First Look: OM System OM-1

       

      In summary

      Overall, we found the OM-1 a delight to use. On the basis of the tests we’ve been able to conduct – including making prints from both stills and 4K video frames – we’re confident it will meet the expectations of the many Olympus aficionados who have been awaiting it.

      Full review

      A couple of weeks before it was announced, Photo Review was provided with a pre-release OM-1 camera so we could produce a detailed ‘First Look’ at what promises to be an important addition to the camera choices for outdoor photographers and videographers. While the new camera retains some features common to its predecessors, it introduces some important innovations and extensions to the capabilities of previous models. All are designed to offer high performance in light and manoeuvrable equipment for content creators and photo enthusiasts who work in challenging environments.


      Angled view of the OM-1 camera with the 12-100mm f/4 PRO lens used for this review. (Source: OM Digital Solutions.)

      Retaining the overall look of previous E-M1 cameras – right down to the OLYMPUS label on the front of the EVF moulding – the OM-1 confirms its manufacturer’s allegiance to the Micro Four Thirds (M4/3) format. Sensor resolution remains at 20.4 megapixels (effective), which is unchanged from the OM-D E-M1X and OM-D E-M1 Mark II and Mark III models.

      Who’s it for?
      The OM-1’s target market appears to be outdoor photographers – specifically those involved in shooting sports and wildlife, photojournalists and run-and-gun videographers who record footage for professional use. The new camera will provide quantifiable benefits for these users, although its relatively high price may make it difficult for non-professional photographers to justify upgrading.

      Features of the new camera that are worth considering include:

      • The first use of a BSI sensor by the Olympus/OM System brand;
      • The first non-waterproof camera with IP53 rated dust and spray proofing;
      • The EVF has more than twice the resolution of previous models;
      • The menu system is easier to use and comprehend;
      • The AF system uses 1053 cross-type points and includes recognition of a wide range of vehicles, aircraft and trains plus face and eye detection for humans, birds, dogs and cats;
      • The ISO range extends to cover ISO 80-102400;
      • C4K and UHD4K video recording at up to 60 fps with H.264  and H.265 compression, Log and HLG modes, flat colour and 12-bit RAW video output in Apple ProRes RAW to external devices;
      • Up to 120 fps continuous shooting plus high-capacity buffer memory;
      • Higher battery capacity.

      The shutter and metering are largely unchanged.

      What’s changed?
      A key feature of the new camera – and the two M.Zuiko lenses announced at the same time – is the shift from fairly basic IPX1 to IP53 rated weatherproofing.
      At the time of release, the OM-1 was the only IP53-rated system camera. The differences between the ratings are significant, particularly for outdoor photographers and videographers.

      • IPX1 has no rating for protection against ingress of dust or moisture and only rates protection against ‘vertically falling droplets, such as condensation, sufficient that no damage or interrupted functioning of components will be incurred when an item is upright’.
      • IP53 rates the product as providing: 1) Partial protection against dust and other particulates, such that any ingress will not damage or impede the satisfactory performance of internal components; and 2) Protection against direct moisture spray at angles up to 60° off vertical.

      This illustration shows the positions of the weatherproof seals in the OM-1 body and M.Zuiko Digital ED 12-40mm f/2.8 PRO II lens. (Source: OM Digital Solutions.)

      The OM-1 is also freeze-proof down to -10 degrees C and has a shutter mechanism rated for 400,000 cycles (the same as the shutter in the E-M1X). Other changes are largely internal and summarised in the table below, which compares the OM-1 with the E-M1 Mark III.

