Zak Forsman

that's what we used to call the Panasonic "mojo". 

I should be working, instead, playing...

2 minutes ago, Neumann Films said:

Gotta take lenses into account.  I personally didn't HATE the Lumix lenses but would never actually use them day to day.  I want a little more funk/character in my lenses.

Yeah, you're 100% right. I think we sometimes forget to take into account just how much our lens choices affect the perception of how any given sensor performs. I'm not completely writing off the GH5. I'll definitely revisit my consideration when the Anamorphic firmware updates are realized later this year.

26 minutes ago, mercer said:

@Zak Forsman how do you find the files compare to the BMMCC or BMPCC proresHQ?

As you know, I left my GH4/Odyssey 7Q+ combo behind for the Pocket/Micro/BMCC cameras a year ago. Was happy to trade resolution for superior color, DR, highlights, skin tones. From what i've seen of the GH5 clips yesterday and today, it still falls short of the original sensors from BMD in what I consider "essential" areas. The camera definitely has some great features. The 10 bit clips stand up to much more abuse than anything I was ever able to expect from internally captured GH4 clips. They are more robust than the GH4, including the 8 bit 60p clips like the one I posted. The GH4 had some serious encoder issues that V-Log (as we remember) brought to the forefront. The GH5 seems to have improved on that, but it's still not as robust as what I get from my BMD Micro and 2.5K Cinema Camera. Going to stick with those for now. Not that someone couldnt make a fine looking film with the GH5, it's just not for me. I'm not ready to sacrifice "the essentials" for resolution. my 2¢.

The MP4 container thing is a Mac issue, so let's put that aside. This issue is probably linked to Panasonic's implementation of 10 bit h.264. Possible it is not supported by most of our NLEs and apps. The 60p files are unique in that they are 8 bit.

6 minutes ago, markr041 said:

No, PC.

Are you on a Mac?

4 minutes ago, markr041 said:

Can we please have some clarification about these files? I was under the impression that these downloadable files were straight from the GH5. But the inability to play or edit three of them in almost any player/editor (or the need to re-wrap) suggests that they are not straight from camera. More than one person has reported this, and we are not beginners at video. Some info please?

 

 

I've had the same problem with .MP4 files from the GH4. When I owned one, I always made sure the camera was generating .MOV files. Something about Panasonic's implementation of the .MP4 container (regardless of codec) has always been problematic for me.

That aside, I can confirm that Luke's files are h.264.

1 hour ago, bunk said:

Thanks for sharing. I'm on a Mac

I can open the 60p waterfall Handheld and the 60p Snow Handheld. For some reason I can't open the 30p Perpetua Dolly, 30p Sunset Handheld and the 24p Seattle Handheld.

Can't get them to open in Davinci 12.5 and they crash AE 5.5

Any codec I should download to be able to open them?

 

Thanks.

i was able to open them in VLC, then used that to rewrap (not re-encode) them. Then i was able to open them. I transcoded to ProRes HQ at that point before grading.

2 hours ago, EspenB said:

Driftwood: "Heres a little bit of trivia... Bit of trivia... Panny GH5 in 4k DCI has a 1.89x crop factor."

if the BMPCC speedbooster fits, like it does on the GH4 for those brave enough to try it, that'll get you to a 1.10x crop.

in motion...
 

Thanks for posting these clips. They're fun to play with.

40 minutes ago, Neumann Films said:

 

- 4K photo mode is basically the same as it was on the GH4, 8 bit and 2880x2880 in 1:1 mode.  Hoping they can maybe work 10bit out in one of the photo modes for ana shooting.

 

 

Anamorphic mode (4x3) is going to be 8 bit?

16 minutes ago, mercer said:

Nice setup! How do you like the Tokina 11-16mm on the Micro? Are you using it with the EF speedbooster? If so, what's the 35mm equivalent FOV after speedboosted?

 

I've had the Tokina for years. Very, very easy to match the Sigma 18-35 and 50-100 so i keep them all together as a zoom kit. It's a little warpy for my taste but that can be fixed in Resolve with the barrel distortion adjustment. The BMPCC speedbooster opens up FOV by x0.58.

I blame everyone in this thread for this impulse purchase. But love you for it too. This thing is so much fun.

On 12/27/2016 at 6:43 PM, IronFilm said:

It is just for marginally better scratch audio.

same. i use it for scratch.

