Andrew Reid

  It won't be about quantity, but quality. Hand picked stuff. I can't compete with The Music Bed on the sheer amount of sleep inducing ambience ;)

Correct, commercial work = paid work. Reward the musician not just yourself :)

  I agree the distinction between small and large scale commercial work is a bit unnecessary when it comes to music licensing fees. And it is unlikely they will need 10 tracks so I have reduced this to 3 of their choice and for more than that it will be on a case by case basis.   Here's the simplified pricing...   Personal work on Vimeo / YouTube (non-commercial, non-profit) $19 - 1 track $49 - 5 tracks $99 - 10 tracks   Commercial work $199 - 1 track $399 - 3 tracks Custom quote - more than 3 tracks   Features, documentaries and shorts $199 - 1 track $499 - 3 tracks Custom quote - more than 3 tracks   As you can see the pricing for personal work on Vimeo is very low as musicians want to give something back to the community and so I do I. You'd get a lot of use out of 10 tracks for uploading personal work, reels, camera tests, etc. so I think $99 is worth the money, to have that weight off one's shoulders over the legal implications of using non-licensed copyrighted work.

One is called "i.Resolution" and the other is the sharpness setting in the photo style. They are subtly different in the way they apply sharpening and I use them off against one another to adjust the look of noise grain.

Well spotted, thank you. That is a typo. I've fixed it in the one place it occurs and a typo that refers to the lenses chapter by the wrong number.   I did begin writing the Post Production chapter then thought 'nah'... The image in-camera with the EOSHD Cinema and Graded settings is amazing, all you really need if you want to grade further is adjust the curves and colour balance with RGB curves in any NLE, and the guide shows you my curves to copy. Other post stuff like Film Convert, Twixtor and reframing 4K I do too and it is straight forward... For reframing you just drop the 4K footage onto a 1080p or 2K timeline sequence and move it around to get the desired framing. If there is demand for a general Post Production manual I may consider writing one but not within the scope of a GH book. The thing with Post is that not everyone has the same software so it gets complicated in a GH4 book very quickly, with instructions for 5 different editing apps and 10 different plugins, you will end up with a very bloated guide that loses a lot of brevity.

Yeah stills are APS-C quality from the GH4 but without that flappy mirror or the silly optical eye glass thing from 1890!   Sensor has a very fine noise in the raw files which is very film like, and ISO 6400 is perfectly usable. I also find the electronic shutter very nice, and once you go back to mechanical shutter on other mirrorless cameras, that feels really dated somehow.   Sharpness is outstanding... no AA filter blurriness at 1:1 so the 16MP is easily a match for the 22MP on full frame cameras like the 5D Mark III. In particular all the things that make the GH4 useful for video like the live view system, articulated screen and EVF are just as helpful for stills. I find I shoot better with it than a DSLR, it helps composition to have the DOF preview with the EVF and the tillable screen for low angles.   AF is amazing on this beast too... better than a Nikon D4 in most cases actually...   You can't say that about live-view AF on a DSLR haha!

I am in talks with some professional musicians and film scorers here in Berlin and have discovered some real talent... The average quality of their work far exceeds the current music licensing libraries and it is more original, more interesting.   I am thinking therefore some kind of music licensing service might be useful to offer on EOSHD especially with the Vimeo copyright problem filmmakers are facing. I don't want to see people sued for copyright infringement when they are just trying to express themselves and their art.   Some of the pros I know here are doing really high end audio - we're talking Hans Zimmer & feature film standard. However these are professionals and we need to pay them. It is simply not going to wash using a track for free that took them 6 months of recording time in studios that charge $400 per day.   I'm wondering what a fair and acceptable rate would be for licensing? I want it to start low to be accessible to artists but scale up to commercial work in the right way. Typical prices at the Music Bed range from a minimum of $50 for non-profit to $399 for commercial work and for larger scale commercial work custom quotes are required.   EOSHD music licensing would be different.   For personal work or zero budget short films on Vimeo / YouTube (non-commercial) $19 - 1 track $50 - 5 tracks $99 - 10 tracks   For commercial work - small clients (<10 employees) and non-profit organisations $50 - 1 track $99 - 5 tracks $199 - 10 tracks   For commercial work - large clients (>10 employees) and advertisements $199 - 1 track $399 - 5 tracks Custom quote - 10 tracks   For features, documentaries and short films with a crew $199 - 1 track $499 - 5 tracks Custom quote - 10 tracks   Of course before you buy you can play all tracks in full on EOSHD to see if they are what you need.   I'd like some feedback on this first before I decide to go ahead with it or not as the amount of work involved here is very significant.   In particular what do you need from such a service? What projects do you need music for... And what do you think of the pricing?   Cheers!

