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I think the trick with any kind of camera really is learning its capabilities and then settling into a workflow that is the ideal blend of convenience and perfectionism for your own personal tastes. I'd be a bit suspicious of anybody who didn't at least try to maximise the performance of their equipment, but I'd be equally dubious of anyone who claimed to make zero compromises in how they end up operating in the field. It's all a balance. The main quandary with the GH6 is in managing the jump between Base ISO 250 (V-Log, DR+ Off) and ISO 2000 (DR+ On). The Dr Boost function is very good and finally lifts the GH series into the heady realm of 'just about acceptable DR' 😅. Actually, so far in practical use it has been fairly easy to utilise DR+. I've invested in some high quality fixed ND (Breakthrough X4 - cannot recommend them highly enough) and just whack on the 6-stop and then calibrate a bit using ISO. Has been working well so far. Obviously this strategy will not cover all eventualities. I'm a bit torn as to whether to just stay in DR+ mode regardless of the actual dynamic range of the scene (thus negating the need to constantly jump between very different ISO values). It's going to be a close call actually.

Yeah, I feel you. The GH4 was the classic easy to use camera in my experience. Here we are 2 gens later and its like flying a spaceship! But I am personally very happy to pay the usability price for the advancements in DR, low-light and stabilisation (and the other incremental improvements).

I'm also in the 'no love for HD' camp, but I will do some tests when I get a mo.

Thanks alot! @projectwoofer 🙂 Recently I bought a LX15 for very cheap. I hoped that the LX15 would be a super compact alternative to the GX85 for video on the road. Videowise it kicks the LX15 in the tush. Codec, color response, dynamic range it is far superiour on the GX85. The 20MP one inch sensor in the LX15 and RX100 was said to be almost on par with the m43 sensor in the GH4, G7 and GX85. But LX15 quality in video is not close to the GX85. I have forgotten about the back wheel after a while. The camera is still a joy to use. Swivel screen is also more pleasant to use compared to the much more expensive Lumix S1. So indeed, it is a gem, as you and all the other fans of this little powerhouse are stating. I wish it had an option for zero noise reduction though and a 100mbit codec for HD. The latter one being my ever occuring wish for these Panny 8bit machines.

Yeah I guess I am speaking to long form filmmaking specifically. It's one thing to do a bunch of cool shots in a 5 minute youtube video but to carry that same energy in a 2 hour film is expensive and complicated. Even if you are shooting on maybe an ideal run and gun setup a Sony A7S3 on a nice gimbal you still run into the issue of more complicated blocking, auto focus not behaving and doing what you want when you have more than 1 subject in the frame, lighting difficulties etc.. Here in Detroit there is an odd independent feature film market that is making money. Very low budgets and lots of directors/producers who have a "vision" but have no idea the resources or time that vision requires. They basically ask if we can do the Euphoria look but only spend 1/100 of what HBO spent on that show. You'd be surprised the kind of crap people will watch even when Netflix and HBO quality shows are available.

After a little more testing it is apparent that the phase-detect AF is flat out amazing for video on the OM-1. Really nothing like the GH6. Really natural movement to handheld shots with the IBIS as well. Especially as you can tune it. High setting for a locked down shot and -1 when you want more fluid movement. Just trying to figure out of the battery is identical to the one in my Sony A7 IV. Feels like there is a LOT of Sony about the OM-1. Feels like a buy-out by proxy!

Here is a music video I did with my beautiful GX85. It now has dethroned my GF1 for photography pleasure, loosended my bonds with my eternally appreciated and now disfunct G6. GX85 earned no1 place in my heart. It was a bit of a way to go for this cam. It has pleased me with nice footage, great personal short cine verité extravaganza, BCam as last resort.. But only until now it has reached my heart completely. It is a true treasure. The road to love was slippery by the slipperyness of the camerabody, the soon to become disfunct back wheel and the mediocore EVF. But still, it is almost as pretty as the GX7 or my GF1 and it feels good in the hand and now even better in the heart. So enough talking, time to let this camera speak. Used Fujinon 12mm in 16 to 9 and ind 1:1 4K photo mode, Tokina 25-50 in the mix. Shot in colour and graded with love in BW. 🙂

