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Hold on, I have Albert on speed dial...

It seems OM1 has really good internal NR, applied at RAW debayer level: https://www.geh-photo.org/post/die-om-1-im-praxistest?continueFlag=143e81367b1d01290587846ff81073b9 Left EM1X, right OM1 OM1 ISO40000, yes forty thousand.

Here are the full specs. https://www.scribd.com/document/559418125/Panasonic-Lumix-GH6-MFT-Camera-Full-Specifications

I agree on the importance of AF. Especially in a mirrorless camera. In terms of the market, Blackmagic seems to have got a free pass though. Shit AF all round from them, and nobody complains and the cameras sell like hot cakes. So what's going on? Sony, Canon and Nikon all AF obsessed and producing very capable systems in both video and stills mode. Fuji is patchy. I thought maybe it's Sony patents holding Panasonic to ransom, or past mistakes. But then a literal Olympus CORPSE comes out of a graveyard and gives us Quad Pixel phase-detect AF on sensor. It's absolutely bizarre the whole thing isn't it? As for GH6, I have one but am under NDA so can't say anything about it until it launches for real.

I found something strange when I was looking at the chromaticity channels of Fujifilm video files and did some search online, and to my surprise noone is talking about this, so I decided to make a video about it. If you're a Fuji user, you might be interested.

And don't forget those used "GH5S" now on the sub-1000 land

I was just going to post these, but you beat me to it, looks like OM Systems has set a high bar for MFT! I'm impressed with the noise performance and DR in this mostly-dark shoot, shadows look great to my eyes all-the-while not blowing out the streaming sunlight coming through the trees. Also, doing a frame-by-frame-advance look at the fast panning and cable cam shots it looks like rolling shutter is extremely minimal to nearly imperceptible in all but the quickest of frame travels (or maybe it wasn't there at all and I was looking at naturally bent trees?)...truly impressive. And the slow motion shots do not seem to exhibit any line-skipping/moire artifacts, so I'm guessing a true down-rezzed 4K to 1080 for the ultra-slow shots? Nice job, OM folks! Hopefully, Panasonic followed suit with some creative filmmakers to showcase the GH6 release next week?! Great times, these! 🙂

"Latitude Dynamic Range Boost ON: 13+ stops (V-Log) Dynamic Range Boost OFF: 12+ stops (V-Log)Still Image Recording file formatJPEG (DCF, Exif 2.31), RAWAspect ratio4:3 / 3:2 / 16:9 / 1:1File size (Pixels)4:3: 5776x4336(L) / 4096x3072(M) / 2944x2208(S) / 11552x8672(XL) / 8192x6144(LL)3:2: 5776x3848(L) / 4096x2728(M) / 2944x1960(S) / 11552x7696(XL) / 8192x5464(LL)16:9: 5776x3248(L) / 4096x2304(M) / 2944x1656(S) / 11552x6496(XL) / 8192x4608(LL)1:1: 4336x4336(L) / 3072x3072(M) / 2208x2208(S) / 8672x8672(XL) / 6144x6144(LL)Image qualityRAW / RAW+Fine / RAW+Standard / Fine / StandardColor spacesRGB, AdobeRGBMotion Picture Recording file formatMOV: H.264/MPEG-4 AVC, H.265/HEVC, Apple ProResMP4: H.264/MPEG-4 AVC, H.265/HEVCAudio formatMOV: LPCM (2ch 48kHz/24-bit, 96kHz/24-bit) (4ch 48kHz/24-bit, 96kHz/24-bit)MP4: AAC (2ch 48kHz/16-bit)System frequency59.94Hz / 50.00Hz / 24.00HzImage area of videoFull / Pixel by PixelViewfinder TypeOLED Live View FinderPixelsApprox. 3.68 million dots Dynamic Range Boost ON / OFF ISO sensitivityStill image:[Normal]: Auto / 50 (Extended ISO) / 100-25600[V-Log]: Auto / 125 (Extended ISO) / 250-12800Motion picture:[Normal]:Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800[V-Log]:Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800[Hybrid Log Gamma]:Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800 (Standardoutput sensitivity)" Curious to know how effective the dynamic range boost would be.

