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I’ve been asked to do a movie with longer clips, no digital zoom effect, movement, no indian ;) … Here it is ;)
 
My impressions ont the lens : solid, heavy (420g), compact, sharp at full aperture T2.1, only 8.5cm minimum focus distance.
The ND filter : good first impressions, and two great options on it : lever and hard stop ! Perfect for video ! A sunday afternoon in the parc Majolan (SLR Magic 10mm T2.1 on GH4 4K) SLR Magic 10mm T2.1 on GH4 4K and 96fps 1080p mode This is my second movie with the upcoming SLR Magic 10mm T2.1(eq. f1.8), and their upcoming variable ND filter ! (released in october 2014) 1st movie is here : SLR MAGIC 10mm T2.1 (f1.8 eq.), shot between T2.1 and T5.6
SLR Magic ND variable filter GH4 4K cinema mode + 96fps 1080p mode
EOSHD cineV settings +0, -5, -5, -2, +2 (eoshd.com) but pedestal on 0 No color correction Music : Robert Wyatt « Sea Song »

I've been using the SmallHD DP7 and loving it, but it's pretty heavy. Using it on top of my GH4 with a hot shoe swivel head is clunky. It falls down all of the time. Comes loose. You name it. I searched the market for anything that would attach both sides of the monitor allowing for swivel, and a sturdy grip. Found nothing. I decided to build it myself out of parts found on eBay, and B&H. Here are the links to parts I used: CAGE: http://www.ebay.com/itm/FHUGEN-HONU-V2-0-VIDEO-CAGE-Kit-with-Top-Handle-HDMI-Clamp-for-GH3-GH4-A7-A7R-/231302638084?pt=LH_DefaultDomain_0&hash=item35dab62a04 SIDE RAIL CLAMP: http://www.ebay.com/itm/281056066980?_trksid=p2059210.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT 2 PACK OF LONG 1/4"-20 SCREWS: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=920351&gclid=CPqemNGJ1cACFYk7Mgod2EoAfw&is=REG&Q=&A=details 2 LONG BRACKETS: http://www.bhphotovideo.com/c/product/1062515-REG/desmond_d3d_3_mini_stereo_camera_bracket.html This could also be useful for the A7S and Shogun combo. I'll admit that this isn't ideal if you need to mount a microphone, but if you're going handheld for video only it's sturdy as hell.

Hello my friends, Here is my first hand's on with the SLR Magic 10mm T2.1 I just received on wednesday in premiere, and also with their new variable ND filter :) SLR Magic 10mm T2.1 on GH4 4K and 96fps 1080p mode My very first impressions : solid, heavy (420g), compact, sharp at full aperture T2.1, only 8.5cm minimum focus distance. The ND filter : good first impressions, and two great options on it : lever and hard stop ! Perfect for video ! SLR MAGIC 10mm T2.1 (f1.8 eq.), most of the clips @ T2.1 SLR Magic ND variable filter GH4 4K cinema mode + 96fps 1080p mode Vcine mode with Andrew Reid presets (http://www.eoshd.com) No color correction Music : Trentemøller « Come Undone (Trentemøller Remix) »

