So far we know the E-M5 MarkII will be released the first week of February, feature the same E-m5 16 MP sensor, and have a new up to 40 megapixel (8 single shot combined) sensor shift function. For those interested on the enw video features of the camer well this is what it’s “rumored” to have:
– It does have clean hdmi-out
– all common frame rates and video optimized af-algorithm.
– 50Mb/s all
– no 4K recording
A good improvement over the E-M5 video functions. Maybe Olympus will add 4K on the next E-M1 successor….
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159 Responses
i will be happy if i can connect the new olympus em5II with blackmagic hyperdeck shuttle
I still hope the rumor about the old 16 MP sensor is wrong .
But If yes , this EM5 successor is born to be beaten by GX7 successor .
maybe not, i hope you wrong you GX lover lol
Why? If you can get something better for the same price, what would be wrong about that? Who is loving what here exactly with such a reply? I love competition, I like Oly and Panny both. I want the best possible cam for my purpouse.
GX8 won’t kill EM5II I think. Its IBIS, a very important thing for all those invested in Oly lenses, is not nearly as good. GX7 killed EP5 because EP5 lacked an EVF. That was huge (and EP5 was more expensive).
But with an EVF and 5 axis (or even 3 xis) IBIS, the EM5II has a lot to offer. Suppose it IS 5 axis and it works in video. That is a huge advantage actually, inspite of not having 4K. Add that 40 Mpixel shifting. Look: this all is nto appealing to me (40MPixel is), but for others I think this is really a very nice cam. Not to mention: weahtersealing!
GX8 therefor could be very nice as it would offer something similar and also different. Like 4K video, DFD which works really well on my GH4 for AF-C and who knows what else. And that would be the very best thing: two new cams that do not offer much of the same but in fact offer a real choice. That is what makes mFT strong. Other manufacturers would have to introduce two cams at the (almost) same time to get there.
Add in a possible G7/8 with GX8 features but who knows external mic, high speed AF-c, swiveling screen and may be Panny could get us weathersealing too. Sure it would partially cannibalise in GH4 but the bulk of the sales of that cam is now gone. It is a year old. And new competition, like NX500, NX1, A7II etc forces them not to castrate a possible G7/8 I think.
relax no need to flood me with reasons ,you never follow my chat with Yun so you dont understand, i am always poking him…i dont know what i should love, but i do know who i love.
I wonder why nobody ask / demand F stop improvement in ISO & DR over it’s predecessor for this EM5 successor ?
Even with this new multiple captures tech but it still capped by that old sensor so I only can assume improvement in DR & ISO will be limited .
No more than 0.5 stops compare with current EM5 , I predict .
No point in demanding/crying after more DR or F stop improvement since we’ve been told it’s the old sensor. Any increase in IQ is therefore marginal. Maybe we’ll get a new sensor in E-M5III in three years… (No, I don’t want an E-M1II so that won’t do). =/
one stop improvement is too much asked i think Yun
3 years /
36 months /
1095 days
of wait not worth of 1 stop improvement ?
Oly is rather a disappointment .
Wait for a7000 , I pretty sure it will have at least 0.75 stops improvement over NEX 7 & GX7 successor should feature new generation m4/3 sensor as well .
No way I’m going for this EM5 successor although I really like it’s design .
if you really need those improvements so desperately, it almost sounds you are not happy at all with any progress the past 10 years. I know thats not tru in your case, but it just sounds like that Yun.
Suppose GX8 (or what ever is named) will have 3-axis IBIS!
[but it won’t work in video mode…lol]
I don’t care about video ( never use it even once in my GX7 ) .
Still imaging breakthrough is what I want from GX7 successor .
It’s ok that you don’t care for it, but it’s a must have in today’s age of the hybrid. For any of the camera makers to stay in business, they need to step up their game in video.
I can only agree provided my camera don’t absorb extra cost from the video feature .
The lack of 4k is really disappointing but everything else about the video sounds fantastic (especially the video optimized AF since the current is totally unusable).
Disappointing but not a deal-breaker—at least not for me.
still FT4, no comment then 🙂 (j/k, it sounds like a nice move, at least someone who doesnt jump the 4k train just because its hot, too bad for the complainers though)
Finally decent 1080p with IBIS! 4K would have been great but in the meantime this will do. Hopefully also the evf has improved.
its likely Olympus will include a similar specced evf, maybe the same or bit lower magnification
I think this model is going to need the E-M1 EVF to stay competitive and relevant in the market for the next few years.
Otherwise photographers not interested in video or 40mpx sensor shift will have little reason to get this over cheaper OMDs.
yes at least higher res indeed
24Mb/s H.264 is already more than decent – after all, it is as good as Blu-ray, if not better.
