jonpais

If your stills with Micro Four Thirds cameras are crap, it says a lot more about your photographic abilities than the gear's.

http://www.mu-43.com/showthread.php?t=58189

http://www.mu-43.com/showthread.php?t=62877

http://www.mu-43.com/showthread.php?t=61628

http://www.mu-43.com/showthread.php?t=61610

If you can afford another G6, why wouldn't you? Keep using the same workflow, same lenses. The cameras will have the same colour renditions, etc.

These films I hope shape my filmmaking. If I can recreate 1% of what these films are I will be happy.
 
1. Come and See
2. 2001: A Space Odyssey
3. Wages of Fear
4. A Clockwork Orange
5. After Hours
6. Dodes'ka-den
7. La Dolce Vita
8. The Thing
9. Sansho the Bailiff
10. La Haine
 
Many of these films are cold, and lonely. They are minimal and beautifully shot. No real heroes in any of these films. Wages of Fear, and Sansho the Bailiff tell great stories, while A Clockwork Orange, Dodes'ka-den and After Hours take us to magical worlds. It's not a definitive list. I love Ace in the Hole, Le Trou, Chungking Express, Grand Illusion, Contempt, In the Mood for Love. Too much stuff that makes wanna create art. Most of it is foreign. IDK why, but foreign films have soul. 
 
Come and See is just my flat out favorite. No Spielbergesue optimism in this film. I just brutal war that almost plays out like a dream.

External drives are actually more common with serious editing, usually some kind of raid solution, sometimes sharing between multiple editors, etc.  This provides greater access to the drives themselves for maintenance and expansion while lowering downtime on the host editor.  Home editing of course doesn't have to be overkill though and a couple internal drives is okay for small stuff.
 
The speed of the drives and implementation used as well as the speed of the connection play a big part in external solutions.  FW800 connected to an inexpensive raid is plenty fast for 422HQ Prores realtime, for instance, and for at least playback I'm getting realtime QT proxy playback off a single G-Drive with RED footage over FW800 and that's an interface that's fairly long in the tooth now.   eSATA and USB3 are way faster.
 
Of course, you don't need to be editing with 4K footage and if your machine can't handle it you make offline proxies, edit just fine and concentrate on editing, and then do your online conform at 4K and render.  Like a real editor.  An overwhelming majority of the films you see in the theater aren't finished in 4K and of those that are none of them are edited in 4K with camera original files.  
 
Tyler Durden would have a lot to say about all this prosumer/consumer 4K business...

Hard to see what the subjects are doing through that overwhelming lens flare.  What is it exactly?  Looks like two Dolphins and a CHP police officer trying to wrestle a giraffe in flip flops.  Am I right?   

Thanxs! Just contacted my seller about the monitor. No I won't upgrade to GH4 as my camera is only one year old. I will use it for quiet a while. I'm not a person who upgrades whenever a new product is available - I think its over consuming. Bye the way not the camera but the person behind the camera defines if a film is good or not  ;)

He's blinking Morse code.. "I'm being held prisoner by Sony's marketing department, help me."

I just had a good look at this and I also had a good look at the 4K Nick Driftwood short film at Brighton showing skin tones...I did not see any green tinting or magenta or artefacts or moire.
I also own a GH2 and I am a professional 3d artist for the last ten years...and before that an airbrush mural artist (what would I know?)
I only mix colors daily for 2d textures on 3d models, define realistic ray trace or hi res shadow map shadows with 3d lights, set sub surface scattering for realistic skin etc...etc...
I cant see it!!...especially in the Driftwood vid, if you cant make a good image or film with this camera...then you probably cant make a good image or film with whatever else is out there either.

off topic a bit, but I was humming the song last night when I went home and my wife started to sing it, in chinese.  She would sing it to her dog as a kid.  I thought that was pretty cool.

@jonpais personally, I love panasonic colors. 

Nice!
 
Colours look natural. Wow what a difference. New slogan for GH4 - "I can't believe it isn't raw!"

Tim, feel free to stick to your TV crap and puny thin image, and I'll enjoy my raw and 4K cinematography tools for under $2k. Deal?

The Voigtländer 12mm Ultra Wide Heliar comes to mind without even 15-second research, and there may be others in the C-mount range and possibly others, too. But none of this really matters, does it. It's all just needless nerdy-nam-nam, and veering off the original topic.
 
What matters is that any wideangle prime, be it the Olympus, Samyang, Panasonic, SLR Magic or even some other mount lens between 7 and 17mm, they're all still wideangles, and as such much easier to shoot with than the suggested 50mm Nikkor. A lens around 12mm or slightly wider would be ideal for moving/gliding footage. More practical as the first lens than some 100mm equivalent telephoto one. 
 
I thought my point was clear enough in the original reply to jonpais. How many different 12mm options there are is beside the point. If one or two is not enough, pick another focal length. Again, no need to make life harder than it already is.
/OT

Does my piccy help?

I agree. 
 
