Marcio Kabke Pinheiro

I'm interested in this new sensor. Since the E-M1 mark II rumours mention a 18mp sensor too, I guess that finally a new MFT sensor is coming.

If the 4k image is generated from a 1:1 3840 (or 4096) x2160 pixels crop from the center of the sensor, and the pixel size from the NX500 is a little bit smaller than GH4's, I guess that the crop is a little bit higher than the GH4's - then the 2,58x crop looks correct.

In other forums people noticed that the Samsung now says that the NX500 have a "DRIM Vs" chipset (the NX1 have a DRIM V). Probably a underclocked version.

At least the 4k crop mode was confirmed in the Korean NX500 site: http://www.samsung.com/sec/consumer/store-only/store-camera/product/EV-NX500ZAMIKR (you can use Google Translate to help) The same site have a formware for download, version 1.0 - that means a defintive first production firmware.

​The low light performance was better than I expected. The softness is present, but worked well with the video. Only the aliasing was perturbuing, when filming the car lights.

Kind a bummer for me too, because I want to buy the NX500 for concert handheld recording - which means that I need OIS. With my GX7 I use the 20mm f/1.7 a lot (with the 2x crop factor it is 40mm in FF), then the 38,5mm with a 16mm (widest OIS lens in Samsung lineup) is similar. But I was wishing the 24mm field of view. But a 1:1 sensor crop probably will eliminate moire, or I'm wrong?

​I doubt it. All these rumors sites only publish compliments for the brands, never criticism.

​Some people said (I guess John was one of those) that you can change the exposure settings...but only using the touchsceen, not the physical controls.

​Vlad, do you have any footage sample made with the Ninja Star, especially about moire, aliasing and softness? Only 30fps was available, not 24p, with the Ninja and the Star? And when using the Star, the LCD display in the camera stays with live feed or an external monitor connected in the Star is mandatory?

Rio de Janeiro, I live here (the last shot was made near my apartment). Brave guy to bring a Phase One to Rocinha (the first shot) and return with the camera back home.

​Thanks, that was exactly the kind of footage that I was looking for.

Good video too. In good light the image is really good, but the dark segments in the begenning are somewhat noisier, no?

​When using adapted lenses, you must dial manually in the focal lenght of the lens that you're using; you can use a adapted zoom lens, but will have to choose a focal lenght, dial in the value and stay with it. With m4/3 zooms, there are no problems, since the focal lenght value is transmitted electronically.

Downloaded the John files (Curiosity is a great video, by the way). One improvement is visible: tree leaves don't became a blotchy mess, like the E-M5 - the bitrate helped a lot. Some doubts about sharpness (because of some other test videos) and low light performance.

I was planning to get a LX100 to film some live music concerts in 4k - the original plan was to buy a Panny 12-35 f/2.8 to use with my GX7 (my current camera for movies), because I shoot handheld in these cases; since the LX100 is cheaper than the 12-35mm AND comes with a 4k camera attached, was an obvious choice... ...until today. Now I think that this NX500 could be the one; I know that I'll have to buy a stabilized lens for handheld shooting, but I know that the NX1 image is much better than the LX100, and I suppose that the NX500 would be the same. For daylight work, I can use rigs / tripods and my bunch of legacy glass - and in this scenario, I know that the NX500 probably will be better. But about low light performance, my question for Andrew or someone that already used both cameras in low light: supposing that the NX500 have the same low light performance of the NX1, is it better than the LX100? My question is because of the sensor pixel pitch of them - 3,86 microns in the LX100, 3,63 in the NX1/NX500; the LX100 pixels are slightly larger, but the Samsung sensor is BSI. Which one have the clearer / less noisier image in ISO 1600 and 3200? Any help would br appreciated (disclaimer: I'm not a pro, since I don't have the money for the perfect camera for the concert scenario, the Sony A7s )

E-M1 is still interesting for people that shoot stills with the older 4/3 glass, since it have PDAF focusing and this new E-M5 is only CDAF. And it has more controls and (I suspect) that the weather sealing still be better in the E-M1. But for movies (and for me), this new one is much more interesting. The great question is moire and aliasing. Bigger bitrates are better, but if poorly implemented (like in the new A7 II), are useless. What worries me is that all the rumor sites says that the sensor in this new E-M5 is the same Sony sensor from the E-M5; for stills, it still (no pun intended) a very good sensor; but since it is somewhat old, I don't know if it is capable tu use full readout for video. The sensor code is IMX 109, but I could not find its datasheet anywhere. If they use the E-M1 sensor without PDAF (which is a variant from the GX7 / GH4 sensor, with PDAF), would be amazing - this sensor is full readout and (yes) 4k capable. No words about the HDMI output quality yet, too. But the presence of a full tilt LCD (the "pure photography" people are complaining all over the Olympus forums about it) hints that Olympus is taking the video side seriously.