That’s not how it works.
The lack of 4K is understandable as they probably want to give the feature to the flagship…the future replacement of the E-M1.
Actually, the lack of 4K will severly shorten the life of the E-M5II. If you look at Panasonic, they are bringing this feature to more than just their top of the line.
Again, Olympus is coming up short in a category that can make them profitable.
This is the camera I am waiting for. the E-M1 was close but fell short in some respects. I expect its replacement to clean up at least some of its deficiencies.
I have an E-M10, whats the chances they will release a firmware update to improve the video codec on it to this level? I’m not that interested in the sensor shift to bother upgrading.
No chance, I suppose.
– they want you to buy a new modell
– Olympus never delivers real feature updates
– suppose hardware layout is not adaquate for 50 Mb/s
For E-M10, zero chance of that happening. For E-M1, maybe a very small chance. But in general, Olympus does not have a good track record of providing post-launch support for their cameras, except for fixes for glaring issues. That kinda changed with E-M1, but it seems they only put in effort for the flagship model.
On the contrary, Olympus provides good support for their camera’s.
Had a lot of updates with good improvement’s on the E-M5(after E-M1 came out). Same with the E-M1 now.
Yep, but those are/were flagship models. Only those get meaningful updates (but still, E-M5 never got focus peaking that was rumored to appear), so I wouldn’t count on E-M10 getting anything. That’s why I think there is a small chance of E-M1 getting some further improvements. That would actually make sense, so that there’s no big feature disparity between the top model and one below. It would be sad to see lower-end model be the only one with competent video, while the flagship stays outdated in this regard. We’ll see.
E-M5 hardware isn’t capable of focus peaking…. You can see that with the focus peaking workaround…it struggles to live-view that filter and it gets hardly 5fps when you enable it. That is not something you can advertise as focus peaking….
People are expecting to much. Same thing with the E-M1 4k video recording. E-M1 was never designed to do that. Camera’s have very specifically designed hardware to do what they do at launch, with little headroom because that costs extra and/or have negative effect on for example heat and battery life.
Olympus did improve things on E-M5 that were realistically possible, also some features that we’re new on the E-M1 when it was released. That’s more that most other camera manufacturers would do as a lot of them cripple their camera’s on purpose in software.
Agree on the expectations and E-M5 capabilities (and the 4K was BS all the way from the beginning and it was pretty obvious).
Still, my point is that so far, Olympus has concentrated on their flagship models and I don’t believe that E-M10 (or any other lower end model) will get the same treatment as E-M5 and E-M1. That’s all. I would love to be proven wrong, thought. And I do hope we haven’t seen the last of updates to E-M1, as the replacement is at least a year away.
Presumably new processor, I’d be thinking that might be enough to drive focus peaking on the E-M5 II with the existing sensor.
But I bet E-M5 users will be peeved to learn that the Stylus 1 that uses the same processor (TruePic VI) as the E-M5 is getting Focus Peaking now. http://www.olympus.co.jp/en/support/imsg/digicamera/download/software/index.cfm#stylus
http://www.dpreview.com/articles/3570955861/olympus-stylus-1s-camera-announced-in-japan-only
As Mark Lavrijsen said, I heard too that focus peaking requires a dedicated hardware. If it’s not from the beginning, you can’t have it by firmware update. I think Panasonic said so.
See my comments above, re: Stylus 1 with processor TruePic VI.
Olympus is also bringing a Version 2.0 update (on the 15th Jan) to their ‘flagship’ compact, the Stylus 1 (to match that of the Stylus 1s that was released in Japan only) & it will include the Small AF Target & Focus Peaking among other things. I think that is pretty good too, but it does seem to be a pattern of revitalising a model line as has been done with the E-M5 & E-M1. The E-P5 had some reasonable improvements with WiFi compared to what they started with too.
That is kind of annoying as I don’t believe for a sec that the E-M10 processing hardware couldn’t handle 50Mb/s encoding! Might end up buying the E-M5 afterall, guess that’s what they want…
Actually Olympus has excellent record to do post-launch support. Even for their old DSLR cameras they did amazing things.
But the problem is that many Olympus bashers doesn’t get that Olympus has delivered a great features in the first place, while others like Fuji delivers a half-baked camera and then does lots of post-launch firmware updates to bring some of the features what Olympus has and then Fuji fans jump around how Fuji is so awesome.
Which one you want to be as customer, a get a 99% ready camera at launch and get the missing 1% in future…. or get a 50% ready camera at launch and in future get 49% of the missing features in dozen or so firmware updates?
no 4k – no problem 🙂 => I am a photographer…
quite alot photographers do videograph too and possibly some of them want to do it in 4k.
