the editman.com

Today I said bye to my Panasonic GH1. I'm sure this camera will go to the history and be a classic. A great little camera that with hacked firmware has served me a long time.

I could have kept it and use it whenever I felt but one of my goals in 2012 is to reduce the amount of gear I own. Part of my plan is to not involve DSLR cameras in video shooting. Frankly I have a great tool to shoot video in the AF101 so that'll be my choice of camera. I still love my Canon 5DmkII to use when taking stills and I'll try to only use it to do that this year.

In 2011 I invested heavily in equipment and have reach a very comfortable platform when it comes to tools. I now need very few new things to cope with what I do. I wont stop getting new things but I also realize I don't really need them. It's the natural curve of the developing interest I have.

Looking back 2011 has been a great year and the best thing is I've become much better at what I do. That's the greatest investment but many things has helpt me to learn even more of how and what works and what doesn't and my GH1 has been a part of that.

Thank you my red GH1 and go on and make more lovely images with the new owner!

A Petite Neuchateloise in a timeless state only lit by candlelight.

My first macro lens - Leica Elmarit 45/2.8 for my AF101/GH1 cameras.



I will use this lens as a counterpart to the excellent Canon 100L macro on my 5DmkII to have about the same field of view and sensitivity on my AF101.

It's a tiny lens but I kinda like the focus ring despite focusing works by wire.

I've updated this article with some sample images using my Panasonic DMC-GH1. It's really a lovely lens for micro four third cameras. A portrait lens with image stabilization and on the GH1 it feels really nice balanced.

Having it on the GH1 it might not be the fastest lens in terms of focusing speed but I guess the newer GH2 and G3 makes this lens faster.

So it seams the stars are converging and much of the things that have been stuck in the pipeline will get here this fall. Many interesting things, both new and well known. On top of the list is of course Birger Engineerings micro 4/3 adapter to put Canon EF lensos on bodys like GH1, GH2 or AF100/101.



But before this adapter hits the marker in November we have another adapter from Red Rock Micro. Not as versatile since it only controls aperture and need a 9V external battery. But that's atleast two choices for micro 4/3 users!




Finally Nikon steps into the mirrorless game. Can we expect the same thing happening as when Nikon got the D90 on the market? It was the first DSLR with video and soon after the still excellent Canon 5DmkII took over and crushed Nikons attempt. The Nikon 1 system seams no better than micro 4/3 so I don't see the point. When you're dealing with an exchangeable lens system small is relative to a normal DSLR and it's lenses but non of these mirrorless cameras are small and pocketable if you take the lens in account. I do think it's great to have a small camera with exchangeable lenses that's smaller than let's say a 7D but I believe every attempt to make it to fit in a pocket is futile so make them as good as possible instead.

Canon have something coming on 3 November and if this is a mirrorless system, a new large sensor video camera or something for the movie industry we'll know more of then. Interesting RED announces their Scarlet at the same date. Maybe a Canon 5DmkIII? I do hope for a XF305 like camera with a large sensor and EF mount.

Then the affordable Atomos Samurai is due in October and it seams they have squeezed at least some of the asked for features. Can be a good recorder and monitor to use on any camera with HD SDI output. I'll be getting one for sure as soon as I can. Atomos also have converters so that you can use the Samurai for both HDMI and HD SDI sources.

I also have an eye out for that affordable Sachtler ACE system. Could be a decent choice for a smaller camera setup.

Another piece of add-on lurking could be the new motor for the slidekamera. I'm waiting for an English manual before going any further.

After rigging my 5DmkII for the DP I had time to shoot some bts material using my GH13 and Voigtländer 50/1.1.

This was the second time we did a sponsorship/commercial for Briska cider. Last year we used my Canon 7D and this year it was my 5D mkII. I also had the chance to use my AF101 as a second unit camera and to capture a BTS video I had my GH13 on set also.

What a wonderful place the Zugspitze is! It really makes you feel humble going up, up, up into the sky and reach the summit of Zugspitze - Germans highest alp peak. To bad I had only 15minutes to shoot this scenery before going down and catching my train back to Munich. I'd love to stay for half a day or more and eat at the restaurant and enjoy the view for a couple of hours or so. But going abroad to work often only takes you to the airport - transportation to the hotel - to where you have to shoot - and then back to the airport. Not much time to enjoy new places.



I found the view through the window out to the Austrian side of the Zugspitze and the sign "No exit Danger of life" telling. Almost 3000 meters up in the air and looking straight down on the north side really puts a chill through your bones. On the way up all the other Alps just vanished down so I realized this was going to be one trip to remember.



