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It's a major major improvement in video, not just because of the 4K. It's the reduce aliasing too. The HDMI out is 8 bit 422 however, the image is just a huge leap forward. Frankly what I've enjoyed most is using it as a stills camera. It handles so beautifully and the AF is insanely fast. The stills have plenty of punch and are also a noticeable jump in terms of res. I say that as a fan of the EM1 Mark 1. The Mark 2 is a giant leap forward just in stills mode. Same can be said for the video. I honestly think Olympus have hit one out of the park here. Even if I didn't have my relationship with Olympus I would be buying this camera. And yes, I'm planning to shoot some video to try and see what we can do with this camera, hopefully in the next few weeks. Let me know if you have any ideas ;-) JB

I wanted to share my new video I shot with the Baby Hypergonar. Olympus Zuiko 38mm f1.9 was taking lens. 60 time lapse over 3 months. Watch with a glass of wine before bed because it's a real sleeper

I commented on the rumored price of 3000$ (and you know that these prices are higher in Europe), and the fact that the waiting game pays off (less trouble/less money spend) in new complicated tools, like hybrid cameras, and I am definitely not a snob. I do have a NX1/NX500/NX3000 kit for my hobby (photography) and extremely low budget video jobs, and I always trying to find the best value for money (that's why I stayed with the NX system for so long). NX1 as 4K (no crop) A-cam, especially with the exceptional 16-50S lens; NX500 as a small B cam is fine (crop, usually with the 45 or 30mm prime, which are very good buys, and very good for interview close ups or live coverage), and the NX3000 with the NX 10mm/3.5f fish eye as an APS-C version of an action cam (that is no 4K of course, but is my crash cam). The whole system (with 7 or 8 NX lenses) costed me around the starting price of a A7Sii (body only, just to put it in perspective). But if I have to pay 3 or more thousands for a body only, and I was a pro (I am) then I would definitely considering something more appropriate for advanced needs (depending the style and the line of job, usually here in the European south east, the working days and nights are hot and long, and the salaries less and less!). Even the JVC LS300 (for me) is a great idea, and sells new, as much as a C100markII used. We are using it now for a documentary series (speedboosted + L glass), mixed with a couple of 5DmarkIII, and the ease of use of the little JVC is cost, and time saving. The original idea was 3 Canons and recording sound externally, now we record on the JVC, time (and battery) saving on production, and in post. Significant things for me as a professional (and that's when I reach for the C series usually) are: ergonomics, battery life, ND filters, XLR/Sound connections. Most of the dedicated video cameras these days offer adequate quality. If the GH5 sells for 2000euros, it will be..ok, not great, but ok.. but if the new Olympus's price is any indication, and the rumored GH5 price is right, then a price above the 2500euro mark is most possible, and that will be very expensive in my opinion. Also, in 6-8 months, Sony can put another aXXXX camera, doing 4K/60fps (even if it records for 27seconds before burning hot!) and sell it for much less. Sony makes the sensors, do you not think they are not aware of what kind of sensors are selling to the m4/3 group?

I agree about the waiting game. If they fix the IBIS in the G85 I'll probably be perfectly happy shooting with that, with an external recorder, through the end of the summer. And who knows what Sony will do. If the rumors of the GH5 price being around $3K are true, I think that will put a bit of a dampener on the excitement for it. I think it needs to be no more than $2500. $2000 would be pretty killer. And at any of these prices, IBIS is a must. If Sony does an 8-bit 4K60 A7III, at say $2000, or the A7S/RIII is 8-bit 4K60 at the same price as the current R and S, or goes 10-bit at say $4K, the GH5 may not be as much of a coup as it would have been all by itseld in Q1.

Another 4K test:

Well, if it does come in at around 2000 € body only in France, many potential buyers will hold out for the GH5.