Not really about being a photographer. Times have changed. It is about staying competitive with other companies. If you are not offering a feature everyone else is offering, buyers will look elsewhere. This will result in less sales snd Olympus users having to mount their lenses on paper bags in the end.
Exactly .
If you are not deliver & the rest delivered , you are done .
A user doesn’t care if the product the company builds doesn’t have features that ain’t needed or wanted.
If E-M5II would have 8K, it would be unusable feature for almost everyone expect couple pixel peepers who would jump around different forums trumpting how they now have a way more possibilities to crop the video!
If you need high quality 4K video, you don’t get any DSLR or m4/3 but you jump to next production line like Olympus 4K videocameras (from 2003) that costs just a few hundred dollars as you get 120FPS in 4K or similars from dedicated video manufacturers.
Well you can’t expect much more from Oly on the video side, so it is a nice and welcome step up.
I’m afraid we can’t expect much of anything at all from them. This is Olympus after all. Common framerates? Does that mean even 24p?… Ha, I’ll believe it when I see it!
Frame rate options will be key, and that info is lacking from the rumor.
I don’t care about 24p… I want 60p or even better 120p …no no no…240p!
24fps isn’t required than some fanatics. Today modern footage has been 25 and 30 fps and in future it is 60fps or even higher.
The difference between 25 and 24 is non-existing. It is such that even production movies ain’t rendered twice but they are all viewed around the world with either one. In couple hour movie it is just speed up or slowed down and the result is negligent, even so much that you don’t care if you sit in movie theater couple minutes longer or shorter.
50mb is really ok for a olympus camera.
50Mb/s might be a little low for All-I without the advantages of inter-frame compression (where most video compression comes from).
in video its never enough it seems
50, or even 20 Mb/s is quite enough for me in H.264 with proper inter-frame compression. Files are huge already, and given 5-axis IBIS, practical quality handheld is already better than other cameras where all that bandwidth is wasted on encoding all that shake. I’d take full-sensor reading over higher bit rates any time, to be able to increase shutter speeds in the dark without noise increase, and not overwhelm the codec with the noise. Simpletons cling to the higher numbers, but all those extra bits without 5-axis IBIS or full-sensor readout (say, on Canons) encode is shake, moire and noise.
but you just said that the 50mb/s might be too low, never mind 🙂
It might be for All-Intra. Go look up what that means and what are the implications of using it.
is it readable for someone like me?
Lol we’re on the same boat Ulli 🙂
Too low FOR ALL-I, because of inherent waste of All-I compression – read carefully.
I agree, it’s not the numbers that count, its the detail. The 50Mbps should render greater detail that the E-M5.
Does the E-M5II have full-sensor readout?
“The 50Mbps should render greater detail that the E-M5.”
If that 50Mbps is ONLY for All-I, it DOES NOT guarantee higher detail rendering, because, compared to a normal inter-frame encoding (with both I and B frames) it wastes all that bandwidth encoding the image already encoded in previous frames all over again.
“Does the E-M5II have full-sensor readout?”
How do I know? I hope it does. That is what is important for video quality, not extra megabits per second with quickly diminishing returns. I mean, E-M5 has H.264 20Mbps, E-M1 has 24Mbps – for comparison, Netflix SuperHD (1080p) stream requires only 5Mbps in H.264, and nobody complaints it is not enough quality – at least it is totally fine with me on my 64″ plasma.
Other important thing is, for example, size of the motion compensation window in the codec – for example, 32-pixel wide window can efficiently encode without tearing twice as fast motion as 16-pixel window, and Mbps says NOTHING about that (but requires about 4 times more powerful codec).
Mbps is for ignorant, it is like top speed limiter in the cars, who cares what it is after about 100mph? There are MUCH more important considerations.
And actually a camera which is not able to limit its video bitrate to a reasonable number like 20-25 is WORSE in practice for most people than a camera which ONLY has 20-25Mbps – you will lose your precious life time transferring and processing the huge videos, storage space, without any noticeable benefit.
Too large filesize is a reason for retards.
The kind of retards that do not have enough money to buy a bigger sd card and also don’t want others to do the same.
Please, just go away…
I will be happy not to have any video function at all, if Olympus can just give me an improved sensor in this E-M5 II, whether it’s more MPs, or better DR, or better sensitivity. Video is not important to me, well, it may be worth $10 to me.
i value the possibilty of being able to do video during a shoot more then a possible new sensor. yeah luckliy we are all diferent
If this is the case , I think the 4K photo introduced by Pana is for you . Get your $$$$ ready once the tech hit the market .
ofcourse not….if i say i want to videoshoot during photosession, it does not mean i need 4K. Wake up Yun, 1080p is more then enough. 4K would force me to upgrade my computer, I am not goin to do that.
i see no need for 4K photo in what I do. I just use selected stills from 1080p for halfpage prints,sometimes even bigger; Modelphotography is less demanding in this imo. Thats why I can be happy with lesser MP because there is no need for it in the things I do.
