The Olympus TG-5: The real pocket camera?

Reprint, originally posted on 10-18-2018 by RedShark News  

If you really do need a tough device that actually fits in your pocket and shoots 4K video Craig Marshall has a camera for that.

With an overseas photography trek looming later this year, I cast about for a lightweight waterproof camera to carry on a strenuous climb into the mountains of Taiwan at altitudes exceeding 2,500m. I had no real preconceptions about the type of camera that would be best suited and apart from the above attributes, I wanted to be able to accurately embed GPS coordinates and altitude into every shot. Our plan is to locate and photograph the remains of a high mountain Cypress logging railway which was abandoned largely intact by retreating Japanese timber cutters as Taiwan returned to Chinese control after WW II.

Today’s popular outdoor ‘action camera’ options include the latest Smart Phones, several mirrorless DSLRs and of course, the ubiquitous GoPro, but after careful consideration, it came down to either the Nikon Coolpix W300 or Olympus Tough TG-5, both of which are designed for exactly the type of scenario I’m planning. After careful examination of the specs, I bought the Olympus because of its superior GPS data logging capability, Macro capability and it’s faster (f/2.0) 4:1 optical zoom lens.


Olympus Tough TG-5 – a waterproof Geo-Tagging action camera with 100Mbps 4K video capability

4K recording

The diminutive 250g TG-5 is primarily a ‘stills’ camera but like the competition, it enjoys 4K video recording capability. It can shoot HD at up to 240fps or 4K H.264 at up to 30fps with bitrates exceeding 100Mbps. There is no lens protrusion when zoomed in or out, so you could say the TG-5 is a genuine ‘Pocket 4K’ camera. The 1 2/3″ BSI CMOS sensor has a resolution of 4000×3000 pixels enabling the capture of RAW or JPG stills in either 4:3 or 16:9 ratio and the camera is equipped with a fast, f/2.0 parfocal 25mm-100mm (equiv) optical zoom.

After a few weeks of comprehensive testing, there’s a lot to like about the TG-5 but as with most cameras today, it is far from perfect. Let’s look at some of the deficiencies… Given the TG-5 is a primarily a ‘stills’ camera, the lack of Shutter Priority is a disappointing omission. Aperture Priority is there with manual settings from f/2.0 to f/8.0 but the inability to lock the shutter at 180 degrees or, in my case, 1/50th for 25fps 4K video requires the use of an ND filter to keep the shutter speed ‘cinematic’, thereby avoiding the all too familiar Ugly YouTube GoPro Look caused by an excessively high-speed shutter accentuating any jerky hand movements.


Dynamic Range is good and with a very fast 4:1 optical zoom, the TG-5 shines in low light

Servo motor

The TG-5’s 4:1 optical zoom servo motor is not proportional. It’s just one speed and it’s noisy too. Zooming should only be used to frame a shot and zooming within a video take is not recommended. Stereo audio is captured by a pair of wind vulnerable but waterproof microphones on top of the camera body and there is a horizontal VU bar-graph display on the large and easy-to-see-in-bright-sunlight LCD display. Audio recording can be adjusted +/- 10dB and although the TG- 5 offers a form of built-in stabilisation, anyone serious about shooting video should consider an aftermarket 3-axis brushless DC stabiliser capable of holding a 250g payload.

The resulting video quality from this tiny camera is exceptionally good so it’s great that stabilisers are now available for almost pocket money. Exposure compensation is available, so by selecting -0.7 EV and letting the camera automatically assign exposure, I found the TG-5 producing consistently pleasing video with no clipped highlights. Although there is no official Log option, the camera offers several Sharpen, Contrast and Gradation adjustments which allow for better post grading options. As a visual comparison, I switched between a 4K H.264 frame-grab and a TG-5 RAW still converted to a 16bit 16:9 TIFF displayed on a DaVinci 4K timeline and referenced on our 10bit Rec.709 calibrated 55” 4K SDI Monitor. There was simply nothing in it, so using 4K ‘video for stills’ is an option if you don’t need the GPS feature.

Focussing

With the TG-5, you have a choice of Auto or Manual Focus with Focus Assist by means of a user-selectable colour. I prefer red, but I keep mine set to Auto Focus. To avoid any hunting, Auto Focus can be ‘locked’, then ‘trimmed’ using either Up/Down keys or the rotational wheel. This is a good system and it works very well. There is also a built-in Xenon flash, a high-powered emergency LED torch, as well as a horizontal and vertical level display.

