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ac6000cw

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Posts posted by ac6000cw

  1. If it helps you decide, I use V30, 90MB/s write, 160MB/s read speed rated SanDisk Extreme 128 GB micro-SDXC cards (in SD adaptors) in my Lumix G9 for 150Mbit 4k50p with no problems. Recently I've paid around £23 for these in the UK. There are also equivalent standard SD card size versions.

    The (theoretically) better 'Extreme Pro' versions of these (similar performance) can sometimes be bought for not much more if you shop around.

    V30 rating = 30 Mbyte/s = 240 Mbit/s sustained sequential write speeds, so 200 Mbit/s 6K HEVC is theoretically OK. Personally I've always found the higher grade SanDisk cards to perform well i.e. read and write speeds are at least as good as the spec.

  2. 2 hours ago, John Matthews said:

    I find it absolutely amazing that the hacked GH2 still holds up in some areas against the GX80, which is a great value proposition in itself. I'd go as far as saying the hacked GH2 still holds up in many ways to current offering by Panasonic (G100). This not a knock on Panasonic but rather congratulating the people who've hacked the GH2. Now, actually prefer working with a GH2 to working with a GX80.

    I think of all the video-capable cameras I've owned, the Pana G6 (which Andrew dubbed the 'GH2 Redux' when he reviewed it) was almost perfect for me - small, light, fits nicely in the hand, mic input, FHD 50p/60p to MP4 files, a lever to control power zoom lenses (the last G series camera to have that), 'creative video' mode etc. and a simple uncluttered control layout. For stills (not video), it also had variable telephoto sensor crop controlled by the zoom lever.

    It's successors gained 4k video and then IBIS, but I think they lost some of the 'only what you really need' control simplicity along the way.

  3. 20 hours ago, Andrew Reid said:

    I'll have to do a bigger video on YouTube about all the underrated and forgotten tools in the age of Sony-Fuji-Canon brand worship.

    I think that's a great idea !!

  4. 19 hours ago, Andrew Reid said:

    The Panasonic G9 is underrated as well, especially since all the video firmware updates

    Definitely - especially at the price they've dropped to (currently under £900 including sales tax for a new body in the UK). The used prices seem to be rising a bit too, which is interesting - some people must have realised just how much camera you get for the money...and that there is a great selection of good & inexpensive native lenses to go with it.

  5. On 7/9/2021 at 7:59 PM, John Matthews said:

    For the PL9, it's still limited to 13 parts of video, which just means a little more than the 29 minute cap that it currently has.

    Olympus 3840 x 2160 at 24/25/30 fps is about 100 Mbit/s => 12.5 Mbyte/s. At 4 Gbyte per file and 13 files, that works out at just under 70 minutes maximum 4k recording time (and much longer in 1080p)?

    The  E-M1 ii is also limited to 13 files per recording.

    As I rarely record for longer than 10-15 minutes, enabling focus-stacking (on E-M1 ii) with any lens is of more interest to me, but as I don't have > 30 minute recording on any other camera I own, having it available on my E-M1 ii might be useful one day 🙂

    On 7/9/2021 at 7:59 PM, John Matthews said:

    Let me know if it helps and if you still find the pre-amps loud (of course, this works only with an external recorder like the Olympus LS-P4, but it is a workaround). I have the LS-P4 and it works fairly well for me.

    Thanks - I'd seen that info posted on EOSHD a while back (maybe by yourself) but not yet tried it with a recorder.

  6. 6 hours ago, kye said:

    If that's a true stream of the data on the tape then that should be as good as it gets.  Then the next steps would be how to de-interlace and process it further.

    I seem to recall several ways to de-interlace, either with their pros and cons.  One was to have each frame made up of alternating lines from the current and previous frame, and the other was to just duplicate the lines from the current frame.  The former had more apparent resolution but had a horizontal blind type of effect on movement, and the latter had less resolution and was prone to flickering, especially on hard edges that ran horizontally.  Choosing the overall approach might be subject-dependent, and maybe even shot dependent?  

    Modern de-interlacers are adapative, so they use different combinations of techniques in different parts of the frame, depending on things like how much motion and inter-field differences there are.

    For DV I use command line FFmpeg to deinterlace (using 'yadif'), upscale and sharpen - in the example command lines below input is DV avi, output is H264+AAC audio at 1920x1080p at double the DV frame rate (so 25 fps interlaced -> 50 fps progressive):

    ffmpeg.exe -i <input_file>.avi -vf yadif=1,scale=1920x1080:flags=lanczos+accurate_rnd+full_chroma_int+full_chroma_inp,unsharp -c:v h264_qsv -global_quality 30 -look_ahead 1 -c:a aac -b:a 384k <output_file>.mp4

    You can add motion-compensated de-interlacing 'mcdeint' to the processing, which improves the deinterlacing quality but is quite a bit slower:

    ffmpeg.exe -i <input_file>.avi -vf yadif=1,mcdeint=0:1:10,scale=1920x1080:flags=lanczos+accurate_rnd+full_chroma_int+full_chroma_inp,unsharp -c:v h264_qsv -global_quality 30 -look_ahead 1 -c:a aac -b:a 384k <output_file>.mp4
     

    (I'm using nVidia hardware H264 encoding for the output in the above examples - h264_qsv - but you could use any of the many FFmpeg software encoders instead e.g. ProRes etc.)

