Orangenz

Along with such disappointing video quality on both of Nikon's flagship models the D4S and D810, it's suggested by some that Nikon do not care about video on DSLRs because it is a small market. They make stills cameras! Video is a tiny niche. And so it goes, on and on (mainly from people on photography forums and not actual working pros)...

So I was very much taken aback to see 34 mentions of "video", 14 mentions of "cinema" and 10 mentions of "broadcast" in their official press release for the D810.

That compares to only 18 mentions of "photographer", 4 mentions of "photography" and zero mention of the word "still" or "stills" in the entire release.

Read the full article here

Whilst you lot have created..... what...
 
A bunch of astounding negativity on a forum!?

Someone I know was hired to shoot a video for SONY using the F55.  He used a GH4 for B-Roll and said when the whole thing was down scaled to HD it was freeking amazing.  Said both he and SONY were very pleased.  Said that the GH4 when the in camera 4k gets downscaled to HD 1920x1080, it makes by far the best looking HD he has ever shot using an affordable camera.  Even better he says then the BMCC 2.5k. Since most of us wont actually deliver much of anything to clients in actual 4k.  Sounds like a prretty good deal to me.

You just came to a forum posting about technical specs and complained about people caring about technical specs. We don't need another obligatory "it's not the tool that matters, it's the artist" post.

It's actually a plugin for forums that makes idiots go away.
 
Oh... I wish.

Just resize to 50% on the 1080p timeline and you're done.

My perfected workflow is in the book. The 10bit doesn't need special software, the NLE does the oversampling of 1080p from 4K automatically. Most of the workflow is about the in-camera settings. That's where the secret sauce is. FilmConvert is so simple it doesn't need instructions. It is mentioned in the book and you get 10% off with the link in the book. Also the reason I kept my preferred workflow simple is that otherwise I'd have to accompany the book with a Resolve book and a Premiere book and a Final Cut Pro book as well. We'd be here forever!
 
ISO 1/3 step doesn't have a material effect on the image that's noticeable enough for me to mention it in the book... I prefer to spend my time on the stuff that really makes a difference to the image and your filmmaking in it. Cheers!

It will appear wider with the MBSB than without it. It won't appear wider than on a FF camera. The GH4 is 2.3x crop in 4k mode, not 2x.

the issue causing confusing with relation to dof and fov with different sized sensors is that people make the assumption that a bigger sensor gives you shallower depth of field.  This is actually incorrect.  The depth of field of a lens never changes with sensor size, but rather the field of view changes with the depth of field remaining the same.  
 
The effect is a wider field of view with the same depth of field.  As a result, on a bigger sensor you can use a longer lens and get the same fov, and thus create shallower dof for the given same field of view.
 
 
rather than removing crop factor, the focal reducer is simply changing a lens for a bigger format into a lens for a smaller one.  
 
on a typical speed booster of 0.7x your 50mm f1.4 full frame lens turns into a 35mm f1.2 apsc lens.
on this 'special' m4/3 focal reducer it'll change your 50mm f1.4 lens into around a 28mm f0.95 m4/3 lens 

Hmm. Purple fringing at F1.2 on any lens is there. Even the Canon 50mm F1.2L. Same with the Nokton.
 
When you stop down on the Speed Booster chromatic aberrations and fringing disappear.

this thread was a very interesting read, thanks to all who participated to the discussion

While I like the advantages of speedboster I hate that I lose touch focus.

You know you can also introduce colour as well as caps capitals and bold. This helps to get the point across even betterer.

Finally, a GH4 vid that doesn't look like 480 mush. Absolutely beautiful.

And even the odd troll!

Panasonic representative [Panasonic Marketing Europe, Department in Poland] also told me, that GH4 should be available from beginning of May - in Poland.
 
So it looks like GH4 global availability is planned for around beginning of May.

No, it's a passive mount adapter with no electronics. The AF in Nikon lenses is usually optimised for phase detect sensors and the GH4 uses contrast detect so even if it worked through a smart adapter, it probably would be a bit shit :)

The Canucks sort of agree. 
 

You have no ideal what you are talking about,  the size of the sensor ddoe not equate cinema cinema quality image, that has more to do with dynamic range and uncompressed color gamut . Also the sharpness is not a downside, alot of the footage you see depends on types of lens used.
 
You brag about owning Zeiss when any true film make knows that Cooke or old nikon lens would suit an image better than a zeiss lens when it comes to contrast, do your research before making comments that you know nothing about.

Andrew great test, as always. How video AF works on GH4 with third party lenses? Is it possible to use speedboster and i.e. Sigma 18-35 (nikon mount) with video AF?

Which interview are those?  What is said in them? Could you possibly link to them or remember their names?

Glad to hear that, because the Optimo is $50k!
 
Got any samples from your test? Bring it on :)

Some B-roll footage taken primarily with the Sigma 18-35 1.8, and some shots with the Canon 100mm 2.8 L macro as well.

I carry a big bag with me all the time, with prime lenses. That means every time I think the situation asks for a different lens, I have to swap lenses. I carry an screw-on ND filter in my pocket all day, so whenever I move outside I have to screw it on. I do manual focus only so I have to stay sharp all day.
On top of that I carry a Fig Rig and a Shoulder Rig with me and use an external monitor. On of our GH3's in on a tripod during the ceremony recording every minute of it, and we have to turn it back on every 30 min because of the recording limit.
 
Life would be much easier with an camera that doesn't need a rig, has autofocus, a 16-100mm f1.8 zoom, build-in ND filters, no recording limit, a larger better screen with focus peaking, etc.
Weddings are already tiring and stressful enough as it is, and I acknowledge that still-camera's with a video function in combination with prime lenses is not the best tool for the job in terms of easy of use.
 
But, I do love the look of the footage, how long the battery last, the 1.4 apertures for shooting in dark area's, the slowmo, etc.
 
You just simply can't have it all at this price point.