A moving image is more demanding than an 8MP still due to spatial resolution. When you have that 4K in your face at 24fps you will notice if the lens is off!

I did but only the good stuff is in the guide. Some of the explorations didn't shake my world enough to include. I also wanted to make it concise this time. The GH3 one was 250+ pages and some found it too long. I am really happy with the form this one took, it's really neat and to the point! Thanks for buying :)

My perfected workflow is in the book. The 10bit doesn't need special software, the NLE does the oversampling of 1080p from 4K automatically. Most of the workflow is about the in-camera settings. That's where the secret sauce is. FilmConvert is so simple it doesn't need instructions. It is mentioned in the book and you get 10% off with the link in the book. Also the reason I kept my preferred workflow simple is that otherwise I'd have to accompany the book with a Resolve book and a Premiere book and a Final Cut Pro book as well. We'd be here forever!   ISO 1/3 step doesn't have a material effect on the image that's noticeable enough for me to mention it in the book... I prefer to spend my time on the stuff that really makes a difference to the image and your filmmaking in it. Cheers!

Just $19.99 - Buy It Now http://www.eoshd.com/eoshd-panasonic-gh4-shooters-guide Written by Andrew Reid The new EOSHD Panasonic GH4 Shooter's Guide is for filmmakers, photographers and all users interested in mastering video on the GH4! The guide covers the features of the camera concisely telling you only what you need to know and nothing that you don't. There's a chapter on tuning colour and image response in-camera, for an appealing image straight out the camera which doesn't need to be graded and one that responds better to grading. Three profiles are offered in the book - Cinema, Graded and Flat. By applying the settings in the book, you can be sure the camera is correctly set for filmmaking. This book has been written from scratch and is not simply an updated GH3 guide. Key Features How to shoot optimal 4K video, 128 pages of information Image settings for filmic quality carefully formulated by filmmaker Andrew Reid Concise explanations of all major camera features Tips and unknown features revealed Recommended lenses and adapters Practical cinematography advice Recommended settings Beginners guide to using the camera and more... Read the full article here

Not signed an NDA but the company are friends and I'm going to shut up until they're ready.   I have been testing the X today and all I can say is.... WOW!!

  That's a little dramatic!   The BMCC and BMPCC sensor is rated for 13 stops according to Blackmagic.   However usable dynamic range is what we should really measure.   The lows on the Blackmagic cameras are noisy and the lows on the GH4 are compressed (by the encoder allocating more of the available datarate to the mids).   So to get optimal range we shoot exposed to the right on the Blackmagic and on the GH4 we use the in-camera settings to move the black level up so that the encoder deals better with the lows.   Even now we should not measure dynamic range yet (like in SOOOO many test videos I've seen in LOG or with a flat profile!!) because the curve of the image has reduced colour saturation and contrast, it's too flat.   What is magic about film and a very high end camera like the Alexa is that they have a high dynamic range even when graded and not just with the LOG curve.   In our grade we're dealing with usable dynamic range. For example we crush the shadows until the noise goes away and we apply an S-curve to get our lovely colour and contrast back.   At this point in my tests I concluded the GH4 and BMPCC dynamic range was roughly about the same... Around 10 stops. Still less than the 14 stops of film but still up there with DSLR-stills photos.   Furthermore when we oversample 1080p from 4K in post, we get 10bit luma and 444 colour sampling so the GH4 is not deficient there either, with very smooth transitions between shades and no pixilation around high contrast red edges for example.   On DXOMark the 5D Mark III's sensor is rated for about 11.5 stops and the GH4's sensor is rated for approximately 11.5 stops also (similar sensor as GX7 and GM1). If you look at the raw stills from both cameras you get a nice 11.5 stops, or roughly close to that figure anyway.   The way to think about the GH4's 4K video dynamic range is to compare it to a JPEG still shot on the camera in stills mode or on the 5D Mark III, but bare in mind that the video is more compressed in the shadows, so you do lose some USABLE dynamic range compared to a still.   Same situation though with the BMCC due to noise in the lows.   So there you go.   And as for low light performance again they are evenly matched, especially with Speed Booster but I do find the noise grain and tonality in the blacks slightly better on the BMPCC.... Not by much but there is a small difference.