That famous 80-20 rule from bloated software engineering : more or less accurately, 80% of the masse will use 20% of the features from their camera.. In other words, yes Olympus will listen to you when you say video is not important 😉
It’s worth a lot more than $10 to you. Adding video means more sales, more sales mean economies of scale, economies of scale mean cheaper for you to buy.
No buy approved !
I seldom use the built in flash either.
please Olympus, please, make a 12-60 lens for micro43. pleaseeeee
Not after my 45mm F1.2 ,
Ulli’s 50mm F2.0 , Douglas’s 9mm F1.8 , Bob & Marco’s 7-15mm F2.8
🙂 Nocticron really kicks. A 45mm f1.2 would an expensive alternative and I doubt many would choose it over the PL..
I’m waitig for the UWA zoom to get rid of the Panasonic 7-14mm I love that lens but it can be really frustrating.
A 45mm F1.2 if Oly intend to make , it just need to follow the pricing & size as the 75mm lens , sure it will establishing it’s own market .
Btw , I did try the Nocticron , bokeh wise at F1.2 still lacked a bit . A 45mm F1.2 will do .
That Pana 7-14 I rent it several times . It only good in good lighting / bright sun light , once you hit poor lighting , it can’t deliver what you expect .
That’s why I never buy in such lens . Is not just because it is slow but because it is not LEICA DG lens afterall .
bokeh only shines if you take care of all other things too in making a photo..you cant expect a 42.5 1.2 to give you magic mood the moment you shoot….if you dont know this then you should practise more situations . Modern optics have more neutral behaviour then old glass with their defects.Look at the Canon 85mm 1.2..it has lots of defects in it but thats why its bokeh is very popular
I have no doubt the beauty of bokeh from the 42.5 lens but it just a bit lacked .
Bokeh or defocusing effect rely on 3 elements to deliver .
1.Sensor size
2.Aperture
3.Focal length
In your case , a FullFrame sensor with F1.2 is more than sufficient to deliver the desire bokehs but for M4/3 due to sensor size , aperture & FL are the only options to rely on for more defocusing effect .
The 42.5 F1.2 in my case still lacked , I would prefer a 45mm F1.2 ( if possible F1.0 ) to contribute more in the defocusing effect .
this is a rather subjective topic.
Many people see bokeh very differently.
For me i prefer the bokey-effect(which i prefer to use with minimal dof setting/open aperture) being dependent on light , glass defects,background & the distances used(believe me the bokeh on mft at full body shots is harder to achieve even with f/1.0 if you only rely on the max opening) Now I realise an extreme wide open aperture is less important for the bokeh. As always the complete set of visuals is much more effective then just focusing on one aspect (like those samples where people use a very fast lens and shoot an object at very close distance-where actually every lens/sensor size shows similar effect-)
I think I’m wrong on
the discussion .
The discussion is on out of focus effect not bokeh .
Thanks for Fri13 for remind me .
yes tat is basicly true, but for the addicts we prefer to associate oof rendering with bokeh as we shoot mosty wideopen. its not always to use a word in technically the right way imo
The depth of field rely on THREE elements that are:
1) Distance from image plane to subject (and from subject to background)
2) Aperture
3) Focal length
The “Bokeh” is a character of the blurry areas, not the out of focus itself. The “bokeh” is the character how highlights mix with low light, what size and shape of the highlights are (that you can change simply even cutting wanted shape for cardboard and tape it front of lens) and how colors are rendered. Those are about optics, how light is transmitted trough lenses in objective and there the aperture blades shapes (round, 6 blades or 9 blades etc).
When subject magnification and aperture is same, depth of field is same. That means if you use 50mm on both cameras at f1.8 aperture, you get exactly identical depth of field and bokeh for out of focus areas regardless of the format, but smaller sensor only crops the angle of view so you have tighter composition with same optical magnification.
To get same subject magnification to view, with camera that has smaller sensor you are required to move back by the format ratio to get subject same captured. At that point as the focal length is still the same, the smaller format gets deeper depth of field with same aperture.
If you want to keep same distance, you need to use shorter focal length by the format ratio, meaning smaller sensor camera use shorter focal length with same aperture and that gives deeper depth of field by amount of the format ratio.