Ah, I was thinking more about just image quality in high ISOs (ie, images don't look like there's a technicolour snowstorm), rather than DR in high ISOs, but DR is a reasonable part of the image so that makes sense.

Pocket 4K in Cinema DNG was up there, before they nurfed it. I still have my original firmware! Would have thought the finest grain award goes to URSA 12K. I also liked 5D Mark II ML RAW in 2K. Very digital Bolex like at ISO 1600 especially with a black and white grade. 5D Mark III was a bit too smooth by comparison to the older one.

All I can think about is imagining this camera with the OM-1 autofocus and how good it would be even at $2500. Love the tilt OR flip screen. Can they license that to Sony in exchange for PDAF please? 😂

The FIRST version A7s is STILL the camera with the highest DR of all above ISO 12800 (at least by DXO). The latest version A7siii is a bit behind the original A7s for lowlight ISO BUT it has a LOT more detail at all settings probably due to being 80mp in subpixels or however they describe it (so not really 80mp but maybe not really 12mp either). This new Olympus seems to d something similar so I kind of expect the same....Lots more detail at most settings but no or only a little improvement in terms of high ISO.

Specs and a HUGE 32 minutes in video leaked, showing the camera in detail. S1H-like hinge and vents confirmed. https://www.43rumors.com/full-panasonic-gh6-specs-and-new-images-leaked/ GH6 specs 25 million pixel PLF-less sensor 100 million pixel high-resolution shooting 5.7K video Sensor read up to 300 fps High-speed read at 4K resolution 120 fps Suppression of rolling shutter Computation processing capacity is about double New Intelligent detail New 2D noise reduction High performance 3D-NR (video) Improved AF performance Processing speed is 3 times faster than before DFD performance evolution New recording mode 4K120p 4: 2: 0 10bit 300Mbps 4K 60p 4: 2: 2 10bit 800Mbps / 600Mbps 5.7K 60p 4: 2: 0 10bit 300Mbps C4K 120p 4: 2: 0 10bit 300Mbps C4K 60p 4: 2: 2 10bit 800Mbps / 600Mbps Recording file method supports Apple ProRes in addition to MP4 and MOV 5.7K 30p Apple ProRes 422 HQ 1.9Gbps Card slot: CFexpress TypeB slot, UHSII compatible SD card slot Weight: 739g Dynamic range boost function: It is possible to shoot a wide dynamic range image at a maximum of 60 fps by synthesizing an overexposed image and an underexposed image in real time. Achieves a dynamic range of up to 13+ stops approaching the full size. The minimum ISO sensitivity is 800, and when using V-log it is 2000, so an ND filter is essential. Image stabilization: Adopts an ultra-high performance gyro sensor and a new algorithm, and has a correction effect equivalent to 7.5 steps. Smooth image stabilization that is ideal for movies. Dark place performance: High-sensitivity noise is much suppressed compared to GH5II while increasing the number of pixels. It can be used normally up to ISO3200. Built-in microphone evolved from 16bit to 24bit. 4 channels can be recorded when using an XLR adapter. Phase-difference AF is not installed, but AF is much better. The AF calculation speed has tripled, the background omission and tracking performance have been greatly improved, and the AF speed has also become considerably faster. There are 315 AF points in the full area. Human, face / pupil, animal + human subject recognition can be used in all AF modes. The focus range can be set with the focus limiter.

This is clearly a subjective question. To me, pleasing grain structure is well-defined, tight/small noise with no fixed patterns and as little green and magenta as possible. But please share your observations, even if your criteria for pleasing grain/noise is different. For me, I'm really liking what I'm seeing from the Red One MX. Unsurprisingly, none of my other recent or current cameras (C70, C200, EOS-R, 5Diii with ML Raw, G85, or EM10iii) comes close. It meets all of my criteria for pleasing noise/grain. But I'm also curious if there's anything smaller that does well in this area.

In the OM software "OM Workspace" yes, but not internally in-camera.