I think he's referring to converting from 23.976 and 24, and vice versa. I do this all the time for clients that i make DCPs for and it's seamless. they typically deliver a 23.976 master that needs to be 24 to meet the DCI spec. and you could do the same with your camera originals if you knew you had to meet a specific framerate delivery requirement. I save the old Apple Cinema Tools app for this specifically. No one has made an app since (that I'm aware of) that makes the process as easy.

2 hours ago, mercer said:

Speaking of motion cadence and shutter speed/angle, I have a quick question... I recently picked up the FZ2500 and I have been testing the VFR options. When you use the VFR with the GH4, if you are using a shutter angle of 180 degrees for 24p, what do you use if you have the VFR set to 72fps, 96fps, 120fps? It seems like it's encoded in a 24p wrapper, so do you stick with 180 degree shutter?

 

 

yes, a 180° shutter angle will maintain it relative to framerate. if you were dealing with shutter speed, on the otherhand, then you'd want to manually adjust it to match your framerate: 24fps and 1/48, 120fps and 1/240, and so on. of course you can divert from this for creative reasons.

1 minute ago, Emanuel said:

Have you never tested going with ProRes recorded on any external device via HDMI?

Yeah, I get the same result going to an Odyssey 7Q+. Or "got" I should say. I don't own those GH4s anymore.

41 minutes ago, studiodc said:

I can definitely understand what you're talking about - but that's not something I would at all class as "motion cadence",

<<<EDIT>>> 

Edit: thinking about it: are you sure this isn't including telecine effects of frame interpolation? It sure as hell looks like it, some modern telecine implementations (in FCPX, for instance) frame blend instead of just blandly repeating...

 

 

 

 

Yeah, i agree "motion cadence" is an imperfect name, but it's what people tend to use as a catchall term for anything that affects how motion reads on-screen. And this definitely pushes some GH4 footage away from what I'd consider ideal, which is also imperfectly described as "more cinematic". No post funny business with the frame interpolation or blending here -- not in the timeline, nor in the monitor. This was straight DCI 4K at true 24.000fps, albeit cropped and scaled to 2K (2048x858).
 

1 hour ago, Cary Knoop said:

Apart from a global shutter I do not know of any cadence differences with respect to the GH4, so as long as it is real and not crackpot "filmic" science I would certainly want to learn about it.

 

 

 

 

 

 

 

3

51 minutes ago, studiodc said:

Agreed, I'm curious too. The GH4 has always had a very filmic motion cadence in 24p 4K if you ask me, and I've been crew and DIT on productions with Alexas and C300.

 

 

 

 

 

 

 

My understanding is that it's a codec issue, but I'm far from an expert. I just know what i see. the GH4 handled it better than most low-cost cameras, but it still often rendered motion with a "doubling" or "tripling" of the fast-motion portions of the image in single frames. It was always easiest to spot on specular highlights on passing cars. Take a look at the car's grill in this image from a clip I shot many moons ago. You see how fast motion in this frame is rendered in three "steps", rather than one smooth motion?

On the whole, this subtly nudges the perception of motion closer to a "video look" (for lack of a better term) when played back at speed. It's something that I don't see on the Alexa (the Mini specifically) or even the BMCC, BMPCC & BMMCC sensors when shooting in RAW. Certainly there are more important considerations than this when choosing a camera -- and many would say this is acceptable -- but given the choice, it's something I try to avoid.

13 minutes ago, Stanley said:

Did you shoot much 24fps,1080p on the GH4, and if so was it an improvement on the GH3/GH2 ?

1

never owned a GH2 or 3. Had an AF100 prior to owning the pair of GH4s. Dont think I ever shot 1080p. Pretty much 4K exclusively.

34 minutes ago, Cary Knoop said:

What is a 'more cinematic motion cadence'?

 

there's a few threads on this site (and others) that cover the topic in-depth if you'd like to learn about it.

Going to be a little more cautious with the GH5 than I was with the GH4. I took possession of two of those on day one and spent a year trying to wrestle that image into something it wasn't capable of -- and VLog was a massive disappointment. Have been much happier with the Blackmagic line -- especially with the more cinematic motion cadence of those cameras. Optimistic about the GH5 but again, taking a wait and see approach.

2 hours ago, JazzBox said:

Wow, some of the best GH4 footage I ever seen!
Zak, are you also actor?

 

No, that's not me. But you're not the first to ask... the actor's name is John T. Woods. We just happen to look related.

yeah, i never denoised pocket footage until DaVinci Studio 12.5. the noise reduction is as good as Neat.