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​Yes I saw that comment from Olympus. They are right and they're wrong. Pana, Sony, Samsung do need to generate 4K content for their TVs. However my question to Olympus is do you see the potential in great 1080p? BECAUSE YOU HAVEN'T EVEN DONE THAT YET!

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 got mine today (I wanted to use it on a specific project very soon). First impressions are that Andrew is being a bit hard on the image quality but I am far from finishing my tests. That said, here are a few things that do bother me - - no way to adjust exposure or ISO when shooting video - no way to do custom white balance in movie mode ( you have to go to stills mode to do this) - no enlarged view when manually focusing in movie mode - apparently no way to refocus using auto focus while shooting movies - there is an INCREDIBLE crop when in movie mode. More than on the GH4 in 4K. I think this is what bothers me most of all. Totally unexpected. But... - build quality is beautiful - peaking seems to work better than on my GH4 - a quick test combining shutter priority exposure, stabilisation and continuous autofocus was really good (and will be good for quick, steady walk-through shots) My reasoning getting this was that it would (more or less) do the job of a gimbal. For what I do I just don't have time to mess around with rigging and it's not practical to have multiple cameras set up on different stabilisation devices. Despite all the drawbacks listed above, I think it might still serve the intended purpose.

If you want a Video Camera then your expectations are way too High within this price range. Go for a Canon C300 or FS700 or even the BMCC. Like the Lumix GH4 this is a fantastic little camera for impromptu shoots, pick up shots or B roll. In my case most, if not all of the content ends compressed for the web or even MPG files for playback on screens at corporations, I can assure you that 98% of the people that views the content never sees any difference (2K or 4K) much less they will be pixel peeking or moire peeking. Its all in your head. My suggestion is Spend less time jumping from one technology to another and more time creating content even better MAKING money for you. Six years ago I bought a Canon 7D when it came out and that thing shot over 90K through the years (not counting stills) However, the last 2 years it almost sat idle replaced by a FS700 that became the workhorse. For ENG, Spots and even Conventions, the reason was ergonomics and time. The Olympus is an amazing camera for its size and Price, just like the pocket cinema, It has moire? put a filter on it or tweak the settings, No Global shutter? DON'T Pan too fast. I have shot with 75K sony Cameras that had Moire galore, not one person cared. Just my five cents.

We're saying the same thing, but I think you're referring to different things here. I agree with you - but I would say in the case of Arri lights, that's perhaps brand reliability. My Gaffer uses Arri lights because they're a damn good light and they're reliable. If Arri started making terrible lights tomorrow, he wouldn't buy Arri lights anymore. As a professional working DP, you need to be across the technology, but a professional, IMO, should use the right tool for the right job. The great thing about filmmaking is it's solely a creative endeavour - and that means you can pick the camera, format or stock that you think is going to have the best effect. That can even mean having a RED Dragon as A cam, an SR3 as a B-cam, and a C300 shooting 2nd unit if you really felt that way inclined. As long as you can back it up with a creative idea or decision, it's perfectly feasible. But as a professional, you shouldn't be closed to new ideas. If my Gaffer pitches me a light that looks incredible, and does something I've never seen from a light before but comes from China and is a no-name brand, I'll happily go with him on it if he has confidence in it. I'm not going to stipulate he only use Arri lights because I like Arri. Similarly, I'm not only going to ever use Alexas because I like Arri. I'll always be open to new ideas and new looks - even if every project I shoot this year is shot on Alexa (unlikely), it will be because I've felt that the Alexa is the right camera for the project - not just because Arri's my favourite, or because I own an Arri and feel I need to justify my expensive purchase (I don't - but you get the analogy for many RED owners). Each camera has its pros and cons and one should be across the pros and cons, rather than disregarding the cons because they like the pros so much (and in some cases dismissing the cons as if they don't matter). Also, not to take a swipe at you, but as a general comment - I can't think of anyone who takes videos of their dogs who isn't having fun at the time. That doesn't mean they should all be DPs. There is a beauty in having fun and not worrying about anything but yourself and the subject, but whilst being a DP at a fundamental level requires a love for the camera, it isn't the only pre-requisite to being a DP. I know you know this, and your story shows its possible to go from having fun shooting videos of your dog to shooting quite substantial work. However, I feel I have to caution those who may take from your story that you're advocating not needing any knowledge or experience to become a professional DP.

I'm not striving for the best resolution, I'm striving for the best shot as fast as friggin' possible. That means handheld, mobile, and steady. Yes, I want Olympus to compete in the video sharpness arena and, just like Andrew, I'm kind of upset they are not. But, when I'm honest, I know the low-end-corporate shoots do not require the latest and greatest 1080 image. It was hard to pull the trigger on getting something IQ inferior, but for me the 5axis feature does make up for that shortcoming.

