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http://www.youtube.com/watch?v=d_RF4VrUuCY I've recently worked with the Grammy Award winning DJ, from Berlin - Paul Van Dyk. Although the final cut and grade was done by his record label, the shots are taken from my EOSHD camera test videos and personal creative shoots shot in Berlin over the past 12 months and it's a real honour that such a major commercial artist likes my images. Paul Van Dyk was one of the first superstar DJs and he's a huge part of the Berlin music scene, so dance & trance fans...Enjoy! There's a variety of cameras in the mix, used to shoot the images - see if you can tell which. A big thanks to Christina Mj Zahra (dark haired girl dancing) and Frank Sauer (my collaborator on the Digital Bolex shoot with Christina).Read the full article here

Hi Ebrahim, I've been using the E-M5 alongside the Panasonic G6 for a while now. This was all shot on an E-M5 with an Ai-S 85mm lens on a lens turbo: http://marginaliafilm.wordpress.com/2014/08/19/floating-lanterns/ Nb there is also some stabilisation in post added here. Only a very tiny bit added though, a few pixels in some cases, just to ease the vibration, as a heavy 85mm lens, even with a focal reducer, is sometimes just a bit too long for the stabilisation. (EDIT see post below this one) Some of the shots are with the 2x electronic telephoto, ie 244mm, these needed more stabilisation in post. Overall, I find a well stabilised lens, such as the Panasonic Mega OIS lenses, to be more pleasing for video. In my experience these are just as steady, and with less "drift" when a camera move ends. (edit, hmmm, on 2nd thoughts maybe OMD 5-axis edges this one......) Plus the G6 is incredible for video, and I really like the Panny lenses too. Of course, the E-M5 works with absolutely any lens, so it's definitely a great camera to break out if you want to grab some handheld shots with manual glass.

Well, it's not really impossible. Honest. You MUST control the lens, however. It doesn't erase bad camera work. I can testify that it is possible to shoot the "Roma" sort of video handheld with the OLY 5-axis feature. The main reason the Rome video works: You'll notice that the editing never shows a shot come to rest after a floating move. Those are the moments when the stabilizer will create the visual artifacts of it's use that you've asked about. If those instances were left in the edit, it wouldn't look as impressive. For instance, if you handheld pan to the left and then stop on a subject, the stabilizer system doesn't resolve this motion in a natural way. It looks mechanical as the movement ends and the frame image comes to rest. But, in the Rome video, the editor just cuts away during continuous moves, so no worries. If you plan to shoot and edit in a similar way, you can create such a video quite easily and completely hand held. I mean, I've been doing cool mini slider shots myself by leaning around corners/foreground elements and shifting my body around. I swear camera operation with the OM-D is practically like doing Tai Chi while pointing a camera at something. That's really the best way to explain it and it does work. Also note that in the Rome video the footage was conformed from 30fps to 24fps, creating a gentle slow-mo effect that also smooths things out a bit. Anyway, I spent about 20 minutes on a small boat floating around Sunda Kelapa harbor yesterday with my OM-D and the stuff looks like it could have been shot on the world's longest dolly track. For the right kind of shots, it really is that good. You have to be smooth though to begin with! Accomplished camera work is still needed. You can't just fling the lens around and expect good results. The Dixieland video above is not that impressive to me because of this undisciplined shooting. Smart considered control is a must. Caveat: Pushing the focal length above 60-ish-mm (Full Frame Equivalent) and emulating dolly moves gets a lot tricker than stuff shot with shorter focal lengths. I will say that I can see myself using this camera WITH a glide-cam type of rig to accomplish incredibly controlled, elegant, and longer moving shots. It would closely rival the best Steady-Cam shots from the most skilled practitioners. The combo would be very complimentary. While I can do glide-cam stuff decent enough, I'm not a pro at it. The 5-axis would hide those slight flaws I'd otherwise create. Now, if OLY is able to up it's specs with firmware or a new model with new/better tech, then it's really going to tempt traditional users away from their usual brands, I think. Not sure how long they'll have the 5-axis advantage, and if other manufacturers can eventually match it, but for me right now, today, it's serving a very pragmatic purpose. It fits the way I need to shoot for my stuff.

Thanks, Andy

Yes the A7s is hard to judge exposure with. I found using zebras is the best way to protect the highlights. If you set them at 100 IRE and you see them adjust your exposure a little until they are gone. The histogram works from left to right as opposed to a waveform. You will know if you're clipping when a straight line on the right starts creeping up. same goes with crushing the blacks but on the left.I cant upload an image so >here is a link