      OM-1 E-M1 III
      Weather resistance IP53 IPX1
      Sensor BSI 4/3 LiveMOS 4/3 LiveMOS
      Effective resolution 20.4 megapixels
      IBIS 7 stops/ 8 stops with 12-40mm lens 7 stops/ 7.5 stops with 12-100mm lens
      EVF 5.76M dots, 21mm eyepoint, -4 to +2 dpt 2.36M dots; 21mm eyepoint, -4 to +2 dpt
      Monitor 3-inch, 1.62M  dots touch screen 3-inch, 1.037M  dots touch screen
      AF 1053 point cross-type PD/CD AF 121 point cross-type PD/CD AF
      Focus modes Single AF (S-AF), Single AF (S-AF+MF), Continuous AF (C-AF), Continuous AF (C-AF+MF), Manual Focus (MF), AF tracking (C-AF + TR), AF tracking (C-AF + TR+MF), Preset MF, Starry sky AF (S-AF), Starry sky AF (S-AF+MF)
      AF detection Formula cars, rally cars, motorcycles / Aircraft, helicopters / Bullet trains, standard trains, steam locomotives / Birds / Dogs, cats Face & eye
      Optical compensations Keystone, Fisheye
      Metering 324-area multi pattern metering (-2 to +20EV)
      ISO 80-102400 64- 25600
      Shutter speeds Mech: 1/8000 ~ 60 sec; Elect: 1/32000 ~ 60 sec
      Computational modes Pro Capture, High Res Shot (50 & 80MP), Live Bulb, LiveTime, Live Composite (Update interval time 0.5 sec. ~ 60 sec.), Live ND, Focus Stacking, HDR
      Sequential shooting Max. 10 fps (120 fps in Silent mode & with Pro Capture) Max. 15 fps (60 fps in Silent mode & with Pro Capture)
      Buffer capacity 133 raw, 169 JPEG LF 101 raw, 134 JPEG LF
      Video format MOV(MPEG-4AVC/H.264 & HEVC/H.265) MOV(MPEG-4AVC/H.264)
      Resolution C4K 60p, 24p, 4K 60p , 30p, FHD 60/24p C4K 24p, 4K 30p, FHD 60/24p, HD 60/24p
      Picture modes Flat, OM-Log400, HLG Flat, OM-Log400
      Battery/ capacity BGLX-1 / 520 shots / Quick sleep mode: 1100 shots BLH-1 / 420 shots / Quick sleep mode: 900 shots
      Dimensions 134.8mm(W) x 91.6mm(H) x 72.7mm(D) 134.1mm(W) x 90.9mm(H) x 68.9mm(D)
      Weight 599g w battery & card Body only: 511g 580g w battery & card
      Body only: 504g

      The mode dial has the same settings as those on the E-M1 III, including a ‘B’ mode to make it easier to access the Bulb/Time and Live Composite shooting modes. There are also four customisable modes in which frequently-used combinations of settings can be stored for quick access. The OM-1 also inherits the E-M1 III’s ISO button on the top right corner of the rear panel.

      Build and ergonomics
      Most visible changes are relatively minor. The front panel of the OM-1 is almost identical in layout to the E-M1 III, with only changes to branding and a slightly deeper hand grip to distinguish between them.

      Front view of the OM-1 camera with no lens fitted. (Source: OM Digital Solutions.)

      One update is the new high-performance EVF, which has more than twice the resolution of the E-M1 III’s EVF. With a measured lag of only 0.005 seconds and 120 fps refresh rate, the new 5,760,000-dot screen combines the best aspects of a digital display with the advantages of an optical viewfinder.

      It provides 0.83x magnification plus brightness adjustments to allow users to view subjects even in dark locations. Anti-fogging coating on the viewfinder window maintains a clear view of subject, even in the rain.

      Cutaway view of the optics in the OM-1’s new electronic viewfinder (EVF). (Source: OM Digital Solutions.)

       The two-position programmable Fn lever has a central AEL button, while a new AF-ON button has been added to allow users to resume AF operation on when keeping first position of shutter button. It can also be used to activate autofocusing during video recordings, even when MF has been selected.

      On the rear panel, the OM-1 inherits the adjustable monitor that characterises the OM-1 series. It also gains the joystick control provided on the E-M1X and E-M1 III, and the latter’s ISO button in the top right corner of the rear panel.

      The rear panel of the OM-1, showing the new joystick control just above the arrow pad and the new AF-ON button. (Source: OM Digital Solutions.)

      Rear view of the OM-1 with the adjustable monitor extended. (Source: OM Digital Solutions.)

      Monitor resolution has been increased a little, to 1,620,000 dots, but otherwise the screen is the same 3-inch fully articulated LCD as those used in the E-M1X and E-M1 Mark III.

      Side view of the OM-1 showing the staggered card slots. (Source: OM Digital Solutions.)