Kinda off topic, and sorry for this, but...normally EU prices are even more than UK prices..seriously, that is a lot of money for m4/3 cameras, and a lot of money for good pro lenses to (the kit seems like the best offer though, if you are going for this camera, and do not have any other pro zoom lens). I thought that smaller/lighter cameras/sensors/lenses would be less money, but it seems that that is not the case anymore. I really enjoyed the GH4 when it was the most modern mirrorless for video a few years ago, but the rest doesn't cut it anymore and the 5 is just far away from now. I am really worrying that m4/3 sensors are in their limits with current technology, and I am not sure Sony will manufacture a solution for them soon. One considerable option could be a variable sensor, like the JVC LS300 has, native m4/3, but with the ability of taking APS-C lenses, and zoom prime function. That would be something. Even thought I detaste the Sony experience so far, in the end, most of us we will consider a a7000+a7markIII combo, in a couple of years to cover all bases. For now, I am staying with the NX1/NX500 28mgpxl BSI (15fps, non crop 4K for NX1) and the 20mgpxl APS-C of 3000. Every announcement, I squeeze another extra year of this discontinued system.

£1849 = $2268.94 crazy

Pleaded: https://www.youtube.com/watch?v=vK5DigCpzeI&lc=z13qxtqyrvuus1g5a04cjnlrysrgvz4gvlc0k.1478039068043991

https://www.adobe.com/products/premiere/features.html 2015.3 (10.4.0) was very buggy, reverted to 10.3.0- has been much more stable. With latest Creative Cloud don't see 10.3.0 as an option to revert back to. Hopefully 2017 fixes cumulative bugs without adding new ones (waiting to update after hearing there are less bugs).

This is just 2 astra lights side by side beaming into a double full grid 4x4 silk on the left, with a bounce on the right, with some return. That's it. Soft soft soft soft always looks good. the closer and bigger the diffusion, the softer. Shot on the F65 with a zeiss standard speed lens 100mm.

Exactly. I think these companies were on the verge of making perfectly organic HD and then they decided to go for thin and brittle 4K instead.

Seriously, it is so expensive to live in Europe these days!

huh. JVC used for $2,449.95 https://www.bhphotovideo.com/c/used/1096581/jvc_gy_ls300_4kcam_handheld_s35mm.html

i believe this was just release today. I am not sure how this would compare to the GH4. http://www.olympus.com.au/Products/Interchangeable-Lens-Cameras/Olympus-OM-D/E-M1-Mark-II/Specifications Battery life for movie recording Approx. 90 minutes (under standard JEITA testing) Approx. 150 minutes (when zoom and other operational functions are not used) *When repeatedly recording at the maximum time of 29 minutes

Talking of the LX5 / LX7, this is shot with the Leica D-Lux 6 which is a rebranded LX7. Food for thought...

There is a lot of snobbishness about equipment and a lot of nonsense talked about what makes someone a pro. A professional is a person engaged in a specified activity as a main paid occupation rather than as a pastime. It has nothing to do with what equipment he/she choses for each job. I have "pro" gear but I also use DSLRs when there is a need for light weight work. The IBIS on the GX85 has been very useful on occasions on some paid jobs. Horses for courses. If the GH5 is as good as it sounds and sells for 2000€ then it'll be a very interesting camera for some professional work and a beast for hobbyists. What is true is that 4K/60 will be a bugger to edit on most people's present editing suites.

Hi @mercer - sorry for the delay. I've only just had a chance to look at the camera. First off I have to thank you - while I was fiddling through the menus the lens unstuck itself, so I now don't have to get it fixed! Unfortunately, except in HFR mode, there's no indication of framerate anywhere - however I found this on dpreview: So that seems fairly conclusive. https://***URL removed***/forums/post/50747107 Sorry not to be the bearer of better news. The video sure does look nice, though, even within the limitations of framerate and bitrate. I always shoot it at 1/50 and motion is as good as I'd expect from this kind of camera.

