nigelbb

OMG -- you really have this little knowledge of cinema? Why not Google so you can learn there are MANY cinema rules.

You seem to be confusing rules with conventions. To quote one example of breaking a cinema 'rule' if you want to pan faster than the ASC recommendations you are able to do so or if you want to shoot at some other frame rate than 24fps you are at liberty to do so e.g. Peter Jackson's 'Hobbit' films.

That could change now that the GM1 can be ordered with 15mm f1.7.

Ordered? The new lens only got announced a couple of days ago & the promised ship date is June. The price for the lens alone is $599 while the GM-1 with 12-32mm kit lens is under $700 so unless Panasonic are going to radically discount the GM-1 plus 15mm combo it's going to be quite a lot more expensive than the current kit. Stranger things have been known though as they have had a promotion on the G6 plus 14-140mm at little more than the price of the lens which has led to a lot of G6 bodies being sold on eBay at very cheap prices.

Keep things simple : get a Panasonic G6 + Nikon mount Sigma 18-35 1.8 + Nikon to M43 adapter with built in aperture.
Use the sensor crop function on the G6 for a 3x zoom range.  
This will give you a 36-210 range, all at 1.8.

It would be simpler & cheaper to get an RX10. No extras & you have a 24-200mm range at F/2.8 & up to 400mm with the smart crop mode. Stepless aperture for video, built in ND filters. The G6 is a nice camera (I have one) but for the OP's requirements the RX10 looks a better fit.

What seems to have been ignored in a quest for point scoring is that obscure German suppliers notwithstanding the overwhelming majority of GM-1s worldwide will be sold with the kit lens which conveniently offers 12mm F/3.5 at the wide end.

More are on the way from other manufacturers like Samyang and no doubt soon Panasonic and some others, too. It's also possible to use other mount super wide lenses with adapters.

 

Besides, as long as the GM1 only has (room for) one lens mount, one 12mm lens would be quite enough. So it's a problem only if you make it one.  ;)

 

What 7-12mm prime lenses in any other mount exist? Other than fisheyes. Not FF, not APS-C. Possibly C-mount I suppose. It's always been the case with MFT that there are no super-wide primes like a Canon EF 14mm for FF or indeed anything wider than 12mm i.e. 24mm FF equivalent.

 

 

No offense intended, but less than 15 seconds of research would have been enough to show you that that's not quite the case.

 

At least in Europe, it's possible to buy an officially imported GM1 body only in all the three colours, from a well established online/b&m shop. 

No offence intended but I spent considerably longer than 15 seconds confirming that you cannot buy the GM1 body only in any of the usual stores here in the UK (Wex, Jessops, Amazon, Park Cameras, Calumet CVP etc). It can be found on eBay but presumably that is where the kit lens has been kept or sold separately.

I'd say forget about the extra gear and rigs for now, and forget about the 50mm, too. For now. Instead, start with a proper wideangle prime.

In mFT terms, that would be something between 7 and 12mm.

 

 

 

The baby mode is very important and you know it. When you have a baby, you buy a DSLR (you don't want to buy some random small cheap camera for something that is only going to happen once).

 

Only for the first baby though. Anyone who has kids will tell you that have 10X more photos of the first born than subsequent children.

Another common mistake us to have IS switched on when panning or sliding. The IS tries to correct for the motion then the movement exceeds the possible correction & thyself jumps. This happens multiple times over second hence the jittering.

I believe it is recorded at 96 in 1080 and then puts it in the wrapper of your choice. If it didnt do this then when you put it onto a timeline it would try and be a 96 fps timeline, so you would need to interpret footage every time. Anyway, if you record it into the 25p wrapper but then came edit time and you wanted it in something else I guess you could just use "interpret footage" and bobs your uncle. All the frames remain there, it just changes how quickly it plays them back.

At first I assumed that it must be something to do with limited frame rates in the AVCHD standard but I don't think that the FS100 does this. It must be some limitation of the camera otherwise I can't imagine why you would want it conformed to a particular frame rate in camera rather than doing it in post.

That may be true but that's not the part of the curve we are playing on at the moment.  Low end video equipment still sucks.  I can go out right now with a $300 DSLR and a $100 lens and take pictures that will rival pro photography quality.  You can't say that about the video aspects of that same camera.

 

Photography cameras have gotten so good that really the camera body has in many ways ceased to be the limiting factor.  So for photography what you say is definitely true.  If someone says I can't shoot nice pictures because all I have is a Canon t3i then I know they suck at photography.  A 5D MK III isn't going to make their work noticeable better.

 

People always tell this lie that the chase for specs is never ending.  Well with digital photography it's ended for most of us.  Another 2, 3, 4, or 5 megapixels is not going to change our work dramatically.  Video will get to that point as well.  The number of people worrying about specs will get less and less as the technology improves.  People only rarely print pictures bigger than 11x14.  And likewise TVs will only get so big.  If you can fill a 70 inch screen with a sharp picture there really isn't going to be a lot of demand for even more resolution.

 

This was always true of film photography. The only real technical limitation on image quality was imposed by the lenses but even then he resolution of 35mm film is so much lower than the sensors on current digital cameras that quite soft lenses could still be acceptable.

I ran some tests tonight and the G6 with Natural style with contrast and saturation dialled all the way down performs slightly better than a T3i with VisionTech2 picture style and running Tragic Lantern.

The difference is not that big in lowlight performance, but as far as noise is concerned the G6 is the clear winner : you can shoot with the G6 at 3200 ISO and it'll look as good as the T3i at 800 ISO.  
Native ISO for the G6 seems to be 640.

