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Making a movie with the OM-D E-M1X

OM-D E-M1X • M.Zuiko Digital ED 12-100mm F4.0 IS PRO • ISO 400

Let’s face it, there is no such thing as the perfect camera, at least for me. That’s probably not what you thought you would read in an Olympus Camera article, but let me try to explain. As a director and filmmaker, I passionately believe in the statement that story always comes first.  No matter how beautiful or technically perfect an image is, it can never have the same impact as a picture that takes you on a journey into a story. I believe each and every story deserves to be told in a medium and with the tools that best serve it. In that respect, a camera can either be a help or a hindrance. Let me illustrate this. As a filmmaker, I work in a variety of styles and subject matters.  Some are grandiose and epic, some fragile and beautiful, and some raw and honest. Each story is best served by a different camera.

OM-D E-M1X • M.Zuiko Digital ED 17mm F1.2 PRO • ISO 400

My experience is that for raw and honest films, big cinema cameras can slow down the production too much. Also, when you shove a big camera in the face of a young actor or non-actor, you quickly lose some of that realness. There’s something magical about working with this camera on a film set. Instead of having to structure and choreograph scenes in a complex way to make sure that our camera is able to capture the dramatic elements in the script, this new camera has freed up my production style drastically. This is exactly the reason why shooting my last film “REVEL” on the OM-D E-M1X was such a great experience.

OM-D E-M1X • M.Zuiko Digital ED 25mm F1.2 PRO • ISO 400

For me, it was the perfect camera to tell this story.
Perfect balance between size, function, and image quality. In “Revel”, to capture the story in the given time we had, we chose to make the film in a style where our script and dialogue was very loose, letting our actors loose in a scene and almost just documenting what happens. By shooting with the OM-D E-M1X, we were free from having to structure and choreograph scenes in a complex way, so that we could always position our camera, but instead we were able to move with the scene and capture the magic. The combination of size, Sync IS, image quality, fast 1.2 lenses, ruggedness and real-world usability of this camera made several impossible scenes suddenly doable. With Sync IS, we could quickly emulate so many cinematic camera moves just hand-held. When something magical happened, we could make a decision concerning camera placement or movement right there on the spot, without having to yell “CUT”. It was the tool that truly served the story. For the story of “Revel” and me, the OM-D system and the OM-D E-M1X was the perfect camera.