The Bokeh by definition doesn’t mean out of focus, it means just the style. Like these can be used to make different bokeh: http://www.bokehmasterskit.com/wp/wp-content/uploads/2009/12/bmk_advanced_kit.jpg
The Bokeh can be very neutral that means objective character renders colors and highlights mixing them very smoothly together without any hars edges or mixes and keeps the shapes intact (because aperture is round). Or it can have very dramatic character from “cat eyes” to “star patterns” or anything like with those disks on that sample image.
Yes , you are right .
But in my case , I mean out of focus effect .
long story but basicly he is right ofcourse, basicly…
Do you know you are on the wrong system then? Even that funny noctiblong is equivalent to a modest 85 mm F2.4 on 135.
lel at your name, alredy gay. HULK know you would choose 45 1,2 because bigness, fill your @nus with pleasure. Y not switch to Sony, plenty fgts and wobble lenses waiting…go fgt!
Don t use refurbished or used Son lenses…might already have AIDS…not that would make a big difference for you looking your picture, lel
and everyone else’s I don’t care.
+1 for 12-60 m43
you should jump 12-60 ft ladder, fgt!
The 25p is coming to the land of PAL! All-I is not a big deal, lack of 4K is a bit of pity but that’s enough for me to put my EM5 on sale. You’ve got a month to implement audio in to make me totally happy, Olympus.
The only p coming to you PAL is from your boyfriend. Get AIDS fgt!
Well this makes my life easier. I was never a fan of the ergonomics of the E-M1. Camera felt wonderful, but it gave me TOO many options in terms of customization. Too many buttons. The E-M5 I greatly preferred, but not enough to switch from Fuji. I was waiting for the E-M5II, that I hoped would offer a new sensor and hopefully a better 4-way controller and EVF. But if it’s the same sensor, then nope. I just can’t get on board with no advancement in sensor tech for 6 years (because I generally keep my cameras for 3 years or so). I will wait for Fuji’s next gen sensor, and if that isn’t forthcoming, then Sony it is.
lel, wander into lenslessness, Go die of an@l rupture caused by wobble lens… bye fgt.
I’m trying to understand your comment. I assume “lel” means lol? I don’t know what lenselessness means because 1) it’s not a word, and 2) fuji has a lot of lenses. I’m not sure how wobbly lenses could cause a rupture in my sphincter. What are you doing with your lenses? That doesn’t sound sanitary. In any case, I’ve never had a trouble with lenses wobbling. Probably user error. And “fgt?” What are you trying to say? I know English is a hard language, but I have faith in you HULK. Keep it up, you’ll get there eventually.
Sounds interesting but is it a bit too late -and what price? if the A7II price falls to A7 levels in a few months it will have serious competition, plus there will be many new 4k cameras this year for sure.
Hey Oly how about Custom 1 and 2 on the mode dial please, or let me program ART and SCENE to be custom 1 and 2.
custom options for your moms webcam, lel.
You can set any custom dial position to any of four MySets.
In ART dial I have black and white with rough S-log inverse and high ISO and JPEG only with reticle grid.
in Scene I have sharpness up, saturation little up, 16:9 ratio for JPEG (JPEG+RAW mode) and thirds grid with Sun WB.
In Sports I have low highspeed shooting, C-AF+Trk, auto whitebalance and RAW only.
I have all mysets set to dial positions so I can quickly just switch when needed, without watching the camera.
Excellent news, I guess that’s with the Em1 or Em10?
50Mbps is on the low side for All-Intra. Hope they have improved the inter-frame coding. The codec on E-M5 is horrible. Other possible improvements include: better binning or full pixel readout for video, and 60p mode, which really helps CDAF during video recording.
Olympus could also learn from Panasonic to allow flash output to be under 1/64, while Panasonic could learn to make better IBIS and allow continuous drive with flash turned on.
So Panasonic and Olympus would end up to have same camera?
If you want best photography camera and best IS on the market and you want great looking video, Olympus is way to go.
If you great photography camera, a OIS objective collection and you want great editing possibilities for video, Panasonic is way to go.
Now, if you are more for video than photographs, its easy (panasonic). If you are more to photographs, its easy (olympus). If your hobby is video editing, its very easy (panasonic). If your hobby is watching videos, its very easy (olympus).
That’d be great, actually. I have a GX7 for all of my videography and most photography, but also keep an E-PM2 for long exposures and flash photography with continuous drive. But I really need only one camera.
M4/3 is a little fragmented like the Android system despite not having a similar market share – if you want a lean and clean Android experience, you get a Nexus; if you want the best hardware combination, you get a Galaxy. But most people only want to carry one phone. That’s partly why some like iPhones better, instead.
