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​ 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

People in the wrong often deny things. People who might not feel they are in the wrong, but are, can deny things. People who are in the right can deny things, if their memory is blurred from booze and fatigue. Anyway, i'm bowing out of this.. At least until the picture is clearer. The crux of this blog was not really about his innocence or guilt, but about the idea that he shouldn't even have to answer for his actions because he is a creative and a star... Which I strongly disagree with. Even if he is found completely innocent, these things have to be looked into otherwise we run the risk of another Saville.... Overlooking a potential problem, just because it is the number 1 star.

I may not like that you punch an editor, but I will defend to the death your right to punch an editor, because you are a megastar and missing a steak will ruin your creativity.

​Wouldn't that stifle their creativity? How very PC

Yeah, that dusk shot of San Fran is pretty much what scares people about this camera. Oh well.

Another E-M5ii example

BMPCC-specific Speed Boosters have a magnification of 0.58x, and are only available in Canon-EF, Nikon-F, and Leica-R lens mounts. You could mount Yashica lenses to the Canon-EF BMPCC Speed Booster via a EF-C/Y adapter ring. Another possibility is to use the normal 0.71x m4/3 Speed Booster, which is available in a C/Y mount. However, you lose the extra speed increase and focal length reduction you get with the BMPCC-specific version. Also, the BMPCC version is optimized to work with the non-standard filter thickness of the BMPCC camera, which makes a difference if you are shooting with fast optics (e.g. f/1.4).

​Yep, compare the stills of the same shots against those in the video here: https://www.storehouse.co/stories/r9xml-slomosf I wouldn't expect video quality to equal still images, but when I compare the video from the EM-5II to my lowly LX100 (even 1080p, forget about 4k -> 1080p), it is in a completely different league than the EM-5II. The LX-100 stabilisation isn't bad either, as long as you aren't moving around too much with the camera. The one good thing is that the Olympus blocking seems to be gone in more detailed shots, even if the picture detail isn't there yet.

I enjoyed watching this film a lot but I find the above comments by Ebrahim etc a little astonishing

NX500 is really a 2.5K camera at heart, if you think like that it is not too bad. Luckily I bought NX1 instead of waiting for NX500, I will be keeping that little LX100 for a lot longer now lol.

​Yeah, the "slow crawl." Still, it would be a worthwhile test just to get a handle on the actual limitations; knowing how far I could acceptably be able to push my luck, or not, as it were.

I would, I just would use a tripod and make a static shot, that will work fine, sure any pixel peepers will notice that those parts, like very small roof tiles don't have any real detail in them but at least you won't get any dancing lines across your screen when you pan. You can be sure that any person, that is not a enthusiastic videographer, will ever notice this "problem", it's only us videonerds that see the artifacts.

You'll be happy with switch. The NX will give you pleasing punchy warm colors out of the box, without the need for a color wheel session to make the footage presentable.

​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.

I've found the key to getting accurate skin tones on the A7s to be ALWAYS do a good manual white balance, and using the right picture profile. Like you, I do corporate work where you can't get away with arty skin tones. When required you need a straightforward look that just looks right and doesn't draw attention to itself. I tried S-Log and I'm still finding my way into it, but I'd recommend Kholi's picture profiles from another message board. I won't link to it here as I'm not sure if that's against the rules, but you can find it easy enough with a google search or drop me a message and I'll point you in the right direction. This profile really gave me colour which matches almost exactly with my 5D mk2. It's from a guy called Spreeni who slightly modified one of Kholi's profiles. It's a cine2 profile which is relatively flat but perks right up with minor colour correction and is much easier than S-Log 2 to deal with. Try this out before you drop your A7s altogether. And remember to do that white balance! I recently got an Expodisc 2 and it's really helped a lot. Black Level: -11 Gamma : Cine2 Black Gamma > Range: Wide , Level: +7 Knee > Mode: Manual , Auto Set > Max Point: 95 , Sensitivity: Mid, Manual Set > Point: 105%, Slope: 0 Colore Mode: Pro Saturation: +6 Color Phase 0 Color Depth > R+3, G-3, B+1,, C-3, M-1, Y-0 Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0 White balance: No Grid setting needed !

​Was the PixPro also marketed as a professional level video camera? To tell you the truth, for my own good, I need to stop reading or watching any more YT comparisons from Inquisitive. I wasn't having any emotions before, but that hatchet job does piss me off. When I saw how good that UNHACKED GH2 footage looked on my 50" plasma and how poor he made it look on YT....

Hi. Most at of your list has already been passed on :-) JB

I'd just get the NX1. It ultimately comes down to what you need and if what you need is good color/skin tones then the NX1 is the camera you'll want. If you need extreme low light the the A7s is for you. So if you can pass on the low light then the NX1 is definitely a great replacement. Plus you get internal 4k!

Go with the nx1

​Olympus is right there with Fuji on the stuff that they add with firmware updates. They just hadn't focused on video in the previous cameras.

Fuzzy, I wouldn't count on Oly for a firmware fix when they can't even do one for 24p on their flagship camera.

