ac6000cw

You might want to have a quick look at the 'video performance' part of the dpreview 'initial review' video. Also (according to that mini review) if you use H.265/HEVC to get 10-bit recording, the only picture profiles available are 'OM log 400' or HLG. I think H.264/AVC is limited to 8-bit recording.

Just to add to that, the Pana 14-140mm f3.5-5.6 and 12-60mm f3.5-5.6 lenses work fine on my E-M1 ii (using IBIS). One thing I have noticed when using C-AF in video (with my E-M1 ii, hopefully OM-1 behaves better) is that if a lens is well stopped down (e.g. f16) it can sometimes rack focus a little (presumably to check it's still in focus), so it's best to use lenses with low focus breathing. I don't notice the change in focus when this happens (due to high DOF at f16), but the focus breathing is noticeable with some lenses e.g. the Pana 14-42mm 'pancake' power zoom lens is particularly bad for this.

The Olympus/OM Systems UK rep myself and several other potential customers were talking to yesterday said Oly/OM had already sold all of the first (March) shipment into the UK of OM-1 bodies (and most of the body+lens kits). I suspect a lot of those are sales to existing Oly owners upgrading (as you would expect) but hopefully this bodes well for future sales.

This is an older thread discussing some of the 'dual gain output'/HDR methods in use - https://www.eoshd.com/comments/topic/38363-simultaneous-dual-gain-sensors/ After reading the Arri and Canon 'whitepaper' info: Arri use a simultaneous dual ADC approach (their amplifiers and ADCs appear to be off-sensor), the combining the results. Canon DGO reads out the stored charge for a pixel, stores it, then does two sequential ADC conversions at different gains and combines the results. Both those approaches avoid the 'images captured at different times' motion artifacts issue that sequential frame capture HDR creates. In that thread, androidlad mentions another HDR mode that some Sony sensors support called DOL-HDR - https://www.eoshd.com/comments/topic/38363-simultaneous-dual-gain-sensors/?do=findComment&comment=354063

That's pretty much my conclusion too, based on the info in the Petapixel article Django linked to upthread. Given the smaller percentage of red & blue photo sites versus green ones in X-trans (compared to a Bayer pattern), there is likely to be a higher level of chroma noise that needs to be dealt with - doing what looks like pretty simplistic spatial (and maybe some temporal) filtering is a 'cheap' way of suppressing it.

I had a brief play with an OM-1 today (my local camera store had an 'Olympus Day' with an OM Systems rep in attendance). Nice camera - feels very much like an E-M1 mk2/mk3 in the hand - as expected. The new EVF is lovely - larger/sharper/smoother and nicer looking/less obtrusive graphics. The new menu system looks good too (and is a long overdue redesign, I think). It had the new 12-40mm 2.8 mk ii lens on it, so I tried it recording 4k60p with 'medium area' C-AF, shutter priority and (I think/assume) auto-ISO selected. I panned it back and forth between close focus inside the store to infinity outside in sunshine - nice smooth refocusing and exposure changes every time and the IBIS seemed very good - basically as expected. I was a bit disappointed that (in video mode) it only appeared to offer a choice of four sizes of rectangular focus areas (centre, small, medium and full area) - I was expecting it to offer the same choice of focus areas & shapes as in stills mode (i.e. like my Pana G9 does). Asked the rep about this and he confirmed the limitation and that he'd pass my comments on to OM Systems. Note this is for the basic video C-AF - AFAIK touch-AF, tracking, subject recognition etc. can all be used for video, but I didn't try those. Overall - based on a 10 minute play with it, of course - I think OM Systems have a very nice camera in the OM-1, and (particularly if you need a weather sealed, relatively small and light hybrid camera system) it feels probably worth the price. Question is - do I really *need* to replace my G9 + E-M1 mk ii combo with an OM-1, or am I just suffering from GAS? 😀

The Pana 14-140mm 3.5-5.6 is actually my favourite lens for video, especially as it supports dual-IS2 stabilization with the higher-end Panasonic cameras. It's certainly the lens that's been on more foreign trips than any other I own. Just wish they'd make a version of it with power zoom - I can dream... Next favourite is the Pana 12-60mm 3.5-5.6 - very cheap used, weather resistant, light weight, minimal focus breathing, dual-IS2 support, and works nicely on my E-M1 II as well as the Panasonic cameras.

