etidona

Recently I got a cat, so now I can make proper test videos :P
 

 
Panasonic GH4 firmware 1.0
Lens: Minolta MD 28mm f/2.8 + >Petit Cinevision 1.5x anamorphot
 
4K @ 24 fps (3840x2160)
Cinelike V profile, ungraded
 
All shots at f/2.8, 1/50.
ISO around 4000.
 
Soundtrack: "Menehune Dance" by James Pants (jamespants.com)
 

 

As a newcomer to the forums, and one who wishes to be a positive member but won't have the time to prove myself, all I ask is that there is some public section, even if you never go there yourself to allow us newbies to prove ourselves and if some few of us prove to be the type of people you want, that we can be highlighted to you somehow and get access!

By the way.... just got this in ;) on loan.. sadly.
 

Too much numbers for my tastes: someone could please verify if the downscaled version grades better than the original?

I think the concern is you are buying something advertised as a 4K camera that can't actually record 4K unless you buy something as expensive as the camera itself, and carry around something as bulky as the camera itself (probably more so).  The A7S might be better termed "4K Ready".
 
Michael

I don't know, it's very very detailed (zeiss helps here) but has a bit too much aliasing compared to the gh4, and some extra noise for a S35 sensor. Still looking for a real gh4 competitor ;)

Hey guys, I've written a really simple command line app for Mac that will resample GH4 footage from 4K 4:2:0 to 2K 4:4:4 using pixel summing. This will give you real 10 bit data in the luminance channel, so it's not just doing a brute-force bump from 8 bits to 10 bits. There actually is some interesting pixel finagling going on here:
 
http://www.mediafire.com/download/f7h950spj5hrn9f/gh444.dmg
 
There's no GUI, so you'll need to run it from the terminal. Do this by copying the app into the directory that contains the GH4 MOV files and using the following command in a terminal:
./gh444 INPUTFILE.MOV Make sure you cd to the current directory first if necessary. You can do this by typing "cd" into the terminal, add a space, and then drag the folder containing the MOV files into the terminal window. It will automatically add the path to the cd command. It'll look like this:
cd /path/to/gh4/files The app will spit numbered DPX frames out in a folder named "dpx_out."
 
I'd love for you guys to give it a try and see if you find it useful!

I felt that the a7s was a little rushed product, maybe Sony has in works for a new fs100 generation (low light monster) until GH4 was appeared at CES, so Sony in a hurry put this sensor on the a7 and that is it.
No internal 4k recording is a downer also the 4K hdmi output at 8bit; sure the FF sensor will give us a lovely image, but i feel that a DSLR form factor as the GH4 make more sense for prolonged video recording, and Sony maybe never could resolve the overheating due to the size of the body and maybe that is the explanation of why we don't have XAVC 4k recording in body.
Personally for video the GH4 is a much more complete package and i'm sure it will be cheaper too.

Believe me, A7s isn't "everything we ever asked for". If it was, it'd have 10-bit at the least. Have you ever worked with a true 10-bit video image as opposed to 8-bit? It's a world of difference. Anyone that tells you otherwise simply doesn't understand colour-science, colour-precision, dynamic-range preservation, nor colour-grading.

Further, every one that goes on and on about "the benefits of full-frame" either doesn't realise that full-frame is very hard for precise focus-pulling, nor do they understand that, when shooting 4K, your focusing better be on point. Full-frame is actually very unfriendly for filmmakers - especially "one-man-army" type filmmakers. In indie filmmaking, a small sensor is actually your friend.

F4 is very shallow on full-frame - usually one has to stop down to F5.6 to even make the focusing manageable (and by doing so, you'll be pumping up the ISO to compensate for closing your aperture down), let alone viewable. For some strange reason, shallow depth-of-field has become synonymous with "cinematic". For me, when I see ultra shallow depth-of-field, especially the overuse and abuse of it, it simply screams "amateur", "novice". Especially when it is accompanied by God-awful jitters and micro-shakes.

People need to concentrate on composition more than shallow DoF - and in my humble opinion, light and shadow gives a sense of depth far more than shallow DoF, or the Z-Axis benefit that comes with full-frame sensors (which is a concept I've never really agreed with). Light and shadow is far more important when creating the illusion of three-dimensions through a two-dimensional medium such as film.

But to each there own. For me, tha A7s will be something I buy more for my street photography than video. I'll throw my old Canon FD and Nikon-F glass on there. I don't need auto-focus. In fact, I detest the hell out of auto-focus.

