Jimbo

​What would be the benefit of shooting on a 85mm? Smaller nose in the CU? I agree.. the side shot of the piano is too much with the nose size. 
I used two lights with this setup with both lenses opened up at their fastest stop. ISO shot from 400-650 (ISO 800 for the slowmo shots at 72fps). Almost all of it was on a shoulder rig, except for the slider shot. 
I kept the OIS on for the nocticron, which eliminates any micro-jitter. I love the lens, i think it compliments the GH4. 
This was shot at 1080/100mpbs. I used the picture profile posted in the link below. 
http://www.supertone.dk/#!GH4-Optimal-Film-Setting-works-in-stills-too/c24o4/8E18836A-F271-4A14-AF0D-C575B9D5F4B6
Thanks for watching. 
 
 

I shot this music performance video on my gh4 with 17.5mm voigtlander and 42.5mm nocticron. 
http://youtu.be/E4xMW5ZJow4

The Olympus E-M5 Mark II can shoot pin sharp handheld shots at a shutter speed of 1/2 (half a second) at 50mm (equiv.)
Here I took the camera down the backstreets of Manchester and shot it.
Read the full article

​I'm not the most talented shooter, but all you have to do with this camera is accept the limitations and exploit the advantages.  You'll get good shots.  Maybe that's why I kind of like ...some...most (?)... of what I'm getting from the Oly.  It's "quieting" my lens while handheld and making simple quick shots look rather elegant.
Moreover, if one is a decent visual storyteller a lot of this clutching-of-IQ-pearls is not that important.
I know some of us might require a velvet tufted chaise to fall into when we witness the EM5II's moiré, but others will roll with it and make it work.
Obviously, here on the internet, it's all great procrastination fodder.  For me especially...I think this is my 20th post on the topic.  Anyway, I have some pragmatic "real world" footage from yesterday.  When I get it edited, I'll put up a link; w/the raw ungraded shots.

​
Hello. I can't say as it's beyond the bounds of what I can discuss.  But mostly everything on the list here was also on my list that's already gone in.  It's good to keep adding to it though. What I can say is that Olympus have told me that they intend to do firmware updates and add more features across all their models and plan to do so roughly every 6 months.  The recent E-M1 updates are evidence of this intention. They will aim to do this for all current models. They have also told me they plan to make the E-M5 model their video centric camera, much like the GH series in panasonic. The E-M1 will still always be their flagship and top tier camera but aimed more at pro stills photographers. The E-M10 will be their enthusiast camera. The following is my conjecture only from what I know and the recent contact I've had with Olympus.  They want to understand and do video well. But they're only just starting to incorporate it in their product planning and thinking.   This makes me think that we would never see things like 4K suddenly added to the current E-M1 just through firmware.  I also know that things like 24P aren't so easy to add in firmware as it should seem to be, mainly because if they haven't PLANNED for it, it's pretty hard to change the internal architecture to do it EVEN though logically it seems like a simple thing to do. They do things in their own way. They were the first to do live view. They were the first to do ultrasonic dust / sensor cleaning.  They do lightweight, small and weatherproof as a matter of course... They're only just now seriously thinking about video.  Tell them what you want.... JB         

​Me too! I'd be happy, and would promise not to contribute to wishlists ever again, okay, well at LEAST for 12 months. But seriously, I'm very tempted by the C100 Mark 2 as an all-in-one 1080p machine for the next 3 years, but I'm loath to buy into the Canon system due to their "just enough" approach. Come on Panasonic, you can do it. I'm hoping it's just slightly more compact than the AF100, and looks less like a shoebox with a toilet roll coming out the back.
​I agree, if they nail the ergonomics and it delivers beautiful images out of the box then they will have a winner on their hands. If designed right and priced right it could cover the C100 and C300 market segments like the FS7.

​Presumably this is a stills setup, as Fuji is pretty much bottom of the barrel (and then some) for video.
http://***URL removed***/previews/olympus-om-d-e-m5-ii/5
I'm sure they're good for stills, but they'll probably never be competitive for video.
And, in your comparison you're not taking the totality of the lenses and their sizes into consideration. For instance, what else compares size-wise to the GM5 + 20mm f/1.7? And what other system has the same collection of lenses as MFT?
 

What other system has a manufacturer delivering the kind of video quality Panasonic is routinely? For that matter, if IBIS is your thing, what other system is doing it anywhere near Olympus?
 
