Andrew Reid

Nowhere am I saying it is in the same league as the Alexa or matching it on how far you can push the grade.

 

I know it isn't THAT good.

 

But it's great and Panasonic's consumer 4K codec is clearly a step forward for grading compared the usual DSLR codec.

300mm on a 2x crop sensor not long enough for you ajay?  :wacko:

 

The 100-300 has stabilisation... equivalent on full frame would be 200-600, go and price that up at Amazon :)

I may upload again with a slightly more evenly matched grade. But I love the Kodak look.

NAB 2014 thread... Fire away. Hopes, expectations, news anything goes!

The GH4 looks a full stop underexposed compared to the same shots of the 5DMIII and the GH3. Am I missing something?

 

It's just the grade. Settings were correct, including ISO.

So just to confirm this is 1.5x sensor on the GH4 with Speed Booster, so you are looking at Super 35mm (the cinema standard) holding up to 5D Mark III full frame, at ISO 6400. Pretty amazing really.

 

A7S going to have to be a complete package to beat it, but it has a good chance of being even better at high ISOs thanks to the rumoured 12MP full frame sensor.

I bet it will have the same 4K specs as the Sony 4K AX100 with XAVC S 4K @ 24 and 30 fps on SD cards with exFAT file system.

 

Most likely. Suddenly I feel very interested in finding out how well XAVC on the AX100 holds up.

 

Only thing that could cripple the A7S is rolling shutter, but the 12MP count and "S" for Speed is a good sign that won't be a big problem.

2. Also Andrew, please don't jinx the GH4. I know you are really excited about it, SO ARE WE! It was a light hearted dig at your obsession. Has the time you've spent in Germany robbed you of your humour? I get it's your forum, but take a chill pill.

 

Time spent on this forum has robbed me of my patience man... Obsession? How about being more thankful for the info and less insulting.

I haven't used a GH4, but to me the difference between the GH4/GH3 (ISO) isn't the jump I was expecting. From the vimeo clip, viewed full screen they are very similar - similar enough I think to not be a easy pick in a blind test.

 

It's really important you download the original clip on this one :) Vimeo's compression hides all the noise.

12MP is a superb choice if true.

Grade original 4K MOV files from the pre-production Panasonic GH4 here - https://www.copy.com/browse/copy/GH4

Is the GH4 a match for full frame in low light? The answer, surprisingly, is yes...

Read the full article here

Something to bear in mind...

 

I highly doubt the A7S will use the full frame sensor area to record 4K from. If they use their 36MP A7R and take a 4096 x 2160 box from it, you will have a smaller sensor than Super 35mm. If they use their 24MP A7 sensor it will still be a big crop.

 

Best case senario is if they use the 16MP sensor they supplied Nikon in the D4 and D4S, which already could window out areas of the sensor at 1:1 for video. Quadrants of the same 1920x1080p area Nikon uses on the D4S would be an option for the A7S but it still wouldn't give you a full frame field of view, it would be like the 1D C with a 1.3x crop.

 

GH4 is 1.5x crop with Speed Booster and you gain in optical sharpness and brightness.

 

So let's try to avoid the hyperbole stuff and get the facts right. This thing hasn't even been announced yet!

 

That said I am mega excited!

Compare it to the full frame Canon EOS 1D C that has a 1.3x crop in 4K.

 

Let's get a few things straightened out regarding Joe and dafranking's thoughts here, because they don't make sense at all to me.

 

1D C is different price bracket and an MJPEG codec. It isn't comparable to the GH4 on features and won't be comparable to the A7S on price most likely.

 

It is old technology now.

 

The GH4 is the most obvious candidate to compare upcoming 4K cameras to, it is the current benchmark. No other camera comes in at the same price point with this many features. The Blackmagic 4K has 8x larger file sizes which are impossible to archive over a years worth of shooting unless you are Donald Trump, yet it lacks even the most basic of features like histogram. Nice image under ISO 400 and I like the concept but sorry, it is not feature complete enough or ergonomic enough to compete with Sony or Panasonic, ditto the 1D C.

Dafranking - Can we up the quality of posts please.

Grading is a subjective art and I think some people on here have quite a narrow definition of what is 'right' or 'wrong'. If you don't like it fine, but don't try and put it down to an error or camera problem! I've intentionally chosen the look I wanted here, to bring out the warm magic hour sun and pink fleshy skin tones. If you have a different style feel free to download the ungraded clips from Copy and have a go yourself, then I will point at it and say you're "wrong", how's that?

cameralabs is saying it has some wierd focus breathing when maintaining focus on one object, like it's micro-hunting. Can you confirm or deny ? thanks

 

Yes I can confirm that using AF for video is f***ing stupid

Various sources have told Sony Alpha Rumors that an A7S is coming on Sunday "in Las Vegas". It isn't hard to figure out what is starting in Las Vegas this weekend. If the rumours are true the Sony A7S will be at NAB 2014 - the largest video, broadcast and cinema trade show of the year.

Is Sony about to give us a 'full frame GH4'?

Read the full article here

So for your test you can provide a 10-bit ProRes download ;)

 

Already have done. Most of my tests are uploaded in ProRes LT and there's several GH4 files that I've graded and uploaded to Copy in 10bit ProRes format.

"Grade something in 4K that starts to break up". Wrong way to think of it.

 

The math is backed up by David Newman who is CTO at CineForm.

Note how many folks could not figure out which camera was which.

 

Because it is shown at 720p on a 4Mbit Vimeo stream. Hell that is really letting the Alexa's wings stretch isn't it  :rolleyes:

Some of these shots look fantastic, but some look a little overkill.  Like the LUT is crushing the bottom end of the curve and bringing out too much red/orange saturation.   

 

It's called "the sun".

In private as it's a pre-production model. Thomas can you email me? I'll respond later as it is 3am here now :)

Hey Andrew,

 

Basically if you take a grayscale gradient and you capture, resample, whatever.. from 10bit to 8bit, you wind up with 256 shades of gray (wow, just thought of a great title for a book).. and if you push the crap out of that, you will see banding, no matter what size the resolution is. In my experience, bit depth is more important than most of the other factors.

 

But with a camera, there is Bayer pattern grain, algorithms and lots of interesting IP going on that can make it look much better.. but you're still stuck with the math.. 256 colors per channel at 8bit.

 

Indeed, which is why when you downscale 4K to 2K and pack it into a file which can handle greater precision you have smoother gradients with finer steps in-between which respond better when you push them around in the grade.

That's on the original files Thomas.

 

4:2:0 artefact I think.

 

This is the kind of thing you avoid when:

 

A - You record via the 10bit 4:2:2 HDMI output

or

B - You downsample to 2K 4444 ProRes

It's called 'contrast' sir. Hate the flat HDR look.