What I feel is Olympus and Panasonic being compatible at lens mount level does not make the so-called system competitive enough. The zoom directions are different; the AF performance across brand is less than ideal; one has awesome IBIS while the other doesn’t, also making the lenses less interchangeable for some circumstances; the supposed advantage of having compact telephoto lenses hasn’t been exploited. On the other hand, Sony has combined reasonably good video sampling and codec with decent IBIS in A7II, while Samsung has demonstrated capability and will to compete with NX1.Canon will likely throw in a more serious EOS M, although they always keep thinking of protecting their higher end product sales.
Put it in another way: the divergence in M4/3 looks like a lot of missed opportunities for greater products and competitiveness as a system.
What a load of crap…..
…pushed up your @nus by wobbly Sony lens…Sony and 43 fgts united…how
cutefcking dsgusting. Infuse you w/ SONY lens-absenstitis, lel. Die fgts!u die first
50 Mb/sec ALL-I is extremely low, it equals to 10 Mb/sec of IPB.
But it actually equals as 324Mb/sec of YAI, that beats GH4 at max.
In you dreams maybe.
That’s not your main problem anyway…
Looks like I’m keeping my GX7 and waiting for an E-M1/12-40 f2.8 fire sale later in the year.
lel, only fire up your @nus from slim olympus lens, so thin…but long…HULK hope you di of AIDS
Disappointment in the 4/3rds, I sense.
I’m in the market for 2 M43 cameras. I do video. Sadly, Olympus won’t get my money. Too bad, I wanted to spend it on them. I LOVE the 5-axis stabilization.
Why? Do you really need 4k?
Oh yeah. For image quality it makes for a wonderful improvement. Even though a lot of what I deliver is 1080, having the extra resolution is a huge visual upgrade. Well defined edges, percieved image sharpness, etc.
Down converting 4k to 1080 also increases color rendition while allowing for more aggressive color adjustments in post production.
Also, having 4k now gives any footage shot now more shelf-life as it were. I have wonderful places from my client travels all around the planet. Much of it is shot NTSC. That’s 480 lines of resolution. I can’t really use any of that stuff in edits these days. Such a shame.
Let’s put it this way. You’re a photographer used to shooting a resolution of 4592×2584. All the cameras released by a company you want to buy from shoot stills at a resolution of 1148×646. All the other features of the camera you love, but the resolution is 646. Would you buy that camera?
I really hope E-M1 gets at least the same video specs as the new E-M5II with a firmware update. Olympus has shown that it can do new features with an update already.
aaaaahhhh, no! Your gayness also not fixable by firmware update, only by SMASH! fgts!
I bet that Spider-Man has s spider senses tingling!
All the video specs go over my head, but what I do know is if it is a step up on the EM5 I am okay with it. Most video goes online to channels such as Youtube, all the detail in the world wont save you when youtube gets their hands on your video 🙂
The 40mp stacked image has me pumped (I do a lot of product work). Wifi, tethering etc… It is basically a sure thing for me.
Just dont change the god damned grip!!!!!!!!! and keep my batteries compatible!!!!!! 🙂
All I can tell you is that, as a video guy, I desperately want clean 4K video with 5-axis stabilization. If you truly know what you’re doing, as in photography, you can use these m43 cameras on a professional video level.
However, they DO have to deliver on certain specs to get our money. Even with the EM’s limitations it can make exceptional videos in the right hands. Still, it doesn’t compete with Panasonic. Oly is so close, but yet so far…
BTW, good image quality can be downscaled and hold up decently, but you can’t go the opposite direction. YouTube crushes things, yeah, but that doesn’t stop movie trailers from still looking rather nice, does it?
Dont get me wrong, the better the video is, the better… But it wouldn’t be a deal breaker as there are a lot of improvements that would positively impact the photography I do.
As usual we will just have to wait and see.
No big improvements with puny sensor…maybe @fuzzynormal:disqus can improve performance of your puny dck in video AND stills…such progress….dumb gay fcks
Your mom still loves you too!
Please don’t reproduce.
Sure, if you’re a photographer it doesn’t matter so much, obviously. It matters in this regard though: The sales of their cameras would increase a bit because of the indy film market. Those extra sales can only help the financial health of the company…
As video guy you desperately want to scuk clean cck of @abrahamlatchin:disqus in 4k. Get UHD AIDS you gay cck scker!
We accept you Hulk!
I prefer my cck dirty, Dr. Banner.
