Video basics and modern digital cameras

Last updated:- 29th April 2024

Introduction.

I decided to invest more time in videography with Olympus M43 cameras after an increased interest in my introductory article on videography. My articles discussing image sensors, digital cameras, and subjects like exposure also formed a strong foundation for exploring the video creation process with M43 cameras. This and future articles are written for those who are new to videography.

We all appreciate the difference between a Toyota Aygo and a Porsche 911. They are profound when driving fast on a German AutoBahn. One often assumes the differences between cameras are similar when listening to YouTube presenters. For example, one of my articles revealed relatively small differences between sensors with up to 20 times pixel area variances. We, unfortunately, live in a world where folks like to exaggerate about digital cameras, video specs, and sensor sizes.

The Panasonic G100 has become an exciting hybrid camera amongst M43 photographers...

My wife and I transferred our VHS video collection onto DVD. We enjoy watching them with our son and his family. Imagine your grandchildren see their father learning to ride a bicycle on an old VHS video. I never experienced the same fun recording and watching videos on my mobile phone. There was something special about making memories about the family with my VHS video camera. The new Olympus E-M5 II was exciting and a huge inspiration when Olympus launched it in 2015. I made many short videos with my DJI Phantom P3, the Olympus EM5 II, and Premier Elements.

Did you own a VHS? I like to see marketers re-focus on consumer segments?

Modern marketing has become a window into the so-called "perfect" world. A world where cows don't fart, and everyone uses 8K hybrid cameras. One can't help asking if manufacturers gave up on casual video creators or purposely ignored them. Eager to learn more, my enthusiasm faded as I watched YouTubers crying for new menus and more specs. My E-M5 II had to have 4K, and Premier Elements was no longer good enough. Next, I needed a 6K mirrorless camera, 8 stops of IBIS with no crop, autofocusing like Sony or Canon, 4.2.2 10-bit (Pro-Ress RAW), mic plus headphone ports, and a host of LOG profiles plus LUTs before I could even start thinking about my next film project. 

This short video illustrates the correct behavior in a "perfect" world...

Olympus EM1 III with the 75mm f1.8 lens - ISO1250, f4.5, 1/15 - Enhanced Raw converted in Workspace.

Another option is to simply return to basics...

Taking a step back, one quickly realizes how accurately the Olympus Imaging Business targeted hobby and casual filmmakers. Cameras like the original EM5 and EM1 continue to fill that gap as capable photography cameras while helping those developing their videography skills. Take a moment and list the main video differences between Olympus M43 cameras from 2012 to 2024. 

It's, therefore, critical to familiarize yourselves with the basics of videography before purchasing your next 8K hybrid FF mirrorless camera. For example, many photographers think "hybrid" means two systems in one camera body. Many photographers also assume the image signal path from the scene to the saved recording changes from photography to videography.

Study this video for a detailed explanation of the illustration below.

What are the differences between photography and videography? Considering Step 1 (above), the same principles of saturating the sensor or improving the SNR apply. The basics of managing video quality and dynamic range while capturing more tonal data are the same. The main difference is how we manage the 4 exposure variables in video mode. Looking at Step 2, the camera's processing of the image signal does not change from photography to videography. The main difference is Olympus added more options like the Flat or OM-400-Log to tweak the camera's Gamma (Tone) Curve. Looking at Step 3, the main difference is the file format creators select for video or photography.

The above illustration also helps us with V-LOG profiles and "Color Grading." For example, when filming in V-LOG, one needs an LUT to convert the recording back to the REC 709 display format. Color grading is similar to image editing or creating a specific look and feel for your final video...

The Olympus Pen F and E-P7 enable us to create "Flat" video (exposure) profiles plus "Color Grade" in the camera.

We will explore the following in this series about videography:

1. A short overview of the Olympus M43 menu selections for video.
2. What does one typically need to create videos with M43 cameras?
3. We will focus on tips and techniques when recording video clips.
4. Basic principles of taking video clips and creating/editing a video.

Olympus EM1 III with the 45mm f1.8 lens - ISO1250, f3.5, 1/25 - The Fuji XT5 is a great photography and filmmaking camera...

Why do I believe crop sensors are perfect for filmmaking?

We need to discuss the segmentation of the filmmaking market. Camera manufacturers neglected to view mobile phones as competitive products. This resulted in a singular and not segmented consumer focus, as each new camera has to be a "better" Pro Camera. For example, list the 3 main benefits hybrid cameras have over mobile phones. Consider the basic to intermediate G100. When launched, this small hybrid was highly criticized because reviewers and promoters could not position the G100 in the "pro" segment or properly evaluate its scope of applications. The G100's acceptance increased when the target segment discovered it in the used markets. Imagine the possibilities of a new G100 hybrid camera with the processing capacity of an iPhone 14 or 15?