I did indeed manage to pick one up from Camarthan Cameras in Wales! Only retailer in entire UK to have a couple of units. Glad I did though as the camera is a miracle in itself. Punches well above expectations. I am only scratching the surface compared to you Simon, but will get to know it better in coming days. Brought it to Berlin with me. Not even shot any C4K with it yet but in UHD I did play with it a bit and love that you can punch in 1.4x in the middle of a shot with little to no loss in detail. No need to stop recording, you can just punch in and out on the fly. The IBIS was out of this world brilliant. 1 second handheld photo PIN SHARP The menus and ergonomics are in top 1% of all cameras. Love the way it feels to use and that they didn't go crazy abandoning the small size advantage with fans and stuff. I have GH6 with me as well so will be interesting to compare the two. They are very different. GH6 has the edge for high frame rates and overall video specs. OM-1 has a significant advantage in terms of size, weight, ergonomics, stills features and a few unique abilities in video mode as well. The EVF on the OM-1 is superior to the GH6. Out of this world big and immersive, especially impressive for such a small body. Can confirm the lovely Olympus colours are still present and correct!

(yeah, the MTBing is pretty cool too)

Hi all, have uploaded a small video file to YouTube for you to check. It was recorded the way which I have described above. Think the dynamic range of the fp is great. 🙂

43rumors run any old bullshit. Turns out battery is entirely different! I am sure the stacked sensor is Sony manufactured and the EVF probably a Sony panel. But beyond that seems OM Digital has custom LSI & firmware, plus many of their own parts. Camera is assembled in Vietnam.

Watching this video made me feel old. Very old.

Yeah its something I like about a lot of older cameras, there isn't a lot to choose from and that is kinda nice.

The footage feels great. There's a definate shift towards more natural and accurate colour representation. This is probably helped perception-wise by the reduced artificial sharpening. It's producing really lovely natural tones that I'm very comfortable sliding in alongside my C70 footage (I'm not making a big effort to match the cameras at this point, but they are surprisingly close in any case). It's the camera itself that is tricky. A lot more to manage than previous GH models. That's a natural consequence of a more ambitious product, but there are a dizzying array of choices to navigate. DR Boost - sometimes or always? ND - fixed or variable? SD card or CFexpress? Even battery choice is a consideration if you've already built a legacy collection! None of the above are easy to answer and require a bit of strategising. If you're thinking any of that is simple to resolve you might not have given it enough consideration. It's a workflow pest! (but I'm very much enjoying using it).

You don't need the app to do the hack, any web browser on any device can do it. Have a look at the original thread that I did for it with instructions and example html files. I'l check which specific TC and adapter when I get back later in the week.

I'm quite familiar with how the "feel" of footage from different cameras can be very different, and was heartened by how the S1 footage felt similar to the GH5. What does the footage feel like to you? Obviously this is a highly subjective question, but keen to hear why you agree with their assessment about the footage being difficult to work with.

Yes there is not much worth doing that is cheap. Even great talent is overcome with cheap gear. But it is getting better and better by the year. People don't understand the camera is just a small piece of the puzzle.

Get an Apple M1 Mini Glenn, probably be all you need for video photo stuff.

As of today there are 32,113 members on this site. Probably not really many that come here on a daily, weekly basis but how many of them are hard core I am making a movie tomorrow or even work at a movie enterprise? Very few I would bet. And these newer smartphones, newer mirrorless cameras are their weapon of choice. And on average they don't at times need or want a tripod at all and they are lone wolf shooters. It is again 2022 and things have changed, and changed for the good for the vast amount of people that belong to this enterprise of EOSHD. What you do and I applaud you, need a tripod, and are surrounded maybe with lots of talented people. Most on here aren't doing that. I am a tired old man that dreads the thought of dragging a tripod and fluid head around to get what little I do get. Not much imagination flowing though my brain as of late lol. It's done gone some place far away, and my legs are too far gone to get to that spot. Horses for Courses as they say, and my horse is on it's last legs also, so no tripod this week, maybe next week if there is one. So happily looking forward to my new phone, my back will be happier also.