"The GM1 is $749 with 12-32mm lens." The GX7 kit is even cheaper, $589,99 in eBay.

Maybe the (supposed) use of Tizen as the operational system of the camera is speeding up the development process. And now is very clear that Samsung put an insane amount of power processing in the camera - probably the NX1 will have a longer lifecycle, being updated by firmware. And clearly they have a very clever manager taking care of this project.

Gordon Laing in the (very detailed) CameraLabs review said that there is no filter thread, hence the confusion.

Will follow closely the reviews of this camera. Specially one from Andrew, when possible. I was planning to buy the 12-35mm f2.8 to shoot handheld with my GX7, because of the OIS. But as stated previously, this camera have a lens with better specs with OIS AND records 4k for a lower price than the 12-35mm alone. I guess that the 12-35mm f2.8 might have a better optical performance for stills, but probably not a lot for video. Will miss the flip screen, and touchscreen will be missed for stills - but I have better cameras for stills. And to people which wants a single "do it all" camera, it one of the best packages on the market. Very good, Panasonic.

I have this RJ adapter, but for Nikon G mount. Not Metabones standard, but much better than Mitakon's and other chinese options - and it costs 1/3 of Metabone's price. 0.72x crop factor, and a full stop in gathering light, both confirmed. Could not test about increases in sharpness (did not had time), but for sure no decreased quality in center of the image. In general, the reports are some increase in center sharpness and a little decrease in the corners. It have a "blue dot" flare problem when pointed directly to a strong light source, though. Good design point: the optical assembly is screwed in the adapter - you can screw / unscrew it to correct infinity focus and other issues with specific lenses (in fact you can even dissasembly the entire optical element - I made it by accident...). The mechanical quality is good too - on par of other RJ adapters. If you need absolutely maximum quality, I think Metabones still the way to go. But if you are on a budget, or want to experiment a little with focal reducers, it could be a good option.

I would put in the list some improvements in focus peaking for video, too. In my GX7, peaking is HUGELY useful, especially with older lenses. And to Olympus: I've bought the GX7 instead of the E-M1 only because of the lacking video mode in the E-M1. Improve it, and I will buy one ASAP. And a guess that a lot of people too.

Another thing that Olympus could address in a firmware update, besides 24p/25p: enabling focus peaking during the video recording (if I'm not wrong, the peaking dissapears when the record button is pressed). And as I said in a previous post, could be useful a test that stress the codec, like tree leaves in a windy day. Some footage that I've saw from the E-M1 have the same muddy problem that happened in the E-M5, albeit much less pronounced.

Very curious about your E-M1 review. I was in the USA in the end of the last year, and used the opportunity to get some new gear - here in Brazil none of these cameras are available, and when (and if) they arrive here will be around 3x the USA price. Love my GH2, but I need a new one, for both stills and video. The options were the GX7 and the E-M1. The GX7 ticked a lot of right boxes - windowed focus assist + peaking was a thing that once I thought that would be ideal for my needs, and when I saw it implemented I was overwhelmed. The low profile of the GX7 was a must too - a lot of people don't take it seriously, and are much more relaxed than in front of a 5D. But the E-M1 came, and the stills quality were amazing. The ergonomics looked well too (except the on/off switch). The 5-axis IBIS was a dream for video. But when the video specs came...a low bitrate codec and no 24p. Olympus lost a 100% sure sell. I was even more sad after testing the E-M1 in B&H Photo in NY - the handling was amazing, the responsiveness, the superb EVF, the stabilizer...but because of the codec, 24p and some features, it was the GX7 that came back home with me. (Very good stills - a bit worse than E-M1 - but a VERY good video mode, better than GH2 with the lighter hacks, very good high ISO performance and much less banding). Suggestion for the E-M1 testing, if I can say one: scenes with a lot of moving details, like tree leaves in a windy day; it was the kind of scene that breaks the E-M5 codec, and I saw some footage from the E-M1 before my trip and saw the same problem (albeit much less pronounced than the E-M5). This and no 24p were the deals breakers - but I want to see what you can extract from the E-M1 (you have much more knowledge than me). If Oly updates the video mode with a firmware upgrade, I can bought one - but I don't have hopes about it, looks like that Olympus and Fuji really don't care about video. Regards, Marcio

I guess that is something related to the simpler IS technology. Olympus never enabled IS for recording in their Pen line too (used an eletronic IS, very awful) until the E-P5 - which have the 5-axis IS too.