Uh vibrating sensor has you pumped, you fck faggt, just a projection of the dldo up your @nus. Guess that s why Olympus lenses so thin, not hrt so much and also “weather” / KY sealed. Stupd @ss monkey fgtd digust HULK, get AIDS you drt pushers! Bahhh
Denial
^I got used to seeing such responses in mobile phones and video games sites, but I never expected this in a high-end, expensive, semi-pro camera rumor….
That’s because it is neither high end nor semi pro, just expensive.
Agreed about the batteries! Switching from E-M5 to E-M1 and keeping my batteries (got 3 per camera) was quite convenient. As E-PL7 still uses the same battery, I guess they won’t, hopefully, change it.
Good job Oly , now its not just retro externally, but also internally.
2010: Knock, knock
Olympus: How s there?
2010: It s me, I want my camera back!
ALL-I isn’t always good. But alternate frame-rates are good. I’m getting by without 4K but being able to pack a small portable setup for video will be pretty cool!
Poor Olympus … won’t get many current OM-D owners to upgrade. I sure won’t. For me (and for them), I hope they offer a more significant upgrade soon.
Together with improved IBIS it is capable of producing video quality that can be used for broadcast.
E-M5 is more than good enough for broadcast already, after all broadcast is 1080i (not even p) or 720p, at low bitrate (8 to 15 Mbps max, compared to 20 Mbps in E-M5 and 24Mbps in E-M1).
Actually E-M1 can get up to 36Mbps. The codec is at minimum a 24Mbps but by content it usually is 25-28Mbps and if optics are good and scene has lots of details its jumps up.
But how many “bitrate worshiper” really do know at what rate the Bluray is usually encoded? Most common one is 18Mbps…. Even that the max supported is much higher, the avarage is very low. A DVD is at max just below 10Mbps and it can be very high quality at those ranges.
A H.264 codec doesn’t get much improvements after 6Mbps as it was designed to 1-3Mbps bandwidth.
Like example the The Watchmen Directors Cut bluray release that has got high praises for its quality (dark and fast scenes), has only avarage bitrate of 22Mbps. At the most demanding scenery it goes up to 27Mbps and peaks at most in the whole video to 57Mbps.
A good editor knows how to edit footage and get very low bitrates look as best ones. When someone looks the bitrate as number and goes “Nah, its not good enough” then its stupid pixel peeping and only the knowledge of that causes problems.
E-M5 and E-M1 are very well capable to capture very high quality video, if the videographer has skills.
Such a terrible argument. I don’t think you don’t understand the difference between video acquisition and video distribution.
You can take a good photo @1k resolution on low bit rate JPEG, but why would you WANT to limit yourself to that? Would you want to lose a great shot because it was 3 stops underexposed and since it was captured with JPEG, you couldn’t pull it out? Or would you rather have that -3 stops shot captured with RAW?
Unlike you, I have logic and understanding what is required, what is needed and that what is very cool thing to have, but not needed or required.
When I need good photo for what the “@1K resolution” is enough with high compression, I use it because it just saves my time and effort to open RAW, adjust its settings as I saw, downscale the image, choose a compression and then use it. Why to do that when I can just get the photo in the camera and get it straight to my phone or tablet and be done with the task?
Why I should take everything in RAW only, at maximum resolution, everything set as neutral?
That is the thing pixel peepers like you don’t ever never understand that best possible quality or feature isn’t needed most of the time.
Tell me, how many can see your 4K material now? And those who have 4K (I do have) really see the difference? You don’t.
You don’t even see the difference between 4K and 2K in movie theater unless you are in first three front rows! There you are as pixel peeper front of the 7m size projection and you can’t even read the subtitles well because the font is bigger than your head and you can’t see the movie because to enjoy from the movie crew work you need to turn head from left to right and up to down to see.
Instead smarter people steps back, even back to rear seats as from there you can see the movie and enjoy from it totally different manner and from there it doesn’t matter is the movie 1080p, 2k or 4k because it all looks as good.
People like you don’t think forward, you don’t think that where you actually are using the photo. You don’t think to the future that it doesn’t change the damn thing in human eye capability to spot the difference. You don’t get that after years, you don’t come back to the video and edit it again.
Would I go out and buy a Super-8 film tape camera? Hell no. Would I go and buy a GH4 because it has 4K instead E-M1 that has just Full HD? Hell no! The quality difference isn’t there for my needs.
I like to deliver video that is a smooth, sharp, great colors and without compression artifacts that isn’t shaky or suffer from jittery and post process stabilization smoothness.
When I can get great footage from the camera, why I would like to sit hours more front of a computer to get same results as I can get with E-M1?
I don’t need virtual penis extension or ego boost because I don’t have the coolest and latest camera of the block. Instead I have skills and talent to get better results from E-M1 than most GH4 owners gets from their camera. And that is done with smaller effort and easier work.