The Panasonic GH4 is $1699 and available here at B&H Photo Video Today only - tune into the B&H Studio GH4 live broadcast here (starting 1PM EDT) The Panasonic GH4, is it a cinematic monster or a wimpy video camera? It's a monster. Even compared to the full frame 14bit raw from the 5D Mark III the GH4 holds its own. It represents a big return to form for Panasonic, a consumer camera that pushes way beyond the image provided by the GH3 and AF100. As a 4K camera never has the format been so practical to shoot as it is with the GH4. With file sizes 8x less than on the nearest competitor and a price 5x less expensive than the Canon 1D C, the GH4 is the most exciting camera I have ever shot with at EOSHD. Read the full article here

Watch the B&H Studio GH4 live broadcast here Starting 1PM EDT, Tuesday, May 27, 2014 Today B&H will be holding a live webcast discussion about the Panasonic GH4 with filmmakers and Panasonic's Mathew Frazer. My GH4 review will be published today and there's also a chance for you to win a GH4 at B&H by tweeting a question with the hashtag #BHPhotoLive here Then following the review, this evening my Panasonic GH4 Shooter's Guide book will be launched. Stay tuned to EOSHD on this busy day for GH4 users!Read the full article here

Download 6K Red Dragon footage compressed to 4K at 15Mbit/s with Google VP9 codec. To play the video you can use the latest VLC Player or Google Chrome The H.265 codec has a rival - YouTube are currently testing the next generation "H.265 beating" VP9 codec for high quality 4K streaming. The file you see linked to above is nearly 2 minutes of 4K clocking in at under 200MB. The quality is astounding for 15Mbit/s and that in a nutshell is what the next generation codecs are all about. The new codecs have the potential to give us ProRes 4444 quality for 1% of the file sizes and make streaming of 4K video over current internet connections a reality. The VP9 codec is developed by Google and already has the backing of Panasonic, Sigma, Sony, ARM and others. Interesting to note Sigma in that list, but I digress... Read the full article here

Of course there's the Sigma 18-35mm F1.8 if you don't mind the shorter range! It ends up like a 12-25mm F1.2 in Micro Four Thirds terms.

  Yes tested it. Nice lens on both GX7 and GH4. A worthy alternative to 12-35mm if you can find it cheaper (it usually is... by half!)   It is sharp and the OIS really works well for video... I use the Panasonic Four Thirds adapter.   The 14-50mm comes in two flavours... there's the Leica version which came with the Digilux and the Panasonic-Leica version which came with the L1. Just cosmetic differences I think but not tested the Leica version yet.   However consider the Speed Booster and an APS-C F2.8 zoom if you want a shallower DOF. The Tamron 17-50mm F2.8 for example is even cheaper.

  The GX7 is the same as the GH4 in low light when it comes to in-camera 1080p. The GH4 pulls ahead when set to 4K and downsampled to 1080p in post though.   Araucaria... Real filmmakers don't use auto-focus ;)   Yes AF is fast for stills on both cameras... VERY fast... Not in video mode. It is lame.

  You can't just strip a sound track off an edit and replace it with a completely different one... Well you can, so long as you're not basing the entire concept of the video around that crucial song, the timing of the edit, the mood, the meaning, the lyrics, the soundscape and the pacing!   :)

  Nah, it really isn't.   With all due respect to Cameralabs they're not video guys and thus clearly do not know how to shoot video. The GX7 clip is a write-off car crash of a shot because it is interlaced. 1080i selected by mistake. Oops!   Also the focal length for the most part is completely different between the two shots and the depth of field looks like F11 or something, making it very hard to judge the effect of the different sensor sizes, indeed even the difference in overall image quality properly.   The GX7 is superior for video. Better codec, less moire, finer noise texture, better high ISO performance in video mode. I've been shooting with the pair of them for about a month now :) See the latest blog post.   http://www.eoshd.com/content/12822/best-small-camera-108060p-panasonic-gx7-a6000-review   You just can't compare the two Cameralabs shots, but feel free to pick a better example where both cameras are shooting the same shot and both handled optimally.   I'm not saying the A6000 cannot shoot nice stuff. It can.   I am saying the GX7 is better overall... more detail, better low light, better codec.

NB: Sample videos will come next week If you want a nice 1080p camera that is packed with features and doesn't cost very much then there's now two really nice options available from Sony and Panasonic. The A6000 is certainly Sony's best performing mirrorless camera yet for video with an APS-C sized sensor vs the Micro Four Thirds sensor in the GX7. I've been shooting with both to decide which one to keep. Read the full article here

  Yes, I was out of my tree with excitement :)

  There.   Be less annoying. Thank you.

  It really wouldn't :) Just add the GH4's codec to the A7S and you nearly have it ;)   By the way I much prefer the GH4, E-M1 and X-T1 ergonomics to the Sony now... Makes my A7R feel so clunky!