See these discovery videos of the Panasonic G100. Link 1, link 2.

The above illustration is only an educated guess of the most likely market situation...

Don't let YouTube "Pro Talk" or social media promoters distract you. M43 (crop) cameras are perfect for filming. Olympus M43 cameras are great for video projects and those returning to filming with M43 mirrorless cameras. I will discuss various Olympus cameras and lenses in this series...

What's interesting about the video below is how sailors select the best tools for the job. They will use drones, GoPros, mobile phones, and hybrids like the Olympus EM5 III. Each of them offers unique functionality and applications that enable videographers. An interesting approach, right..?

An example of creating lasting memories with different cameras. See the EM5 III in the video...

Conclusion

This series of short articles supports those new to filming with Olympus mirrorless cameras. I planned more time for future articles to discuss frame rates, aspect ratios, the 180-degree shutter rule, the need for ND filters, camera movements, autofocusing techniques, and video editing.

How much of a difference does Pixel Area make?

Last Update: 4th May 2024

Introduction.

My son said I may try his Sony ZV-E1 while he tried my Fuji XT-5. The Sony ZV-E1 uses the same FF 12MP BSI sensor as the Sony A7S III. A camera like this should be tested. I would have liked to include my Fuji XT-5. The test results are exciting and reveal much about what to expect from various cameras. For example, the Sony ZV-E1 pixel area is 5 times larger than the Olympus E-M1 III and almost 20 times larger than the Olympus XZ-2. How much do these pixel area differences impact the IQ of these cameras? What should we look for, and how will you test these cameras?

Sensor Sensitivity is determined by the Optical and Quantum efficiencies of the pixels. That means larger pixels should capture more light and convert more photons into electrons, right? The secret is to study shadow details because more sensitive sensors should capture more shadow information. How many shadow detail variances do you expect to find between the Sony ZV-E1 and the older Olympus XZ-2? While I am not testing for noise, what do you expect to find between these 2 cameras? Those studying my articles have enough information and knowledge to evaluate these questions.

I included several Olympus cameras in this test. We learn much from the pixel area variances between these cameras. For example, the pixel area of the Olympus E-1 is three times larger than the EM1 III. It is sometimes easier to simulate sensor size differences with your available equipment.

Why do golfers use a handicap? It lets experienced and weaker golfers play competitively. It's safe to say equivalence is unfortunately used like a golf handicap. That means equivalence sets unnecessary restrictions on M43 photographers. Do we need a handicap to evaluate cameras? Each camera is unique and should get a chance to showcase its capabilities. The only variable that should be the same is the test studio. I applied this basic philosophy to the test images further down.

Preparing my Test Studio

The test image had a 4EV variance between the brightest and darkest parts. Each exposure was set at the brightest point with the camera's spot meter. Each sensor's Saturation and SNR levels were 4 stops lower in the shadows. Study the photons to electrons graph further down in this article, to learn more about sensor saturation and SNR levels. Every digital photographer should know this graph...

Each image sensor is technically different or unique. Knowledge about digital cameras guided me in planning these camera tests. For example, it's better to focus on pixels when testing digital cameras. The sensor's diagonal measurement only determines the sensor's optical characteristics. I created the chart below to help you study the pixel area variances between the cameras tested.

The chart shows each sensor's megapixels in red. Why do we need to consider the sensor's pixel count? Because pixel count influences pixel area. For example, go to the 12MP FF sensor on the horizontal axis and compare its pixel area to the 12MP (1/1.7") sensor on the vertical axis. We can compare all the sensors in this chart. That means we should focus on pixel area and not size! For example, how much will the Olympus E1 shadow details differ from the Olympus E-M1 III?

Sensor size is a marketing tool used to entice those with little knowledge. It's meaningless and tells us nothing about image sensors. For example, it's better to focus on the sensor's diagonal measurements. The reason is the lens image circle has to cover the complete sensor. This explains the more light "effect" confusing so many FF enthusiasts or the equivalence factor when comparing the optical differences between M43, APC, and full-frame lens mounts. See the table below for more.

How should we study these controlled image quality tests of different sensor sizes and pixel areas? To prepare yourself, take a few moments, select a few cameras (pixel areas), and write down what you like to learn from these tests. For example, how many more shadow details do you expect from the 12MP full-frame sensor over the smaller 1/1.7" sensor? Also, study the Fuji X-T5 or Medium Format 100MP sensor and explain why their shadow details should technically look similar to the Olympus 20MP sensor. Why is image noise a potential challenge for these two Fuji cameras..?

Olympus C-770UZ  (4MP) - ISO64, f3.2, 1/160 - OOC JPEG and not edited...

Let's study the different test images...