Rolling shutter seems well controlled as is expected from modern digital cameras with a fast sensor readout. With 12 million relatively large pixels and a very fast optical zoom, the TG-5’s low light capability is exceptionally good for a camera which can be bought new for just US$400. For those used to Sony or Canon menus, however, the Olympus layout is challenging, to say the least. A dedicated Menu button reveals a bewildering maze of user-adjustable parameters, but hidden below the OK button resides another layer of extremely useful features which don’t appear in the PDF manual!

The TG-5 is waterproof without a housing down to 50′ and is said to be shock-proof for a 6′ fall onto a hard surface. There is an optional filter ring available which adapts the camera’s front face to standard 40.5mm filters. I bought the $25 adaptor with a Skylight, a Variable ND, a Graduated ND, a Wide-Angle Lens Hood, a spare Li battery and a USB charger – all cheap after-market products and IMO, each mandatory for serious field use.


Beyer Garratt 4-8-4+4-8-4 Steam Locomotive 6029 at Kandos in rural NSW

Geo-Tagging

The area in which the Olympus TG-5 really shines though is as a ‘Geo-Tagging’ stills camera. Not only will it record a track and display a real-time GPS compass with the camera turned off, but the TG-5 will also encrypt your photo’s EXIF data with latitude, longitude, time, altitude, temperature, as well as the direction you pointed the camera when you clicked the trigger! Power-up time is almost instantaneous and satellite acquisition time is generally only a few seconds longer.

With Google Earth Pro now freely available, building a sequence of accurately geo-located photos on the 3D mapping software has never been easier. Several free apps allow you to group your shots and email them to friends and colleagues as either KML ‘Pin’ files or as 10:1 compressed KMZ files containing all your photos. KMZs are opened with Earth Pro to reveal your geotagged photo collection displayed at the exact location and altitude they were captured.

I was able to test out this capability on a special historic railway journey just last weekend as I travelled on the largest steam locomotive in the Southern hemisphere – Australia’s recently restored Beyer Garratt #6029. From this trip in sunny spring weather, I have prepared and uploaded three different KMZ files so readers can experience the capability of geo-tagged photos on their own computer. To see the TG-5’s JPG picture quality first hand, go to this link where you’ll find a short ‘Read Me’ file detailing how to install GE Pro on your PC or Mac. Once installed, download and test the various KML/KMZ files to see how geotagging works.

Have fun exploring and let us know in the comments if it works for you.

Steven Soderbergh’s all-iPhone movie Unsane makes a poor showing for the iPhone 7

Reprint

Posted Originally By Tasha Robinson  Mar 23, 2018, 2:42pm EDT

Soderbergh has been touting the iPhone as the future of moviemaking, but the results onscreen speak for themselves

Steven Soderbergh’s new movie Unsane fits into a long line of “Who’s the crazy one here?” stories. Films like Alfred Hitchcock’s The Lady Vanishes, Otto Preminger’s Bunny Lake Is Missing, and modern equivalents like Flightplan and The Forgotten all hinge on protagonists being told they’re deluded, and that someone they clearly remember never actually existed. Unsane plays a similar game, with The Crown’s Claire Foy as a fragile, angry woman convinced that her stalker has somehow infiltrated the psychiatric ward where she’s been committed. For the first act or so, Soderbergh teases the audience with the possibilities. Is Foy’s character Sawyer actually being stalked, or are her minders right when they tell her she’s irrational, and can’t trust what she’s seeing?

Audiences may feel like they’re in the same position as Sawyer, though, being gaslighted over the huge gap between what they’ll see onscreen and what Soderbergh is telling them they’re seeing. Soderbergh shot the entirety of Unsane with the iPhone 7 Plus, and he’s been singing the camera’s praises in the press. “I’ve seen it 40 feet tall. It looks like velvet. This is a gamechanger to me,” he told Indiewire. “I look at this as potentially one of the most liberating experiences that I’ve ever had as a filmmaker.” He’s already shooting a second iPhone-only movie, an NBA drama called High Flying Bird.

Soderbergh isn’t the first director to shoot a theatrical feature entirely with iPhones, but he’s the most prominent and well-established filmmaker to try it to date. The 30-year industry vet has a long list of beautifully shot films under his belt, including Out of Sight, the Oceans 11movies, The Informant!, and the Magic Mike films. He usually serves as his own cinematographer; he likes to experiment with form and style. He’s knowledgeable about camera tech and how to match the look of a film to its content.