Even Dan from DPR who wrote the G85 review is now saying that there is an issue. ""Dan Bracaglia Update: We've also encountered it. It's really noticeable when panning diagonally, less so horizontally or vertically. I'm going to update the text to address the issue. I'm also reaching out to Panasonic to make sure they are aware of it too."" https://***URL removed***/reviews/panasonic-lumix-dmc-g85-g80?comment=3711844134 I see you replied to that one.

The 50-150 lens is a tremendous lens that does everything well. I find that sharpness to be more of a lighting thing than anything. I hate the lens hood though, that's really minor, it's one of those big ugly ones that make it look like a bazooka. If you want to go the other way, I have the Samyang t1.5 85m cine lens and it's a really good portrait lens. everything manual so buy the canon with a kiwi adapter. You can't do better at that price point.

Hmm, must be some copy-to-copy variation, or maybe you just use yours a lot more than mine and it's loosened up a bit over time, because mine's nice and tight, easy to move, but stays exactly where its at.

Ianiro are the original redheads and are still competitively priced (http://www.ianirouk.com/categories.php?CategoryID=40) - even better if you can pick up a used kit on ebay!

This camera is due to May or June, I wouldn't be too excited about it (I mean, I always am, with equipment/gear/tools/machines!), until is truly out, tested and reviewed. With tools/machines/gear/equipment, I learned to play the waiting game. Early adopters always pay a price (money, or troubles).

well, Redstan still has some so the point of "this pointless discussion" is in the thread name, clamp from Redstan for Kowa 16H is the best available option today

Whats your hack's spec if I may ask?

Just an FYI, the latest Hero 4 update gives you the linear mode off the new Hero 5 on your 2 year old GoPro as well. Available at 2.7k and 1080p resolutions. https://gopro.com/update/hero4

@JB, sounds good. They've also told me that it 'will produce great video and is just ideal for video making. Also C-AF will not be a problem. I hope you stay tuned until the offical launch', so that got me pretty curious (though not taking their word for it)! As you said, the E-M1 is just lovely for stills, you could probably go out with a little shoulderbag and have the 7-14, 12-40mm f/2.8 PRO and 75mm f/1.8 in there and you're set for some serious shooting! For those who are hybrid shooters, that are actually more filmmakers, there's the GH-series if you want that LOG, 10-bit output, advanced slowmo, anamorphic mode, TC, etc. But now, the primarily stills hybrid shooters can have something really impressive stills wise, with insane speed. Thing before was... if you shot a video with the E-M1, it wasn't on the level its stills were. I was hoping that had finally changed (because the E-M5 Mark II didn't really). And now the E-M1 Mark II has the vari-angle screen. The headphone jack and everything. It has become a proper allround tool for video shooting. Just all depends now on the quality. I was afraid Olympus was going to put such a stills focus on this, that it wouldn't even get 4K. That it was going to be riddled with aliasing/moiré and compression junk... or have a weird crop or something. If they manage to just pull off nice video... like a Canon, Nikon or Fujifilm would for example (they don't have incredible GH-line features either), then I'd be a happy camper. And people need somewhere to go... so the flagships are always going to jump, that's just going to push the prices. I'm glad that's one of the reasons with Panasonic the G80/85/81 and GX80/85 for example are a thing. With Olympus you've got the E-M5 and E-M10 lines. But with the up in quality and prices in lenses, to get the most out of it, you need the body that extracts everything out of those puppies; no concessions. Unfortunately that means with each flagship prices are going up instead of same or down. That's also something you must've noticed with the other brands that drive innovation (like Sony). But... if it delivers... I'll cough up the dosh and upgrade my E-M1 to a Mark II. But... that's a stills camera gone usable for video shooting. There's still the GH4 that's like the ultimate tool for video with all bells 'n whistles. The GH5 is a little further along the way, but it will also have a significant up in price. But it will have some sick features that you can't deny. I'm already rocking multiple cameras. I either go out and have the deciding factor to be taking stills OR video and pack accordingly. But it's nice that you can take solid video with a stills camera and that you can take stills with a primarily video camera. Or sometimes I want to pack light and discrete... well, the GX80 with 20mm f/1.7 covers that. I don't see having choices as a burden. If anything, it gives me more freedom.

