Andrew - EOSHD

Because you might not be a street videographer ;) but yes, it's terrible. Anyway, it's a nikon and there are so many lenses with aperture ring (most of my lenses do) so it has never a real bummer for me when using the d7000.

 

Who said anything about street videography? If your cast is in the zone and ready to go, but the camera man is fiddling with his live view and mirror flipping up and down, it's a pain...

This thread is in the wrong place.

 

http://www.eoshd.com/comments/forum/21-creativity-and-ideas/

What's the point of slightly better image quality if you miss a shot entirely due to having to quit movie mode simply to set the required aperture?

Re: the video - I'm noticing blown-out highlights in some scenes (hair of the actress), and underexposure in others. Unless this was an artistic choice, could it be possible that the video was shot in full 0-255 range but edited in 16-235 broadcast range without lifting shadows and bringing down highlights? Or is Stu Maschwitz right with his claim that the GH4 lacks dynamic range? 

 

The only time the blown-out hair happens is on the slow-mo footage, not the 4K. And it was a challenging shot because of extremely bright direct sunlight on Susanna's hair. She was backlit by it and I was exposed for her face. An Alexa would have struggled with that.

 

I didn't grade for maximum dynamic range and one of the 4K shots was a bit hot, a bit over exposed.

 

I am fine with the dynamic range from the 4K files so far. Seems similar to what I am able to get with 5D Mark III raw. The GH4's sensor is rated for nearly 12 stops, same as the 5D Mark III's sensor. Packing that into a JPEG, which is effectively what the 4K video is but more compressed, well... you be the judge. Possible or not? Think about stills. I'd say yes it is possible.

I've been confused with the crops factors on the camera cause it seems lots of people seem to be bouncing back and forth between FF or Super 35mm when talking about cropping. Does shooting in C4K/UHD change the cropping to S35? What does it end up being with and without a Speedbooster, in Super 35mm?

 

It ends up being a 0.9x crop with BMCC Speed Booster if you compare it to the typical Super 35mm sensor size. I.e. it goes larger than Super 35mm, but still a 1.4x crop over photographic full frame.

Yeah, I'm wondering the same thing. I'm considering the same workflow hoping to keep more colour info in the file (less banding) than if I shot 1080p. Wonder if there is a user friendly transcoding App that converts 4K 4.2.0 material shot in camera to full 1080p 4.2.2 or 4.4.4 ready for editing?

Hope someone has an answer to this!

 

Try this app -

 

http://www.eoshd.com/content/12594/exclusive-first-app-resample-panasonic-gh4-4k-8bit-10bit-444

Really like your new short 'The Machine,' Very nice experimental feel to it, which you're not new to utilizing. The editing and style is more important than the quality of the GH4 here, which is refreshing with all the recent GH4 tests. That being said, you do have some very good quality "cinematic" shots in there. I'm interested to see your tests with your new EF focal reducer purchase as well as more anamorphic tests. Ryan Glover did a nice test with Lomo glass that I haven't seen posted here:

>

 

edit: Also what is this you mention about better raw look out of a 5d mk ii vs mk iii ? Going to have to try this out for myself...

 

The Mk II raw with anti-aliasing filter installed is very interesting. It doesn't quite have the ultra-clean feel of the 5D3 so feels more analogue. I am working on an updated Shooter's Guide for both the 5D3 and 5D2, plus have shot a ton of stuff which isn't yet published! There will be many more articles in the coming weeks on this and quite a few surprises :)

My full review of the Panasonic GH4 (final retail unit) is coming next week. Until then I am enjoying Philip Bloom's views on the camera here!

A big thanks to B&H Photo & Video in the US for shipping internationally a GH4 unit with no recording limits, I got it before it was even available in Europe. Delivery took just 2 days! Impressed!

Read the full article here

The potentially fixes one of the biggest problems with the RX10 (AVCHD codec break-up) and puts it into a tiny form factor. Could be really nice. I was a big fan of the previous RX100s.

 

The pop-up EVF is cool too.

Looks like they took some bad advice somewhere along the line on price, but I still can't wait to get my hands on a 4K full frame image.

