Panasonic 12-35mm F2.8

The weather sealed 12-35mm is Panasonic’s new top of the range Lumix zoom with a constant F2.8 aperture. It’s also the lens most likely to be offered with the (also expected to be weather sealed) GH3. Panasonic have taken a huge step with build quality on this lens and I’m expecting the GH3 to be a big improvement in this area as well.

DSLR Magazine have taken a look at the new lens, and here’s my view on it.

Read moreFirst review of the GH3’s kit lens? Panasonic 12-35mm GX Vario F2.8

Audience reaction to Revenge Of The Great Camera Shootout puts GH2 in 3rd place behind Alexa and F65

Zacuto Revenge of The Great Camera Shootout 2012

The Revenge Of The Great Camera Shootout is Zacuto’s antidote to pixel peeping camera tests. It airs June 15th online, but preview showings have been taking part around the world. It aims to show how any camera from the very top (Alexa, Sony F65) down (to the iPhone) are viable filmmaking tools. Whilst I agree with Steve that creativity is overlooked too often and gear gets all the attention, I wouldn’t go quite as far as Steve in claiming the camera does not matter. The camera and lens – like lighting, like set design, like a location, like actors – has an aesthetic quality that goes into the production and heavily influences the mood of the film. I would use anamorphic lenses as my trademark style, because I feel that particular ‘brush stroke’ suits my kind of filmmaking, helping to create the moods I want. So yes, the camera matters in my view!

Here’s an interesting audience reaction to The Revenge Of The Great Camera Shootout…

Read moreAudience reaction to Revenge Of The Great Camera Shootout puts GH2 in 3rd place behind Alexa and F65

Filmmaking tips from a legend – Interview with Francis Ford Coppola

Coppola Godfather BTS

THREE RULES

1) Write and direct original screenplays

2) Make them with the most modern technology available

3) Self-finance them

EOSHD takes a look at Francis Ford Coppola’s approach to filmmaking with the help of the 99%

Read moreFilmmaking tips from a legend – Interview with Francis Ford Coppola

How Mac OSX still *screws* your GH2 / FS100 / NEX footage – A must read!!

FS100 and GH2

I’ve had my suspicions for a while now about AVCHD footage having a different exposure on my Mac to on the camera. When I edit my GH2 and FS100 stuff natively in Adobe Premiere Pro CS5.5 or the new CS6, or preview AVCHD MTS files in VLC Player (Quicktime X still does not support AVCHD) blacks are crushed and the image is darker overall with far less shadow detail than on the camera’s LCD.

Read moreHow Mac OSX still *screws* your GH2 / FS100 / NEX footage – A must read!!

Shootout in extreme low light – 5D Mark III vs FS100 vs GH2

http://vimeo.com/42091083

This is a torture test of the low light abilities of 3 cameras. There are three test scenes in a battered old ex-factory in the east of Berlin. The first consists of a completely pitch black room with glowing pearl lighting. The next one is in the roof is lit using a single iPhone 4S torch with the cameras ramped up to ISO 12,800. The third scene is again a pitch black dark room with the lights of a building outside reflecting in a mirror on the wall.

Read moreShootout in extreme low light – 5D Mark III vs FS100 vs GH2