      The layout of the memory card compartment on the right side panel has been redesigned with staggered card slots to make it easier to insert and remove memory cards. Both SD slots are compatible with the UHS-II interface to support high-speed recording and users can choose from four recording options: Standard, Auto Switching, Dual Independent and Dual Same All camera settings can be changed and images can be viewed while data is being written to memory.

      A new dual-purpose Movie/High Res Shot button beside the exposure compensation button on the top panel of the camera body provides instant access to these functions. Both will benefit from up to two stops better noise reduction performance. The mode dial hasn’t changed since the E-M1 III.

      Top view of the OM-1 camera with no lens fitted. (Source: OM Digital Solutions.)

      A new, larger BLX-1 battery extends shooting from 420 shots/charge in the E-M1 Mark III to 520 shots/charge, a 20% increase in favour of the new camera. The OM-1 also supports direct USB charging via a USB-C interface and can be powered and charged by a PD standard-compatible power bank can users can continue to operate it while charging.

      Angled view of the OM-1 with the optional HLD-10 vertical grip/power battery holder. Source: OM Digital Solutions.)

      An optional HLD-10 vertical grip/power battery holder is available and both the camera and holder can both be recharged simultaneously. It features the same IP53 dustproof and splashproof construction and has an RRP of AU$549.

      Under the hood
      Internally, the OM-1 benefits from a complete redesign of its menu system, responding to a problem that has plagued Olympus cameras in the past. The update makes functions easier to find, easier to set and easy to confirm.

      This illustration shows four of the initial pages of the updated menu structure, which groups related functions together into colour-coded sections. Source: OM Digital Solutions.)

      The menu is split in to eight sections covering the basic and ‘computational’ functions, focusing and movie modes, playback, ‘operations’ (settings), the setup functions and a programmable ‘My Menu’ page. Each of the other sections contains between three and eight pages.

      Individual settings are also easier to adjust and the downloadable user manual provides more comprehensive information about the options available than users could access easily for previous models. Live Composite shooting is a particular beneficiary of these changes, even though the exposure durations and range of intervals between shots haven’t changed from previous models.

      The sensor-shift stabilisation system has also been improved with a new unit that is 10% lighter but also faster and stronger. Up to 7.0 EV of shake correction is claimed for the camera body alone with up to 8 EV when combined with the Sync IS function in stabilised lenses.

      A cutaway view of the OM-1 camera and M.Zuiko Digital ED 40-150mm f/4 PRO lens, showing the complementary in-camera and in-lens stabilisation mechanisms. (Source: OM Digital Solutions.)

      There has been speculation online that OM-1’s new stacked BSI (back side illuminated) chip is the Sony-manufactured IMX472-AAJK unit, which has a square pixel array and on-chip 10-bit/12-bit A/D converter. This is feasible since Sony is a major chip manufacturer and the specifications certainly match.

      Little has changed with respect to Image resolution. Sensor resolution remains at 20.4 megapixels (effective) from a CMOS chip with 22.9 million photosites. There are five JPEG resolution settings (L, M1, M2, S1 and S2) and three compression levels (SF, F and M) plus a raw file option.

      There’s no option for saving uncompressed raw files but ORF.RAW files are saved with 12-bit lossless compression. The High Res Shot modes still record composited images with a maximum of 80 megapixels (10368 x 7776) in Tripod mode or 50 megapixels (8160 x 61200) with Handheld mode – although processing is generally faster (see below).

      The sensor is paired with an updated TruePic X processor, which boasts 120 fps readout and three times more processing power. Blackout-free continuous shooting is supported with the electronic shutter at up to 50 fps with AF/AE tracking or 120 fps with AF/AE locked on the first frame in the sequence.

      Silent sequential shooting, also with AF/AE tracking, is supported with the electronic shutter at up to 120 fps (double the top rate of the E-M1 III). Interestingly, the mechanical shutter only allows sequential shooting at up to 10 fps with AF/AE tracking (down from 15 fps in the E-M1 III).

      The buffer memory capacity in the OM-1 has a stated capacity of approximately 133 ORF-RAW or 169 Large/Fine JPEGs – although in our tests we found it was actually much greater. This compares very favourably with 101 and 134 frames, respectively in the E-M1 III.

      The new sensor and processor also underpins improvements to some of the functions based on computational processing.  Most of these functions aren’t actually new. High Res Shot, Pro Capture, Live Composite, Live Bulb, Live Time, Live ND, Focus Stacking and Interval Shooting have all appeared in previous Olympus cameras, notably the E-M1X and E-M1 III. But many of them have been enhanced.