Having only 15 minutes seams like madness. I literary ran the steps up from the cabin to the view point and rushed the shoot. Still I managed to do at least two short timelapse with my AF101. Inside the cabin I couldn't use the AF camera so I had my little GH13 and kit lens to capture on the way up.

I also had to pack light so my backpack Lowepro was stuffed with all I needed and I only had my Manfrotto 504/546 tripod to carry.



Here's a short video showing the ascent and view from the top.

My latest lens Olympus 35-100/2 arrived and I wanted to do a short test on how manual focusing works. It sure looks big enough mounted on the GH1... well actually it's the GH1 mounted onto the lens!



I put the Olympus 35-100 on my GH1 and mounted it inside my "editman" cage and used my Shoot35 follow focus. It worked fine to use the grooves on the focus ring itself instead of using one of my Zipgears or Flexigears. As you can see I top mounted the FF unit because using that tripod collar on the lens raises the camera more than my 5D/7D which my cage is set up for.




I also shot this short video showing focus pulling, a bit course I know but I did it in a hurry...



You can't use repeatable marks on a follow focus to do focus pulls with this lens. Focus-by-wire is not made for that and it sucks since this is such a fine lens. Another thing that's somewhat irritating is that focus pulls takes a bit longer than I would like them to take. On the other hand you hardly miss a focus spot. It's also interesting that when you turn off the camera the lens parks itself at infinity.

I do think this lens will come in handy but at the same time I prefer my Zeiss lenses since they are much better to focus with. The big advantage now that I have both the Olympus 14-35/2 and the Olympus 35-100/2 is I cover all of the focal I tend to use. 14mm is wide enough and I seldom go closer than 100mm unless I'm doing a macro shot.

There are three adapters for using 4/3 lenses on a micro 4/3 camera body. Panasonic has the DMW-MA1 and Olympus MMF-1 and MMF-2. I decided to try both Olympus adapters since I already have tried Panasonics adapter.

Besides the obvious colour that differ these two adapters apart they are near identical if you look upon them. But picking one up it's also obvious that the MMF-1 is the one with better built quality. It weights almost twice as much as the MMF-2. It's worrying that the newer adapter, MMF-2, is so light weight and I don't get that sense of owning something exclusive when holding it. It will probably work with lenses up to 1kg but if I had a choice it would be the MMF-1 no doubt.



So why is the MMF-1 twice as heavy? First of the mount is solid steel as oppose to MMF-2's aluminium mount. I guess the MMF-1 adapter is also reinforced inside and that this adds to the weight. The answer could also be that the MMF-1 is made in Japan and the MMF-2 is made in China...



Besides MMF-1 being the better adapter it functions is no different than that of the MMF-2 or the Panasonic adapter. They could all be the same if it wasn't for the MMF-2's weak construction. I have tried both adapters on my GH1 with the Olympus 14-35 lens and when mounted I really can't tell which one I'm using except the colour of the adapter. They both feels solid but I can't dismiss what I know so I will use the MMF-1 on my AF101 as it is the better option.

Having EF lenses on a micro 4/3 camera pose one problem and that is to control aperture. Birger engineering is suppose to come with one adapter with electronic coupling that allows for many things like aperture, focus and IS function on EF lenses. But until it is a real product this adapter might come in handy.

At $125 it's a bit pricier than the plain EOS to m 4/3 adapters but it's a solid piece and got no less than 14 aperture blades to stop down the lens. The aperture ring is heavily damped and feels great to turn. It's numbered between 1 and 6 but you can go beyond the 6 mark albeit with the risk for introducing black spots according to the manual.




I took the adapter straight out of the box and fitted my Zeiss 50/1.4 ZE lens. It feels like a fine machined adapter. You can't use EF-S lenses because they will probably hit the blades. It's the same thing as EF-S lenses does not fit a 5D mkII.



Here's the adapter mounted without lens and the aperture open. Setting at "1". There is no glass so I suggest you open it up before removing the lens or adapter to protect the aperture blades.




Here the blades are closed to "6" on the aperture ring but you can close it even further. I will take a few snaps later tonight and show how it affects DOF and image quality.

More testing is needed but so far it feels great and finally I can use my Zeiss lenses on the GH1/13 and the AF101!

You can get it here on ebay!

Update 20 December:

Testvideo with the adapter.

I put this test together to try out if it would vignette on different lenses and how DOF would be affected. This video is updated with a pure vignette test in the second half.