From my read of this article, Panasonic's, er, "dual gain" is accomplished through the use (of what they refer to as) DS-Pixels (dual-sensitivity pixel) STAP14003fig05_hr.jpg (JPEG Image, 669 × 414 pixels) ...as described in this article (above Citation)... Advanced features of layered-structure organic-photoconductive-film CMOS image sensor: Over 120 dB wide dynamic range function and photoelectric-conversion-controlled global shutter function - IOPscience https://iopscience.iop.org/article/10.7567/JJAP.57.1002B4 What's most interesting to me is the caption to Figure 4 in that article... << Figure 4 shows a summary of the dynamic range of several materials. The dynamic range of a common silicon image sensor is about 76 dB; however, the dynamic range of the human eyes is said to be 110 dB, including calculation in the brain. This dynamic range is far below the human eyes' capacity. Therefore, we decided to exceed the human eyes' capacity without the above problems by using the new structure of the OPF image sensor, to realize accurate and texture-rich imaging and sensing. We set our SC-WDR target to over 120 dB. >> ...again, image link from above linked paper... STAP14003fig04_hr.jpg (JPEG Image, 491 × 400 pixels) Finally, the acknowledgements from that article... << Acknowledgments We would like to thank the engineers of Panasonic Semiconductor Solutions Co., Ltd., Semiconductor Business Unit and Panasonic Corporation Automotive & Industrial Systems Company Engineering Division for support in chip design. >> _____________________________ FWIW, "all of the above" jibes well with Panasonic's press release from 2018... Panasonic Develops Industry's-First 8K High-Resolution, High-Performance Global Shutter Technology using Organic-Photoconductive-Film CMOS Image Sensor | Headquarters News | Panasonic Newsroom Global https://news.panasonic.com/global/press/data/2018/02/en180214-2/en180214-2.html ...so, maybe there is an OPF-CMOS organic sensor in the GH6 after-all...er, no "rats"?!

One of the AF features that I spotted on the leaked GH6 video is that it appears to have a focus limiter function that looks very similar to the one that (*own trumpet blowing alert*) I have in my AFX product. On the AFX, you store a near and far focus point and it will only respond to subject movement between those two distances. So you can define the range of movement of the interviewee, put it in AF-C mode and guarantee that it won't go off focusing on things in the background etc. With judicious use of the aperture you can set near and far distances up in such a way that you have enough overall focus range to have a safety net without massively comprising the shallow depth of field aesthetic. It remains to be seen how Panasonic have implemented their limiter in terms of it is just for AF-S but if it is AF-C like the AFX then it is a boon for interview applications in particular. The AFX also has a separate absolute limiter function so you can selectively limit maximum AF-C focus range to, say, 2 metres which can negate a lot of the AF issues which present themselves when people are vlogging both indoors and outdoors. Not sure if Panasonic have implemented that in the GH6 too though.

Hallo Emanuel, it arrived safely more than a week ago. Now I am waiting for a Cmount adapter which should arrive from winter olympics land. Ebay gives an approximate date in March! It is in perfect condition. Holds and weights beautifully in the hand. Thinking about the 22mm pancake. The 20mm pancake on M43 was one of my favorites btw when i got my first Dslm back then, a used Gf1, which is my favorite photo camera body up to this day. Quiete irrational and only due to its design and simplistic beauty. Hope the 22 does not have that gnarling MF and the super plasticy touch of the Pana 20mm. The Eos M recalls some of the exitement of the Gf1 days in me. My Gx85 is different but an awesome lil cam in its own right.

My 5Diii with ML Raw suffers from dancing green and magenta blocks. It's unchanged between ISOs 100 and 400, so I always shoot at 400. When I'm not pixel peeping or trying to bring up the shadows too much, I'm always happy with the overall image. I haven't used a 5Dii yet but I really liked some of the 50D stuff I was seeing back in the day.