I'll have to upgrade and check it out. It looks like this is what FCPX should have been when it launched. I will say I find editing on FCPX to be a different beast, and a different way of working to both FCP7 and Avid (have not used Premiere that extensively so can't really comment). I really like FCPX's background tasks. Makes editing quicker. I agree to some extent - though I find that whilst FCPX makes it quick to assemble a basic edit, fine cutting and even things that would seem as simple as finely editing transition timing can get extremely finnicky and difficult. If FCPX decides to make the two clips you've put your transition on a storyline, it makes it really difficult to adjust the things inside it. Similarly, if FCPX decides the audio track you've dragged onto the timeline first to cut to is your main storyline, it makes it really difficult to adjust the position and timing of the audio clip without having to re-adjust everything else. The lack of definable tracks can be annoying as well - handy in some instances, annoying in others. Even things like scrubbing are slightly more annoying than in other editors. Not to mention that the organisation of multiple cuts seems unneccessary. Rather than simply having multiple sequences, you have to duplicate Projects. And the biggest one of all - no OMF support! These are all things that are easy in other editors... Use what works for you though - there's plusses and minuses to any system. I can see why FCPX is popular amongst certain editors - it fits certain types of work and jobs better than others. For the right job, it's very very good. For the wrong job, it's annoying as all hell. The one thing about Avid, Premiere, FCP7 etc. is that they tend to be at the very least very adequate regardless of the job.

The UK prices include 20% VAT (sales tax), but normally US prices don't include any local sales tax.

http://www.43rumors.com/olympus-e-m1ii-price-unveiled-now-available-for-preorder/ $2000 US dollars. Yikes.

Thanks John, any more thoughts you want to share or is it going to be a blog update? Like 10bit HDMI output ? (only way for me to justify this crazy crazy price )

Holy crap a 1000 pounds! Congrats indeed.

If that's the case, the problem is the GX85 provides far superior stabilization for video.

Hi Hansel I'm not expert buy I can suggest you the roger Deakins forum, he is the DOP of the coen brothers. it's awesome it approach. he would probably suggest you to do not imitate tutorials/techniques/him, but to experiment by yourself and searching what you feel is right with the light following your taste. and make practice shooting every day. but is maybe better you ask him directly here: https://www.google.it/search?q=roger+deakins+forum&ie=utf-8&oe=utf-8&client=firefox-b-ab&gfe_rd=cr&ei=SRoZWLKRMufw8AeKgoGgDA bye!

the RS in 4k without DIS is extrem for handheld. manual focus is fly by wire and very long.the touch focus is more intuitiv, also for focus pulls...

There are millions behind the sales air race, that's the reason why. Pity that both sides don't choose to release a better and higher bitrate codec...

I used to shoot with FD50mm+ Speedbooster and get no vignette. But same configuration plus Rangefinder and I get a light vignette in corners. My helios 44-2 (58mm) dont vignette, but cant get perfect infinity focus with kowa 16H wich is esential for the rangefinder to work.

hahaha I agree! Good catch! Really sucks! He says. So gopro does not?? He says he speaks as filmmaker.... Really? As filmmaker or news shooter?? Funny, people have no idea what it means to be filmmaker. Not even what filmic means. Strange days.