I think other than interviews and big time movies tripods are a thing of the past. And this is coming from a hard core tripod guy! I follow 10 to 12 people on YouTube, and help pay their way with Patreon. And I don't think any of the use a tripod very often. Heck one of the people I follow, Goonzquad shoots the whole thing on a iPhone 13 Pro. They do use a tripod at times, but not often. Sure we need to have a tripod but it does limit the hell out of what you can do and see. It looks too damn static in this day and age. We have reached the age we can have lots of movement, a natural thing humans do, it is in our blood to move. It looks natural, our eyes see things in a continuous movement not a bunch of clips put together. This is 2022 not 1982. I have not got it yet, will in a few days, a Sony Xperia Pro-I. Dumping my iPhone, heck maybe even a real camera or two. It can do nearly all I need to do and want and it is right in my pocket all the time. Sure I will use a tripod with it at times, but on average it will be fluid in my hands capturing, mirroring what my eyes see. I will be in the year of 2022, not the past.

I don't know man, tripod is honestly the way to go for most things. Most people don't have the budget to do good moving shots outside of really basic stuff. Everyone wants to be Euphoria without having any of the resources to pull it off.

43rumors ran a "Interesting speculation: Is the new OM-1 nearly entirely made from Sony parts?" story recently, based on speculation from a Russian blogger, so you're not the only one to have noticed some similarities 🙂 Given that OMDS isn't really a head-on competitor to Sony, it wouldn't surprise me too much to find there's more Sony content in the OM-1 than OMDS would want to own up to (and personally it's far more important to me what the OM-1 does rather what's inside it that matters).

You need to keep that "crappy Vivitar 28mm F2.5" and put it in a vault. That really helped the look you got. A great look, well done.

Love the video! The GX85 is still a little gem. The back wheel failed on mine too a couple of years ago but I sourced the part on eBay and replaced it myself.

This was mentioned earlier, but I forget the actual numbers... what are the ISOs for DR Boost in CineLikeD? Also, is the ProRes a variable bitrate? And if so, will the picture profile affect the bitrate? Would vLog have less bitrate, because it's flatter, than a Rec709 profile like CineLikeD... or is variable bitrate affected more by motion?

(My bold) I agree. Even though I really like my G9 and in absolute video quality it easily beats the E-M1 ii, the overall package of good ergonomics, superb natural-looking stabilization and decent video quality makes the Oly a good handheld 'just point it at the subject and press record' camera. I bought my used E-M1 ii during lockdown mostly to have a play with (never having owned an Oly camera before) and it's definitely grown on me - I can understand why people like them.

More playing around.... CineD -> CST 709 to ARRI Alexa / LogC -> ARRI Alexa LUT (worse match) CineD -> CST 709 to ARRI LogC -> Fujifilm 3513DI LUT (worse match) CineD -> CST 709 to ARRI LogC -> Kodak 2383 LUT (worse match) CineD -> CST 709 to ARRI LogC -> Kodak 2393 LUT (worse match) I also tried a bunch of CST / LUT combinations, but none yielded any promise.

and this is why matching only on charts is fraught with peril.... CineD: Broken image: I've played with the little tweak that makes the light yellow go light pink and there isn't a combination that smooths it out and doesn't impact the other hues, so that's not possible to make using this method. Also, that little tweak isn't our only problem.... This is why there are 50,000 ways to do something in Resolve. Some of them simply don't work! The path forward from here is to go back to the drawing board and see if there are other ways to approach this that don't break the grade in this way. Otherwise, we start by applying gentle adjustments and see how far we can get towards the "spirit" of the Alexas image before we start breaking things. My prediction is that we'll end up with a relatively loose match that will be in the general direction and that'll be the best we can do (or I can do).