      One particular beneficiary of faster processing is the Handheld High Res Shot feature, which is now computed in just five seconds instead of requiring 12 seconds. The Pro Capture function, which begins recording once the shutter button is pressed half-way down has also been enhanced and will now operate with continuous auto focus and exposure at up to 60 fps for continuous shooting or up to 120 fps in single-focus mode.

      The Live ND function now supports up to ND64, one stop more than previously.  Six selectable filter levels are provided from ND2 to ND64 in one-stop increments and users can preview the effect by selecting LV Simulation. The camera composites multiple images to reproduce slow shutter speed effects in bright conditions.

      This function is still only available in the S and M shooting modes and ISO settings must be at or below ISO 800. Shutter speeds are dictated by the ND filter selected. Unlike physical ND filters, the Live ND filter doesn’t reduce the light reaching the image sensor so very bright subjects may be overexposed

      Thanks to improvements in processing speeds and image stabilisation Live Composite is now available as a handheld option, which will be handy for recording light trails at night in places that are normally well-lit. Focus stacking, which shifts the focus position while capturing and compositing multiple shots, can also be used for hand-held recording, stacking up to 15 frames in just five seconds.

      Interval recording for Time-lapse movies is largely unchanged. Also unchanged is the Starry Sky AF mode, which improves focusing accuracy by detecting individual star points in the night sky.

      Autofocusing
      The improved AF system in the OM-1 features a Cross Quad Pixel AF design that uses all pixels from the sensor for focusing. The 1053 point cross-type phase- and contrast-detection array of points is a massive increase on the 121 point system in the E-M1X, making the system in the new camera twice as accurate and three times faster.

      Each pixel is divided into four sub-pixels which can be read independently enabling four directions of phase detection data to be combined with colour and contrast information from the sensor to create a detailed depth map of the image. Users can see this function in action when the shutter button is half-pressed and the focus target(s) move about on the screen.

      Detection sensitivity has been expanded from a minimum of -6EV to -8EV and the OM-1 can accurately detect and track a wide range of vehicles (including rally cars, racing cars, motorcycles, aircraft, helicopters and trains of all types), as well as birds, cats and dogs. Face and eye detection is also available for humans, birds and animals and users can choose from five levels of tracking sensitivity.

      Focus stacking is now supported for handheld shooting with a new system that captures and combines up to 15 images in just five seconds. The plane of focus is shifted to obtain sharpness from the foreground to background in the scene. This mode is ideal for close-up and macro photography.

      Video capabilities
      Movie recording still offers the same Cinema 4K (C4K) and UHD 4K as the highest resolution settings in previous models, although frame rates up to 60 fps are now available for both options. Users can now choose between the H.264 or newer H.265 standard, which has up to 50% better quality for the same file size. All-I compression is used for slower frame rates (30 fps or less) with IPB compression for frame rates above 24 fps.

      All the other necessary functions for video recording – focus peaking and zebra displays, time coding and electronic stabilisation – are provided, along with OM-Log 400 and flat colour support (both offered in the E-M1 III), with HLG as a new addition to support easier recording of scenes with high dynamic ranges.  Log recording also allows greater control over highlights and shadows and scope for colour grading when integrating footage into professional productions.

      With an HDMI monitor connection, video can be output at 10-bit and 8-bit YUV format for on-the-spot checking. The OM-1 can also output 12-bit RAW video in Apple ProRes RAW format to an external output device like the Atomos NINJA V or NINJA V+.

      The built-in stereo microphone enables audio recordings at 24-bit depth with a sampling frequency of 96 Hz. Wind noise reduction and volume adjustments – with a limiter – are provided for both the internal microphones and external mics. The camera also includes 3.5 mm jacks for external microphones and headphones.

      Playback and software
      Playback functions are largely unchanged, with the OM-1 offering single-frame, index and calendar displays as well as playback zoom and support for touch controls, including during movie playback. Selected images can be rotated, protected, copied, rated (with five categories available) and deleted, individually or globally (which affects all images on the defined card).