That's my reaction too - a good, solid, upgrade over the EM1 mk 3 but it's up against strong competition from the (somewhat cheaper) GH5ii, G9 & XT4, let alone all the full-frame stuff from Sony, Canon & Nikon (e.g. a Z6ii is the same price). It's got a nice niche as rugged, smallish, lightweight camera with solid stills and video specs (which holds some interest for me personally), but it's going to be a very hard sell against Sony, Canon & Nikon full-frame cameras at similar price points.

See this post - https://www.eoshd.com/comments/topic/60569-lets-all-dismiss-olympus/?do=findComment&comment=469282 How long they might continue to use the Olympus branding is anyone's guess.

According to 43 Rumours it may be a Sony IMX472 sensor which has maximum 12-bit readout and up to 120 fps at 5280 x 3956 pixels, according to the 'flyer' for it.

If you mean the electronic architecture, compared to the EM1 Mk 3, they've doubled the video throughput (4k 60p versus 4k 30p, FHD 240p versus 120p), added HEVC compression, gone to 1053 AF points (was 121), added more 'Ai' AF subject recognition (from the EM1X), made both card slots UHS II capable (was one UHS II + one UHS I), doubled the viewfinder resolution etc. Nothing ground-breaking, but seems a fairly major upgrade by Olympus standards 🙂

Given the development and production lead times involved in bringing something like this to market, plus it's using a new sensor and a new/heavily upgraded processor, I think that's almost certain.

Re. the use of the Olympus brand name on cameras going forward - this was in a dpreview news item on Jan 5th 2021:

The restriction is only mentioned in the manual as a footnote on page 39 ('Selecting the AF target mode'): "The single target mode is automatically applied in movie shooting if the group target mode is set" - it took me a while to work it out too. I know what you mean... I like the 'Super Control Panel' (probably better than the Pana 'Quick Menu' equivalent), but the Oly main menu system badly needs needs a total re-design.

According to this post in the UMP12K thread by androidlad that sensor is a customised version of a 120Mp Canon industrial sensor, so may be too expensive for use in a $2500 camera, even if Canon were willing to sell it to Panasonic (and able to, given that BM may have exclusive rights to that version of it).

I agree - especially as traditionally the cameras have been a high visibility part of the Olympus 'brand image'.

Yes, the inconsistences on the E-M1 MK II get annoying - a few of mine: DCI not being available in 25p or 30p No AF-lock capability (other than an 'AF-off' function that can only be programmed to the lens function button, not to any of the camera buttons - so is unavailable with most lenses). A central single point focus area that's larger in video mode than in stills mode (undocumented, and very awkward for wildlife video e.g. filming birds through surrounding foliage). No 9 and 25 point area AF for video (just central single and all points) - you can use LCD screen 'touch AF' to get a small/medium area, but you have to remember to do that before hitting record and it's not persistent. (The Mk III does have 9 and 25 point area AF for video). The DCI 4k/24p/LOG/Flat situation feels like product marketing wanted some 'Cinema' feature tick boxes added, but never considered that some of those features are just as useful and appealing to video users who use other frame rates...

I think there's two reasons Oly hasn't historically been very popular with video shooters: 1. The EM5 ii was their first m43 camera to take video vaguely seriously, about 5 years after the GH2, 3 years after the GH3 (& G6 a bit later) and a year after the GH4 came out. 2. They've always seemed to market the cameras primarily for stills use. Based on my experience of owning the EM1 ii, G9 and G80 (and several older Pana cams), Oly has the best stabilisation in the business and great build quality, but their video quality just hasn't been competitive with Panasonic (other than DCI 4k on the EM1 ii, but that's 24p only for some reason). Nice colours but just soft in comparison, especially the 1080p.

