TravisKelleher

My guess is that sample "A" is 4K.
 
In sample "B" it looks to me like some chromatic abbreviation around the numbers.
This leads me to think that the video processing takes care of removing CA on the fly.
The encoder also applying some technique to scale down the resolution to 4K, further reducing the effects of CA.

Update: It looks like DFD does not work with older 4/3 Panasonic lenses. My GH4 came in 2 days ago and the performance of the 14-50mm on the GH4 is no different than my GH2.

 

Quality wise, the 14-50mm is pretty stellar in my opinion. The sharpness is there when recording 4K on the GH4, as the sensor is using more of the center of the lens due to the 2.3 crop.

 

Here is a sample of a few shots I took while on my lunch break. I wanted to test out the resolution and codec when recording highly detailed subjects, gravel, leaves, running water, lines from architecture.

 

All clips were shot in 4K@30p and edited into a 1080 30p sequence in Premiere Pro CC 2014.

In Premiere each clip is shown at 50% and 100%.

Half of the frame is graded to show what the CineLike D color profile looks like when a slight RGB curve is applied in post.

 

Vimeo's compression pretty much destroys the detail, way too much macro blocking, download the original clip if you want to see the insane amount of detail this camera can deliver.

 

Camera Set up:
GH4 with Panasonic 14-50mm f/2.8-3.5 Leica D Vario-Elmarit Aspherical MEGA O.I.S. Lens
4K 100mb 30p, 3840x2160
CineLike D: All at 0.
ISO 200

I've read that Panasonic's new DFD technology is currently designed to work with only Panasonic lenses, is it only m43 or all Panasonic lenses? 

 

Since the lens is still listed on the Panasonic website, I'm wondering if it will make any difference in regards to the focus speed on the older 4/3 Panasonic Leica D Vario-Elmarit 14-50mm 2.8-3.5?

 

I have a GH4 that's due to arrive any day now, and I'm wondering if my 14-50mm would work any better on it compared to my GH2 with regards to AF.

 

I do plan on eventually buying 12-35mm, although for manual focus video work I've come to love the reach of the 14-50mm.

 

I just updated to firmware 2.0 and the rolling crop mode stopped working while recording. Is anyone getting the same issue or did I miss out a setting?

 

Is this still the issue?
I'm about to pull the trigger on a E-M1 12-40mm combo, and the rolling crop mode is one reason I'm considering this camera.

The Zeiss 24-70mm f4 OSS is available.

 

How do you focus in low-light with the GH2?

 

I usually focus manually, and sometimes with a follow focus mounted to my handheld rig.

 

 

I also use a small HD monitor with focus peaking on occasion.

I was pretty close to buying a GH4, but now seeing what the A7S can do in low light has me thinking if I should buy the A7S in stead.

 

Are there any good, general zooms that are stabilized lens for the A7S E-mount?

​Would a stabilized lens from Canon or Nikon work on the A7S?

 

My work seems to gravitate towards live event shooting, places where available light is usually slim to none. As usually add light as needed via portable LED panels, for me this has always been less than ideal.

 

I'd like to let things flow naturally, and not shine a spotlight on my subjects.

I always feel like when I turn on a light it sends a "dance monkey, dance" type of vibe and it takes people out of the moment.

 

With the A7S, it looks as if it could be a game changer for me.

 

When I'm out shooting live events, such as a concert or wedding reception, I like to stick with one lens if possible.

 

Currently I shoot with a GH2 running the Apocalypse Now Driftwood cluster 7 hack.

My goto lens is the Panasonic 14-50mm f/2.8-3.5 Leica D Vario-Elmarit Aspherical MEGA O.I.S.

Hello Andrew, thanks for the GH3 review.

 

I see that your using the Leica 14-50mm f2.8 on the GH3, do you have any tips or comments about using this lens in the field? 

 

I just picked up a copy on ebay and have yet to shoot anything substantial with it.

Sampling rates must match as another member has mentioned.

Is running a line out from the H2n into the GH2 an option for you?

I use a Sescom Line to Mic adapter, with a 25ft extension with my H2n, For most situations it works pretty good.
Although the wave file from the H2n is better, but with a little testing you can put that available stereo track in the AVCHD to good use.

With out careful attention to the subtle differences, and comparing wave forms on a frame level, it's hard to tell the 2 audio recordings apart.

The recorded H2n track on the AVCHD sounds pretty good.

I mount the H2n to a mic stand with boom arm, as you would do with a Boom Mic.

If you have an available monopod and an extra hand, you can do a decent run and gun using the H2n on a monopod to get it up and out of view.

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