Your post is 2013 new review difference is really small and personal choice which one to get http://blog.josephmoore.name/2014/11/01/comparing-focal-adapters-the-metabones-speed-booster-vs-the-rj-photo-lens-turbo/

So, I've just shot a quick test using my GH4 and a Ninja Star. The test is to check the differences between the internal HDMI-based 4K downscale and the 4K -> 1080p downscale using the 4:2:0 8-bit H264 as a source. The images can be downloaded in full resolution here: https://www.dropbox.com/s/e6o06zoowk7z5fh/GH4%20Test%20Images.zip?dl=0 See the attached files for some side-by-side 100% comparisons. Images are from the GH4 (set to a gently tweaked CineV, 4K 100M 24p - really 23.98, 180 degree shutter, Sigma 18-35 at f/2.8 on a Speedbooster at ISO 400, auto white balance, tungsten lighting). They were captured to 1080p using the following workflows: Clip 1: Recorded in GH4 (4:2:0 8-bit H.264 4K) then downscaled in Red Giant Bulletproof to 1080p ProRes 422HQ. Clip 2: Recorded in GH4 (4:2:0 8-bit H.264 4K) then downscaled in FCPX by adding to a 1080p timeline. Clip 3: GH4 HDMI out (4:2:2 8-bit) to Atomos Ninja Star (ProRes 422HQ) Clip 4: GH4 HDMI out (4:2:2 10-bit) to Atomos Ninja Star (ProRes 422HQ) All clips were then placed in an FCPX timeline (Clip 2 was placed as a 4K file), then a frame was exported as a TIFF uncompressed file at full 1080p resolution. No effects, grading, or anything else was applied. I tried to choose a subject (ColorChecker Passport and tomato, lit just off-axis with a side light accent) that would both provide some sharp edges as well as gentle gradients, and the green/red of the tomato should hopefully accentuate any actual chroma sub-sampling issues that exist. Camera was on a beanbag so please excuse any pixel-level misregistration, I don't have my tripod handy right now. I hope this helps someone. GH4 Test Image 1.tiff GH4 Test Image 2.tiff GH4 Test Image 3.tiff

Lens will be out this summer and there will be a front attachment too making it a single focus anamorphic. I shot this short with the SLR Magic anamorphot 2X. Different taking lenses. Voitlander 17.5mm, SLR Magic 35mm, Canon FD 50mm 1.2, Helios 58mm. Diopters used.

​Truth is .... in spite of our view of Clarkson's behavior it is a bit of a concern... BBC should have sent him to Betty Ford's Clinic rather than suspend him... Jimi Hendrix, Janis Joplin, Jim Morrison, John Belushi, Heath Ledger ... it is a long list of celebrities who cross the line of use to abuse. Rather than see this as a PC issue it may be one that would best be handled by those who know and love him and who can intervene if they deem it necessary. Escalating issues like this do not bode well ... Talent and exposure are heady things ... like a loaded gun. Best not pointed at ourselves or those around us. Boorish bad behavior is just that ... acting the "LAD" at 30 40 50 is just poor acting. Nuff said ... life is short and when we see an accident in process it may be time to lend a hand, heart, or bit of our time. This said after a couple glasses of Lodi Field Blend..... Regards, Bob

I also feel whilst Andrew's point admirable in a way, using this incident as an example is very way off mark. Its also so important when citing real life incidents that they are accurate or the words alleged are use. The way you described the incident is rather different to what has come out as being the actually backstory, allegedly. Also please remember producers aren't rich hollywood type execs on this show. They are there to make sure things happen on location. It's an incredibly demending job. You are first to be shouted out and last to be thanked. So allegedly this is what happened which is somewhat different in tone and feel to what you wrote. Nobody is going to say Clarkson is a quiet, polite mouse of a man but when you are allowed to get away with certain behaviour it's unlikely to make you behave better! Nonr of this has been verified and therefore should be treated as hearsay until proven, I am sharing it as a different version to the story Andrew recounted is his post They had been filming. They had finished around 8ish. They had dinner books at their posh hotel but Clarkson and co decided to drink at the pub for two hours whilst their helicopter waited to take them back. The hotel after waiting two hours past their dinner booking and past kitchen hours sent home chef and staff so when they finally arrived very late back Clarkson was unable to have what he wanted. A steak. So he went berserk. The cold plate of food he was offered was unacceptable. Who gets the abuse? irregardless of whether this is exactly what happened or yet its never acceptable to bully a colleague and it's never acceptable to punch someone!! Not that I am saying anyone did. Just it