    I got some of the ideas for the deinterlacing settings from here: https://askubuntu.com/questions/866186/how-to-get-good-quality-when-converting-digital-video

  7. On 7/7/2021 at 5:48 PM, John Matthews said:

    I'd believe it. I have the PL9 and an E-M1 ii. Both are great. In terms of bang-for-your-buck, I'm not sure which one is better. The PDAF in the E-M1 ii trumps even the GH5 ii if you're into auto AF. The PL9 is slightly smaller than the E-M10 iii, but lacks 5 axis stab (only 3) and a EVF. The E-M10 iii is getting difficult to find under 300 Euros, but he PL9 is around 200, probably because not many take it seriously.

    For anyone with an E-M1 ii, someone has managed to modify the v3.4 firmware to remove the 30 minute video record limit and allow focus-stacking (for stills) with any lens - https://www.mu-43.com/threads/modified-firmware-looking-for-users.99804/post-1449131 

    I've loaded it on my E-M1 ii and the focus-stacking certainly works with Panasonic lenses. Not yet tested > 30 minute video recording, but the display certainly shows more than 30 minutes available.

    (There are also modified firmware versions for some other Oly cameras at the beginning of that thread e.g. for the E-M10 iii and E-PL9, plus earlier E-M1 ii firmware versions - see https://www.mu-43.com/threads/modified-firmware-looking-for-users.99804/post-1184700 )

    I dipped a toe in the Olympus pool by getting a used E-M1 ii about a year ago (I own several Panasonic cameras as well). It's grown on me over time - relatively small, great colours, IBIS and build quality, but the differences/restrictions in how it operates in video versus stills mode get frustrating at times (like no 5x5 focus areas in video, and the single centre focus area is larger). The audio pre-amps are noisy too. It feels like there is a better video camera lurking in there but Oly have never really been interested/committed enough to video to let it out...

  8. 19 hours ago, newfoundmass said:

    This is a nice surprise for those GH5s owners. Would've been cool if they pushed it to GH5 owners too, but I'm guessing they're saving that for the GH5ii. 

    The GH5s and G9 have more recent, faster processing than the GH5 - hence there have been more performance upgrades via firmware updates for those two versus the GH5. I guess the new GH5 ii probably has (at least) the processing and IBIS from the G9 combined with the better thermal management of the GH5 to allow unlimited recording times.

  9. 10 minutes ago, newfoundmass said:

    I'm guessing they don't want to pay the licensing fee, so they let Atomos eat that expense and they can reap the "benefit." I just don't understand the logic behind getting these small, lightweight cameras and then putting a recorder on top of it. I'm glad it's an option but it's really not something that I want to deal with. 

    My guess is that (to record internal compressed raw) either RED want an exorbitant licence fee or they won't licence it all - unless, like the deal with Canon where they get the RF mount licence, they get something useful for their own cameras in return i.e. it's a cross-licence deal (quite common in terms of patent licencing).

    Re. today's other Panasonic announcements, as a G9 user I'm quite pleased it's getting a firmware upgrade to add the latest AF algorithms and the 'red frame' recording indicator from the S5. The GH5s is getting the same update plus raw video output to Atomos (for ProRes RAW).

  10. On 4/23/2021 at 1:48 PM, Geoffrey said:

    Yeah will persevere yet with V-Log - I need to learn about it really as I am quite ignorant of how to use it properly. I will need to work out a simple workflow for it to be useable for me but that seems possible from casual research. I like Like709 and CineLikeD though - are Noam Kroll's settings available somewhere?

    The flickering is on non-electronic text and can even be seen in high contrast areas generally. Here are a couple of short clips both FHD 50p 8-bit.

    The first shows the flickering though it is hardly noticeable on my laptop screen but is on a larger external screen (I tried a couple, Samsung and LG LED,  and it was the same). I tried various picture profiles, image stabiliser on/off, autofocus on/off and none of that made much difference.

    Just a quick thought - have you tried setting 'i.Dynamic Range' to off (or low)? (in the 'Photo' -> 'Image Quality' menu, but also applies to video - see page 353 of the user guide)

    It's disabled automatically in the V-Log/Like709/HLG etc. modes.

    I'm not an S5 user, but I know from experience with the G series Lumix cameras that 'i.Dynamic Range' can make low-light video look a bit noisy/flickery (so the usual recommendation is to set it to off or low).