I haven't gotten my hands on an R6 yet (and may not, due to overheating), but I saw a side-by-side comparison with the older EOS-R and the grain was MUCH nicer. And the C70 has the best noise/grain of any Canon I've used. I am very pleased with the noise up to ISO 800. At 1600, I can start to see just the faintest hit of vertical FPN. But 800 is plenty. And it's much better than the C200, which had horizontal FPN even at ISO 200 when shooting in CRL. I had a shoot with a Komodo and my R1MX last Fall. I really liked the Komodo for the most part. I wish I'd had it for longer so that I could have compared the two cameras, but the grain seemed very pleasing and well-controlled. But there's still something unique about the original MX that I didn't see in the Komodo. And it only cost me $3K for a complete build with batteries and media. Yes, the Alexa is very good in this regard. Interesting. I'll have to look into this further. I did a shoot with the 6K and remember it being a bit too noisy for my taste. But Blackmagic is all over the map. The BMPC was the worst I have ever seen. The BMMCC was pretty decent. It seems like pleasing grain is an often unsung benefit of higher-end cinema cameras, though I am secretly hoping that someone will tip me off to a consumer-level sleeper.

Well based on what I have seen/has been revealed so far, I prefer the OM-1. GH6 for the win for pure video almost certainly. For stills/hybrid use, probably the OM-1 based on what we know so far... Right now, I'd take the OM-1 system as it suits my needs better; a smaller, lighter, more compact package with great AF compared with a larger, heavier, less compact set up with unknown AF. Andrew might/probably has the answer regarding the latter already 🤐 I guess probably slightly more expensive GH6 bodies, but that wouldn't bother me too much in the overall scheme of things... The only real negative for me would be regarding stills. I don't care what anyone says but there is no way on Earth any M4/3 matches my FF 47mp S1R in that department. Can't deny physics!

I'm not one of them, and will likely be replacing my G85 and GX85 to get two more GH5 bodies given the used prices for the GH5 are pretty good right now, but I know quite a few people that will get this because of ProRes alone. If the auto focus doesn't hunt and is accurate (it doesn't even need to be as fast as Sony or Canon, imo, it just needs to be accurate) this will be a great camera. Is it a revolutionary update? No. But it's a respectable one. And while you can point to Blackmagic and ZCam, ultimately this is a camera that takes many of those camera's strengths while adding world class IBIS, better AF, and better ergonomics (at least compared to Blackmagic's offerings in that price range.) I do, however, think they'd be smart to price it at $2000 instead of $2500. And AF needs to be substantially better, otherwise there's a lot of people that won't even consider it. While it's not something I NEED, it's what the market wants right now, right or wrong. Panasonic puts out great cameras and virtually everyone that uses one has a great experience, but perception is a big deal and the perception that the AF is bad is a major negative.

The 330 shot rating for the battery seems quite low compared to other bodies. The GH5ii is rated for 400 shots while the OM1 is rated for 520.

: D Pretty on the spot, you have eye, same thing here... : ) I only think you just forgot to mention yet the most affordable bargain ever out there: Blackmagic and Canon... Funny, isn't it? ;- )

hey Marty @PannySVHS where's yours then? :- )

Wow that sounds pretty damn limiting. That is a shame.

The Komodo has pretty terrible highlight latitude. It's definitely a camera that's better to underexpose than overexpose. I think CineD found it was good with 7 stops of underexposure but only 1 stop over. It's quite extreme and the main reason I don't care for the camera. Exceptional highlight latitude is a hallmark of film (as in, actual film).

Time will tell but this isn’t the same mirrorless market than when GH5 was released in 2017. GH5 got many budget conscious pros on board back then as it was the only mirrorless offering 10-bit at an aggressive price. Today, most S35/FF cameras offer 10-bit, some RAW and Sony & CaNikon have flawless PDAF systems. BMD does ProRes/RAW and has ND’s to boot. I don’t have numbers but I suspect many users have switched, even to Pannys own FF system and I don’t see them going back to MFT. Not at that price and with AF still lagging behind. Just seems like a tougher market for Panny to expand outside leftover GH fanatics heavily invested in M43.