You don’t get it, and you never will. But I hope you would.
50Mb/s? My old hacked GH1 can do that and higher.
Did you spot any premium HDTV channel offering movies at bitrates higher than 20 Mbps? 1080p30 encoded as H.264 High Profile at 20 Mbps offers decent quality.
I guess in new E-M5 they’ll add support for 1080p60 (either at premiere, or in new firmware), which justifies bumping bitrate to 50 Mbps.
i love people who show off how high they can get
1080 in 2015……..pfffffffff!!!!!
go to the hel Olympus
How many people have 4K monitors/TV? Like 1%?
Actually even more. At this year 4k displays prices drops even more, the 4k televisions jumps on sales.
The televisions resolution difference is negligent as you say, but on computer display the difference is huge. Do you have a 4k display? I am writing this at 4K display and I would never go back to anything smaller. I have a 1920×1200 on other computer and that is ridiculously small. A great 4k display costs only 500€ today.
BUT that said, watching videos I would prefer even a 7″ FullHD tablet for that than 4k display on workstation. Why? because I don’t want to sit or stand (I have standing workstation) front of the computer and tablet is nicer when you can be on bed or somewhere else.
There is one thing where I would take a 4k and that is definitely only that one, and it is post process. I love the idea that I could just get a awesome ultra-wide angle rectilinear objective and record whole situation now and then. And then in editing just pan the 1920×1080 part of it.
And why that? Because as photographer I don’t care so much about cinematography where I need totally different camera angles, different motions and field of view to be usable, while in photography I can be more flexible and get easily the better results in fast pace.
But lets take example a E-M5 footage to 55″ FullHD television and if you know anything about video, the footage will be very good.
http://vimeo.com/79293593
http://vimeo.com/74665456
http://vimeo.com/78405417
We can always pixel peep, take even a magnifying glass and start looking around compression artifacts and color shades and miss the whole purpose of the video.
“I’d appreciate high quality 1080p60 at 50 Mbps, though – this is something that many of us could use”
*smile*
Since when is not having something a feature? This should be removed from the “rumored to have” list. Maybe add to the E-M1 Mark III or E-M5 Mark IV rumor list for 2020?
– no 4K recording
For those that argue 1080 resolution is good enough and have a hard time understanding why video people are clamoring for it, do this: Shoot a series of JPG photos @16:9 1920×1080 resolution. Then shoot the same JPG series at 4592×2584. Down convert those higher res stills to 1920×1080 and look at the difference. It’s pretty dramatic.
Now, even worse, imaging you’re shooting 1080 video with a bunch of blurriness added because of pixel binning and moire… it’s not fun.
The extra data in the higer-res 4K source image is crucial to post-production flexibility and IQ.
For those few who argue for larger resolution, go out and learn that 99% of the users doesn’t pixel peep! They love photos that are taken even as 1280×720 resolution and downscaled to 640×360!
They don’t CARE about 4k or even 1080p! They don’t pixel peep, they care about the content, the camera angles, the cuts, environmental lighting, emotions. That is 100% NON RESOLUTION DEPENDENT!
You and your fellow 1% can go and pixel peep with magnifying glass the televisions and screens and judge video and photos based the compression or visible noise. Rest of the world doesn’t care and enjoy happier life without your buying remorse!
Yeah right. Even if you love images at 640×320 you’re not going to buy a camera that only offers that resolution when other gear on the market is better. Nobody else in their right mind would either.
Point is, Olympus is not competitive in the video realm and they could be. That 5-axis tech is awesome. I bought a EM5 becaue of it. Loved using the camera, but the video didn’t hold up compared to my other gear. I sold the EM5.
Strange why you should get offended for me stating that I WANT to buy Olympus, but just can’t because it under delivers for my needs.
Here’s the deal (again). Olympus doesn’t offer me enough reason to buy their camera. Also, I’m not alone in this sentiment.
fuzzynormal: that’s exactly what I was talking about. The way most cameras currently produce 1080p is the problem, not the 1080p resolution itself. If the camera was using same high quality downscaling we can do on the PC, then output quality would be the same as 1080p made from 4K on the PC.
1080p may be very sharp with modern codec (H265), pity they engage old h.264 again and again.
then go buy a real video camera?
I’d buy a camera from Olympus if they delivered. That’s it. Why would anyone get snarky because I simply state that when they make a camera with certain specs I’ll buy it?
Meh who cares .. it’s a video camera function bolted onto an inexpensive prosumer camera body. far more curious and interested in the photographic functions of this baby. because that will get far more people interested in this camera than what it can purportedly do for people that demand and cry about 4k and probably only 10% of them actually shoot it.