Hey Andrew clearly this bothers you the he thing is you are making statements based not upon facts not assumptions. We don't know the full story here but I can tell you this if the presenter of a show I was working on (allegedly) punched a producer the show would be most likely suspended until this was sorted out. Love him or loathe him he is the show. He is what you see, a loutish, arrogant loudmouth. That's why he is so polarising. I personally grew tired of him a couple of decades ago but my post here is not about my personal feelings towards Mr. Clarkson. He does what he does very well indeed. There clearly is more to this than we have been told but hypothetically if Clarkson punched this producer unprovoked just because there was no catering that is beyond acceptable behaviour. He should be fired. If it was the other way round and producer punched Clarkson would the show be suspended like this? Would the producer still have a job a half million petition to bring him back? If there was a fight between them behind closed doors then maybe, just maybe they could sort it out between them. But in the public? It becomes something more...this is public behaviour. If Clarkson did punch him then it's assault pure and simple. Do we just ignore it and give out the message this is ok to do? No we do not. Last time I checked punching someone was still illegal. Yes, it's a massively successful show and brings in huge amounts of money. I think what the BBC have done is show balls! The cynical amongst us would have expected the Beeb to not want to lose their cash cow and sweep it under the carpet, pay off producer and carry on like nothing happened for danger of losing said cash cow. The BBC have to be beyond reproach. It's part of their remit. They are not a broadcaster like all the others. If they want to do away with the licence fee and make it a commercial station like all the rest then they could get away with the aforementioned cynical behaviour. They are the BBC. They cannot. They have a really bad stigma these days about very serious past incidents that they ignored. We all know what those are. They HAVE to be seen to not protect their stars and brush stuff under the carpet. No company should but especially the BBC given what's happened the past two years or so. so there are my thoughts. if you miss the show watch the movie version. It's more believable. "fast and the furious"

I'm not offended by your post, but I do find it a load of tub thumping nonsense. 1) If a lead star on a production punched a producer, there would be consequences, even if it were Tom Cruise. 2) You seem to conveniently paper over the fact that he was caught saying nigger on camera and also called an asian guy a "slant'. Two of numerous offences that went unpunished and led to his final warning. If you want to move into this sort of editorial you need to put down both sides of the story, especially when your followers are not all UK based. This isn't bending over to political correctness, it is very lightly punishing someone for a constant stream of problems. Most other presenters would have been kicked in to touch long ago. You cannot let someone go unpunished, time and again, just because he is a creative asset and pulls in big bucks. I don't mind Clarkson, he can be funny, entertaining, no nonsense and clearly knows his cars. But that isn't a green light to do absolutely anything.

These times of over sensitive, full of politically correct hypocrites are utterly annoying. You over protect kids so much that when they are by themselves in the jungle they are unable to deal with any issue, as minor as it can be, everything becomes a life and death drama. I hate the feeling of not be able to make a joke because I have to be aware of whatever, that's why I only surround myself with people that can easily understand the difference between a joke and my serious opinion about something, that seems trivial but nowadays, it's really hard to find people like that, at least the ones I find usually become close friends of mine. One a side note, I don't really think that the US are really the place for Top Gear.

I don't give 2 shits about Canon now. When is the GH4 firmware update!?

Well after paying a fortune for a Sony DSR570WSP camera (anyone remember those!) back near the start of the century, then moving to a Sony EX3, I finally jumped on the DSLR bandwagon with the Canon 60D (due to the menu view driven audio levels out of the box). I purchased some nice Canon L lenses expecting to stay with Canon for a while, only to be disappointed with Canon's future progress and price compared to the competition. In the end I finally sold the Sony EX3 and Canon 60D and switched sides to Panasonic and the GH3's. Love the ease of the GH3 settings and menu's (Andrew was late in the game with a GH3 book, I'd picked most of it up by then - but still got the book). I also very much like the 12-35mm f2.8 Panasonic lens and only attach my Canon lenses with manual aperture adapter when I need the faster glass. Due to the price of the Panasonic bodies I can upgrade and change more frequently these days, if I went down the Canon Cinema route that would never be the case. I'm still basically spending the same amount of my budget every couple of years on more camera's, its just Canon isn't seeing any of it. I've already upgraded the GH3's to GH4's. Initially got one and love the added benefits of focus peaking, zebra and timecode (things i missed from my old Sony broadcast cameras). 4K filming looks great. I don't really need it and have never output anything in 4K in the last six months, but love the fact that I have the ability to film in 4K with a great internal codec. It's been handy a couple of times for cropping. My second GH4 body only cost me £860 inc taxes from China (couldn't get the UK version, as I need cameras that can record more than 30 minutes without stopping). What has Canon really got to compete with a 4K camera that has most of the bells and whistles of a broadcast camera with added benefit of DOF for £860! I film and edit small corporate films, school shows and wedding films and consider myself a prosumer user. However, I can't see Canon reducing the cost of their products enough any time soon to pull me away from other manufactures, they have set their bar far too high for my liking compared to the competition, maybe they don't want my money? I don't have any intentions of selling my Canon lenses (love the 50mm f1.2), but instead of buying more lenses from Canon I'm getting the Leica 42.5mm f1.2 next for the GH4.

I've been exporting AVCHD from my G6, in all frame rates, into FCPX for a year now without any problems. I can edit AVCHD natively without any problem. I've experimented with converting to prores but haven't found any advantages. I do have a powerful iMac though. Having said that, although 24p AVCHD is the best quality image, I find 50p MP4 to be better than 50p AVCHD. 50p AVCHD has much more aliasing artefacts and looks overly sharpened to me. I shot this with my G6 recently, using 24p AVCHD and 50p MP4. All edited and (quite heavily) graded natively in FCPX. No transcode to prores, AVCHD imported straight into the FCPX event from the SD card: