etidona

Pre-ordered earlier today, very excited.

Also, I emailed Jordan from The Camera Store in Canada/TCSTV, who said:

"Panasonic was unable to get us the new UHS-3 cards, so we used Lexar Professional 90MBps [600X - jurgen] cards.  They allowed us to shoot any of the 100Mbps modes, but the 200Mbps recording stopped after a few seconds."

So, 4K to the top level Class 10 UHS-1 cards, it seems, or at least the Lexar ones, at least in Canada, at least on the pre-production models. Ordered a couple today as well, so I'll test them when I get everything together.

Does my piccy help?

@leo 25 frames per second and the perfect moment happens when you are changing the memory card ;) Photography is photography.

32bit floating point is higher precision color processing over 8bit, float versus integer precision, 32bit is also usually done in the linear domain rather than on gamma applied image data. 32bit float there should be no loss of data from clipping, image data values can be negative or greater than 1.0 although you won't see that on your monitor and it will look like clipping is happening on your scopes but as you grade you'll see the data appear into and out of scope range, where as 8bit processing will clip below 0 and above 1 ie: 0 to 255 in 8bit terms.
 
Full versus Video levels. Whether the image is encoded in camera based on a RGB to YCbCr conversion that derives YCbCr values, (luma & chroma difference) based on luma over limited range or full range, you're aim is to do the correct reverse for RGB preview on your monitor.
 
You can monitor / preview & work with either limited or full as long as you are aware of what your monitor expects, is calibrated accordingly and that you feed it the right range. If you're unsure then video levels. Video export 'should' be limited range certainly for final delivery, full range only if you're sure of correct handling further along the chain for example to grade in BM Resolve you can set 'video' or 'data' interpretation of the source.
 
Your 1DC motion jpegs are full range YCbCr but as the chroma is normalized over the full 8bit range along with luma (JPEG/JFIF), it's kind of equivilent to limited range YCbCr and the MOV container is flagged full range anyway so as soon as you import it into an NLE it will be scaled into limited range video levels YCbCr. Canon DSLR, Nikon DSLR and GH3 MOV's are all h264 JPEG/JFIF, flagged 'full range' in the container, interpreted as limited range in the NLE etc.
 
What you want to avoid is scaling levels back and forth through the chain from graphics card to monitor, including ICC profiles and OS related color management screwing with it on the way as well.
 
You may also have to contend with limited versus full range RGB levels as well depending on the interface you're using from your graphics card, DVI versus hdmi for example, NVidia feeding limited range RGB over DVI full over hdmi.

Here is the correct link.  Micro HDMI support is mentioned at 9:33
 

The GH4 is available for preorder in the Benelux (Belgium & Netherlands).  It's 1499 EUR for body only. 

So I played with the GH4 this afternoon at Jessops, Oxford Street, London. Although I spent around an hour with the camera, I was not allowed to record any footage to my SD card as the Panasonic rep said that the unit was a pre-production model without the release firmware. Being a nice chap, he did allow me to test many of the video functions and looked closely at the 2 Cinelike profiles the camera has, Cinelike D and Cinelike V.
 
I've never held a GH series camera in my hand before, so I was very suprised by the light weight of it. I'm used to the weight of my 5D MKIII with lump of L glass, so it was lovely to hold a camera that felt so nice in my hand. The OLED screen was very sharp and clear and worked perfectly to pull focus. The EVF was bright and full of detail. The eye piece was ultra comfortable. Focus peaking worked an absolute treat. A quick word about the autofocusing, its very impressive and I noticed no 'hunting'. I think it will be pefect for shooting with the 96fps function when you want to track something that is moving at speed.
 
The Cinelike profiles look interesting and I believe no footage we've seen so far has used these profiles to capture footage. Cinelike D is pretty much like a Technicolour style flat profile which is probably going to be the most used one on the GH4. Cinelike V seems to crush all the shadows into black and I found it hard to see what purpose this profile would serve.
 