But his latest film isn’t as convincing as his rapturous quotes about it. Much of Unsane takes place in that hospital, where Sawyer tries to convince the staff first that she’s perfectly fine and under control, and then that one of the orderlies, George (Joshua Leonard) is actually the predatory man who ruined her life. Her ward is a grimy, under-lit space, and the iPhone’s 4K video camera doesn’t handle low-light conditions particularly well. Faces disappear into fuzzy blurs, the colors trend toward a muddy yellowish-brown, and light sources burn out into blazes of distracting white. The Caucasian characters look blotchy and ill, and the black characters look like shadows. It’s easy to see how shooting on a phone was liberating in technical terms, especially for a filmmaker who is perpetually working on DIY models that will let him escape the Hollywood finance and marketing industry. But it’s hard to believe this was the best aesthetic choice for the film, especially for a small-scale human story where all the action comes from the characters’ encounters, and their facial expressions are so important to the action.

Unsane: Behind The Scenes

Narratively, Unsane is a harrowing and memorable movie. Screenwriters Jonathan Bernstein and James Greer drop viewers into what feels like season 2 of a running story: Sawyer has just moved to a new city, started a new job, and gotten a new home, all to evade a stalker who decided they were destined for each other, and has settled all his mad fantasies on an image of her that he’s created for himself. When she confesses her anxiety and fear to a counselor, she admits that she’s considered suicide. The counselor promptly hands her some paperwork to sign, and before Sawyer knows what’s happening, she’s locked in a room with a series of no-nonsense nurses, being ordered to strip and surrender all her belongings. The paperwork she didn’t bother to read has committed her for observation, in a closed ward where she’s surrounded by threatening and unnerving patients, and hospital employees who treat her like a misbehaving animal. She lashes out in frustration, but every blowup is taken as further indication that she needs to be institutionalized, and her situation gets progressively worse.

Stories like Unsane and its predecessors in the “Who’s crazy here?” subgenre are at their best when they openly play with the audience’s shifting understanding of what’s really going on. Films like Bunny Lake Is Missing draw the mystery out at length, making it seem possible that the protagonist really is delusional, and that she’s the only one not aware of her own break with reality. Unsane doesn’t tease out the thread as long as other films of this type, but the sheer strength of its character work compacts a lot of queasy horror into a small space. Sawyer’s rage over being threatened, caged, drugged, and restrained is understandable, but she also goes to a place of shrieking violence so quickly and completely that it’s easy to understand why her minders question her rationality. There’s a lot of empathy to go around in this story — it’s clear why Sawyer’s reactions are so extreme, and why she finds her situation so infuriating and untenable. It’s also clear why anyone watching her would think she’s a danger to herself and others. The filmmakers do a terrific job of building the tension in ways that invite viewers to wonder how well they’d comport themselves in Sawyer’s position, and whether they could find a way out of the room she’s condemned to.

Once the truth becomes clear, though, Unsane loses a lot of its energy as it tries to resolve a more familiar, conventional scenario that’s sometimes clumsily told. Sawyer goes through a major character shift that’s so abrupt, it isn’t entirely convincing. Foy gives an intense and intimidating performance, but it’s often hard to relate to her, given the extremity of her choices. The script unquestionably presents her as damaged and dysfunctional, for reasons that aren’t her fault — she’s dealing with extreme trauma as best she can. The decision to make her unlovable and sometimes frightening is daring, given the perpetual pressure to make female characters approachable and likeable. Her flaws and frailties are a major part of the story, and one of its most startling and thrilling ideas.

But the story calls for her to be ruthless about using other people for her own ends, usually with ugly and depressing fallout. In particular, she takes merciless advantage of Nate (Saturday Night Live’s Jay Pharoah), the one calm, sympathetic fellow inmate who attempts to relate to her. At times, only the extreme injustice of her situation keeps her compelling — that, and the outrageous behavior of the film’s antagonist.

uns_20171205._1.349.1.tif

Given all the grubby, grotesque emotions on display in Unsane, maybe it’s fully appropriate that the film itself so often looks grubby. The murky images onscreen are a match for what Sawyer is feeling, as she’s told she can’t trust her own perceptions or memories, and as everything she trusts to help her gradually fails her. The scattering of outdoor scenes in the film do bring realistic color and depth back into the story, and they speak better for the iPhone camera than the indoor shots.

