Evan Fotis Georgoulakis

Hi Andrew, you mentioned that the S1's long GOP is equal to ALL- I. can you do a curly hair chroma-key test between All-I (GH5) / Long GOP from S1 and a take with p4K BRAW? it would be very interesting to see the results. Cheers

Can one now use the Open Gate feature to record a 4:3 image in 1:1 PAR? (useful for vertical recording a subject against chroma key without wasting left and right space and using all available resolution) And does this come in 10 bit 4:2:2 400Mbps ALL-I?

A quick question: In 6K 4:3 mode, using normal lens (non anamorphic) will the GH5 produce normal (1:1) aspect ratio, usable image or a squeezed one? I am asking, because if it can produce a 4:3 video image like SD cameras did-but at 6K resolution- it would theoretically be ideal for shooting video in portrait mode, for better green screen keying results, instead of the current 16:9 landscape shooting which throws away more than half of the captured image left and right due to the relatively short vertical size.

So does this LUT work properly only when footage has been shot in Standard mode?(i wonder who uses that mode fwiw) With GH4 footage will it work -properly-with cine-D, or tweaked portrait profiles?

Has anyone tried a difficult (with flying hair etc) green/blue screen Key in AE/PR using in camera 8bit footage, vs 10bit 4:2:2 prores output to one of these recorders to share their experience? or in the lumetri fx raising shadows to lighten a scene, will the "10bit" footage make a difference?

Andrew, I very much agree with your second point about seamless design and functionality, the wifi functionality, is hideously implemented and mostly unusable as is today, even with mirorless makers, sony etc. But i think the fourth point is the real issue and game changer. Even people who remember the optical viewfinder era, find it much easier and natural , to see the results of changing settings imediately before their eyes. In everything we opt for simpler more efficient and WISIWUG designs, and once EVFs evolve a bit more in speed and quality, they will totally render OVFs obsolete, alon

Image A ...deceptively sharper and with warmer white balance, plus no clor fringing which usually happens with in camera jpegs and VIDEO, yet lower color bit especially obvious when zoomed way in, has horizondal color bands and non uniform noise around detailed areas (barcodes etc). Image B ...deceptively clinical cool white WB, chromatic aberration all over, what lens is this?, and seemingly less sharp. When zoomed all they way has better/ more uniform noise structure, and less banding indicative of a RAW capture. At first sight Image A has the advantage, but with proper grading/

On the D750 some specs from the manual do not seem that hot: Bitrates for 60p is 42Mbps max, and 24Mbps for 30p. That is less than half of what the old 5DMkII used to record at around 40-45Mbps for 25fps without any ML installed. I wonder how Andrew finds it better than the MKIII. Also, time limit for 60p@42Mbps is just 10 minutes .

thanks all for your feedback! It should work like camcorders do in otherwords, quite usefull if well executed. Though from the posted vimeo promo clip at 2.30 onwards IMHO it seems as if they exposed for outdoors initially and thus the indoor walk is quite underexposed.

Power Aperture - Auto Iris This is one video oriented feature I havent read any comments about, either from this site and forum or other video centric ones. Nikon USA site states: "use Power Aperture control for smooth iris transitions and Auto ISO for smooth exposure transitions". This is in addition and separate from:"Manually control ISO, shutter speed and aperture while recording". http://www.nikonusa.com/en/Nikon-Products/Product/dslr-cameras/D750.html?cid=web-0914-dslr-hp When posted a question about the actual functionality of "auto iris" What exactly does auto iris do? Does it al

Its a pity that the D800, so accomplished as a stills camera, is so lacking in video. The live view is notoriously noisy in low light situations that render it almost useless. In a project with black bg with white silouettes that tneeded critical focus - manual that is, even with the super sharp AF 85mm f1.8G)- live view zoomed in, was not fun to look at with all that noise. I ended hooking up an external 24" monitor for better control. Two online examples that illustrate this: http://www.ronmartblog.com/2012/05/fail-nikon-d800-live-view-vs-canon-5d.html

This would be a nice comparisson! http://www.aja.com/en/products/cion