For those that go A7s, be sensible in your composition. The last thing anyone wants to see is 95% bokeh like we did during the 5DMKII days.

In my opinion, A7s is probably the more "fun" camera. I think it benefits still photography more than it does video. The GH4 is by far the more sensible video/film camera - 4K 10-bit at up to 30FPS, 1080P 10-bit at up to 60FPS, a sensor-size with manageable DoF - especially for "one-many-army" type filmmakers.

But like I said, to each their own.

Something i wish that Panasonic create is a dedicated video lens like the pre announced Sony 28-135mm f4.

Your source is wrong on the ISO 80.000... price won't be announced.
 
Mark my words ;)

On the snipers, it isn't so much the fact they point out an error as the sheer hatred and bitterness in which they do it. I don't want a forum full of people like this, therefore both users have been banned permanently.

it's gh4's 4k vs 5d3's raw. I think being able to compete with full frame raw in low light is very impressive. a little bit of noise reduction and there's nothing to fear anymore!

Whatever they paid you to make this, it probably wasn't enough.  :D
 
Fucking masterpiece. Looks like it was shot on film. Great story, great lighting, great shot composition. 
 
If forced to nitpick, i would say that the opening shots in the graveyard were not as strong as everything that followed.  

Hi guys,
 
We just shot this video with the BMCC, Metabones Speedbooster, Nikon Lenses and Iscorama 54MC.
RAW files were developped in After Effects CS6 (with Camera Raw) to Prores444 2400/1350. Color grading was done in AE.
 

 
Please let us know what you think, we'd love to get some feedback.
 
Cheers,
Mihnea

Sorry, fixed :D

Cheap CFL bulbs are convenient, efficient and economical - but they typically have a lower Colour rendering index compared to Tungsten based lights and other more expensive lighting systems. 

Just how much of a difference is there? 

You decide
 
(additional images/stills on my website: http://www.tommajerski.com/critest.html )
 
 
Shot on the BMCC 2.5k in Raw mode. Samyang 35mm 1.4 lens with no ND or filters. 



White balanced perfectly before the same colour grade was applied in Davinci Resolve 10. 


Debayered to UHD for better youtube viewing quality. For best results, set it to 4k quality and video on a HD monitor.
 

 
 
 
White balanced exactly to the same point before applying a simple Contrast + Saturation grade.

Debayered to 4k for best youtube viewing quality:
Select 4k Streaming 

My experience with the 5D Mark II and ISO is that Canon kind of cheated a bit.
 
ISO 1600 is more like 800 or 1250 on other cameras.

Yes, exposure is different, color, and aperture wasn't matched for same DOF.  However, tests seem similar to my mine.  The Panasonics are very sharp but colors a bit washed out.  The Canons colors are richer but the image softer.  Unless I was going to maximum shallow DOF and/or color saturation, the Panasonic gives the cleaner image.  What I concluded, at any rate.

I am amazed what other blogs (PetaPixel, Planet5D) consider as front page news.
 
This kind of stuff generates clicks. Brain dead, but it is click bate nonetheless. That makes money in the long run.
 
I am so sick of this kind of gimmicky, zero fact or imagination based click bate.
 
I hope Blackmagic refuse to replace the camera on principal. The guys posting this have lost Blackmagic business and it might not even have been a legitimate battery fault.

You seem to be confusing rules with conventions. To quote one example of breaking a cinema 'rule' if you want to pan faster than the ASC recommendations you are able to do so or if you want to shoot at some other frame rate than 24fps you are at liberty to do so e.g. Peter Jackson's 'Hobbit' films.

There are also rules on quoting people. You broke them. If you're going to quote someone you do NOT include your own text within the quote. I think you're just a troll. Good day.

there is no such thing as "should" in filming. Fast movements are allowed also in 24p and so are train stations ;) 

Perfect for babies, kids, puppies, kittens: the target mass market & youtube :)
Plus a nice $2k way to create very crisp, 444 8.67-bit 1080p.
XAVC-S looks to be a decent codec.
120fps, ND's, Zeiss lens, good low-light (per Sony), good image stabilizer, might be a nice camera for the price.
 
The camera has a very good image stabilizer- that also 'helps' make the rolling shutter more visible: 
(1080p60 much less RS).

Very useful, thank you Andrew and Orangenz!
Maybe Panasonic or even third parties could also make different bricks for different uses. Maybe also with h.265, or internal battery, or internal SSD recorder, maybe without XLR audio or SDI video for who, like me, doesn't need it. 
Just guessing :)