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@ZEEK has made another EOSM Super16 instructional video!:

Someone has been working with a Raspberry Pi high quality camera module to make their own 1/2"-sensor open source, raw-capable cine camera: Placed into a 3D-printed body, the components reputedly only cost $200 (this probably assumes that you already have a monitor of some kind). The demo footage is surprisingly good:

The user manual for the OM-1 is available now - https://cs.olympus-imaging.jp/en/support/imsg/digicamera/download/manual/om/man_om1_e.pdf

This was posted already, but this is the Vimeo version, which looks better to me on screens larger than a phone. I really think this thing is a winner. I do wish it either had that home run feature like internal nd's, or near top of class autofocus, but all in all Panasonic has done an amazing job with this camera.

It does look like a darn nice camera other than the AF. It is just too bad it is priced so high. With all it has in it I think it really is worth it, but there a lot of other cameras in that price range that a good also. But as a Cine camera it probably is the best thing out there for the masses.

Low light is always one of those things people complain about even though it's one of the easiest things to work around. I've never had problems with the GH5 even in concert venues and filming pro-wrestling.

As I recall, the noir SD piece was shot on a Panasonic DVX-100A, but this 240P trailer is all I ever saw of the footage. In regards to the clips from the short, a Panasonic AF-100 captured the interior sequences, and the exteriors of the woman on the street were shot with a Canon T3i and vintage Nikkor glass.

Sorry guys, I really don't get you. Where are all these problems on low light? I'm not an influencer nor an ambassador so I can only watch other people's GH6 reviews but I shot with Lumix camera underwater in though conditions since GH1. Among the countless GH6 reviews I've been watching, this has real world examples and compares GH6 directly with Sony A7SIII. So ATM it's the only review I found which shows different camera clips side by side. BTW this guy tests and uses a bunch of gear but basically he is a Sony A7 guys. Well, by his own admission, GH6 images are way better under most conditions. While images sucks for both cameras at 6400 already, GH6 surrenders to A7SIII at ISO 12800. Repeat with me: I - S - O 1 - 2 - 8 - 0 - 0 my question is: who shoot at ISO 12800? Hereafter some bookmarks for GH6 Vs A7SIII: 9:05 onwards GH6 resolution is better. 15:20 onwards ISO test. GH6 wins hands down up to ISO 6400. 27:00 onwards DR test. Again GH6 is better. Other facts: AF sucks but it's usable under some conditions. IBIS is the best out there. probably the best cheap anamorphic camera of all time. Tons of terrific ergonomic features for video users (as all the other GH camera) So when I read so many rants about it, what I'm missing?

tiny SD:) What camera did you use for the second clip? @tupp I like the vibe, looks like 90ies neo noir without neon and without Neo.:)

I think there's a chance that they'll implement the other flavours of Prores in a firmware update. They've promised to have Prores HQ in 4K and 1080p in a firmware update, and adding the other flavours would make sense at that point. I suspect that they pushed to get the 5.7K Prores HQ in-camera for the pre-production models because it's a headline feature, so that would have been a priority. I'm working on a Prores vs H264 test now, so depending on what I find I might be posting a new thread on it if I find something worth sharing.

For anyone who wants to learn more about this project, here is the development thread: https://forums.raspberrypi.com/viewtopic.php?t=296776

I found a couple of black & white projects that I shot awhile back. Here is a noir trailer that was made to raise funds for a feature (sorry it's tiny SD): Here are some random (and highly compressed) clips from a black and white short cut to music:

S1, S5 and S1H are low light beasts. They don´t show any mushyness because of codec mambo jumbo. A7s3 shows mushyness in very low light fi.

Over / under tests are not just literally about over and underexposing, they also give you information about what is happening at the various extremes of your normally exposed image. For example, if a camera performs badly in over tests with colour degradation, you can reasonably surmise it is going to have difficulty retaining highlight information in a properly exposed shot.

Yeah, I quickly tested that. It is much less pronounced with HLG rather than V-Log, which is not a good choice for underexposured images anyway and only starting to be visible with 5 or more stops of underexposure. In which point the image lacks so many details and contrast that is in my humble opinion unusable anyway even without the horizontal lines. When and why would anyone want to use an image underexposed by 5 or 6 stops is beyond me to tell you the truth. Not in my use scenario...thanks for pointing this out though, it was a fun experiment!