I've only been in the camera/ video hobby for 5 years now. But, I'm shocked more and more every year by how much money people will lay down for what seems like only iterative cameras (same with smartphones). This is a bit more than an enthusiast like me wants to spend, but, I think professionals will respond to this well enough.

Yeah we’ll like I said you can buy a GH5 new for $1400 and used for as low as $800 so no surprise you got noobs buying them daily and asking those sort of questions. But that’s irrelevant to todays market. I just don’t see GH6 making as much noise as it’s predecessors. Not at the rumoured price in the current S35/FF dominated market..

I find this codec table useful: https://blog.frame.io/2017/02/13/compare-50-intermediate-codecs/ Prores has about the same bitrate per pixel regardless of resolution, so UHD is 4x the database of 1080p because it's got 4x the pixels - twice the width and twice the height. From this standpoint 5.7K should be about 1.6Gbps, so it's more than Prores HQ and less than Prores 4444 (which would be 2.2Gbps). Still, this is an incredible bitrate and may as well be RAW. I'd assume those would all be included. Fun times for film-makers who prefer to capture in a professional codec in the resolution they want to distribute in! If your exposure to a cameras popularity is only on forums like these then you will be missing the incredible popularity that the GH5 still has to this day. I'm in GH5 FB groups where new people are upgrading to the GH5 and posting the newbie questions regularly, like what gimbal is best? what cage? best lenses? best vintage lenses? can it shoot RAW? how can I get it to do X? etc etc.. TBH those groups are a completely different world than here, and other forums. There are people out there filming paid gigs for music videos and weddings and the like that have just bought the camera and are filming them with the kit lens and don't know that colour profiles exist. People post their (often paid) work all the time, ask for feedback, and get 50 people replying recommending they buy lights and study the framing and camera movement of movies and high-end productions. Yeah, the AF seems to sort-of jump and pulse. This might be tunable with settings perhaps. The AF issues from the GH5 were mostly it being slow or just deciding to focus on the background rather than the person in the middle of the frame, so maybe those are lesser issues. It's not like the other manufacturers have worked it out though - I still see AF fails on vlogs shot on Canon and Sony cameras. They tend to be included in the part where something funny or interesting happens and they want to include it for storytelling purposes and couldn't re-shoot it, so those moments are often little BTS on what the camera is really capturing, and sometimes the AF is seriously ugly.

Just turn on the subs and switch to your native tongue.. My feeling is its hard to get that excited in 2022 for a MFT camera with DFD AF priced at $2500 (if that rumored price is confirmed). The GH2 was popular.. when it retailed at $900. 6K & ProRes are cool but BMPCC 6K Pro has been doing ProRes & BRAW on a S35 sensor with ND's for some time now and at the same rumored price. If this were priced at $1400 like the current GH5 price it would make a splash but at $2.5K it is DOA imo.

Coming from Fuji myself (XT3), not as good. For stills, no problemo…in fact there are several bonuses with stills for a camera having contrast detect. But for video, with static subjects or side to side movement, pretty OK and yes, native Panny lenses have an edge over Sigma. Reliable tracking forward or away from you. Forget it. Pretty crap. It CAN do it, but you don’t get to decide when those times are. Toss a coin up in the air and the probability of heads or tails is 50:50. That’s S5/S1 tracking as things stand for you.

I've been using it for about 5 days now (should have gotten it over a week ago, but Fedex + snowstorm decided to spit on that idea). In short, I preordered as soon as it Adorama last night. The autofocus is incredible, the handheld AI features are incredible, build quality is exceptional (I put it in my shower for ten minutes). The new 40-150/4, which they loaned me too, is fantastic as well (wish it had a focus clutch, but not a big deal). My full review will be coming later at Petapixel but paired with the grip and the Olympus 100-400 and this thing is a wildlife photographer's dream. Image quality is certainly at least one step above the former 20MP sensor, though I have not spent much time messing with the files so far. Where I'd limit my E-M5 III to 1600, maybe 3200 in emergencies, I'm comfortable going to 6400 here. And with the even better IBIS (which is the best out there), rarely do I need to. The auto ISO options are still the same, which is to say that they suck. Menu has been redesigned and is SO MUCH better, thank god. I love Olympus cameras but they always had the worst menus.

