Andrew Reid

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

Where's that clip gone?   :)

 

Should be back now. Copy was having problems. Please try and again and let me know if it's still broken.

 

https://www.copy.com/s/edilC2jd0kbi

I don't think that video is relevant?

 

On DSLRs with 1080p, the sensor gives a weak signal to the image processor. It is a signal that is heavily chopped and sliced before it even gets to the encoder and is turned into 8bit.

 

On the GH4 the sensor gives a very strong signal to the image processor. It is a 1:1 pixel readout, debayered to 10bit 4:2:2... That is a lot of data for the encoder to work with. It is also a LOT more data than 1080p, around 4x more.

 

So working with 4x more data in your grade is going to be a bit different to working with the usual 8bit 1080p from DSLRs.

 

That it is still 8bit is kind of irrelevant - it is still 4x the data of 1080p and the stronger sensor signal. The whole internal imaging pipeline in the GH4 is 10bit 4:2:2.

 

When you pack 4x the data into a 1080p file using your computer, you are throwing a lot of processing power at it.

 

I can already see for myself how well the 4K data grades and how nice the 2K is from it when oversampled from 4x the data that you have usually!

 

I must admit I do not understand the maths that well, I am not a mathematician but a filmmaker, so others may or may not be right on the maths... in the end I don't care... I have a pair of eyes and that is what counts :)

Something I have discovered while editing all this GH4 4K material is that the 8bit codec Panasonic uses is quite complex and requires more power than ProRes. I have also found that the sequence settings and video proxy settings in Premiere are a good thing to pay attention to this time... the default ones no longer cut it.

Along the way I have found a few tricks to get the colours in GH4 footage to absolutely sing with Film Convert and Premiere using the Alexa Rec 709 profile.

Read the full article here

Actually didn't Red have 4K with the Scarlet around 1D C prices way before Canon launched their 1D C circa $13k?

 

And it isn't old technology. The 1D C is based on the 1D X and that is bang up to date. There's no newer or better Canon tech out there.

OK Copy is giving errors. I'll see if it comes back in a few hours and if not will prepare some other links.

 

Would love your first hand opinion on how it grades vs your Alexa footage. Great stuff!

I am surprised as anyone at the gradability of the 4K files. I'm a big fan of raw!!

Nice to see you back JG! Is the Copy link dead?

Simple answer. I sold my BMCC. I only have the Pocket. Same image for 1080p but prefer the tiny portability and active MFT mount.

 

White balance is not problematic with the 4K files, amazingly. If you miss it you can correct it. I've showed this on the forums previously and other people's grades show this. I'll go further into this on Day 4 most likely.

Cons

* 1080p is getting a bit old - 4K is the future

 

Be honest Andrew.  You were definitely NOT expecting 4K at this price point and form factor!

 

No but we do have it for £1299. I think it is worth the extra.

Alllllright guys that's enough. Tony that is enough of the funny accents now.

 

Let's try and get along and talk on topic. We're all here for the same reason anyway.

Do you have any comparisons of Gh4 4K downscaled to 1080?

 

Yes just watch the Vimeo stream at 1080p or watch the 4K file on a 1080p display.

Nerd alert!

I'm afraid it's time to put the creative urges to one side and get down to the nitty gritty. Just exactly how does the GH4's image stack up against the competition?

Read the full article here

Oh and the shutter button - why not use that to record video? When it is pressed in movie mode it comes up with a message box saying you can't take stills. Bloody useless.

 

Sony... c'mon!

Magenta or green?... can't be both tints at same time!

 

I am not seeing what you're seeing in the files to be honest. How is this image 'a bit disappointing' for $1699. Have you not been taking your happy pills or something!?

To Sony, please make the video record button assignable to one of the Function button or the shutter! I hate the record button placement!

 

Absolutely!!

 

The record button is in a terrible place and I just tried assigning it to C1 next to the shutter button but it isn't in the list.

Disappointing!

 

Otherwise, really enjoying the camera. Much better choice than the D5300 me thinks.

