Andrew Reid

  Ladies and gentleman and not so gentleman we have a Mr Angry on the forum. Calm down Mr Angry. It's only a camera!   Contribute without the nastiness from now on, or lose your login privileges. Your choice.   I choose not to shoot with the AX100 because I prefer interchangeable lenses on the GH4. My choice.

  Well, you have the choice. The GH4's add-on box gives you 4K in 10bit 4:2:2, same as 4K ProRes on the Blackmagic Production Camera but with a sensor that does clean ISO 3200. Dynamic range will likely be similar, if not actually a bit better on the GH4 due to cleaner shadows, but I'm speculating because neither camera is actually even finished yet.   8bit is fine if you're only doing light grading or leaving the footage on the picture profile it was shot with.   The source signal is 10bit 4:2:2 from the sensor and the encoder does a good job of compressing it into 8bit 4:2:0. The images really did look lovely. Will they fall apart with heaving grading? Yes, like a JPEG does. So choose the external recorder route, problem solved. Do I need the headache of raw file sizes and transcoding any more? After looking at my stack of hard drives after a year shooting Cinema DNG, I'm really not sure raw is viable long term.

  Haha! Stay tuned.

  Let's wait and see what 4K over HDMI does. If it is uncompressed 10bit like the 1080p, then I will have my eyes peeled at NAB for an affordable 4K external recorder for sure. Atomos are you listening? Hint hint!

  Ah come on now. Canon charges $25,000 for their uncompressed 10bit 4K and $12,000 for their 4K DSLR and you won't pay 2000 euros for the Panasonic, which has more features by far than the 1D C?

  I braced myself for The Mark Response. Truth is I've been treading this moment. I'll try not to be too harsh on you, and try to keep it short.   You're wrong.

  For me it isn't a huge issue as we now have it via HDMI, with the advantage of SSD media capacities, prices, much better focussing and monitoring if you choose a recorder like the Atomos Ninja!   ProRes 10bit 4:2:2 is very processor intensive, maybe Panasonic didn't want to give us 40 minute battery run times like Blackmagic ;)

  Uematsu-san said 4:2:2 sampling on the sensor, debayer, right through the imaging pipeline until the actual encoder, then it goes to 4:2:0.   Yes 10bit 4:2:2 over HDMI to your Ninja, which is how I intend to record 1080p on this beauty.

  Don't forget the Speed Booster. Will give you almost Super 35mm field of view with no loss of optical quality (an increase in sharpness and exposure actually) with Nikon lenses on the 2.3x GH4 4K mode.

  AF100 successor, now that's an interesting thought. It's no secret the AF was not a huge success and was trampled on by Sony and Canon. Maybe they see the GH4 as the successor and there won't even be an AF200?   On the other hand, I still think one makes sense. Built in NDs, XLRs, HD-SDI. Maybe the AG-pro division GH4 add-on is the AF200's image processing hardware in a box :)

  I think the GH4 kills the 'intentionally crippled' argument stone dead. I've never seen a consumer camera with so much pro video stuff in it. Peaking, zebra, pedestal, 10bit, and the pro external box jacks too, and that's just a few.   4:4:4 sampling requires more processing power at the compression stage to maintain it right through into the IPB codec. If you want 4:4:4 shoot raw and use your $3000 Mac Pro to debayer the footage :)

  Good reason for that! The ALL-I codec spreads the bitrate more thinly as every frame is separately compressed and stored. To get equivalent quality to IPB you need a much higher bitrate with an ALL-I codec, which is why the MJPEG codec on the 1D C is 500Mbit and a real card gobbler.   If you need intra-frame uncompressed 4K you can have it with the GH4's external box. Can't wait to see the image from that!   Yeah it adds bulk and size but it's not that heavy and as a whole, the GH4 + external box is still smaller and lighter than a C500 with external recorder, likely lighter than the Blackmagic Cinema Camera too, with much better ergonomics than the latter.

  Ha. Someone who didn't read past the first line of the blog post. What did I say about crisp 1080p image? 4K gives you the crispest 1080p image out there and then you even have 10bit 4:2:2 from the HDMI port. Infuriating!

  Hmm why no AX100 coverage. Well the AX100 is a camcorder and this is a DSLR blog. I've had my hands on a GH4 and I've not had my hands on an AX100. It isn't available to buy yet and it doesn't excite me as much as the GH4. It has a fixed zoom lens, with a spec that's a step backwards from the constant F2.8 aperture lens on the RX10. There's better stuff out there dude!

Based on a pre-production model Since the GH1 I have been shooting with Panasonic's mirrorless system for video. Without this series of affordable cameras my early work as a cinematographer and filmmaker simply wouldn't be the same. The GH4 marks a much needed major leap for the line, the first to shoot 4K to an efficient internal codec AND output 10bit 4:2:2 1080p over HDMI to an affordable external recorder like the Atomos Ninja! On a visit to Panasonic I got to see the camera, see 4K sample footage and give my feedback. Here's an account of what I saw... Read the full article here

  Yes. Which makes for a unique bokeh. Wonder if they patented it? Haven't seen it on any other lens.

Poor photographers, they have so few cameras to choose from :)

Take the humble anamorphic lens. The look appears in your content. You take the look away, the content and mood changes.   For me there's no need to have a wall between content and equipment, they're all up there on the screen together.

If you want cinema or filmic then stay away from AF. The AX100 also has a fixed lens with slow aperture and a relatively small sensor. That won't help it look cinematic though I'm sure it's capable of some nice results. With the GH cameras you just need the right glass and bam - cinematic image, providing the nut behind the camera is also cinematic :)

  Bullshit. I have seen for my own eyes putting more powerful equipment in the hands of aspiring filmmakers does inspire them, does improve their cinematography and does allow them to get noticed. This community wouldn't even exist if it wasn't for the gear.   You won't know any of my work if it wasn't for this platform, which is based on the gear.   Let's knock this content is king nonsense ON THE HEAD permanently from now on. OK?

  The GX7 isn't aimed at the video crowd, the GH3 is!   If I were Panasonic I'd send a supply of sensors in Olympus's direction for a supply of IBIS in the other direction. That would cut Sony's seeming monopoly on sensor supply too.

  The codec is a bit too weak to go flat, I just set it to Vivid for rich tonality and used the GH3-Vivid preset in Film Convert. Not received wisdom but I did several tests with the picture profiles and that was the one that gave the nicest results.

  Really, all of it? Because I shot the last sequences on a 5D Mark III in raw :)

Check EOSHD 5am GMT Friday 7th

Nice to see you here Stefan. I've changed the article to be more specific and yes Anthony was the DP on Slumdog. He was quite an early adopter of digital, lots of pioneering work! Love it. Maybe Canon should re-phrase their PR text to make it clearer what your role on Slumdog was as well, as B-camera operator and supervisor of the SI-2K http://www.canon-europe.com/About_Us/Press_Centre/Press_Releases/Consumer_News/News/Berlinale_Talents_2014.aspx   Yes would indeed like to meet for a chat. Did you ever find a Blackmagic to have a go at grading it?   Cheers!