I simply don't see any other choice for myself. Samsung just isn't anywhere near as well developed as MFT for video, with only a couple cameras now and a pretty limited lens choice that I don't believe is as good as optically as MFT. Sony is in the same boat with a single very expensive 4K cam (that doesn't record internally) and a much more limited lens selection. Fuji isn't even on my radar, and I doubt they ever will be.
And finally, we haven't yet seen the end game wrt to sensor development. If MFT were to get a sensor like that on the RX100 III, scaled up to MFT size (i.e. double the size), you're going to see massively improved performance from the system. We have yet to get that type of quality sensor or, for that matter, BSI. At that point you'll be seeing stills performance that's pretty much good enough for any purpose.
FWIW, I'd like to see Olympus combine their IBIS with Panasonic video quality. But I'm not convinced it's possible.

Hi,
I'd like to share this quick test video from Olympus OMD EM5 Mark II with 50mm f1.8 Nikon lens - I've done quick colour grading and please bare in mind that first 20 seconds were filmed without correct stabilisation settings. 
https://www.youtube.com/watch?v=sJyxUNdk028
 
 

If the E-M5ii has improved from the E-M1 (which it seems to me that it has apart from a few negative reports that are possibly due to settings or maybe a bad batch???) then I will be a happy camper.  Having 24/25/30/50/60p and audio meters/head phone jack is a great step up from the E-M1.  While it may not match the Gh3/Gh4 or even Gh2 resolution wise, those camera don't have IBIS which I think is worth the trade-off (obviously would be great if no trade-off needed, here's hoping to firmware updates...).  Its crazy how you can be out with just with a small shoulder bag, the 12-40 and 40-150 PRO and ND's, and be able to shoot tripod steady static shots and some shots with nice smooth camera movement all handheld with no fuss or set-up time.  Anyway still waiting for mine to arrive, hope it gets to me before a wedding job coming it as it will be great for this. 

Here is another E-M5ii sample that somebody uploaded on Vimeo. 
Somebody uploaded another example from the E-M5ii: 
 

The impact of the sensor working at higher temperatures is that you get more noise and other sensor faults like FPN and dead pixels are more likely to show up.  These are the symptoms of sensor heating.  We talk about overheating and it's not really because the components will somehow fry, it's just that more heat can change the performance of the sensor.
If you were looking for symptoms of overheating (or operating outside of normal temperature range)  that's what they would be...
Some cameras have black balance features that enable you to set the black levels (and thus the noise floor) and to also re-map dead pixels.
Most recommend you do this at the "operating" temperature of the camera.
I have been shooting a lot with the Sony F55 a lot.  We're shooting day nights at the moment and on the very first setup about 20 mins into our day I spotted a dead pixel.  The camera had been on for a while and I hadn't seen it on the two rehearsals we did.  After an APR the dead pixel went away.
The F55 has a black balance / dead pixel re-map feature they call "APR" and I normally have my assistants have the camera on for 30 mins and then do the APR function once it's at operational temperature.
RED have similar issues because their cooling generally isn't as good.  On very long takes when their cooling fans wind down for sound, they can often have the sensor temp go above the range specified during their black balance.  They have a specific warning for this and their suggestion is to pre-heat your sensor to your normal operating condition before doing a black shading / black balance.  The idea is that you're calibrating the sensor for that operating temperature, even if it's higher than normal.
Alexa (and Blackmagic) approach it differently.  Neither camera has a black balance / dead pixel facility available to the user.  Instead they use solid state cooling to maintain the sensor temperature to their ideal operating temperature.  It's like a refrigerator with a thermostat on the back of the sensor.  They maintain a constant thermal performance and that, along with dual gain architecture sensors is why they both have such large DR (the 2.5K and pocket).
JB
 
 
 
 
 