  11. On 4/20/2021 at 5:55 PM, elgabogomez said:

    Something is wrong with those recording times, on a 128gb card I get around 40 minutes of c4k 10bit all-i on the s1h, that is 400mb per second. On a 64gb card I get an hour and 10 minutes on an a7 s2 and that is uhd 4k 100mb per second (long gop, 8bit).

    Surely 150mb per second should give you close to the 3 hours you seek on a 256gb card.

    AFAIK, some S5 10-bit modes have a 30 minute limit per clip, but 8-bit doesn't.

  12. On 4/12/2021 at 12:25 AM, herein2020 said:

    Ok, its official....the XLR module combined with the S5 is a finicky setup. I had a shoot today, very important to nail the audio and the XLR module just wouldn't turn on. The talent was already mic'd up, I ran an XLR cable because I didn't want to fiddle with wireless in addition to the XLR module....and it took a good 5-10min of fiddling to get the XLR module to even turn on.  I never had these problems with the GH5.

    I double checked my connection in the hotshoe, the XLR cables, the XLR jack for the mic....absolutely nothing. I then unplugged the XLR cable from the XLR module...and it turned on immediately. I turned off the camera, plugged back in the cable, turned on the camera....XLR module dead again. I then toggled the phantom power switch on the module to off and the module turned on. I turned it back to +48V and it stayed on. It turned off one more time, I toggled the phantom power switch and it then stayed on for the rest of the interview.

    This is not good, I just don't have that kind of time on set to fiddle with an XLR module. 

    (Speaking as an electronics engineer) the turn-on problems sound like the extra 'startup' current drawn by the phantom power circuitry on power-up (if it's on when the XLR module powers up) is 'tripping' some protection system - which then cuts off the power to the XLR module because it thinks it's faulty.

    'Staging' the power up by first turning on the module (with phantom power off), then turning on the phantom power probably keeps the peak 'startup' current draw low enough to stop the protection tripping.

    Unfortunately I think the only way to find out if it's the XLR module or the S5 having a problem is by trying another XLR module or S5.

  13. AFC on the 20mm pancake is slow and noisy (I own one).

    Have you considered the cheap but good Panasonic 25mm F1.7?

    At the wide end, Samyang/Rokinon do an inexpensive all-manual 12mm F2.

    There are also 12, 17 & 25 mm Olympus primes, but no personal experience of those.

  14. I own both a G9 and an EM1 II and honestly I'm not convinced that (overall) the Oly autofocus is much better than the G9 - and IMHO the G9 is a much better overall video camera than the EM1 II. The G9 1080p leaves the Oly 1080p in the (soft) dust, then add 4k50/60p and 10-bit video modes which the Oly hasn't got at all...

    On the other side, the Oly is nice to use, has great IBIS and battery life, and is smaller and lighter than the G9.

  15. If it's like the '6K photo' mode on my G9, the files are H.265, 10-bit, 4:2:0 at 200 Mbps (info below - from the VideoRedo editor - for 3:2, 30 fps capture), with AAC audio. It uses 'long-GOP' encoding, but the GOP is quite short, only 16 frames, with only has IDR and P frames (no B frames) according to VideoRedo.

    If you want to upload a short clip from the S5 (a few seconds is enough) I'll check the parameters for you.

     

    image.png.c957d79ca67c60dbfc63b1120fc37427.png

  16. 1 hour ago, sandro said:

    Thanks, 

    has anyone tried any electronic EF o Nikon adapter to see how they work with autofocus? To see if this method can replace the expensive native L mount lenses...

    From a earlier post in this thread (for video AF-C):

    On 2/1/2021 at 9:54 AM, omega1978 said:

    With Sima MC-21 and adapted Canon lenses there is no AF-C on the S-series

     

  17. If you can live with M43, then add the Panasonic G9 to the list - 10 bit video support and excellent IBIS, with 1080p and 4k video quality comparable to the GH5 (albeit without All-I codecs and limited to 30 minutes - 10 min for 4k60 - record time). It's a bargain for what you get...around £700 used, £900 new in the UK at the moment.

  18. 49 minutes ago, aaa123jc said:

    The Panasonic cameras have very bad AF though. May not be suitable for total beginners. 

    I think a lot depends on your 'use case' - personally I don't need to focus-track people/faces or use shallow depth of field very often, and I find the G9 video C-AF to be perfectly usable for the sort of outdoors run-and-gun handheld filming that I do (as an amateur). It helps that I almost always shoot at 50p/60p which definitely makes DFD work better.

  19. 39 minutes ago, Jermaine said:

    are there any modes that allow unlimited recording?

    No  - that's one of the main differences between the G9 and the GH5.

    There is a hack to temporarily remove the limit in this YouTube video - https://www.youtube.com/watch?v=0qzBWdaY634 - but I've not tried it as I've never found the 30 minute video limit a problem (or the 10 minute 4k60p limit). I usually film hand-held, and 10 minutes is a long time to hold a camera still anyway 🙂

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