Lenses used in the test:

Canon 70-200/2.8 IS II L
Canon 100/2.8 L Macro
Zeiss 85/1.4 ZE
Zeiss 50/1.4 ZE
Zeiss 35/2 ZE
Olympus 14-35/2
Canon 16-35/2.8 L

I would say this adapter is a great buy to make use of specially Zeiss ZE primes 35/50/85. It works perfectly with all of these to increase DOF and stop down the lens. On the other hand I don't think it works that good with the 70-200/2.8 since you get vignette after "3" and IS is not activated. Even the Canon 16-35/2.8 L turned out to work okay with only a slight vignette that could be tolerable.

Usually when I frame for head shots I use my Zeiss 85/1.4 lens. It's a great lens and focal length. Not the best near limit at about 85cm but for interviews or like the framing I used in the Guldbrev commercial it's about perfect on the 5D mkII. Very pleasing shallow DOF, sharp but also with a soft focus fall off. So when I get the AF101 and would like the same type of effect I have two options.

Field of view with a 85mm lens on the 5D mkII is just like putting a 50mm lens on a micro 4/3 camera. What you loose is that very shallow DOF but you can have the camera at almost the exact position and still have the same framing. Take a look at these frame grabs.

First off is the Canon 5D mkII with the Zeiss 85mm at F1.4. Very nice bokeh and out of focus background.



This one is with a Zeiss 50mm at F1.4 and with the GH1/micro 4/3 sensor. Still shallow DOF but nothing like that buttery bokeh of the 85mm on the 5D. These two shots differ in levels so disregard that but you can clearly see they both have the same angle of view and about the same framing. Just a tad closer. The camera was at the same position on both these two shots. One advantage of using a 50mm lens is you can get closer and get even more shallow DOF as it's near limit is 45cm.



This third shot is with the 85mm Zeiss still at F1.4 on the GH1/micro 4/3 but with the camera backed half a meter and the object moved towards the wall about 75cm. Still about the same framing and angle of view but with much more pleasing bokeh. If I have the space this is the lens I would use when framing for heads. If I can get as close as I can and have more than 2 meters behind the subject I bet it will look great.

I can see three lenses being utilised together with the AF101. First an Olympus 14-35/F2. This one covers the wide end and is very fast. Then a Zeiss 50/F1.4 is great for interviews and so is the Zeiss 85/F1.4 when you really need that super pleasing bokeh. Another thing with that Zeiss 50mm is you can get close. It's not a macro lens but Zeiss has a 50/F2 lens to get even closer. I tend to stay in the 35-85mm area on both my 7D and 5D, I guess that's why 35/50/85 is a standard lens-set. I already have a Zeiss 35/F2 which is great so when I get the Olympus I do a comparison.

Shallow DOF is all about how close you are to the subject and how far it's from the subject to the background. Even my Canon 16-35/F2.8 can have a very pleasing bokeh when you get really close at 35mm. But there's something about staying in the medium tele range that just feels right. One advantage with using a more sensible sensor size like the micro 4/3 standard is you do have some room for in focus subjects. A 5D sensor at full aperture is just to shallow in many instances.

During the IF Stockholm Open tennis tournament we did interviews for Swedish Television and at the same time documented BMW and their sponsorship.

I used my Canon 5D and Canon 100L/16-35L lenses inside the car and the shots inside the arena my 7D and for one shot my GH13 with kit lens.

I needed to go back and check how footage from the GH1 looked since there were things a bit off on the AF100 clips from the testers. Buried at my disc there still were some clips I shoot back in September and I figured these lost since I've been struck by a very unlucky fall. First my 1.5gb external harddrive died in the "click-off-death" syndrome, then my Dell M1530 died of the "graphic-chip-death" syndrome and finally my editing speakers died of the "right-speaker-silent" syndrome. Talk about a bad stroke of luck!

These clips are not anything I would call artistic. They are all handheld using the 14-140 kit lens and no grading. Just straight cut in Premiere CS5. I used 720p30 MJPEG mode and turned down sharpness/contrast in camera and avoided to gain ISO or add anything else in the process.

Being what it is I think the sensor looks great in the GH1 and probably much better in the AF101 when it finally ships. No clipping of colours in these clips only some blown out highlights but pretty decent feeling overall. I'm confident I'll love that AF101 when it arrives and atleast can get something as good as the GH1.