​I just think they're using older inferior sensor tech 'kuz it's cheaper --and they don't have the option business-wise to really do otherwise.  Bottom lines, spreadsheets, and all that.  I can't quite grasp your logic that Panasonic or some other competitor will devalue their IQ for stabilization.  That line of thinking just seems...odd.
But I'm not that much of a pixel peeper that I dismiss that 5-axis stabilization.  I don't always need awesome resolution and sharpness to capture the video I want.  Sometimes I need great steady shots shots fast and easy.  On those occasions, looks like the EM5II will be my camera.
I shot some documentary stuff with both the GX7 and EM5II tonight.  Got some shots with the EM5II that I couldn't do with the GX7.  Got some GX7 shots I couldn't do with the EM5II.  No big deal.  Although, I have to say, the GX7 IQ is crazy good for less than $500.  I have a series coming up in which I need a third camera for static coverage.  I'll be buying another GX7 for that.  Plus, I really like the ergos on the Panasonic.
So yeah, at this point I still prefer the GX7, but I could see warming to the EM5II, even with its limitations.  It's just a tool.
BTW, my shooting has revealed that the 2x mode on the EM5II is pretty much worthless.  The IQ is way too compromised.  I feel the same way about the Panasonic "Ex Tele."
Also, an annoying quirk I ran into on the EM5II is that the record button fails to engage at times. Push push push push push...nothing.  Why?  Not sure yet.  I think it might be because a dial or button might be activated by accident.  (There's a lot of stuff on that camera body) And my fingers maybe are inadvertently doing something I'm unaware of.  Additionally the EVF and LCD have both turned off simultaneously on occasion.  Power cycle brings it back.  Still buggy or user error?  Who knows?
Other issues:  In the dark, improper exposure in M/S/A/P mode.  Fine in movie mode.  Weird.  Lens auto focused during movie shooting --while in Manual focus mode, and this was with an Oly lens.  Strange.  Again, I may be creating some ignorant activations of things being kinda rusty on the Oly interface, but my impression is that it's bugs and kinks in the firmware.  Don't recall these issues with the original EM5 when I used it.  
I'll end on a good note:  The video compression is a lot more robust now.  Seems to hold up well.

​I shoot manual, even with AF lenses, so I'm adjusting exposure via ISO and f-stop on just about every shot.  Sometimes I'll slow down the shutter too for a little exposure help.  Anyway, I'd like ISO and Shutter on the wheels, but there's plenty of customization options that make whatever you want to do kinda easy, if not ideal.  I've got my cam customized so I never have to take my eye off the EVF to make anything happen.
Not that I'm doing much now shooting-wise anyway, just farting around.  Here's a bunch of truly random overexposed handheld shots straight from the camera uploaded to YT with a 1980's 24mm 2.8 lens.  Some shots punched in with the 2x digital zoom.  Not that these images tell you much about the M5II (except it's got moiré and we all knew that) but people like looking at random footage for no good reason and analyzing it completely out of context, so here's some more:
 

The sign of a good film is watching the film and not noticing any technical details- following the story, which I did- nice job!
I feel ya regarding living in a big city vs. the country where I grew up (on 2 acres in San Diego). I moved to LA (Beverly Hills) in 2006 to work for Myspace. I avoided the #1 traffic in the USA by walking to work. After Myspace I've been fortunate to be able to do mostly remote contract work to avoid the traffic. Once when working in Santa Monica it took over 3 hours to go 11 miles to get home. I could have walked faster. Trying to go East from Santa Monica after 2pm is challenging (the 'secret shortcut' is jammed too). Big cities have their plusses, but after a while it's time to get out, at least most of the time (sometimes work/family/friends bring us back). I kinda understood why some people from big cities moved to small towns/country, now I fully understand. Fellowship and connection to friends/family is the most important thing in life, not money or things. After many years in tech and the arts my next business is related to organic foods and spending more time with nature.

My latest short film!!!  "The Quiet Escape."  Shot on the Samsung NX1 with 35mm Nikon AIS f2 lens and Leica R 100mm lens - one shot.  Used Filmconvert and Gorilla Grain to treat it in Davinci Resolve.    Came out so nicely.  THANK YOU EOSHD and Andrew Reid for this camera!!  
Minus 5 contrast
Minus 3 saturation
Minus 12 (all the way) sharpness
 
Before Gamma DR existed.  The olden days. 
 
 

​I'm not editing it. I was just one of the shooters on the team (of four) covering the wedding.
The first day I was shooting only on a tripod, the second day I needed to pick up a number of detail/artistic shots in the dining room. Ouch, then it really hit me how bloody heavy the C300 is. If you get a C300 you'll absolutely need to upgrade all your support gear to cope with the extra weight. And it isn't easy to use handheld (certainly not with a 70-200mm lens on it like I had yesterday). In the end I did a few shots with it, but then gave up as it is too cumbersome, and did the rest of my Sony A5100 and my lightweight monopod.
 