      In-camera retouching is available and users can also mark images for sharing, including those recorded in RAW+JPEG quality, where they can choose to mark either the JPEG or ORF.RAW file – or both – for sharing. DPOF tagging for off-site printing is also supported and sound bites up to 30 seconds long can be added to image files.

      The software bundle has been updated with the new OI.Share smartphone app replacing OM Image Share as the way to connect to the camera via Wi-Fi, transfer shooting data, and perform remote operation. It can also be used for installing new firmware and backing-up or restoring camera settings.

      OM Workspace is now a second-generation app with v.2.0 providing better raw file processing and built-in editing facilities. The latest version includes new Clarity and Haze Removal functions and enhancements to the USB RAW Data Edit feature with a new Depth Synthesis function. Raw adjustments can be copied and pasted or saved as a batch processing file for application to multiple images.

      New comparative bright and comparative dark compositing functions will combine only the bright or dark areas that have changed in multiple consecutive images. AI Noise Reduction is now available for raw processing of files recorded with the OM-1, E-M1 Mark II, E-M1 Mark III, E-M1X and E-M5 Mark III cameras.

      Also available is OM Capture v3.0, an updated software application for using the camera in tethered studio environments. It lets users control the shutter release, camera settings, and transfer of photos either from the camera itself or the tethered computer.

      Performance
      We tested the OM-1 with the M.Zuiko Digital ED 12-100mm f/4 IS PRO lens, a tried-and-proven high-performer, which we reviewed back in November 2016. Because the camera we received was an early release, we were unable to justify conducting our regular Imatest tests, even though it appeared to be an excellent performer on the basis of the images captured with it during our testing.

      We’re hoping to get a production standard camera when we receive the new M.Zuiko Digital ED 12-40mm f/2.8 PRO II and M.Zuiko Digital 40-150mm f/2.8 PRO lenses to review. By that time, the camera should be supported by Adobe Camera Raw, our preferred raw file converter.

      Out of interest, we also carried out our regular tests of ISO sensitivity, white balance and response times. We also evaluated autofocusing and video performance. These assessments will be updated when we receive a production standard camera.

      Long exposures were effectively noise-free up to ISO 6400 after which softening became increasingly visible. Both were obvious at ISO 25600 and became more so across the rest of the sensitivity range. On the basis of our tests, we wouldn’t recommend using the two highest ISO settings – although this may not be the case once the camera goes into full production.

      In contrast, we found white balance performance in the sample camera to be better than previous OM-D cameras we’ve tested. The ‘Keep white’ setting came close to producing neutral colours under incandescent, fluorescent and warm-toned LED lighting. As expected, a slight warm cast remained in shots taken under incandescent lighting and when the ‘Keep warm colour’ setting was used.

      There’s no pre-set for LED lighting so we could only test the tungsten and fluorescent pre-sets, the former of which added a slight greenish cast and the latter a tint between magenta and purple. Like most modern cameras, the OM-1 provides plenty of adjustments to overcome such biases, including four ‘One-touch’ settings that set colour to a value metered on a white object under the lighting in use. There’s also a Custom mode for selecting a known colour temperature and Kelvin adjustments between 2000K and 14000K.

      Video quality was generally better than the E-M1 Mark III, which is to be expected given the improvements to frame rates and recording functions. We printed a selection of frames copied from the 4K video clips we shot and found they produced excellent A3-sized prints.

      Even though the shooting conditions were less than ideal, the video clips provided a good test for the camera’s focusing system. Autofocusing for stills capture was difficult to fault as we encountered no instances of hunting or even detectable lag in locking onto subjects, regardless of whether they were close to the camera or distant. Bird detection was particularly impressive.

      It was a little different when shooting video and we found it could take a second or two to lock onto subjects more than a few metres away in low-contrast situations. That said, one the focus was found, the camera was able to track even fast-moving subjects consistently and effectively.

      The stabilisation system worked well for hand-held shooting, including while recording video clips. Auto exposure adjustments were also fast when zooming and/or panning, once focus was acquired. Audio quality was good for the internal microphones and the ability to add external microphones would be useful if better quality was desired.

      Our timing tests were carried out with two 32GB Panasonic SDHC II U3 memory cards (one Lexar and one SanDisk), which claim 300 MB/s read/write speeds. The review camera took roughly half a second to power-up, which is perceptibly faster than average.