Assuming the leaked specs are accurate, for video the OM-1 is basically a bit ahead of the (4 year old and half the price!) G9, and that's only if the video quality is significantly better than on the EM-1 iii (like 1080p that's worthy of the name, and somewhat sharper 4k UHD). It's got DCI 4k and All-I 1080p support which the G9 doesn't have. Versus the cheaper GH5 ii it seems well behind on video specs...

43 Rumours now has an 'FT5 rated' spec sheet for the OM-1 - the sensor and video format info from it: Sensor size: 17.4 mm x 13.0 mm (Micro Four Thirds) Lens mount: Micro Four Thirds Mount Image sensor type: 4/3 Stacked BSI Live MOS Sensor Number of pixels: Number of effective pixels: Approx. 20.4 million pixels Total number of pixels: Approx. 22.9 million pixels Aspect ratio: 4:3 Video formats: MOV(MPEG-4AVC/H.264) 4096 x 2160 (C4K): 60p, 50p / LongGOP (Approx. 202Mbps) 30p, 25p, 24p / LongGOP (Approx. 102Mbps) 3840 x 2160 (4K):60p, 50p / LongGOP (Approx. 202Mbps) 30p, 25p, 24p / LongGOP (Approx. 102Mbps) 1920 x 1080 (FHD):60p, 50p / LongGOP (Approx. 52Mbps)30p, 25p, 24p / ALL-I (Approx. 202Mbps) LongGOP (Approx. 27Mbps) MOV (HEVC/H.265) 4096 x 2160 (C4K):60p, 50p / LongGOP (Approx. 152Mbps)30p, 25p, 24p / LongGOP (Approx. 77Mbps) 3840 x 2160 (4K):60p, 50p / LongGOP (Approx. 152Mbps)30p, 25p, 24p / LongGOP (Approx. 77Mbps) 1920 x 1080 (FHD):60p, 50p / ALL-I (Approx. 162Mbps) , LongGOP (Approx. 42Mbps) 30p, 25p, 24p / ALL-I (Approx. 82Mbps) , LongGOP (Approx. 22Mbps)

...and the Viltrox EF-M2 II (EF to M43)

Tamron (14-150mm f3.5-5.8 zoom)

As others have said, we really need to know what your preferences are and what you plan to use it for? Is size and weight important? Do you shoot video indoors in relatively dim conditions or outdoors, sometimes in bad weather, 'run-n-gun' handheld or carefully set up on a tripod, at ordinary subject distances or distant wildlife using long telephoto lenses? Is video or stills performance more important, or do you want a camera that can do both reasonably well? Is video autofocus performance important, or do you mostly use manual focus/S-AF? Is image stabilisation important? As I'm a micro4/3 user who mostly shoots handheld... In the UK at the moment there are some very good deals (around £600-700 body only) on used Panasonic GH5 & G9 and the Olympus E-M1 mk II - all excellent bang-for-the-buck cameras with great build quality, fast operation, weather resistance and top-notch image stabilisation. The two Panasonics have somewhat better video quality (including 10-bit support) but the E-M1 mk II stabilisation is probably a bit better overall and it's smaller, lighter and is a nice, very solid feeling camera. (I own a G9 and an E-M1 Mark II).

You're not comparing IBIS to in-camera digital image stabilisation in your video, which is what is relevant to the R5 versus R5c situation - you are comparing IBIS to post-production DIS. AFAIK modern in-camera DIS normally uses in-camera motion sensors to control it (as does sensor-shift IBIS), whereas stabilisation in post normally has to derive the motion information just from the video frame content (motion estimation/prediction). One exception to that is Sony with some A7 models that add camera motion sensor data as metadata to the video files, so their software can perform post-production DIS based on real camera movement data. I agree with you that you can't remove motion blur due to unintentional camera movement in post DIS - that needs OIS/IBIS. But I suspect that lens OIS + good in-camera DIS can get pretty close to what OIS + IBIS can achieve in a lot of situations, if it's properly integrated and implemented i.e. lens and body from same manufacturer. Personally, based on my experience with Panasonic GX80, G80 and G9, I almost always have the additional EIS enabled because (for my use cases) I think the minimal image quality degradation is outweighed by the increased stability and lower warping artefacts at wide angles.

Definitely! Did you shoot the video in 1080p or 4k?