The DR of the GH4 looks really good. Even though we were inside near the back of the store, when shooting out towards the windows, plenty of detail was retained outside. I know on my 5D, lots of it would have been blown out, almost white!
 
Unfortunately, I was not able to look for moire or aliasing as we could not connect the GH4 to a monitor and it was too hard to notice it on the OLED or EVF as they are too small.
 
In all, its a great camera and I can't wait to see more footage from it in the coming weeks. I did get the Panasonic rep to watch my showreel and while winking at him said I've love to shoot something for them :)
 
If you have any Q's please feel free to ask. Finally, some photos of the Cinelike profiles, this is the best I could do :(
 
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Adrian

To calculate DOF I use this: http://www.dofmaster.com/dofjs.html It's extremely useful :)
 
I am in a similar boat. I have MFT camera at the moment but would like to get a Canon 6d (compared to the 5d3 it has less noise at high ISOs and is smaller). MFT is very good, but that lack of DOF is always at the back of my mind.

except if youre serious about photography youll want to have control over all the different elements including having motion blur or not for effect, as mentioned by many, certainly possible but not ideal

I have been making nice stills from Video flow since 2006 at that time with a Z1U and after effects ..  When I first discovered it I knew back then that picking frames from a stream would be the future.  We are not exactly there yet but it's coming ...   "Stills"  are a thing of the past in the next 5 to 15 years ..

Just get a 5D3 then..... Honestly. If that's what you think will get you a foot in the door (it won't) but if you think it will go for it. There are reasons why 5D3's are recommended and it's usually down to ignorance (MOST -not all- of the time it's due to someone heard "this camera is gud".. NOT because it's regarded as the pinnacle of DSLR video performance............) In some cases people are still shooting Canon due to the popularity of the 5D2 (why change when you already own gear?) Canon also offers very good upgrade path with the Cinema EOS system.
 
It's not like you're going to be covered in jobs just because you own a 5D3 (in-fact I'd say you'd be lucky to even get 1 job just because of the gear you own) That said, a good "camera operator" should be able t shoot with a whole range of cameras, any decent job will supply you with cameras and anyone hiring that has slightly more knowledge than just a consumer who's best friends uncles pro videographer buddy told him "this camera is gud".

My dream: 4096x4096 square sensor.
16mega stills, no more vertical grip needed, the flash stays always on top of the sensor, no horizontal crop in 4k video mode, shallow dof, better wide, better low light. Theoretically all the lenses should cover the area.
Shooting square photos is fun, someone ever tried a 6x6 film camera?
Who knows when and if that dream will be true!

Good idea. Why in 2014 do we still have to physically rotate the camera body to do a portrait shot? It should be done with a button press to change the sensor crop.

For the GH5 Panasonic needs to develop a 4096 x 3072 native resolution sensor to allow the 4096 x 2160 video without horizontal crop in the micro four thirds sensor, better shallow dof, better wide angle and better low light due to increase in pixel size. Also it will be good for still photos because 4096 x 3072 is 12.6 megapixels, enough for most photo work. Dynamic range increase to reach ARRI is the most expected improvement in the Panasonic now... maybe this will be implemented in the organic sensor they are developing. And why not 200Mbps IPB in 4k?

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Interesting to see how these lists compare a year later. Resolution isn't everything- I would put the Alexa on top for overall image quality. They designed their sensor after learning from years of experience building film scanners.
 
We used to argue about whether digital effects for audio would ever match or surpass analog gear. Finally a few years ago, even the most stalwart musician friend finally agreed digital matched analog with the Axe Fx: http://www.fractalaudio.com
 
I just watched MiB II again and was blown away with some of the shots in terms of skin tone and color (Eastman EXR 100T 5248). Is it possible to convert my 5D3 (RAW) or FS700 (RAW) to look like that with something like FilmConvert (two cameras I use)? No, not yet, as I don't think anyone has accurately modeled the film process well enough yet to emulate what film does with light. Initial ADCs and DACs sounded harsh and brittle when CD's were first released (folks still dig records and tapes). Now digital audio is fantastic (and most folks listen to highly compressed audio on iPod/Phone/Droid or cheap computer speakers!).
 