      Capture lag was effectively negligible when the shutter button was used to capture the shot and averaged 0.1 second when the shot was captured by touching the monitor screen. Shot-to-shot times averaged 0.3 seconds.

      The only indicator light on the OM-1 that shows processing speed is a small orange dot in the top left corner of the monitor. Using it we found image processing speeds were too fast to measure when recording individual JPEG or ORF.RAW files, although it was usable for measuring burst processing times.

      In the high-speed sequential shooting mode, we recorded a burst of 389 Large/ Super Fine JPEGs in 20 seconds before the first sign of hesitation. This is close to the specified 20 fps but indicated the buffer capacity was considerably greater than specified.  Processing was completed within six seconds of the last frame captured.

      With ORF.RAW files we recorded 332 frames in 20 seconds, again with no sign of hesitation, although the frame rate was slightly slower than for JPEGs. It took just over seven seconds to clear the buffer memory. When we changed to RAW+JPEG pairs, the frame rate was further reduced, although only slightly. The camera recorded 326 pairs in 20 seconds, again without slowing and took 8.1 seconds to process this burst.

      Comments
      Overall, we found the OM-1 a delight to use. On the basis of the tests we’ve been able to conduct – including making prints from both stills and 4K video frames – we’re confident it will meet the expectations of the many Olympus aficionados who have been awaiting it.

       