Then of course there is the factor of its price.....  absolutely insane I reckon. I'll happily use it if somebody else is providing it, but spend my own money on it? Nope!!
Not unless you have clients *specifically* requesting this particular camera model (C300) then I wouldn't be buying it. Though for some people that is the reality, as it is what their clients know and trust. So they'll be requesting this specifically and not a NX1. Thus a C300 will earn you money, and a NX1 will not. However I'm not in that situation (yet?) and neither are the vast majority of the forum users here either I bet, so this point in favour of the C300 is largely irrelevant.
As for low light, get yourself a T0.95 lens (I've got the SLR Magic 25mm which I use on my BMPCC) or a Nikon 50mm f/1.2 and a focal reducer. Or get yourself an A7s? Plus of course get lights. We had a bunch of lights at our disposable, with Dedolights being the ones we used the most for the wedding yesterday. Though we really had to scramble to get them moved from the speeches area to outside for the cake cutting and first dance, having an extra set already set up there would've helped immensely. Though these lights were used for the look they created (as the venue's lighting sucked) rather than because it simply was too dark, but if you're needing help in that area then these will benefit you in that way too.
 

​Well put. I come to this site because I learn things about small and inexpensive cameras that we don't regularly test or use on set. Last week I shot an AMEX commercial with an F55 but we also used a BMCPC as well for a different look. Much of the info on that cam came from sites like this. For the past month, I'm on a TV show where we use Amira's all day but guess what, we also break out the A7s and Go Pros from time to time. Again this site and several others help pros get a handle on emerging tech. I'm actually considering shooting my next feature on A7s (even though we have the choice of Arri's). While I do think we sometimes over analyze  specs here and not just look at what great pics a camera makes, I find this site at the forefront of smaller, lighter and more versatile tech. Any pro who ignores these things will be left one day wondering why the phone stopped ringing.

​I am here because I’m interested in the minutiae of technical camera specifications and capabilities.
That was sort of the point of my response.  That you are criticising behaviour that is the entire purpose for most people even being here.
Its like going to an antique website and saying “What do you care how old it is”?
It’s perfectly acceptable to hold that point of view, but then why go to an antique website?
And you could hardly expect to go to an antique website with that point of view and not be told to fuck off.
It doesn’t matter why I want to learn about the minutiae of technical camera specifications and capabilities.  I do it for my own reasons.  I certainly do not do it with any concern to providing you with material you may or may not care about.
Your comment was supercilious and a pathetically transparent attempt to belittle peoples interests and curtail their passion for knowledge.  Therefore, it deserved nothing but antipathy.
 

I'm interested in the techy aspects to an extent, it's part of the picture and is especially useful for those trying to decide which camera to buy. Talking about aesthetics and *art* is great too, but fundamentally more subjective. So, if we're going to talk techy, can't we be a little more scientific and apply some reasonable guidelines and methodologies? DR is a useful thing to talk about about, I use to shoot a lot of ocean sports, especially surfing, DR matters in those environments, but how about more emphasis and emulation on the approach of someone like Adam Wilt, where things are quantified in controlled environments. Saying "NX1 looks to have about 2 stops more than a RED1 according to my eyeballs"  isn't particularly helpful IMO. That'd be my criticism. 

​​Pro DPs have Alexas.  They don't need to care about this stuff because the problem is solved.  The DPs who don't know or care about the difference between a camcorder and an Alexa or even a C300 and an Alexa are not worth their day rate.

I think Canon know exactly what they are doing, unfortunately for all of us who'd like them to be more innovative.
They have the most complete stills system, and the most complete video system, albeit over the last 3 years these systems have become separate bodies that share the same lens set. But how many times have you read a post where they say: "I would have changed system, but I'm heavily invested in L glass".
The poster could sell the glass and not lose much money, but lenses are an emotional thing for us video and stills makers, they work like our eyes and capture what we see. And with the turbulence of the DSLR/DSLM video market over the last 5 years how many people are going to brave a decision that will see them lose money and take a hit emotionally, when just around the corner the camera they've been waiting for might be delivered.
So yes, Canon are playing the game well, and have been spending their brand capital heavily to keep the competition at bay, and this is the year for them to make their move or lose a dangerous amount of ground in the £1-2K market.
We all know that Panasonic and Sony currently have the best all round cameras in our price/size bracket, and as much as we all love using vintage glass etc., what we really want is a mature complete system like Canon have. Sensitivity, DR, Colour, usability, and... lenses. Lenses designed for our favourite system.
With respect to the "Rebel" buyers, it only takes a critical mass of people to blow their friends away by showing them what their Olympus or Panasonic can do for Canon to start losing their critical "lead in" market. So for god's sake, show your friends, and keep the market competitive.
It's going to be a very interesting year. We should be excited not angry. I don't think they will, but if Canon rest on their laurels then so be it, because we don't really need them any more.

