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a little bit of everything…
The author sent us this text:
“Here is a commercial we shot for Doritos “Crash the Superbowl” contest.www.blownapartstudios.com
It was shot entirely with the GH1. The fractal design took longer to bild than we thought so we ended up having to shoot almost the whole thing in about 3 hours. Because of the time crunch and the inability to check the footage (and all the wide angles) we ended up shooting the whole thing in 720P. The footage was then conformed to 24p in Cineform. We were quite pleased with the result.
A few other details…
The whole thing was shot handheld, with the GH1 attached to a DVTEC MultiRig Pro.
Again, because of time constraints, only two lenses were used. The stock lens and the 20mm 1.7
The 20mm had a cheap .5 wide angle adapter attached to give it a true 20mmFOV. This worked incredibly well and I’ve become a believer in wide angle adapters. Almost no distortion and almost zero light loss.
We controlled exposure with a 77mm FaderND. This thing works incredible and I don’t want to ever shoot without one again.
The only lighting we had was one reflector which we used for bounce a few times. Shooting close to magic hour on a lot of it didn’t hurt
Sound was captured on a zoom H4n with a Rode NTG-2. Manual sync wasn’t a big issue. However, in the future we plan on either keeping the number of camera and audio takes in sync or manually writing down what take goes with what. We had a lot more camera takes than audio takes and it took a while to figure out what went with what.
All the editing and effects work was done in Premiere and After Effects CS4. The ability of these programs to dynamically link and share files was a Godsend. We only had one week for post.
Magic Bullet Looks was used for color correction and for the most part was very minor.
This was our first project and overall we were very happy. The GH1 is an incredible little camera. It’s incredibly flexible with it’s flip out screen and combined with the DVTEC makes an amazingly light, versatile rig.”
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Niels Ackermann reviewed the Panasonic GF1 (french / google english translation)
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ePhotozine made a Olympus E-P1 vs Panasonic Lumix DMC-Gf1 Digital SLR Review. To be honest they forgot to mention the Body IS as a “pro” point for the E-P1 
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Olympus Mju Tough 6010 Review at Photographyblog.
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A korean GF1 vs LX3 comparison (available in korean language only)
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Today Deal:
Adorama: Refurbished Olympus E-P1 for $549.95
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What was the .5 wide angle adapter that was used? Your readers then know what is proven to work and you can host vendors revenue ads on the site. Works for me
It’s just a cheap adapter that came as a “camera bundle” with an old Nikon prosumer camera 6 or 7 years ago. All it says is “Digital Pro” “High Definition .5x wide angle” “Made in Japan”. It has a separate macro lens that screws on the back. It has 52mm thread so I had to get a 46 to 52 adapter to stick it on the 20mm. Hope that helps.
Thanks for the response. The fact that it works so well makes me suspect that the Pany in-camera correction routines are able to improve optical “defects” normally associated with low end adapters. I’ll have to dig around and see what I can find. Cheers!!
sorry, but “Almost no distortion” is a little bit too strong.
the amount of distortion i can see is quite too strong for my taste. or are football fields not plain originally?
cheers
The extreme wide shot of the whole fractal design was taken on the stock lens at 14mm with a different .45 wide angle adapter. This one is obviously pushing things pretty far but I had no choice because the fractal was so huge. I’m still impressed by the small .5 adapter that was on the 20mm. It may not be perfect but it’s good enough that almost no one notices. It has basically become my “go-to” lens setup.