But it’s harder to excuse the footage’s soft, blurry qualities, the way only the well-lit scenes really look like they’re fully in focus, and the sense that visual detail and depth is being lost in every indoor shot. For the most part, Unsane feels like one of the many early experiments in a technology that’s still developing, and hasn’t caught up with professional-grade movie cameras. It’s still more of a limited novelty than a cinematic revolution.

A Brief History of Movies Shot With Phones

Unsane Movie Image

Article reprinted courtesy of Max Covill of Film School Rejects

Grab your phone and start shooting. The audience is waiting.

Steven Soderbergh found his tool of choice for shooting motion pictures. That device, the cellular phone, has revolutionized the way we live. Soderbergh shot his latest film, Unsane, on the format and it has changed how he envisions the future of filmmaking. He is one of the highest profile filmmakers to use the format, but there have been many others before him.

One of the first feature films to be tailored for mobile phone viewing was the 2009 picture, RageRage was directed by Sally Potter and released in seven parts (for easier download) and was positioned as the future of filmmaking. Even Reuters referred to it as a new genre of affordable film-making, “Naked Cinema”, that would put the possibilities of film creation into the hands of millions. Though Rage included a stellar cast the likes of Jude Law, Judi Dench, and Steve Buscemi, the quality of the picture itself held it back from making a strong cultural impact.

There were other films that toyed with the format. With the launch of the Apple iPad in April 2010, an even greater array of opportunities launched for aspiring directors. The Silver Goat was the first film created for the iPad and released an app in the UK, Europe, and Latin America. The world’s first “Selfie” movie, #STARVECROW, mixed smartphone, and CCTV footage to create a personal story of love and horror. During this period there was another independent film released that stands out and that is Sean Baker’s Tangerine.

Tangerine wasn’t just noted for its terrific casting or engaging story, it was a marvel of filmmaking. Baker and co-DP Radium Cheung shot the feature using multiple iPhone 5s and anamorphic adapters to get a look for the indie film that was never seen before. Given the size of the camera, they could get into tighter areas and achieve shots that would’ve been impossible with traditional camera gear. It wasn’t just because Baker wanted to shoot with an iPhone, it was because the budget of the film called for a unique solution. That budget restraint signified a grand change for filmmakers everywhere.

From retirement to finding a new way to shoot his features, Steven Soderbergh is always ready to push the medium into exciting directions. With Unsane, Soderbergh was so impressed with the current technology available in an iPhone, he shot the entire feature on it. He might just shoot all his future movies on the portable device. “Anybody going to see this movie who has no idea of the backstory to the production will have no idea this was shot on the phone. That’s not part of the conceit,” he explained to Indiewire. The plot of Unsane seems tailor-made for this unique approach. The Crown’s Claire Foy stars as a young woman who is institutionalized against her will. She believes she is being followed by a stalker, but the surrounding professionals insist she is psychotic. Using the iPhone, Soderbergh got shots that would make audiences feel uncomfortable, in the same fashion that Foy was experiencing this nightmare.

Soderbergh and Baker might be the highest profile directors to turn to cellular devices for feature films, but there are plenty of independent filmmakers turning to the format. Festivals dedicated to shooting with the format are popping up nationwide and the co-director of the iPhone Film Festival believes it is as simple as owning a smartphone. In a discussion with Vodafone, co-director Ruben Kazantsev said, “… when they get an iPhone or another mobile device, it’s like having a portable studio in their back pocket. And they can do some amazing things with that. Our goal with the iPhone Film Festival was to provide an outlet for their creative energy and a vehicle to share their skills with a world audience.” The iPhone Film Festival had a little over 100 submissions in 2010. As of 2017. they are averaging over 2,000 submissions. The power is out there for anyone to become a director.

As more Hollywood directors adopt the format into feature films, more attention and accessories will be made to further the abilities of our phones. Tangerine and Unsane weren’t made with the default camera, but with tools that brought more flexibility to the platform. In Hollywood, the message has been about inclusion and hearing stories from those individuals who don’t get to tell their stories. As technology continues to flourish, it is becoming more accessible than ever to record and share those stories. Don’t hesitate any longer. Pick up your phone and share your story, there are people who want to see it.