Not a pleasing price but I think it is unique enough for me to still want it, for low light, full frame, to sell my A7R and replace it with this just to get rid of AVCHD is worth the extra! 4K in future to Shogun a pretty big bonus in my view.

 

GH4 still the one to get overall in the here and now... it is simply better featured for video.

One of my favourite independent directors has started testing the GH4 against his RED. http://danieljohnpeters.com/2014/05/14/gh4-2/

 

Nice shots in there and like the concise writing style. I liked it enough to get that generic EF speed booster for my GH4. The results look pretty good judging from Vimeo. £70 can't go wrong! Or can i!? Time to find out.

Happy to have two threads actually...

 

One for problems.

 

And one for design aspects.

 

Slow-mo softness at 96fps and 2.2x crop in 4K is an aspect of the design.

 

A problem for me would be a bug or usability quirk.

 

Let's continue on the thread but be clear on what we mean...

Complete an utter madness. The 4K mode does not come at 'too many other costs'. If you're shooting 1080p internally you're completely wasting the talents of the camera. I am shooting 4K on the GH4 for 1080p delivery. You can reframe in post, which is endlessly creative, no matter what you're shooting. The image quality for 1080p looks WAY better downscaled in post from 4K to 1080p than pixel binned on the sensor in 1080p mode.

Pietz I pointed all this out months ago in my articles, I resent being called a fanboy. Change of tone required I think!

The A7S should do 10bit HDMI and 8bit 4K internal. I hope Sony reconsider and put at least the AX100 processor in there for internal 4K recording to XAVC-S. After all it is a more expensive camera than the AX100!

 

8bit external and 8bit internal... not much logic in that is there?

Don't feed the troll corpse. He's been already been hacked into pieces and fed to a pig :)

 

That'll teach 'em.

I disagree with the 'this wins over that' mentality though too... All important equally.

The sensor readout is much faster on the GH4, by 50%. But 400% more data coming off the sensor, that isn't enough to compensate. Audio issue is a non-issue as far as I'm concerned. Who shoots video with audio in stills mode? That's what the movie mode is for!

 

AF is of no interest to me either.

 

The soft video in VFR mode, well treat it as a creative bonus tool... You could pay $15k for a camera today, and not even get 60p! (C300)

Happily on here I do the banning. Goodbye!!

obviously you're just interested in the toyz....not what you can do with them. Editing image continuity is one of the most basic tools that filmmakers use to grab the attention of the viewer. When I saw those perturbations, I thought I was watching a doc, not a narrative short. You can do that in documentary ...but you can't do it in narrative. And regardless...no especially because it was a one person project, they should have been more careful....so no Andrew, I wasn't "transported" simply because the filmmaker was telling a confusing tale based on the information the viewer was receiving. Overly critical...of course. That 's what film criticism is all about.

 

Oh dear. Well the whole style is supposed to be a mix of documentary and fiction, which makes it so believable. If you're going to criticise on something small, it at least helps to get it into perspective by mentioning what you DID like, if indeed you did like anything at all, you miserable person.

A Drop in the Ocean. His wrists are wrapped with yellow tape. An effective graphic design which draws the eye's attention. Then they're not wrapped. Then they're wrapped. Bad continuity, esp. since the yellow tape is meant to draw your visual attention. Look at 1:25. These kinds of errors should have been caught in the process of repeated viewing.

 

Oh, A Drop In The Ocean was great. Was way too involved in the mood, characters, story, to notice stuff like that. You weren't?

Didn't notice the continuity errors. Neat idea, but the execution is a bit clinical. Everything seems staged in the way it is placed on the set. Who places their slippers like that by the bed and everything so perfectly!? The camera work is a bit wooden too. Despite that I connected with the theme and the audio is well done. It's a good effort.

You kind of nailed it. Mind you if we took half the time we spend messing around testing cameras, reading reviews and forums, etc., and spent that out in the world meeting actors, attending workshops, watching live theatre, etc., it might help solve that problem. :)

 

How about you best do both, because filmmaking is never about a single thing. It is everything that's important right?