I don't know Andrew, I just got one today. Connects to my Atomos, no problem, shoots pretty clean video 422 clean HDMI out. So far the picture is lovely, takes fantastic stills (which is mostly what I got it for) Replaced my clunky 7D which served me well for 5 years. Its solid (metal solid) ,Yes its 1080, but 100% of my clients and shoots still in that area and where I make my money. Won't replace my FS700 but Its a B camera with a Gimbal included for 999 USD, I believe its a winner.

An NX500 with the same video specs as the NX1 at half the price was a bit too good to be true. This sounds like a reasonable way to differentiate the models. Now there is really nice vs really really nice.

Wow so much drama people, chillout. Everyone has different views, getting angry at each other won't help anyone. Well I had much scepticism with the FM before I bought it because it was only a prototype product and the company wasn't being exactly clear on how to use it etc. However, the important thing is, it is of some use for budget end filmmakers like me who can't afford single focusing anamorphics. I find it definitely helps me quickly get shots when I'm out shooting because of the single focus. It's still got a lot of quirks but to the right people it is valuable. Anyway back on track, did a little test, getting shots have become much quicker since I can single focus with the FM now. This is a relevantly cheap setup as I got the takumar for about $70(US), Isco Ultra star for about $400, FM was about $750. Pentax Super Takumar 50mm 1.4, Isco Ultra Star Anamorphic Lens, Focus Module Lens, Panasonic GH4, Natural Picture Profile with all settings dialed down, Simple color grade in Premiere, BGM : Bic Runga 'Listening for the Weather'

I was always interested in how different taking lenses with work with anamorphic lenses and how much character would come through even behind the anamorphic optics. I figured I will do a little test of the cheaper manual lenses I currently own. The test was for image quality and flaring. All lenses used with Isco ultra star anamorphic lens with Focus Module. All shot on the GH4 using the 4K photo mode. Some shots may not have critical focus as it was a single man job. Graded shots at the end. All graded shots share the same setting and not ideal but just to give a basic idea. Would appreciate any comment on which image you prefer. Lens list #01 Pentax Super Takumar 28mm F3.5 #02 Pentax Super Takumar 50mm F1.4 #03 Pentax Super Takumar 50mm F1.4 with cheap focal reducer #04 Contax Zeiss 50mm F1.7 AEJ #05 Contax Zeiss 35mm F2.8 MMJ #06 Mamiya Sekor C 80mm F1.9 Medium format

I'd be interested in seeing if there is any difference between the two stabilisation modes -one uses electronic stabilisation in addition to the 5-axis, and might create more of a crop and artefacts? Also, while the resolution is disappointing how does it handle wider high-detail scenes like moving water/trees etc? The E-M1 while it looks fine on close-up shots got quite muddy with these type of wide shots.

Maybe they could then make the NX1 have 4k cropped 120 slowmo if it is more easy to do that would be nice.

Take a look at that picture again. Notice two different ISOs? Production Camera and Cinema Camera have entirely different sensors. The 4K sensor is shit. 4K at the cost of worse DR and shadows with FPN. It's why the Cinema Camera is still so popular. The Pocket and Cinema Camera have the exact same sensor in different bodies. PC outputs 1080, CC outputs 1350. Anyway, my point to the OP was that there are products available in his price range capable of a cinematic picture. I'm not saying the BMPCC or BMCC is the best choice, but easy doesn't necessarily equate to better. An iPhone 6 Plus or Lumia 1020 are the easiest, yet it doesn't make them the best choice, why? Because we arbitrarily draw the line with our opinions... it doesn't have X, Y, Z, so it's not as good. If I was studying film making, I'd want to work with a product and medium that will translate into real world experience and land me a job. If a camera forces me to grade, expose and light carefully... isn't that a great tool? It teaches you to slow the fuck down and pay attention to what you're doing. A DSLR allows you to fast forward and gloss over the small decisions that determine what your product looks like. If a 5D3 wasn't so tricky at first to shoot RAW and was in his price range, I'd be suggesting that camera over the Blackmagic ones. Alphonzo, you have to be better then your peers. And usually that means having to work harder. Put that time in now, while you have time to learn (time at school and age.) Choose a camera that will out of the gate make your work different.

On a side note, I really really hope they add this to nx1 as well, as a selectable alternative to full readout and downscale.

If only we could have the stabilisation from this... the DR, full frame and low light of the a7s... the 4K, AF and 120fps of the NX1 and the 10 bit and centre crop of the GH4. One day.

