Andrew Reid

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

People loved CineLike on the original VariCam.   If its a warmer image like Canon you want, just dial it in. Either in post or in-camera.

Some more news on the VariCam.   It has raw output like Alexa, for external raw capture on Codex.   http://panasonicprovideo.tumblr.com/post/81453564820/varicam-raw   If they price this camera lower than Canon C500 it will leave Canon for dead in terms of sales.

Yes all CineLike-D, but not dialled down completely flat. I left contrast and sharpness in the middle (0) - I'll have a go at -5 for next test shoot.

Because it gives the grading tools 10bit colour space to work with and higher data rates.   Elbow room.

  Nice!   Colours look natural. Wow what a difference. New slogan for GH4 - "I can't believe it isn't raw!"

The GH4's internally recorded 4K files can be converted to a chunky 2K 10bit ProRes 4444 image which grades extremely well. To test this theory I call on colourists to have a go at it. Arri Alexa ProRes files are available from their FTP server. Details below. Read the full article here

  No, not the flattest possible. I left CineLikeD on default contrast settings (middle 0, not -5).   I generally prefer not to have too flat an image in an 8bit codec, because you have to push it further in post. That usually results in more banding and more break-up.   I have just downloaded some Alexa ProRes from Arri's FTP server. Anyone want a go at grading that against the GH4 ProRes?   First I recommend you downsample the GH4's ProRes LT from 4K to 2K and convert to 444.   These files LT files are here - https://www.copy.com/s/EoeMcoA2T9L4   Then download the 2K Arri ProRes and compare.   Unfortunately the Arri material is mega boring shot wise... just some old dude playing a xylophone!   But colourists might enjoy the experiment. The GH4's 4K H.264 makes for a very weighty 2K ProRes image for grading, me thinks.   Arri FTP details are here: http://www.arri.com/camera/digital_cameras/learn/alexa_sample_footage/   Server:        ftp-footage.arri.de User:           ALEXA Password:  samplefootage

  You're making it sound only about the lens. What about the nut behind the camera!?   The 18-35 is very nice, almost as sharp as the Cookes.

Like I said in the blog, the sunny shots and highlights are not optimal because I exposed too far to the right. Very little is blown out but they could have benefitted from coming to the left a bit.   Believe me the roll off is smooth and the dynamic range is very wide on this cam.   The pink comes from my grade. If I wasn't in such a rush to show it to you, I'd have spent another 6 hours on it and put it through Resolve or something  :)   Furthermore, still experimenting with what picture profiles to use, though I love what CineLike D is giving me so far, despite having a name like a vitamin supplement.

  Cheers. This is just a very quick test.   The proper project is the Spreepark with Frank. I can't wait to get started!! More to come.

Try using VLC Player. Quicktime is s**t

jcs, a few comments...   Windows 7 running on a Mac? Virtualised or bootcamp? If virtualised you will have lower performance. Also the MOV ProRes from Copy are much larger, higher bitrate files than the 4K MP4 (H.264) from my Vimeo account so you will be putting more demands on the drive read speed and the player.   Your grade is ok but could benefit from losing the yellow tint as the bonnet and cobbles no longer look brown.   Cheers

  Yes very good and built brilliantly as you'd expect from German engineering :)

  I agree 100%. Weird philosophy their law takes, from such an otherwise lovely country whose people have impeccable logic.

Recorded internally, 8bit 4:2:0 4K. Exported from Premiere Pro CC as ProRes 422 LT.   It isn't even ProRes 4444. Try converting it to that before grading :)

  Hmm, might do. But it is Speed Booster for Canon I really want, even a passive one would be better than nothing! To see more of the glass, closer to the full frame look.

  Yes I will do this. Consider downloading the shorter clips from Copy (around 100MB each) instead if you just wanna see what the 4K image quality looks like. https://copy.com/EoeMcoA2T9L4

Above: GH4 test footage shot in 4096 x 2160 Cinema 4K DCI mode. Academy 1.85:1 aspect ratio. CineLikeD profile for best dynamic range. Below: Cooke S4i Mini (uncoated Panchro/i version) on the GH4 with Ciecio7 PL adapter Andrew Reid (EOSHD) and Frank Sauer (Filmmaker) are shooting with the Panasonic GH4 On Day 1 of shooting with the GH4 we did a location scout at the Spreepark abandoned theme park in Berlin. The park has granted us paid access to do a proper shoot with the free runners so I am going to save the location scouting footage for when it comes to that edit and the final piece. Frank is near Frankfurt now with the GH4 to shoot a piece with a new aerial drone and gimbal (similar to MoVi) and I have been out shooting with the GH4 around Berlin to get an idea of the image quality when it comes to 4K. I've also tried grading the 100Mbit/s 4K codec in Premiere to see how well it holds up. Here are the results in glorious 4K! Disclaimer 1: This GH4 is a pre-production model. Firmware version is v0.5. The image quality may not represent the final camera. Disclaimer 2: Because I don't have NDs big enough or good enough for the Cooke lenses yet, most shots were shot at higher shutter speeds than 180 degrees (1/50) Tip: if you don't have a Vimeo Plus account to download the original file and pixel peep I've uploaded some short GH4 4K clips here in ProRes LT format. Try grading them and looking at the detail 1:1! Read the full article here

Ah OK will fix that, thanks.

  She is an English gal as well. Lovely girl and very patient with all our camera nerdery. I agree on the vintage lenses. When you match a lens to the sensor size it is meant for, good things happen. Part of the reason full frame looks so nice is because you see the edge of the lens - the slightly vignette, the slight curve in the bokeh, the extra flare, etc. Same with c-mount lenses, just on a smaller area.   We tried a Canon 50mm F1.2L FD - was not the same... sometimes only getting the 'best part' of the lens (the centre) results in a boring image.   I definitely would like to buy a Digital Bolex as well... an extra look in the bag. Really fun to use. I am sold on it, but the price is a bit high for a '2nd camera' I think.

  April 1st joke and attention seeking for clicks.

Also guys don't forget this is a pre-production firmware, v0.5 not the final one which will ship to customers.

  I don't know what you mean.