      SPECS

      Image sensor:  17.4 x 13.0  mm Stacked BSI Live MOS sensor with 22.9  million photosites ( 20.4 megapixels effective); Quad Pixel Bayer Pattern
      Image processor:  TruePic X
      Lens mount:  Micro Four Thirds
      Focal length crop factor:  2x
      Digital zoom: Yes; 2x for stills, 1.4x for movies
      Image formats: Stills: JPEG (DCF Ver. 2.0, Exif Ver. 2.31),  ORF.RAW (12-bit lossless compression), RAW+JPEG; Movies: MOV (MPEG-4 AVC/ H.264 and HEVC/H.265 10-bit video)
      Audio: Wave Format (Stereo linear PCM/16-bit, Sampling frequency 48kHz)
      Image Sizes: Stills: 5184 x 3888 to 1024 x 768 pixels; Movies: 4096 x 2160 and 3840 x 2160 at  30/25/24p and 60/50p with Long GOP compression; 1920 x 1080 at 30/25/24p and 60/50p with ALL-I  compression; Quick and Slow movie settings available
      Aspect ratios: 4:3, 3:2, 16:9, 1:1, 3:4
      Image Stabilisation: Built-in 5-axis sensor-shift IS, 7.0 EV shake correction (up to 8 EV with Sync IS in stabilised lenses
      Dust removal: Supersonic Wave Filter
      Shutter (speed range): Focal plane mechanical shutter; CIPA rated for 400,000 cycles (60-1/8000 seconds plus Live Bulb, Live Time and Live Composite; Electronic shutter: 60 to 1/32,000 second in silent shutter mode
      Exposure Compensation: +/-5 EV in 1/3, ½ or 1EV steps (+/-3 EV in Live View)
      Exposure bracketing: 2, 3 or 5 frames (0.3/0.7/1.0EV steps selectable), 7 frames (0.3/0.7EV steps selectable)
      Other bracketing options: ISO, WB, flash, Art Filters, focus (3 to 99 frames with 1-10 steps selectable); focus stacking supported
      Self-timer: 2 or 12 seconds delay plus Custom mode
      Multiple exposures: Yes, 2 frames composited
      Interval recording: Yes, for time-lapse movies at 3840 x 2160 (4K) / 5fps, 10fps, 15fps, 30fps, 1920 x 1080 (FHD) / 5fps, 10fps, 15fps, 30fps or 1280 x 720 (HD) / 5fps, 10fps, 15fps, 30fps
      Focus system: High-speed imager AF (phase detection/ contrast detection) with 1053 cross-type PD points and 1053 CD points,
      AF  selection: All target, Single target (1 point), Small target (9 points), Cross target (39 points), Middle target (63 points), Large target (165 points), Custom target (AF area and its increment steps selectable); up to 4 custom target settings can be saved
      Focus modes: Single AF (S-AF), Single AF (S-AF+MF), Continuous AF (C-AF), Continuous AF (C-AF+MF), Manual Focus (MF), AF tracking (C-AF + TR), AF tracking (C-AF + TR+MF), Preset MF, Starry sky AF (S-AF), Starry sky AF (S-AF+MF); 5 steps of AF sensitivity adjustments, face & eye detection; AI detection AF for Formula cars, rally cars, motorcycles / Aircraft, helicopters / Bullet trains, standard trains, steam locomotives / birds / dogs, cats
      Exposure metering: Digital ESP 324-area multi-pattern system with Multiple, Centre-weighted average and spot metering patterns plus  spot metering with highlight/shadow control; range -2 EV to +20 EV
      Shooting modes: Program AE, Aperture Priority AE, Shutter Priority AE, Manual Exposure
      Picture modes: i-Finish, Vivid, Natural, Flat, Portrait, Monotone, Custom, Underwater, Colour Creator, Art Filters
      Art Filter modes: Pop Art, Soft Focus, Pale & Light Colour, Light Tone, Grainy Film, Pin Hole, Diorama, Cross Process, Gentle Sepia, Dramatic Tone, Key Line, Water Colour, Vintage, Partial Colour (18 colour selectable), Bleach Bypass, Instant Film
      Other in-camera functions: HDR, Keystone Compensation, Fisheye Compensation (3 styles), Live ND64, High Res Shot (Handheld and Tripod modes), One Push Tele-converter (2x magnification)
      Movie functions: Flat, OM-Log400, HLG Picture Modes, Time code (Rec run / free run, drop frame / non-drop frame), focus peaking, zebra pattern; C4K ProRes RAW movie support
      Colour space options: sRGB and Adobe RGB
      ISO range: Auto, ISO 200 to 25600 plus extensions to ISO 80,  ISO 100 and ISO 102400
      White balance: Auto WB, 7 WB presets, 4 Capture WB, Custom WB (Kelvin setting), +/- 7 steps of adjustments along A-B and G-M axes
      Flash: External flashguns only
      Flash modes: Fill-in, Flash Off, Slow sync., Manual (1/1 (FULL) ~ 1/64) – only with FL-LM3
      Flash exposure adjustment: +/- 3EV in 1/3, ½ and 1EV steps
      Sequence shooting: Max. 120 frames/sec. in silent mode with electronic shutter; Anti-shock sequential shooting at approx 10 fps with selectable 1-10 fps; Silent sequential shooting at up to 120 fps with selectable 5, 10, 15, 20 fps with blackout or 60, 100, 120 fps without blackout (slower shutter speeds and flash cannot be used); ProCapture burst shooting supported
      Buffer capacity: Max. 169 Large/Fine JPEGs, 139 RAW files at 10 fps
      Storage Media: Dual slots for SD, SDHC, SDXC cards (UHS-I / UHS-II UHS Speed Class 3 standard compatible)
      Viewfinder: OLED EVF with 5,760,000 dots, 100% FOV, 4:3 aspect ratio,1.48~1.65x magnification, approx. 21 mm eye relief, -4 to +2 dpt adjustments, 6 grid overlay options, 2-axis level gauge, adaptive brightness technology plus +/-7 levels of brightness and colour temperature adjustments
      LCD monitor: 3-inch vari-angle monitor with 1,620,000 dots, 3:2 aspect ratio, electrostatic touch controls, +/-7 levels of brightness and colour temperature adjustments
      Interface terminals: USB-Type C, micro HDMI (Type D), hot shoe, sync terminal, 3.5 mm stereo mini jacks for microphone and headphones, 2.5mm remote control jack
      Wi-Fi function: Built-in Wi-Fi (IEEE 802,11a/b/g/n/ac); Bluetooth v4.2 (Bluetooth Low Energy)
      Power supply: BLX-1 rechargeable Li-ion battery; CIPA rated for approx.520 shots/charge; up to1100 shots with Quick Sleep mode; 90 minutes of movie recording; PD support for direct USB charging
      Weather resistance: IEC Standard publication 60529 IP53 (with splashproof with IP53 lens, when used with an IPX1 lens, performance becomes IPX1.)
      Dimensions (wxhxd): Approx. 134.8 x 91.6 x 72.7 mm (excluding protrusions)
      Weight: Approx. 511 grams body only; 599 grams with battery and card

      RRP: AU$3299; US$2199 (body only)

      Distributor: OM Digital Solutions Australia Pty Ltd, Ph: 1300 659 678

       

      SAMPLES

      (Recorded with the M.Zuiko Digital ED 12-100mm f/4 IS PRO lens.)