I'm in the same boat as \f13a. I mainly shoot with the E-M1,almost always with SHG FT lenses and can't think shooting with something less stabilised for the type of work i'm doing. I have also the LX100 and tested it @1080 side by side with the E-M1 did not impressed me at all but maybe it's just me. Anyway, for now i'm a lot less interested to "downgrade" to the E-M5MkII.

​I'm still sitting on the fence with this one. I would like to hear about your experiences with the EM5-II. I miss the Olympus for stills + IBIS for video since switching to LX-100 + GX7, however that is not a bad system either, however needing more external stabilisation.

How is the EVF poor? It's the same XGA unit found in the E-M1 and other high-end mirrorless cameras. I used it for a bit and liked what I saw. The 5 axis stabilisation was amazing when I tried it. Maybe not the level of a 3 axis brushless gimbal but I definitely could use it handheld while moving slowly. Shame the video quality is not like its stills quality.

You're both taking Olympus' poor video performance as proof of the entire m4/3 system sucking. Ever tried the GH4? BlackMagic Pocket?

It's a joke alright. Unbelievable that they let it out of the door with so much moire, aliasing, softness. The crop is massive in video mode too, more than E-M1 or GH4. I'll have more to say in the full review, but right now I am disappointed in Olympus. Like I said they clearly listened, timecode of all things! It's a bit like being in a restaurant and your dish arrives with no sauce, so you send it back and they return it with the sauce but no chicken! They are counting on us upgrading to a 4K E-M1 Mark II obviously but I am giving them a very clearly message. NO MORE OLYMPUS FOR ME! I don't care how good the stabilisation is. They are done.

I've never used the minolta diopter specifically, but I can vouch for the minolta glass of that vintage. I have a 24mm, a 58mm and the 35-70 zoom and their all really nice lenses, as is their reputation. It's older so I'm sure standard older glass warnings apply, but i've read on DP review that its a good diopter. I think its not a terribly prized diopter just because its only 55mm thread (almost all the minolta lenses from back then are 55) and that's pretty small for today. But if it works for you I'm sure its a fine choice.

Just did some research and the Iscorama's single focus mechanism patent is expired. Hopefully this will lead to some creativity on the part of new anamorphic designs.

You guys are acting like a bunch of kids. It's really painful to watch.

Well I guess it's time to move on. Hard to argue against so much funded wisdom. Seems like I have to dump my sharp single focus 2x Cinelux / FM combo. Must be my fault that I can't produce soft, distorted images with lots of lovely CA like other recently hyped 2x double focusing anamorphics do. So the 75,-- bucks I had to spend for the Cinelux were a complete waste. Now I need to get one of those bargain Isco 36 plastic lenses. I heard they can’t do close focus below 2m without modification or diopters, but who on earth would need to get any closer? I sure hope they come with a decent user manual.

I did a quick test with the Must HD field monitor, GH4 and the Atomos HDMI cable (with isco ultrastar). I was meaning to do this earlier but a friend wanted to borrow the monitor to see if it was worth bulk purchase for their shop. This is for anyone who is interested in similar setup. Ok so to summarize what I think overall, this set up is great but not perfect (yet). The monitor image quality is good and works well with GH4 menu interface etc. but GH4 still needs firmware update for HDMI output for the 4k Photo mode, so that is a downside for the moment for anamorphic lens users like us. I don't think I can get a exact aspect ratio of the image I get from a 2x lens even if we get the firmware update because the monitor is fixed to certain aspect ratio modes (can't be customized). However I can get fair idea of the final outcome using these modes. I think this monitor wins over even smallHD in terms of image quality and functionality, especially when you think of the price point. I just wish it had a better looking menu and a more robust body build. My friend who borrowed the monitor mentioned that the changeable battery mount on the back is a unique feature at this price point. The atomos HDMI to micro HDMI cable is GREAT.... like reallllyyyyy solid great. I don't need to worry about it one bit while shooting. Especially with the cable lock on the MustHD. Not sure if there are any other video purpose built cables like this but this is by far the best one i've used for a filming situation. Monitor hood flips out into place with a spring or something. Design is really good, materials not so much. I wouldn't want to drop it. This is a shame because I really think the lack of a solid steel body build will put a lot of people off from buying this monitor even though other features on this thing are great. Made a cluttery mess for the test. The Atomos cable you see here is the longer version (19.6-25.6") 2x Squeeze from the Ultrastar lens. 2.35 aspect ratio mode on the monitor. Exact same image as above, just desqueezed couldn't resist....