Henk Willem

No this really looks like the OIS. Always turn that of when shooting really steady stuff. It will try to compensate for motion you don't want it compensating. Only use it for handheld shooting. 25p should look better then that. Give it a try and check out the results.

Exactly my thoughts sir. The idea is to deliver 1080p (in superb, near-10bit quality) so a downscaled GH4 image to compare to the other cameras is the way to go. Upscaling everything to 4K is in favour of the GH4. The same goes for the small 1:1 crops which are 'upscaled to fit the 4K frame dictated by the GH4'. I guess the nerd alert really applies here :)

Yeah, I'm leaning toward the SLR Magic. The look of the Olympus is better (in my opinion) but I can't justify the price. So better images and auto focus in contrast to a €300,- price difference. Tricky heh :)

My workflow is to export native out of your NLE (so that would be 720p) and let Bitvice do it's magic. It downconverts and interlaces beautiful, but I'm sure there are more solutions.

Yeah, I'm looking into the same thing. Not sure about your price range, but what about one of these two? http://kanauru.net/blog/?p=126 The SLR Magic sells for around €400,- in Euorpe.

Agreed Yellow, and good questions in the end. Good arguments for keeping the source as it is, making decisions at grading. The main issue then seems the metadata and the proper read out of it by the convertors, players and NLE's. And the users  themself who have no clue what to do when settings need to be set manually. And then there's QuickTime which completely does it's own thing. Oh, how hateful that is. It really takes some effort to understand these issues. Just like the QT gamma shift and many more stuff like that :)

During a shoot I constantly switch between auto and manual. Auto is great for preparing a fairly steady shot: focus, composition, shoot. But with movements of changing depth of field: use manual.

Yellow, thanks for the great info. It's very interesting to know all the details behind the artistic and creative process. The final step is that we all want our pictures to be looked at in the full dynamic range. So if a output device expects a YCC signal/file (range 16-235), it will correct the range for optimal view. When an output device expects a RGB signal/file (0-255), it's already at it's full range. So it all goes wrong when there is an RGB signal or file with a range of 16-235, the output display will not correct it properly. Or there is an full range YCC signal and the display will show it clipped. Is this correct? Then it all comes down to knowing the final play out and working in that dynamic range. Encoding on final export or on ingest doesn't matter, as long as all the proper flags are tagged in the metadata of the files.