ac6000cw

Yes, it's a version of the 'no one gets fired for buying IBM' situation - it's all about minimizing the (large) financial risks in high-end production. A very different situation from a one/few person production company doing filming and post-production in-house with their own relatively low-cost workflow (e.g. using Blackmagic cameras and software).

Sounds sensible to me - small, light, unobtrusive and take 'good enough' video and stills. The same basic reasons I'm about to go out for the day with a pocket-sized ZV-1 instead of my OM-1 (despite the terrible battery life and the annoying user interface).

Which MediaInfo visualisation is the best one to see all the extra info?

A few Oly/OMDS lenses have OIS and support Sync-IS (their version of Dual-IS) i.e. the 12-100mm F4 and some of the long and expensive telephoto lenses.

Lens was Oly 12-200mm, used at the wide end (maybe between 12 and 15mm). No lens OIS. With IBIS at +1 level you get some jitter with fast camera movement, so level 0 would be better for that. Enabling EIS in the camera should handle walking much better. If I was going to use the 'walking' parts of that video I'd probably also add stabilisation in post. (I don't normally do 'walking with the camera' stuff, but I happened to have that recording).

For an example of walking with the OM-1 using just sensor-shift IBIS, see my post here - https://www.eoshd.com/comments/topic/87236-how-do-om1-mkii-or-even-om1-dci-4k-video-quality-comparing-to-gh7-or-even-gh6/?do=findComment&comment=713229

Just added a clip of walking along using only sensor-shift IBIS (probably on the max +1 video stabilisation setting) in the 'IBIS_walk' folder (OM1_walking_with_IBIS_P8260305.MOV) It's quite wide-angle so has a fair amount of corner warping, but I really like the way it becomes very stable as soon as you stop walking.

Personally I doubt we'll see a GH7s. More likely (if they think it's going to be profitable enough), they'll put the sensor and processing of the GH7 (minus IBIS and mechanical shutter) into the BxH1 box body to create a BGH2. Or not bother and just update the BSH1 into a BSH2 with the guts of the S5ii/S9 inside (minus IBIS and mechanical shutter). How about an S9 without IBIS but with some active cooling as a small/light FF crash-cam - replace the foldout LCD with a much thinner fixed screen, with the fan behind it (GH6/GH7 style)?

I think they did. As a semi-disruptive startup company, RED didn't manage to dominate their market so instead they've sold out while there's still some value in the company.

I assume the crash-cam market is meant to be covered by the BGH1 (which has the 10Mp GH5s sensor) and full-frame BSH1 pro video 'box' cameras.

...and the (analog SD video) 'Sony Video8' 🙂 It's quite an eclectic mixture of cameras in the bottom half of the 2021 list. The Sony A7S is also relatively popular - I wonder if those are actually all the original, FHD, 10-year old version, or if it includes the later versions with 4k video?

As the 4032 x 2268 RAW video is listed as [FX] (full-frame) in the tables, I think it probably is down-sampled - a couple of pages from the Z6 iii manual:

From the GH6 manual: I see what you mean about 5.7K versus 5.8K. I wonder if the extra image/video processing needed for 5.7K (about twice as many pixels per frame as C4K) is reducing the processing power available for IBIS control, so it can't react as quickly? As an illustration of what I said in words in an earlier post, below is an image circle with 4:3 (yellow), 16:9 (grey) and 17:9 (red) rectangles inside it. Note how the corners of the 16:9 and 17:9 rectangles are further inside the circle than the 4:3 rectangle (the full 5.8K 'open gate' aspect ratio). In reality, the usable image circle is larger than needed to contain a 4:3 rectangle - if it wasn't, sensor-shift stabilisation of 4:3 'open gate' video or stills would be impossible without vignetting.

Yes, it's interesting how people react differently when you have a mic with furry on a 'proper' camera, even though there might be several other people in the vicinity taking photos and video with their phones. As I don't usually have people as the main subjects in my video, I often try and find a filming spot away from them to avoid the issue. At least now that video shooting is so ubiquitous, it's been a long time since someone wandered over and asked me 'what's that furry thing on the camera for?' 🙂

After allowing for the 11mm vs 12mm FOV difference and slightly different overall brightness of the two, both images look much the same to me. The Samyang 12mm image is a little bit softer (and has a blue lens flare in the middle of it), so I'd probably lean towards the Sony 11mm due to better contrast and sharpness.

Just educated guesswork, but that might be because it's using the full sensor area (instead of a vertically cropped area in UHD and C4K), so the IBIS can't move the sensor as far while staying within the image circle of the lens. Assuming the horizontal field-of-view is the same in 5.7K, UHD and C4K, the corners of the frame will be closer to the image circle limit in 4:3 than in 16:9 or 17:9.

From the GH5ii manual (there are equivalent modes when the camera is set to 50 Hz or 24 Hz 'system frequency') :

Guys - please just stop all this childish personal insult stuff. It's boring and adds nothing to the discussion.

