Jump to content

arya44

Members
  • Content Count

    7
  • Joined

  • Last visited

  1. Hi there, I'm excited to see the result of native FHD sensor output from Panasonic GH4 to Atomos Ninja or Shogun. Has anyone tried it yet? If so, wouldn't you mind sharing the results; Perhaps with comparison shots of the recording to the SD card inside the camera. I imagine it requires grading to match the colours but I'm more interested to find out the advantages (more room for grading the raw image without degrading the quality, more natural look, more dynamic range (?), more colour information in extreme dark and bright areas, less noise in low light or I should say nicer image result after applying noise reduction plugin? anything else?) and drawbacks (file size, time to grade, etc., cashing out the purchase or rental of the recorder, anything else?). Thank you!
  2. arya44

    GH4 12fps RAW video.

    Thanks for the test. It looks great. Have you tried Twixtor to see if it interpolates the moves to make it smoother (if you want to have that option)? So if this works out to be a feasible approach for 4K video, you get a bit higher than 4K resolution, right? and then you can do in the box zoom in and pan a bit for 4K delivery? I think the advantage is having a 4:4:4 RGB domain rather than 4:2:0 YUV for video. Once the firmware update for sensor output through HDMI to an uncompressed recorder is released, it will be worthwhile to compare the two footage. Did you compare side by side the dynamic range and colour information in the dark and super bright areas to see to have good examples for the amount of improvements you can achieve? Cheers.
  3. I have done and still do sometimes 16/44 recording and it sounds pretty full because the mic quality and the mic pre is good. The bit depth and sample rate only becomes the barrier if it is below 16/44 (like 12 bit in some older camcorders, etc.). One of the big issues that people don't come across sorting it is the impedance matching. If the impedance of the source (output) is in a certain proportion with the impedance of the receiver (input) then it's perfect sounding. If not, either there is going to be a lot of noise floor with a full sound, or a thin sound. The optimum impedance sounds full but with minimal noise.
  4. Hi Andrew, I just bought your GH4 Shooter's Guide. Did you include any link for downloading original footage for the people who buy your book? I imagine since there is no hard copy involved, it is good if the buyers feel they will be supported as some sort of electronic amendments as you have more things to say or show about this camera. I'm looking for a 4:2:2 original footage skin tone samples, lots of content with contrasts of dark areas and overly bright areas, low light footage, etc. without any grading so I can grade them myself and find the capability of 4:2:2 vs. 4:2:0 from the card. I haven't bought the external recorder yet but I may. To be honest, I'm not happy with what I'm getting for the dynamic range and dark area colour information, or enough and proper information from overly bright areas. Also the noise is very evident in the low light situations. I am still learning and especially I haven't tried all the combinations of master pedestal and closing or opening the iris while in CineD mode or combining Cine and other modes with shadows/highlights. I expect you have put many more hours on trying these in GH4 and I get a boiled down version of the best combinations for the conditions I mentioned above, i.e. high contrast scenes: dark objects and overly bright content (naturally lit dark room with dark coloured objects with the view from the window on a sunny day), low light, skin tone in different scenarios, etc. Someone was claiming to not use shadows/highlights curve with Cinelike D. What is your finding on that? Thanks a lot.
  5. Hi Andrew, I just bought your GH4 Shooter's Guide. Did you include any link for downloading original footage for the people who buy your book? I imagine since there is no hard copy involved, it is good if the buyers feel they will be supported as some sort of electronic amendments as you have more things to say or show about this camera. I'm looking for a 4:2:2 original footage skin tone samples, lots of content with contrasts of dark areas and overly bright areas, low light footage, etc. without any grading so I can grade them myself and find the capability of 4:2:2 vs. 4:2:0 from the card. I haven't bought the external recorder yet but I may. To be honest, I'm not happy with what I'm getting for the dynamic range and dark area colour information, or enough and proper information from overly bright areas. Also the noise is very evident in the low light situations. I am still learning and especially I haven't tried all the combinations of master pedestal and closing or opening the iris while in CineD mode or combining Cine and other modes with shadows/highlights. I expect you have put many more hours on trying these in GH4 and I get a boiled down version of the best combinations for the conditions I mentioned above, i.e. high contrast scenes: dark objects and overly bright content (naturally lit dark room with dark coloured objects with the view from the window on a sunny day), low light, skin tone in different scenarios, etc. Someone was claiming to not use shadows/highlights curve with Cinelike D. What is your finding on that? Thanks a lot.
  6. Hi there, Why are you selling it? How did it perform?
  7. I'm kinda new to the science of luma / chroma bits. These are my concerns / questions: 1- 4 pixels to 1 can perhaps create better gradation but what about recognizing the shades of white or black. Does 4k to 2k downsampling create more whites or more blacks? If a sensor see it as white but in reality it is just a tiny bit grey, wouldn't it fall below the threshold of the sensor sensitivity anyway? 2- How does the end result (no matter we call it 4:4:4 or …) gives a nice decent dynamic range of 12 stops or more? Can we translate colour space and depth into dynamic range? I mean not only the math but what we see from the image. 3- Let's point the GH4 toward a scene with lots of intense lights and shadows and do the same with a matched lens spec, f, FOV, etc on a BMPC. Do we end up getting the same quality of colours and especially dynamic range (after matched gradation of raw image) between the two? If I get the end result of a BMPC footage, I'm still going to be happy. 4- What is the quality difference between raw 4:2:2 vs. compressed 4:4:4? I mean once we say NOT RAW, does real 4:4:4 still exist? and if it is altered, is there a way to create a systematic approach for categorizing the quality differences? The reason I'm interested in the systematic approach is to have a better idea of strength and weaknesses for different shooting scenarios in the pre-production phase.
×
×
  • Create New...