I can reccomend the lens turbo II (by mitakon) if you can (it's almost as good as the speedbooster). But i'm pretty sure you'll vignette with the mir-1B + speedbooster

no, DIS is additional to OIS. the lens has stabilisation(OIS) and you can add digital stabilisation(DIS) in camera. OIS alone is not good enough for video work, for stills is great

Thanks, i have allways DIS on when i work handheld. the entire video was shot in this mode(only the pan is on tripod), the downside is when you go to near to an object, you have a similiar effect that make the warp stabilizer(distortion on the second layer if have small Dof). But all in all is a nice combo with this lens i love it When maybe a hack make possible to shot 4k50p on this cam, that where a dream !

Well...it kind of was to be expected that the Karma wouldn't be as stable in the air or have all the flying features DJI has developed over the years. But the point where GoPro totally dropped the ball imo is by not having improved the codec and overall IQ over the 2 year old GoPro 4... That was the one thing they had going for themselves and they chose to leave it completely untouched..shame.

Yeah, I don't know what the hell they're doing. I am going to head out with it at the end of this week and do a bunch of tests. As I said earlier, I may sell mine, but it has more to do with the fact that it just may be too much camera for me, especially since I haven't really used it in almost two months. That's a lot of closet real estate that can go to other things. But I have been really hoping to utilize that unbelievable 4K codec for some stock footage, I just can't seem to find the time. But if I do sell it, I am going to get to the bottom of the ghosting before I do, even if it requires me sending it in to Canon for repairs, I don't need some eBay a-hole complaining to me and giving me bad feedback and possibly scratching the camera before they return it. @kidzrevil

That sucks about the XC10 because I think the work you have posted with it is without a doubt some of your best work and I've been a fan of your videos since your GH4 days.

Ed if you want to get a new laptop for video editing, I suggest you bite the bullet and either spend the extra cash for the new MBP if you really want the mac experience or you use FCPX, or use Windows. Hackintosh on laptops rarely works well and at the end you will have a worse experience than switching to new OS altogether. If you are using Premiere/Resolve then you would not notice that many changes. Native proxies work on all programs now, so fluidity of editing should be the same. Windows laptops that offer similar build quality/aesthetics with better specs than the MBP: 1. XPS 15 / Precision 5510 2. Razer blade / Razer blade Pro

I hate Mac OSX but everytime I touch a a non-mac laptop I have to puke, I don't think there are any real alternatives (I used to have one with bootcamp because of this).

Okay, you boys are bad, i mean bad! Because off you I bought a GX85. Though one of its biggest supporters is now in awe of the beautiful canon xc10. Talking about you here, merce!:) Well, that Canon beauty is too expensive for me, will have to rent that one, but couldn´t resist that GX85. So done it and will test it. Maybe I should have waited longer. But couldn´t resist it like i said. So for all you G6 lovers out here, a screenshot of the most recent footage I did with my G6. @John Matthews, Hey John, i think I remember that you tested HDMI out and stated that internal recording and at the same time Liveview with an external monitor was possible. Do I remember that right? Anybody else to chime in on that? cheers and regards and hoping the GX will be a worthy addition to my G6! Woulndt dare to say successor:) G6 has mic in

Thats something i'd like to ask you guys, what do you guys think its a fair value for a small 10-15 lut package? This is something i'd like to keep doing, so depending on the sucess of this first pack, I will continue to improve and release a pack 2, 3 and so on. The pack will include black and white, as well as color. My current settings are (I didnt share them earlier because I really havent had much time to come home and sit down) : Gamma Norm | Master Black level 7 | Luminance 16-237 | Smart Range+ ON | Saturation - 4 | Contrast -4 | Sharpness - 10 As you can see, they arent as different as the others I was using, but the difference is quite big when grading. I am not a pro colorist, or anything of that sort, but these work great for me.

Thank you! I honestly cant remember, its been quite a while, but it wasnt too hard, Ill try have a look and try to get something for you Im currently testing some new settings, heres a few examples, these are all separate projects, so they all have a slightly dif. look. These are all videoframes, and not pictures, as soon as im done testing these settings, ill share with you guys! Im considering creating a specific lutpackage that could be sold at a very affordable price, what do you guys think?