I think Canon know exactly what they are doing, unfortunately for all of us who'd like them to be more innovative.
They have the most complete stills system, and the most complete video system, albeit over the last 3 years these systems have become separate bodies that share the same lens set. But how many times have you read a post where they say: "I would have changed system, but I'm heavily invested in L glass".
The poster could sell the glass and not lose much money, but lenses are an emotional thing for us video and stills makers, they work like our eyes and capture what we see. And with the turbulence of the DSLR/DSLM video market over the last 5 years how many people are going to brave a decision that will see them lose money and take a hit emotionally, when just around the corner the camera they've been waiting for might be delivered.
So yes, Canon are playing the game well, and have been spending their brand capital heavily to keep the competition at bay, and this is the year for them to make their move or lose a dangerous amount of ground in the £1-2K market.
We all know that Panasonic and Sony currently have the best all round cameras in our price/size bracket, and as much as we all love using vintage glass etc., what we really want is a mature complete system like Canon have. Sensitivity, DR, Colour, usability, and... lenses. Lenses designed for our favourite system.
With respect to the "Rebel" buyers, it only takes a critical mass of people to blow their friends away by showing them what their Olympus or Panasonic can do for Canon to start losing their critical "lead in" market. So for god's sake, show your friends, and keep the market competitive.
It's going to be a very interesting year. We should be excited not angry. I don't think they will, but if Canon rest on their laurels then so be it, because we don't really need them any more.

I think Canon know exactly what they are doing, unfortunately for all of us who'd like them to be more innovative.
They have the most complete stills system, and the most complete video system, albeit over the last 3 years these systems have become separate bodies that share the same lens set. But how many times have you read a post where they say: "I would have changed system, but I'm heavily invested in L glass".
The poster could sell the glass and not lose much money, but lenses are an emotional thing for us video and stills makers, they work like our eyes and capture what we see. And with the turbulence of the DSLR/DSLM video market over the last 5 years how many people are going to brave a decision that will see them lose money and take a hit emotionally, when just around the corner the camera they've been waiting for might be delivered.
So yes, Canon are playing the game well, and have been spending their brand capital heavily to keep the competition at bay, and this is the year for them to make their move or lose a dangerous amount of ground in the £1-2K market.
We all know that Panasonic and Sony currently have the best all round cameras in our price/size bracket, and as much as we all love using vintage glass etc., what we really want is a mature complete system like Canon have. Sensitivity, DR, Colour, usability, and... lenses. Lenses designed for our favourite system.
With respect to the "Rebel" buyers, it only takes a critical mass of people to blow their friends away by showing them what their Olympus or Panasonic can do for Canon to start losing their critical "lead in" market. So for god's sake, show your friends, and keep the market competitive.
It's going to be a very interesting year. We should be excited not angry. I don't think they will, but if Canon rest on their laurels then so be it, because we don't really need them any more.

Aren't all digital films transferred into film to preserve them? Digital preservation doesn't last. 
I personally can't wait for Star Wars to return to Film, the most recent Digital Star War films were visually totally lacking in character.

How do you shave? Do you do it oldschool? With a brush and a bit of soap? An actual fancy bladed razor like back in the day or at a barber? Do you do multiple passes? Listen to a bit of jazz music in the background, taking your time? Dry up with a nice warm towel and finish with a splash of after shave with a slight alcohol burn? Does the routine comfort you? Does it clear your head? Does it keep you focussed? Did your years of shaving like that give you skills, making you hit that perfect clean shave everytime, without any skin irritation or cuts?
It might take a bit longer, but there's something familiar, something comforting, something true and perhaps even romantic, about shaving like that.
You could argue that it's quicker to take an electric shaver and go at it. Facing that blinking LED telling you the battery is out of juice... hairs clogging the apparatus, the aggravating noise. There's hardly any comfort in that, nor is it romantic. But it gets the job done, probably quicker and just as effective...
What I mean is... maybe people just feel more comfortable shooting film, not even so much for the result, but because of the process. Because it feels right for them to do it that way and because of that they're able to give it their best. And who's to say which is better? I think it's a cool thing film is still around. Not that I would use it myself, but it's craftmanship... it's skill... and I'm just glad that there's people willing to keep that alive.