“In the end, the important thing is the performances,” said Atletico president Enrqiue Cerezo, not brushing over the hostility of some supporters towards Griezmann. Griezmann hit the crossbar with a penalty two minutes into the second half with his team trailing 1-0 against Real Madrid in the Champions League final at Milan’s San Siro on 28 May. Other publications included Men in Uniform (1961), Art and War (1990) – in connection with the Imperial War Museum – and The Oxford Companion to the Second World War (1995), edited with ICB Dear. The OM-1 supports 8-bit H.264 recording with standard color profiles-you can use art filters too, just in case you’re the David Lynch type and want to go for the grainy black-and-white Eraserhead look. It’s an alternative to carrying physical ND filters, but because Live ND is for stills only, you need filters for video. With Raw images, you can process photos using different JPG settings after the fact or leverage a big library of artsy filters for grainy black-and-white, pop art, soft focus, and other creative effects.
The OM-1 takes a slight edge as you enter the E-M1 Mark III’s extended range (ISO 12800), and continues at ISO 25600. That’s as high as the E-M1’s sensor goes in its extended range-with the OM-1, you can push to ISO 51200 or 102400. The noise pattern is rougher at ISO 51200 for sure, but it’s as usable as ISO 25600. There is some color shift and a real drop in fidelity at ISO 102400, but that’s to be expected. You can use the flat OM-Log profile and color correct when editing, or use an HLG profile for delivery to HDR screens. If you opt for 10-bit H.265 capture, you get better color sampling (4:2:0), but your in-camera color options are more limited. The in-camera mode takes some of the manual work out of the process-it takes a series of photos at different focus points and blends them for deep focus macros. It’s pretty easy to get a blurred background when focusing close, but if you want more of your subject in focus, you have to use a very small f-stop or focus stacking techniques. If you’re trying to get a good photo of a subject in strong backlight or going for a less dramatic look in mixed lighting, the in-camera HDR is worth using.
Of course, if you’re buying a Micro Four Thirds for video, the fresh Panasonic Lumix GH6 is more compelling than the OM-1. Its 20MP Micro Four Thirds chip is many times larger than the chips that back smartphone cameras, so it does a good job in low light on its own, and its lenses blur backgrounds optically. It’s no small feat for a Micro Four Thirds camera-this sensor is competitive with APS-C chips when you push the ISO. It’s better codified now because smartphones use computational methods to squeeze more dynamic range, blurred backgrounds, and clean nighttime results out of relatively tiny image sensors. Its computational features are different and we detail each one below. Noise reduction is set to Standard by default-if you prefer a bit more detail and don’t mind some grain, there’s also a Low setting. Our ISO test scene shows the new chip keeps up with the old one through ISO 6400-Raw output shows some grain as you push the sensitivity higher, but detail holds up.
We used OM-Log for our test footage and applied OM’s LUT(Opens in a new window) for a quick grade. The mechanical shutter shows a flickering view in the EVF, a familiar experience to photographers used to mirrorless systems. It’s good for telephoto shots too-I recorded a few clips with the 300mm F4 handheld, a lens that I’d have to lock down on a tripod with many other systems. It’s a good indicator that you’ve made an exposure, but one that doesn’t quite match up with the experience of other stacked sensor cameras. More high-end cameras are pushing 4K120 slow motion-we’ve seen it in stacked full-frame entries like the Canon EOS R3 and Sony a1. The OM-1 does video too-it supports 4K in 16:9 or 17:9 DCI ratios at up to 60fps and can push 1080p to 240fps for slow motion, just about matching up with the rival Fujifilm X-T4. My only disappointment with the video specs is a lack of real 4K slow motion. With the Canon EOS R3, Sony a1, and Sony a9 II, you don’t lose sight of a scene when using the electronic shutter, a real benefit for staying in the moment.