The upcoming RAW update, the sensor, the touch to track AF update, the codecs, etc. finally sold it for me. I went ahead and ordered it to replace my C200 for long form content. I will also get to see once and for all how well handheld works with just lens and digital stabilization.

That’s IP666

Almost all OM System videos are people on the outdoors, covered in snow to the waist, shooting under monsoons, base jumping inside an active volcano...their intended demographic for this camera is well defined. (the last one is a joke, IP53 is not rated for volcano swimming)

This cannot be understated in terms of build quality. Another way to read it from the other manufacturers is: "Sure, we have a weather-sealed camera, just don't use it as a weather-sealed camera." I still remember the imaging resource tests of the "weather-sealed" options from Canon, Nikon, Sony, and Olympus. Olympus E-M1 ii was great and it still didn't even have the rating then. The Sony A7r iii did the worst (must have been the camera's consumer electronics heritage). Now, all the E-M1 iii, E-M1x, E-M5 iii, and OM-1 cameras have IPX or IP53 ratings.

This guy gets it. DPReview...well...

Finally, a camera manufacture willing to slap a IP rating on their "weather sealed" camera and stand behind it! IP53 is a pretty good guarantee of protection. The rating says it is essential highly resistent to dust ingress (but not dust tight; no ingress) and can handle spraying water—think lightly blowing rain from all angles or a low pressure garden sprinkler. Definitely not a "wow" camera but decently solid. Like @John Matthews said I will probably pick up this camera and perhaps the 12-100 f/4 and a f1.2 prime for a "ultralight" camera kit now that it has 10-bit internal up to 4K60p. I'm more interested in the fast and light stills performance. The HiRes handheld without a tripod, handheld or monopod astro abilities, etc... GH6 still no PDAF...more DfD "fast" AI technology. I guess I will hold my beer awhile longer to see how that turns out.

This camera far exceeds my video and photographic needs right now and looks like a great addition to M43. I'm curious to see what real-world footage looks like. Is it really that much better than what we currently have (which I think is great)? I'm just happy to have another great option for all the small M43 lenses out there. I'll probably get this camera, but wait for a heavy promo.

Great camera test - I'm a big fan of testing stuff by taking video of my family and editing it up into a finished video so you can keep it as a memory. Colour and images look really good. I also use crop modes on my setup (GH5) which can be a little softer due to the limited resolution on vintage lenses - I find that adding a bit more sharpening can help to even out the shots.

Another tasty treat to watch before going to bed. Ordered a C-mount to Eos M adapter today. Will take a while to get here from the land of Olympic Wintergames 2022. Anyway, our friend zeek, who has no time to drop by anymore and is busy shooting great footage and uploading his beloved videos. Not a bad thing to do as we can see below.

I think Canon color science is lovely, right behind ARRI. However they've never really made serious cinema cameras. ARRI is certainly the best with RED, kinda. Most people doing high end work look down on RED. Honestly the Sony Venice seems to have a much better rapport than any RED camera with high end stuff. I've heard a ton of good things about the Venice while RED is constantly hated on. I was kind of warming up to the R5C. One big benefit of the camera is the fast readout for low rolling shutter effect in 4k. Dynamic range isn't as good as the C70 though and the micro HDMI makes it a no go for me. How can you sell a $4,500 camera with micro HDMI. I still have yet to see a camera that can really do anything against my Arri Alexa, besides resolution. I just don't give a damn about resolution. The Netflix 4k thing is pretty dumb IMO. Almost all big hollywood stuff is shot in 4k anyways and Netflix productions are big money. Renting an Alexa LF or other 4k cine camera is pennies and dimes compared to the cost of the entire production.

Indeed, when given the choice between buying a Sigma lens in E or L mount, one of the big reasons for buying a modern lens rather than using classic stuff is AF. So if they can't sort out AF, the entire mount dies. No rush then!