Andrew Reid

  It still has significant unique selling points. Very impressive colour and a film like image. CCD sensor looks different to CMOS. Given choice, in good light I think I'd shoot Digital Bolex. They have better audio than Blackmagic. XLR onboard. Global shutter but with same dynamic range as the BMCC rather than the more limited dynamic range on the BMPC. I was also impressed by their crank handle follow focus though not sure how well it works in reality as not shot with one yet.

2.5K model has already had a price drop.

  Email directly only.

  People's definition of video-ish is weird. Anything 30p or shot without an Alexa seems to be video-ish to some people. It is a judgement that has nothing to do with the lens or the content. Seb's video is great.

  Holds up 100%. A global shutter doesn't just reduce rolling shutter skew and flash strobing, but eliminates it.

Above: beautiful new film from Seb Farges shot with the SLR Magic Anamorphot on the Sony A7 and Olympus E-M5. SLR Magic have officially announced the Anamorphot developed with feedback and technical assistance from EOSHD and the anamorphic community. Read the full article here

Blackmagic have today announced a $1000 price drop on the BMPC 4K. Read the full article here

Interesting. Does the downscale to 1080p need any particular specific method or can you just go into Premiere, set the timeline to 1080p and scale the footage to fit?

280Mb/s on the label. More identifiable that way. That's what I'm referring too not the write speeds.

  The aliasing that 4:2:0 can cause will be smoothed out in the normal descaling process.   Oversampling it's called.   I have no idea about how it works in theory or if there's an advanced way of processing it outside a normal re-sizing in Premiere.

  I agree with Illya on most things but not Speed Booster, I think it's a great tool and has its place! Sharpness isn't a problem. Perhaps you get a bit of low contrast around out of focus areas with it. In my practical experience it hasn't been bothersome. But ask me again in a few weeks when I have shot with my Cooke PL lenses. This is the benchmark someone like Illya is used to.

  CineLike was seen on previous Panasonic pro cameras. I have never used it. Perhaps some users of previous Panasonic small chip broadcast cameras can chime in.

  Yes talked to him on twitter and the Pro cards come recommended, Extreme cards let them down.

FAQ started on the blog. Discussion continues here. Thanks everyone.   http://www.eoshd.com/content/12070/panasonic-gh4-profession-setting-faq

Above: interview with Illya Friedman of Hot Rod Cameras, by Dan Chung The GH4 is a consumer camera but has the most pro-camera leanings I've ever seen from a consumer or even prosumer camera. Because of that many professional shooters are considering the GH4. Here then are the remaining questions answered... Read the full article here

Thanks Peter, yes I'll update it. Didn't realise it wasn't actually Super 35.

Yeah looks like 4K is playback only and converted to 1080p when you use the HDMI output on the camera. Oh well. Brick it is!

  Nothing ridiculous about that camera actually. Far better images than the iPhone 5S, 5 and 4S. Software lets it down by comparison by the sensor is a marvel. Better in low light than the iPhone as well. I reviewed the PureView 808 a while ago. Check this image out... then shut up...then get back on topic. THANKS     http://www.eoshd.com/content/8674/nokia-pureview-808-review-and-vs-iphone-4s

  1. Nobody seems to knows yet. I've asked a shooter in the US who shot with the GH4 yesterday to try and find out. 4K playback I have seen working and the HDMI is 4K capable. Live, clean, uncompressed, 8bit or 10bit, nobody knows. Early days yet.   2. The brick has to go under the camera. It's not that heavy but it's a shame it cannot be run off a lead to somewhere else on the rig of your choosing, but it's one less lead to snag and one less socket to risk. I am sure there will be cages designed to fit the YAGH brick + GH4 as one unit. But when? Who knows.   3. Slow-mo conforms to a 23.98p, 24p, 25p and 30p. Full slow-mo specs -     4. 95Mb/s Sandisk Extreme likely won't cut it for 4K or 1080p in ALL-I at 200Mbit but is fine for 1080p IPB. For 4K you need newer 280Mb/s SanDisk Pro card or new Panasonic ones. Source:    5. Atomos Samurai. You need the higher res screen for focus in 4K. Ninja not as crisp. For 4K you will need Convergent Design Odyssey or similar.   6. Nobody has done a controlled chart test yet for DR but expect it to be similar to a GX7 JPEG. Just shy of 12 stops baked into the image.

  You could always convert the H.264 4K to H.265 - reduce file sizes while maintaining same image quality.   I'm hearing from early GH4 shooters in the US that they can get 29 minutes of 4K on one 64GB card. That doesn't tally with my maths. I'd through you'd get more on the card than that. But let's see.

"Newer SD card system."   I'd prefer if future cameras went to CFast. SD cards are a bit flimsy.   "Add higer bit rates for 4K .. (100 is not alot GH4)"   100 is a lot actually! With the next generation codecs bitrate becomes less important. H.265 will deliver far more image quality for the same bitrate.   "and more bith depth. . 12 bit would be good. (perhaps only via sata connector)"   I personally don't need 12bit. Can't tell the difference between 10bit and 12bit.   "add higher frame rate. 48FPS at least for 4K .. would be great"   Agree with this one, slow-mo must continue unabated into the 4K era.   "Add an external sata connector so users can record to an SSD if the high FPS + bitdepth require too much from the SD cards."   eSATA connectors are too wobbly. Solution is to have CFast cards with same performance, price and capacities as SSD cards and just have it do it all in-camera.

It's ironic that some on this thread are saying "look at the broader picture, not just resolution" and then constantly repeating that they won't be buying the GH4 because it doesn't do one small feature of the overall image (4:2:2 internally).   Actually it does do 4:2:2 internally. The whole image pipeline is 4:2:2 until the compression kicks in and goes to 4:2:0. That counts for something.   Furthermore a full pixel readout from the sensor with true 4:2:2 sampling internally is more important than the final compression format. Want proof? See the Nikon D800 internal 4:2:0 vs HDMI 4:2:2... Not much difference, and still lots of aliasing and stair stepping. 4:2:2 is actually a very minor thing in the grand scale of things. Pixel binning, line skipping, all that stuff - there's no point having 4:2:2 if you are doing that. In 4K on the GH4 you have no pixel binning or line skipping, it's a full pixel readout, like a crop of a 16MP JPEG still to 8MP. If you're not satisfied by that at $2k then you really need to reassess your expectations. Feel free to spend $12,000 on the 1D C if you want internal 4:2:2 in 4K.

  Tiresome. I didn't say people don't give a rats ass about 4:2:2 I said most people don't give a rats ass about having their camera on a short-list drawn up by a man in a cupboard at television centre.

  I'm sure Panasonic would love to see you an AF200 instead! Let's see what comes at NAB.   (For the record I have no idea if such a thing even exists).

  My advice is add the Blackmagic Pocket Cinema Camera as a B-camera for 4:2:2 when you need it.   Indeed Panasonic have a big broadcast presence and they probably want to sell broadcast cameras, by not giving the GH4 4:2:2 internal that's probably one way to sell those more expensive models.