All the noise filters were off while taking 4 RAW files with each camera. The Olympus Enhanced RAW Files were converted in Workspace (No NR), and I used the Photoshop 2024 Raw Converter (No NR) for the rest. I brightened the shadows to reveal the captured details of each camera. All the cameras were optimized to deliver better detail and IQ. One typically expects less visible noise from a saturated sensor with higher SNR values. That said, these test images are all about detail...

The test images are best viewed on a large display. Click on the first image...

I cropped the above samples. The goal is to assist readers in studying the details. I upped the shadows and prepped them for the web. I did no NR or color changes. These converted raw files give a good indication of the captured sensor data. Studying my reader's feedback, it's clear that each person sees the results differently. Knowledge and regular practice help photographers get good results from different cameras. I expected more IQ differences between 20 years and 20X pixel areas.

How does one explain the increased noise levels of the E1, E500, E-620, and EP3? One would typically expect less noise from fewer pixels with less control wiring. Older image sensors have more noise because their quantum and optical efficiencies are lower. That means a lower photon-to-electron conversion rate with older image sensors. This translates into losses and more noise...

How would you explain the increased noise levels of the Panasonic LX-10?

What were my camera configurations? I used the 17mm f1.2 lens on my M43 cameras and the 50mm f2 macro lens on my 4/3rds DSLRs. The Canon 6D II had an EF 35mm f2.0 lens, and the Sony ZV-E1 had a 55mm f1.8 Zeiss lens. That means I used my tripod distance to the image to compensate for lower megapixel sensors and the different focal lengths. I used Manual Exposure with an Aperture of f3.5 or f4 on these cameras. I also used the 2s timer and +1EV ETTR on each camera.

I used the same white balance (marker) to convert the raw files.

Conclusion

You don't need an expert to tell you the Olympus XZ-2 and Sony ZV-E1 image results are very similar. For example, I couldn't find 20 times more image details for the Sony. That means the Olympus XZ-2's image details compare well with the Sony ZV-E1 and its 20 times larger pixel areas. The 20-year age difference between some cameras also didn't make a 20X difference. Finally, less than 100% pixel area differences seem insignificant. That means one can ignore the sensor sensitivity differences between M43 (Live MOS) and APC (Standard CMOS and BSI) sensors. What makes a real difference is knowledge, lens selections, and regularly using Workspace and one's Olympus camera.

I used the Olympus E-M1 II for years and the E-M1 III for eighteen months. This is an exceptional camera with excellent IQ, speed, and functionality. The most fascinating part about them is the 20MP Live MOS sensor. I would love to see the specs Olympus used to find this sensor 12 years ago.

What did we learn from this review? We simply can't trust those repeating the same size and capture phrases. The Sony ZV E1 is a top performer and delivers excellent image details and shadow data. We also saw that the Image Quality differences between cameras are way less than expected. Is this the reason why photographers are rediscovering older cameras and sensors? For example, the TruePic processors and 16MP sensors in the E-M1, E-PL9, E-M5 II, and E-M10 II/III are excellent. Photographers are better off evaluating costs, functionality, speed, application, and form factor.

The following 4 samples are the final edits with Workspace, Photoshop, and Photolab 6. I did them to help readers get a feel for the various edited versions of the above samples...

Olympus E-1 with 50mm f2.0 lens - ISO100, f4.0, 0.6 seconds (1EV ETTR) - Raw converted and edited in Photoshop.

Olympus E-1 with 50mm f2.0 lens - ISO100, f4.0, 0.6 seconds (1EV ETTR) - Enhanced Raw converted and edited in Workspace.

I used the standard NR filter on the above image. Workspace has an older NR filter for older cameras like the E-1. The E-410 and newer models have a different and more advanced NR filter...

Olympus EM1 III with 17mm f1.2 Pro lens - ISO100, f4.0, 1/2 seconds (1EV ETTR) - Raw converted and edited in Photoshop.

Those photographers who make a habit of improving their Enhanced Raw files and Image Editing skills enjoy an advantage. The benefits of improving one's knowledge and camera and editing skills are remarkable. I often write about the benefits of converting your Enhanced Raw Files with Workspace. Also, see this video reviewing the Enhanced Raw Format and Workspace.

Olympus EM1 III with 17mm f1.2 Pro lens - ISO100, f4.0, 1/2 seconds (1EV ETTR) - Raw converted and edited in Photolab 6.

Final observations. Study the "deeper" shadows between the above flowers to see the details from these cameras. The Canon 6D II revealed more shadow details than others. The last four edits are interesting. One can spend hours editing these raw files for different results. DxO PL-6 or 7 is a good solution for older Olympus raw files, especially if you prefer basic conversions and editing.

See this article where I comment on 12MP versus 100MP printed samples.

Also, see my Workspace firmware update page - link.

Best Siegfried