Sounds like a wise business choice. As a Drewnetwork VP, the policy has always been to never pre-order a camera. However, I think Drew (the president) did it with the first generation BMPC and the Sony A7S iii.

Yep, handheld wide open at f/2.

Well I have done a total back flip and cancelled my pre-orders. Why? I blame Putin. He's responsible for everything else including the GH6 not having PDAF so why not?! But seriously, I looked again at all my options and came to the conclusion that what I needed most in 2022, was stability. I'm less than 6 weeks out from a stupidly busy season and it's not the time to make sweeping changes. So I have somewhat reluctantly cancelled any/all plans to go M4/3 for my video needs. The S1H has already gone. Love(d) that camera, but it's just overkill (and overweight mainly) for my needs. Kept my S5 just in case the OM-1's arrived too late or any other such problem and the good news for me financially is actually I will come out of this next/current move financially ahead as I'm selling 3x lenses + the S1H and ordering a second S5 body. I'm putting my new gimbal on ice for the season and will look at that again some other time after this next season is over. It's really only the tracking AF I have any issue with in regard to the whole system and if the GH6 is anything to go by, I think there's a good chance that a further tweak for the S line in regard to AF may be coming. And if any S2/H/R etc is in development and has CAF, they will halt all further work until a PDAF solution has been sourced. Or they go out of business. Also, this gives me time to see how the OM-1 shapes up in reality for others over this coming year. You/they can be the beta testers! 😬

If you have fat fingers, then the RX10 is not a camera you want. There is Very little room between the lens and the grip. I had to sell mine because of it. But if it works for you, I highly recommend one. They have pretty much everything you need in a small very well-made package.

What impact if any does Color Chrome Effect have on this in the Fuji menus? Is it possible Fuji's processing by default blurs the chroma channel so that dialling in certain film simulation settings brings it back and changes the look? It must be on purpose they have done this.

@tupp nice analysis, I really have to take a look at Darktable again sometime 🙂

BRAW, ProResRAW, CanonRAW etc all do 16-bit linear to 12-bit LOG. None of them can compress RAW in-cam due to the RED patent, including ARRI. Gotcha. I figured Miami because it's also a fashion capital, didn't realise there was a scene in other parts of FL, my bad. Paris of course is the number one fashion capital. Being that, there are multiple "leagues" here that cover pretty wide range of venue & budgets. Never done/seen an outdoor show at night with no lighting though, that's gotta be rough! I recently got the Rode Go 2 that records a safety track on the transmitter at 32bit float. Haven't had the need to test it yet but it's nice having that safety net on wireless. Still this is one field that is moving kinda slowly. I do think 32-bit float should be making its way into cameras.. Yep that's what I've heard as well, if anything shoot to the left as there is more latitude on underexpose than overexpose. Agreed, which is why I'd avoid cranking ISO on C70. On dual ISO cameras it's different.

@Attila Bakos Do you mind if I draw attention to your video on the blog's main page? Let's get Fuji's attention.

In the overexposure test C70 & R5C seem to both clip around +4 stops. Seems like the highlight DR is about the same. It's in the underexposure test that we clearly see the DGO sensor doing its magic: at -4 stops both the R5C/FX3 are unusable with horizontal noise and color shifting whereas the C70 maintains a much more usable IQ with a more filmic noise, much less colorshift and no horizontal patterns that give that nasty digital video look. Furthermore having now played with R5C (RAW & compressed) & C70 footage, I can only attest the incredible amount of shadow information that you can pull on the C70. On the R5C it gets noisy and ugly really quick. This really limits the R5C to a crushed black, contrasty look when pushing in post, whereas the C70 has so much more latitude thanks to all that precious clean shadow information. (by the way on a side-note the R6 stands somewhere in between, with much more pleasant shadow noise than R5/R5C but nowhere as good as C70) Quite an eye-opener to verify this myself and I can now safely say my A cam choice would clearly lean towards C70.