I used to own a 600D (aka T3i) & now own a G6. Your tests mirror my experience. The 600D/T3i is OK up to ISO800 but above that it's too noisy. The G6 is clean & noise free at ISO3200 (it can't record at any higher ISO). In both cases it is always important that the image is adequately exposed it's no good underexposing then trying to push exposure in post or it will look like crap.

G6 focus peaking is good, I leave it on all the time, it does work very well with sharp lenses - especially those with aspheric elements

Zeiss, Canon L series , Panny lenses etc

 

can be not as good with older soft legacy lenses - its a bit hit n miss depending on the lens

Personally I find the focus peaking on the G6 very subtle indeed. Sometimes it works OK but other times it's nowhere to be seen. It also only works in manual mode so isn't on all the time. It is nothing at all like decent focus peaking on a proper camcorder/

Does anyone know of a good program that can change frame rates from 30fps 24fps without artifacts or changing speed of film basically converting em1 footage into a 24fps

Drop it onto a 24p timeline in Premiere Pro or FCP.

There are several posts in this thread stating that they haven't bought an OM-D because it doesn't have 24/25p because they believe that it is an issue. I am just pointing out that with HD it is not the problem that everyone imagines because their thinking hasn't been updated since analogue PAL/NTSC days. In fact the Old Wives Tale about mains flicker with 60Hz & PAL or 50Hz with NTSC was always wrong as it was the shutter speed causing the flicker & not the frame rate.

The problems of shooting 30p in PAL-land are often discussed but in my experience are not really an issue. The problems of mixing frame rates & problems of flicker with lighting are grossly over rated when shooting HD. I think that most of the Old Wives Tales go back to Interlaced SD & problems with conversions between PAL & NTSC (or vice versa).

 

Both FCP & Premiere Pro easily handle different frame rates dropped onto the same timeline & I assume that any other decent NLE will do the same.

Any problem with flicker from lighting is because of shutter speed not frame rate so even to be on the safe side if you are shooting 30p use 1/50.

i am talking about this. I think the main video problem on the omd m5 and now on the m1 olso, is the bit rate.

 

The bit rate is good enough most of the time. I am not shooting for broadcast in fact now mostly for the web & the freedom with the OM-D is fabulous. No rigging. No cage. Just a tiny little lightweight camera that fits in your pocket. It would be nice to have better low light performance but the maximum ISO3200 is clean & noise free. It would be nice to have a bit more resolution a better CODEC and higher bit rate but even without all those things it's a fabulous camera.

 

If you want 24p/25p/50p a better CODEC & higher bit rate but without the IBIS then the Panasonic G6 is a great companion camera for the OM-D & can be found at crazy cheap prices on eBay here in the UK. There has been a special deal on the G6 plus 14-140mm lens  for £549 including cash back while the lens alone costs £499. People are buying the package just for the lens & selling the camera for under £300.

Andrew, how do you find it shooting with the camera actually moving? I have the OM-D E-M5 & the IBIS is brilliant for hand held rock steady footage but I am less happy when there is any camera motion. Panning frequently jitters & walking along for Steadicam shots without the Steadicam can have an oddly rigid & robotic look rather than the smooth floaty look. It's all a bit hit & miss at the moment as movement isn't always unnatural but just in the same way as the CODEC can break down unexpectedly so too can the IBIS.

Nigelbb, i also have an m5 camera and i tried to shot with it and i am telling you it is not just about the is, i think the camera suffers a lot of video encoding and aliasing. Would you be kind and share with us some of your video with m5. Mine you can find here:

 

cheers.

 

Sorry I am not sure what point you are trying to make.

 

Vadim Sukharevski (aka Vadim Action) is a wedding videographer in Israel who shots some amazing stuff with OM-D E-M5 (he also uses GH2). Some of his films are OM-D only e.g.

I don't have an EM-1 but do own an EM-5 & have shot quite a bit of video with it now so think that my experience is valid. What the Olympus 5-way IBIS excels at is stabilising hand held footage so it looks like it's on a tripod or at least a should rig. It's just amazing plus the size & weight even allows you to do this one handed so you can even be holding a video light in the other hand.

 

However the IS is no substitute for a Steadicam which gives a different sense of motion which is smoother & floatier. There can be an oddly rigid & robotic look to the footage when walking along.

 

Panning can be problematical as you can get stuttering which is similar to & for the same reason that you switch off the IS on a lens when on a tripod. As you move the IS tries to keep the image stable but then reaches a point where it cannot move anymore so has to jump & then start the process all over again.

 

Anticipation & gentle movements are the secret (just like when using a Steadicam).

When calling something "fake" it helps to make a distinction between photoshop and prototype.

Not to mention the distinction between a prototype & the previous model with a new sticker on it.

It's not a fake, there's a lot of photos and snapshots from the Panasonic booth and they all show the same thing.

 

Just because it's on the Panasonic stand doesn't mean it's not a fake just that in this instance it's a proper Panasonic fake.

I think that the GM1 would be a great little camera for a locked off wide shot when shooting weddings & other events. Situations where people often use a GoPro but the GM1 will have much better image quality & low light performance.

It's not ISO3200 that's noisy per se it's the fact that there isn't enough light. Add light or get a lens with a wider aperture.

A nice feature of the G6 compared to the GH2 that I only just realised yesterday is that you can assign the zoom lever on the body to adjust aperture (with smart MFT lenses). This avoids the problem of the single adjustment wheel for aperture & shutter where it is all too easy to inadvertently press too hard & switch from adjusting aperture & change shutter speed. Using the zoom lever under your right index finger for aperture means that you don't need to touch the shutter/aperture wheel at all.

The G6 is so cheap on eBay here in the UK now that it's half the price of the GM1 (admittedly with the cute kit lens) & 1/3 the price of the GX7.