I suspect when I shot the 25p video I forgot to change the shutter speed from 1/100 (180 degree shutter for 50p) to the 1/50 needed for 25p. That would make it look stuttery/jumpy. All of the video samples were shot handheld, with only sensor-shift IBIS enabled (probably at the highest, +1, stability setting).

Doubtless because most people regard it as a 'hulk' - but you do get the equivalent of a free, non-removable battery grip included, as well as an earlier version of the Ai subject detection and tracking that's in the OM-1 (which isn't in the E-M1 iii that followed the E-M1x). I've never owned one (or had any interest in such a large m43 camera), but in theory it may/should have.

The OM-1 doesn't have the 24p C4K VBR 237Mbps mode. C4K has the same bitrate choices as UHD i.e. 102Mbps for 24/25/30p and 202Mbps for 50/60p H.264 and 77/152Mbps H.265. I think these are variable bitrate, but in reality the overall file bitrate usually comes out close to the nominal rates. Having owned both the E-M1 ii and iii, I'd choose the iii - I think the improvements in video C-AF and video IBIS are worth the difference in used price (and you get an AF joystick). But video quality is the same on both (to my eyes anyway). Both of them have probably the best ergonomics and 'feel' of any camera I've ever owned (and great battery life).

This is a collection of SOOC files from my OM-1 - https://drive.google.com/open?id=1527WMHFXJmDvTGI74QINJQdstgJPhXyt&usp=drive_fs Most are 10-bit OMLog400 and two are 10-bit HLG (in low light). The four files in the 'Road' folder are all of the same scene shot back-to-back, 10-bit OMLog400, in FHD 50p, UHD 50p and UHD 25p as a comparison. Most were shot with the Oly 12-40mm pro lens, using sensor-shift IBIS only, auto-WB, 1/100 shutter priority (auto aperture and auto iso). All using C-AF with a medium size central focus area and default C-AF speed and sensitivity settings. The file in the 'Train crossing road' folder is 8-bit UHD 50p and demonstrates the the low rolling shutter. There is an OM System OMLog400 Rec2020 to Rec709 conversion LUT here - https://support.jp.omsystem.com/en/support/imsg/digicamera/download/software/3dlut/files/om1_LUT_OM-Log400_BT.2020_to_WDR_BT.709_v1.0.zip - but personally I don't particularly like the results from it.

I'll upload some if I've got some suitable files handy. FHD is much better than FHD from the E-M1 ii/iii, particularly in 10-bit. There's a bit of aliasing sometimes, but it's not really noticeable unless you're looking for it. I've never noticed any false-colour moire. Overall I'd put FHD a bit below that from my G9 and above the G85 I used to own. (But the G9 has excellent oversampled FHD so it's a tough competition). FHD 8-bit 50/60p is 52Mbps long-GOP H.264, 10-bit is 42Mbps long-GOP, 162Mbps All-I H.265 FHD 8-bit 24/25/30p is 27Mbps long-GOP, 202Mbps All-I H.264, 10-bit is 22Mbps long-GOP, 82Mbps All-I H.265 UHD/C4K 50/60p 8-bit is 202Mbps H.264, 10-bit is 152Mbps H.265 (all long-GOP) UHD/C4K 24/25/30p 8-bit is 102Mbps H.264, 10-bit is 77Mbps H.265 (all long-GOP) Basically nothing above 202Mbps, 8-bit is H.264 Rec709 only, 10-bit is H.265 Rec2020 only, All-I is FHD only. 24/25/30p UHD/C4K 10-bit is the most detailed, 50/60p UHD/C4K 10-bit is a bit softer. I shoot a lot in FHD 50p 10-bit OMLog400 (long-GOP) as it's good enough for most things I do and keeps the file sizes down. Important stuff I shoot in UHD 50p 10-bit OMLog400. For wildlife video, I sometimes use 25p 10-bit because then I can use sensor-shift + digital IS without loosing to much quality. The extra digital IS crop also usefully gives longer reach in addition to excellent stability (like being able to shoot reasonably stable handheld video at 300mm).

The very low rolling shutter distortion is a major plus point for me - I do a lot of railway video, and not having noticeably skewed verticals on trains is really nice... I'll upload a few 10-bit SOOC files later. In the meantime, this was shot with my OM-1 - captured handheld, sensor-shift IBIS, in FHD 50p, 8-bit 'Natural' profile, auto-WB, using the Oly 12-200mm lens. Edited in Vegas Pro and rendered to 4k 50p for YT upload. (Aimed at railway enthusiasts like me, so not the most exciting video content 😉).

I'm not holding my breath, when e.g. at present you can't even use any standard photo profile in 10-bit video (and the mk ii version didn't have any video improvements over the mk i, other than in AF as part of the overall AF improvements). It'll be interesting to see what is actually in the promised autumn firmware update for the mk i. But the OM-1 mk i is now good value used - you get a lot of camera (for around £1000 - £1200 in the UK), with a very nice fast stacked sensor and lovely EVF, and useful computational still photography features (like the live ND).