Didn’t know that you can get an Emmy Award also for Technology achievement! And this years prize goes to Panasonic for their in camera chromatic aberration tool! Here is the press text:
Panasonic Corporation will be presented with a Technology and Engineering Emmy® Award for 2013 by the National Academy of Television Arts & Sciences. The honor is being conferred upon Panasonic in recognition of the company’s development of In-Camera Electronic Compensation for Lateral Chromatic Aberrations in External Lenses. The Emmy Award will be presented on Thursday, January 9, 2014 as part of the International Consumer Electronics Show in Las Vegas.
Lateral chromatic aberrations are inherent to all optics and must be compensated for in the optical design. The trend to smaller imager formats and less-expensive optics had meant compromises in image performance without an alternative solution to this problem. The concept of modeling the aberrations of a lens and applying real-time electronic correction provides a very significant increase in image quality and permits lower cost-cameras and optics to create better images. Panasonic has incorporated this technology into its HD handheld cameras from the AG-HVX200 to the AG-HPX255 and in shoulder mount camcorders, through a feature it calls Chromatic Aberration Compensation (CAC), in its high-end P2 HD production cameras, including the new AJ-PX5000G (with AVC-ULTRA recording), the AG-HPX600, AJ-HPX3100 and the VariCam™ shoulder-mount series.
“Panasonic is honored to receive the coveted technical Emmy for its pioneering efforts in the development of Chromatic Aberration Compensation,” said Michael Bergeron, Business Development Manager, Panasonic System Communications Company of North America (PSCNA). “This technology has helped us maintain high-quality imaging while making improvements in size, weight and affordability, and now combined with master-quality AVC-ULTRA recording and native 1920 x 1080 imagers, CAC has contributed to new benchmarks for HD acquisition, getting around inherent limitations of optics.”
Source: Panasonic.com.
12 Responses
It’s a pity that Olympus didn’t pay more attention to video in the E-M1 – had they done so then they might have got one for the 5-axis image stabilisation.
not gonna happen – Emmy is for television, read: video. This award is for the Panys video cameras, NOT the photo cameras.
Like it or not – Olympus seem rather clear about it: looking for video? look elsewhere. It’s bold of them to do this – and you could argue it undermines the commercial potential of their cameras, which is a shame.
I get the impression Oly sees things small – with the unexpected success of the EM5, now of the 12-40, likely the EM1 too – they are not prepared to produce according to demand. Which again undermines their potential.
Now if only they could get their act together – who knows what they could achieve.
Personally I am not all that concerned with video, had I been, I would have bought a GH2 or GH3 instead of an OMD EM5.
Its a general principle of business that you do at least one thing really well to differentiate yourself, obviously for Olympus that is the quality of their stills. Considering that they don’t have the almost limitless resources that Canon could throw at R&D I gather they have made the commercial choice to forfeit the market that demands broadcast grade video in favour of attracting more customers to their fantastic stills.
The only fly in the ointment with that plan is that the GH3/GX7 offer almost identical stills to the E-M5/E-M1 so they have no stills image quality advantage compounded by having relatively speaking poor video.
You’re right, the GH3 IQ is on par with the E-M5 so it should be interesting to see how the GX7 and E-M1 stack up once they are tested in more detail. Anecdotally comparing the GX7 and E-M1 the E-M1 is fractionally sharper to my eye.
The superior IBIS offered by Olympus is what still makes them a more attractive offer for stills. I have used both OIS lenses & IBIS and prefer the 5 axis IBIS for the results it gives me, ymmv.
@high ISO ,the rich NR process in EM1 destroy the detail of line ,curve in image
in case see gx7 look better ,but if case jpg olympus engine make the best jpg file.
No they wouldn’t.
Never realised Olympus made broadcast quality cameras… Oh that’s right there don’t.
I hope you mentioning stabilisation was ironic or you are massively deluded my friend.
Time for Pana to do the same on it’s Still Imaging dept .
What about a sensor to equal the formidable EXMOR ?
Where are products fr Fuji’s joint venture ?
My initial tests on GX7 suggested it should around 0.75 to 1 f stop better than it’s predecessor .
Still not yet go for true shooting .
So can’t comment further .
Well, in this case the E-M1 is also just by 1 (at most 1.25?) f-stops better than GX1 (At least in RAW). Because many tests indicate that E-M1 and GX7 are more or less on par.
Chm, in case of video, it might be positive, but in case of pics, CA correction is destructive (you loose edge contrast and bit of colors there). But obviously it makes up for cheap lenses, which is good.. (and it can improve a bit even super-high quality lens).
Only longitudinal ca correction is destructive. Lateral ca can be corrected without any losses. Panasonic’s in camera ca correction is for lateral ca.
Its a general principle of business that you do at least one thing really well to differentiate yourself, obviously for Olympus that is the quality of their stills