I'm a bit worried sharing these, mainly because I'm paranoid I did something wrong on my end, regardless, I think it's good to share. First, I think the shot I used is a "worst case scenario" type of shot - because the shot itself is of a bland, bright sky that contains strong highlights and deep shadows (a real killer for 8-bit codecs as many of you know). Second, I think it reminds us that there is nothing like a true 10-bit codec, as opposed to 8-bit 4K being down-sampled to 10-bit 1080P (which in theory, works, but I think in reality it seems to fall apart somewhat - again, this may be a fault on my end). All in all, I think people shouldn't even begin to pass judgement on the GH4 until we see how it record in true 10-bit. I really hope that someone can show us true 10-bit out of the GH4 soon! I'd love to use the 10-bit 1080P at 60FPS that the GH4 is capable of to complement my Blackmagic Pocket Cinema Camera for slow-motion shots  :) 

Anyway, here are the shots I spoke about above. I simply imported Andrew's 4K ProRes file into Premiere Pro CS6, and did a light "Shadow/Highlight" recovery to see what kind of data I could get out of such an extreme shot - and guys, please remember that it is an extreme shot as it contains both strong highlights and deep shadows - I think any camera would struggle in this situation to be honest. However, the increase in colours that 10-bit brings would have definitely helped in the gradation I think. Also, I should point out - these are 8-bit JPEGS, however, I did render the shots as "Uncompressed 10-bit  YUV" (by way of Blackmagic's Premiere Pro rendering preset for Premiere CS6), and the results (in regards to the gradation) were the same. Anyway, enough of my ranting and raving, here are the shots:

ORIGINAL


ATTEMPTED SHADOW/HIGHLIGHT RECOVERY

 

 

It is unlikely to be a problem with your methods.

 

I just think the only way to avoid this is raw.

 

Actually as luck would have it I took a GH4 JPEG and a raw still around the same time I took this 4K shot.

 

Try grading those the same and see if they hold up! http://www.eoshd.com/uploads/gh4-tower-stills-jpeg-raw.zip

 

The way to fix this issue is to record 4K via the HDMI port or the YAGH interface box. That is uncompressed and 10bit.

awesome news.  I would like a nice aps-c camera to replace the nex5n and partner to the A7R

 

I got it to replace my NEX 5N and 7, but to be honest it could end up replacing my A7R as well.

 

Speed Booster gives me the full frame look.

 

The A6000 has much better AF and a much shorter EVF blank-out time when taking stills... like 0.2 sec compared to nearly 1 second on the A7R. Just overall feels much more responsive, smaller and quieter shutter to boot. Of course video quality is miles better too.

Andrew I have downloaded your clip on your review (gh2 with cooke lens clip)

it looks very clean and a good image, a great camera in a small package!

 

what Iso did you shoot this at?? the blacks look very clean

 

Big thanks

Andy

 

ISO 640 I seem to remember.

Maybe it depends on how people are doing the downsampling.

 

Using FFMPEG or just a simple scale in Premiere?

EU version has both, it is switchable between PAL and NTSC in the menus.

 

Not tried the 1080/60p mode yet, will check it soon.

Hi Andrew, does the anamorphot work on the canon 35 1.4? I assume it would from 2.8 up.

 

Thanks in advance.

 

P.S It definitely doesn't work with the Zeiss 25 Distagon 2/25 though!

 

Depends on what sensor. On FS100 it worked well on my Canon 35mm F2.0 IS.

 

Full frame a different story.

Of course it has an internal mic, yes :)

 

AVCHD clip uploaded https://copy.com/edilC2jd0kbi

 

Investigate what you can put in the hotshoe in terms of audio support. I am researching this for final review but it will be a week or so away yet.

D5200 sensor had Toshiba on the die markings but likely is a Sony design

 

D5300 has Sony on the die markings and is likely a tweaked version of the old sensor, because it has a cleaner readout in terms of noise and less fixed pattern noise. Perhaps lower power consumption too. But the way it does video sampling is very similar to the D5200's Toshiba  one.

Sony A6000 with Zeiss 50mm F1.4 on Speed Booster

The Sony A600 is the best Sony consumer camera yet for video. A Nikon D5300 in a mirrorless body, with far more features, the image quality is closer to the FS700 in 1080p than to a NEX 7 or A5000. The pristine sharp EVF, a magnified focus assist which can be activated whilst recording (rare!), peaking, zebra, 16:9 screen and of course the mirrorless form factor. This is arguably the best current 'cheap' camera for video, de-throning the GH2 and GH3. At just $650 it is an absolute bargain.

Read the full article here