A lot of hardcore forum users come across as 'camera spec geeks' who do nothing but moan the camera or lens is not good enough, when really, it is usually themselves that isn't. There is a very good reason why they spend a lot of time time on forums as opposed to actually shooting (and yes, cats and shots of bushes don't count!).
 
Ignore them anyway and believe in what you think is worthwhile. :)

The BM pocket aint consumer level.  It's nearly impossible to use for anything pro, let alone for consumer use...  The average consumer doesnt spend £300-£400 on media to get an hours worth of recording time, a decent evf, rigging, and lenses to fulfil consumer purposes.  The gh4 will deliver everything a consumer needs while also servicing the enthusiast, professional and semi pro sectors.  

The external add-on isn't a "4K add-on" it is a HD-SDI and XLR add-on, you don't need the external add-on or a external recorder for 4K on the GH4 it does it internally. You know that right?! Surely you do. So are you just trying to make things look worse than they actually are with your list? If so I think that's a bit unfair.
 
Hopefully available by the end of the year? Try April at the latest (TBC)!
 
As for form factor, clunky is not a word I'd use to describe the GH4. Incidentally the Blackmagic is a lot heavier, the wrong shape, has no articulated screen, and a very cut down feature set in comparison. Still love Blackmagic but you've gotta state the facts!
 
My view of it is as follows...
 
BMPC 4K
1.5x crop Super 35mm sensor (1.0x crop in cinematography terms)
EF mount (good if you have lots of nice Canon EF lenses, not so good if you have Micro Four Thirds or lenses requiring a mirrorless mount)
Global shutter - nice - but comes at expense of dynamic range and low light
10bit ProRes - very nice
Raw - great for heavy grading and VFX work
 
GH4
2.17x crop in 4096x2160 mode, 1.7x crop with Speed Booster in 4K mode (1.2x crop in cinematography terms)
Mirrorless mount
Better low light performance (goes up to ISO 6400 in 4K mode)
8bit 4:2:0 internal recording may lead to some artefacts and won't grade as well as ProRes, but it will still look stunning
Better audio support and quality, with optional XLR box
Articulated screen
16MP stills
Built in EVF
10bit 4:2:2 available to external recorder
Larger feature set
 
The Blackmagic Production Camera has enough unique features to be considered for certain jobs. The GH4 is the better all rounder.
 
If you need global shutter, EF mount, 10bit ProRes internal and raw, but don't mind the very basic feature set overall, basic ergonomics, heavier weight overall, need for external battery and poor low light performance go Blackmagic.
 
If you need mirrorless mount, better ergonomics, likely better 1080p especially via HDMI, better audio, more features, smaller form factor and internal battery go GH4.
 
Dynamic range probably quite similar on the pair.
 
And on price, the GH4 is a lot cheaper. You don't NEED the external box. You can shoot with it like you can the GH3. The Blackmagic puts more demands on storage space and processing power, and needs an external battery plus SSDs.

Asus 28" 4K reported to have native 4K 60Hz, unlike the Dell offering which only have 4K 30hz, they both gonna cost for $800 and less I think
 
I used to have MBPR 15, but gradually overtime they get overheat, my friend's power adapter even melted!  (my one clocked over 100c when rendering, you can probably boil water or cook some egg on it lol)
 
Now I bought my self a new desktop for editing and rendering, it is at least 70% faster than MBPR 15 when u export the video out, and at only 1/3rd of the price and runs much cooler too, with a lot of HDD space to waste.  (and option to add PCI-E HDD/SSD in the future too for ultimate speed), with 32GB of ram it should handle up to 6K no problem too I hope
 
Btw if you happened to see 4K monitor you can instantly tell the difference between 4K and FHD/WQHD monitors, the difference in clarity and detail is quite apparent, and FHD looks soft on 4K compare to 4K native  (on MBPR the difference is not that great, since 15" is really small)
 
 

The workflow to do editing involves an intermediate step, sure, but I did plenty of proxy editing in the mid-90's (imagine a computer not powerful enough to handle 29.97 640x480 video) and proxy edits are not that big of a deal.  I'd rather do proxy cuts than spend 10K on computer hardware.
 
If you do proxy editing you would't need a RAID, really.
 
In FCP, for example, you'd simply ingest your media in a proxy low res format and do your entire edit.  When it's finished you'd load in your high res clips and then reconnect the files for a 4K video.
 
Anyway, point is, it might seem like a big deal to accomplish if you haven't done it before, but once you've pulled it off, you'd realize it's not too difficult.
 
I actually did a documentary edit this way two years ago because loading up hundreds of hours of 1080 422 prores was too much data...so we just cut it low-res.

believe it, it'll be here in couple months :)
i've been shooting 4K since 2010, but never deliver anything in higher than 1080 :)
and to me 4k (at least today) not as much about resolution as about detail and dr; i didn't have a chance to get a closer look at XAVC, but red R3Ds are extremely light , in fact way lighter than AVCHD for example, and i can edit 4K raw on my slightly modified Samsung i7 laptop.
i can't wait to get that lil 4k camera!