Digital cameras are still very much like early digital audio. Matching the pleasing look of film has not yet been achieved with digital; so far ARRI has gotten the closest, and FilmConvert has made a good start. Accurately modeling and simulating film with digital cameras will happen someday. Why bother? Because it looks better, especially for narrative (where unreality and dreaminess are helpful in storytelling). Dynamic range, resolution, lack of aliasing, and accurate color processing are all very important. The last piece of the puzzle is (optionally) being able to get highlights and skin tones etc. to look like film.

Why would a new card be required? At maximum nitrate of 240mbit that's only about 35mbytes/s and the 4k internal is only 100mbits/s. Aren't most people at least using 45mb cards already?

Content is king?
 
I don't know. I've seen many films that have made decent money that have been very lacking in the content department.
 
I like to use the builder building a house analogy. The end result may be an architectural masterpiece and the quality in workmanship may be exemplary but if the builder was using poor quality tools that made his life difficult and meant that the build took longer, wouldn't he want to upgrade his tools to make his life easier?
 
I'm sure that if content really was king and our tools were unimportant, studio accountants would have started to insist that films were shot on handycams long ago.
 
Both are important. Its a pointless argument

As it stands now: 
 
The D4S will probably be a really fun and flexible camera to shoot with! Imagine flawless, sharp 1080/60p from a full frame with good ISO 25600! And for many of us docu/journalists the small filesizes are actually really handy, I would not want more than ProRes LT for that kind of work.

What about the Panasonic 12-32mm pancake? http://amzn.to/MUauyD

The speed might be multiple of 50 but the readout is continuous with every line offset a very small fraction of a second. At 50 cycles per second with 1/50 you will always catch one whole wavelength even if you don't catch it at the same place the sum will be the same, from that point flickering will start because you just catch fractions of the wavelength and each line advances X seconds into the harmonic function and will have a different lightvalue. At 1/100 it might not be too visible but when you start goin up you see it more and more, you actually can see how it grows and how the flicker gradiant shows perfectly the harmonic function.
 
You can see something similar at slomo soccer game replays, the readouts on these cameras are very fast and instead of variations on the same frame you get variations between frames.

Why? C300 is still a hot rental and I understand C100 is selling pretty well, too.
 
I don't think they are too concerned with BM or Panasonic at the moment. BMPCC seems attractive (4K, high dynamic range, etc) but not very practical. Audio recorded separately, the inability to format media in camera or know the available rec time remaining, the price of SSDs, the internal battery, poor ergonomics and a crop factor of 1.86 (what they call s35 is not completely s35). So far BM cameras have felt like they've been released in beta stage (and firmware still feels like that)
 
Panasonic: excessive crop factor + known drawback of the m43 sensor, poor ergonomics with the added brick, the need for an additional recorder and respective batteries...
 
The C-series is probably overpriced and a little outdated specs-wise compared with these new releases but it is still one of the few ready to shoot "camera solutions" with a true top notch s35 sensor, known and tested dynamic range, XLR conectors, built-in ND filters and proper ergonomics.And they have the 1D C in case you need 4K and full frame.
 
Don't get me wrong, both the Panny and the BM sound like very nice cameras but right now I can imagine the people at Canon thinking "Unbelievably, we dodged another bullet!". When they released the C series there was  some 8-bit dissapointment and the feeling that competitors had a perfect chance win certain segments. Unexplainably, it still hasn't happened. No one has cared to release a C300 clone with some added/corrected features and a 5.000 € price range. Why??

Seconded. If this with the speedbooster can give performance like or a stop lower than the 5D mk3 (non RAW) I'll buy TWO!

Great summary! Nice to know you are confident in good low light performance in the gh4, hope you are right!