I'm on a tight schedule but managed to revisit the GH1 with hacked firmware during this weekend. What I can do is to compare it to Canon 5D mkII and Canon 7D. These cameras have been my main cameras for the last six months and I really like the result.

Some things become very apparent and it's handling of the GH1 compare to 5D2/7D. The Canon cameras are much better. They feel sturdy, have more buttons to change parameters on the fly, they do allow HDMI monitoring while shooting (which is essential) and the final images look really nice. But they both have two disadvantages. They do have much more moire and aliasing than GH1 and they have less resolution. Actually both 5D2 and 7D has higher resolution from the sensor but the way the camera down samples the signal, much is lost and distorted introducing moire and aliasing.

When comparing images this is the main thing that separates the different cameras. The GH1 is superior really.

In one area the GH1 fails. It has a fixed pattern noise, as do most CMOS sensors, and when underexposure it becomes apparent. With care you can set up scenes and it will look great from the GH1. But it does limit the camera in the same way the Canon 5D2/7D do with the high level of moire and mostly aliasing. It's like apples and pears. Two bad things.

When you use the magnify function on either camera you really see how high resolution the Canon cameras have. This is real sensor resolution and this is one of the reasons we accept footage from the Canons. The other reason is the image pop Canon always have had. Colours are full and it's a contrasty image, it looks really nice. Every time you steer clear of most of the aliasing it looks truly great.

The low bitrate in the GH1 introduced alot of mud. Hacking the firmware and increasing bitrate takes away almost all of the mud issue. I've never seen a mud issue on either Canon.

If you look at the display on each camera and when I now revisit the GH1 I really dislike that display. In comparison with what's on either Canon camera it's lower resolution and has to much image lag introducing ghost images and smearing. Same thing with the viewfinder and I do think it's to small and has to rough edges to be comfortable to the eye and when pressing your nose towards the camera.

In the end lack of monitoring makes this camera useless in most situations when doing commercials. It's fine to be used as a B-camera or when shooting features. But forget about commercial work if you do have clients on set. In a couple of weeks the GH2 will start to appear in stores. My hope is that this camera will solve this issue but it seams another issue is introduced - no 25p! Come on Panasonic give PAL world a high bitrate PAL codec!

25p on the GH1 or GH13 as many calls this hacked camera looks sweet and it puzzles me they have no 25p in the GH2. In the test footage I took this weekend, 25p in high bitrate mode, it looked truly great. I did some grading and it held up very well also. Will I have to turn to the AG-AF101 for 25p? This seams to be the case.

Speaking of the AG-AF101, one store in Sweden has finally a price on the body - $8240!!!! inc VAT but what the fuck!

I sold of my Panasonic GH1 during the spring since getting my second Canon 7D body, but now I have another GH1 on my desk. It's still red, it has that slow but versatile 14-140 lens and it has that ability to use a hacked firmware. It's now a GH13!

On dvxuser.com the hacked GH1 is called GH13 and it was during this summer someone managed to get into the inner workings of the camera. I just had to try it for my self. Despite the improvements of the firmware it's still the same camera. I reckon most of the short comings of this camera is addressed in the new GH2. Still this is a nice camera and one reason to get it now was the usual price dumping when a new model comes out. I got it for a nice price really.

What led me to revisit this camera? It was the hack and that 14-140 lens. Gearing up towards an AG-AF101 I understand this lens can come in handy outdoors when you need autofocus and image stabilizing.

Trying out different settings in the excellent ptool program I now have a GH13. Is it a new camera? No it's not, but the hack does improve on the irritating thing of image mud. I felt like a nutcase whipping my camera at the nearest tree outside my window and testing how muddy I could go and what settings to get rid or at least tone down the mud. I can say it makes a big difference getting rid of the mud but still there is a fixed pattern noise, no HDMI monitoring and a somewhat sluggish response if you compare with the Canon cameras.

One thing I used the GH1 for was to make behind the scenes features. I really like the image quality when doing these things but despite it having higher real resolution than either Canon I still like Canon images. I never have to be afraid of shooting a low light scene with the 5D mkII, it always looks good when treated right.

A good thing was that this camera, made back in 2009, still is hackable. Newer cameras is prohibited by Panasonic to accept these modified firmwares. One can understand that it could trigger massive warranty issues if a hack goes wrong and it might be hard to prove you've messed with the camera. But I guess GH2 and maybe AF100/101 can be cracked as well if the need occurs. Both these new cameras seams to solve many issues and I'm looking forward on seeing them once released.

I'll shoot some stuff with my "new"red GH13 in the next week and we'll see how it performs!