      ISO 80, 30 second exposure at f/5, 12mm focal length.

      ISO 200, 15 second exposure at f/5.6, 12mm focal length.

      ISO 1600, 4 second exposure at f/9, 12mm focal length.

      ISO 6400, 2 second exposure at f/13, 12mm focal length.

      ISO 12800, 1.3 second exposure at f/14, 12mm focal length.

      ISO 25600, 1 second exposure at f/18, 12mm focal length.

      ISO 51200, 1/2 second exposure at f/18, 12mm focal length.

      ISO 102400, 1/4 second exposure at f/18, 12mm focal length.

      AWB Tungsten lighting, Keep White setting; 25mm focal length, ISO 200, 1/6 second at f/8.

       

       

       

       

       

       

       

       

       

       

       

       

      AWB Tungsten lighting, Keep Warm Colour setting; 25mm focal length, ISO 200, 1/6 second at f/8.

      AWB Fluorescent lighting, 25mm focal length, ISO 200, 1/5 second at f/8.

      AWB warm-toned LED lighting, Keep White setting; 25mm focal length, ISO 200, 1/5 second at f/8.

      AWB warm-toned LED lighting, Keep Warm Colour setting; 25mm focal length, ISO 200, 1/5 second at f/8.

      Tungsten WB preset with incandescent lighting, 25mm focal length, ISO 200, 1/5 second at f/8.

      Close-up, 100mm focal length, ISO 200, 1/250 second at f/4.0.

       

       

       

       

       

       

       

       

       

       

       


      Close-up without focus stacking; 100mm focal length, ISO 200, 1/800 second at f/4.0.

       

       

       

       

       

       

       

       

       

       

       

       

      Close-up with focus stacking (handheld); 100mm focal length, ISO 200, 1/800 second at f/4.0.

      Close-up; 100mm focal length, ISO 400, 1/500 second at f/4.0.

      12mm focal length, ISO 200, 1/40 second at f/10.

      100mm focal length, ISO 200, 1/250 second at f/9.

      Same scene with same camera settings and 2x teleconverter engaged.

      12mm focal length, ISO 400, 1/640 second at f/11.

      100mm focal length, ISO 320, 1/200 second at f/11.

      12mm focal length, ISO 200, 1/125 second at f/11.

      12mm focal length, ISO 100, 1/50 second at f/9.

      17mm focal length, ISO 200, 1/100 second at f/9.

      38mm focal length, ISO 200, 1/60 second at f/10.

      16:9 aspect ratio, 100mm focal length, ISO 200, 1/500 second at f/6.3.

      100mm focal length, ISO 200, 1/125 second at f/8.

      High-Res Shot Handheld mode; 17mm focal length, ISO 200, 1/500 second at f/10.

      High-Res Shot Handheld mode; 100mm focal length, ISO 200, 1/200 second at f/8 Note the sailing dinghies below the bridge, which are blurred due to movement while the multiple frames were captured. Traffic on the bridge is also blurred enough to be no longer visible.

      HDR photograph (Mode 1); 15mm focal length, ISO 200, 1/100 second at f/11.

      HDR photograph (Mode 1); 21mm focal length, ISO 200, 1/15 second at f/11.

      Bird recognition AF; 100mm focal length, ISO 200, 1/320 second at f/7.1.

      Live Composite mode; 12mm focal length, ISO 200, 1/2 second at f/5.6, plus accumulated bright spot exposures over 1 hour.

      Still frame from C4K video clip recorded at 50 fps.

      Still frame from UHD 4K video clip recorded at 50 fps.

      Still frame from FHD video clip recorded at 50 fps. Note the stream of water pouring down on the man’s left side. (It was raining at the time.)

      Still frame from C4K video clip recorded at 25 fps.

      Still frame from UHD 4K video clip recorded at 25 fps.

      Still frame from FHD video clip recorded at 25 fps.

       

       

       

       

       

       

       

       

       

      Three frames from a UHD 4K video clip recorded at 25 fps, which were printed at A3 size for framing.

       

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