Hi everyone, I've just received today the upcoming SLR Magic 10mm T2.1(eq. f1.8), and their upcoming variable ND filter ! My very firsts impressions : solid, heavy, compact, sharp at full aperture T2.1, only 2cm minimum focus distance. The ND filter : good first impressions, and two great options on it : lever and hard stop ! Here are some pictures of the lens and of the variable ND filter, photo stills and video stills from GH4 C4K footages (most of them @ T2.1). THE COMPLETE SET OF PICTURES IS HERE : https://www.flickr.com/photos/43243778@N04/sets/72157646791136410/ Movie is coming soon :) TECHNICAL INFOS PRESS RELEASE at the end of this post Thanks for your interest THE LENS : SLR Magic 10mm T2.1 by sebfarges, on Flickr SLR Magic 10mm T2.1 by sebfarges, on Flickr SLR Magic ND variable filter by sebfarges, on Flickr SLR Magic 10mm T2.1 + SLR Magic ND variable filter by sebfarges, on Flickr PHOTO STILLS with GH4 SLR Magic 10mm T2.1 photo still by sebfarges, on Flickr SLR Magic 10mm T2.1 photo still by sebfarges, on Flickr 4K VIDEO STILLS from GH4 SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr SLR Magic 10mm T2.1 4K video still by sebfarges, on Flickr TECHNICAL INFOS PRESS RELEASE : NEW: THE SLR Magic HyperPrime CINE 10mm T2.1 and SLR Magic 77 ND 0.4-ND 1.8 filter SLR Magic expands its micro four thirds lineup with new wide angle lens Hong Kong, China (September 3, 2014) - SLR Magic expands the micro four thirds lens lineup with the new SLR Magic HyperPrime CINE 10mm T2.1 wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of thirteen focal lengths. The product will be officially introduced during upcoming Photokina 2014 fair in Cologne. The field of view of this new HyperPrime Lens corresponds to a 20mm lens in 35mm format and this fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, a fast max aperture of T2.1 makes the SLR Magic HyperPrime CINE 10mm T2.1 ideal for available-light photography. We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic HyperPrime CINE 10mm T2.1 is solid and reliable. The SLR Magic 77 ND 0.4-ND 1.8 filter is a solid variable neutral density filter providing a reduction of about 1.3 to 6 stops. The 0.4 to 1.8 density creates a darkening of the entire image, allowing you to photograph with a wider aperture or slower shutter speed than normally required. The degree of density is easily controlled by rotating the front filter ring via the non-removable lever. By slowing your exposure time you are able to control depth of field and convey movement more easily. Both filter substrates are combined into one filter ring, this filter is low profile and helps to eliminate vignetting on most lenses. The front filter ring diameter is 86mm in diameter, further helping to reduce vignetting, on wide angles lenses such as the SLR Magic HyperPrime CINE 10mm T2.1 lens. The SLR Magic HyperPrime CINE 10mm T2.1 (MSRP: $799 US) and SLR Magic 77 ND 0.4-ND 1.8 filter (MSRP: $179 US) will be available from authorized SLR Magic dealers starting end of October 2014. The SLR Magic HyperPrime CINE 10mm T2.1 will be first presented at Photokina 2014 fair. The SLR Magic stand would be in (No. L-011, Hall 5.1) during the fairs which are to be held in Cologne from 16th to 21st of September 2014. For all those who want to visit Photokina 2014 fairs. SLR Magic is currently looking for volunteers to test this lens at a special price. If interested: Send an email to support@slrmagic.com with the subject "SLR Magic 10mm T2.1 volunteer". Include sample videos/photos or link to photo/video reviews you have done in the past. Technical Data SLR Magic HyperPrime CINE 10mm T2.1 Lens Type: Fast wide-angle lens Compatible Cameras: All micro four thirds mount cameras Optical Design: 13 elements in 11 groups Distance Settings: Distance range: 0.20m to ∞, combined scale meter/feet Aperture: Manually controlled diaphragm, 11 aperture blades , Lowest value 16 Bayonet: micro four thirds Filter Mount: Internal thread for 77mm filter; filter mount does not rotate. Surface Finish: Black anodized Dimensions: Length to bayonet mount: approx. 79.45mm (approx. 3.12in) Largest diameter: approx. 80.00mm (approx. 3.14in) Weight: approx. 420g (approx. 14.8oz) SLR Magic 77 ND 0.4-ND 1.8 Type: Variable density Size: 77 mm Filter Factor: 0.4 - 1.8 (1.3 - 6 stops) Front Filter Thread Size: 86mm

HELP! MPEG Streamclip won't touch it, Final Cut Pro 7 won't think about it... how can I convert my Panasonic GH4-created 96fps mp4 files to work within the FCP7 environment? Thank you all so much for any insights you can provide!

A black & white test in slow motion of dancers on a parisian rooftop.

Still having some aspect issues, but my aerial shots were a hit with my local church.

Testing the sharpness of the Rokinon Cine 85mm with Lens Turbo on the Pansonic GH4

Comparing the complete set of Rokinon cine-style lenses at 4K

I posted this in the DVXuser group but thought I'd ask/post here also. If anyone has advice etc much appreciated. We are shooting a TV show using a number of different cameras but primarily on Sony PMW 200 for action and GH4 as second camera's for CU's, inserts and cutaways etc. In post we are going to try and match them in colour/look. How successfully this can be is an unknown? I'm Wondering if you have used these cameras together on a shoot and have any insights as to what to expect in post or on set to try and get them to work well together. For example a typical scene might in a mechanics garage, the presenter/mechanic will be shot on the PMW 200 framing between Wide-Mid-CU's working the scene shifting from presenter to car engine back and forth varying shot sizes etc while getting grabs and the occasional PTC (pieces to cam). The GH4 operator will be standing back over my shoulder on a slightly a longer end picking off cutaways, inserts of the presenter and other participants faces CU's/ECU's, presenters hands and engine parts etc, while also becoming the second camera for any longer presenter PTC's. Outside in more dynamic environments the GH4 will be used for higher frame rates sometimes flying on a type of steadicam rig while the PWM compliments with variety of typical reality shots, and wider shots at normal speed. Some issues of concern are; 1. How well can handheld on the GH4 be stabilised? We will be shooting handheld at 35mm MFT (70mm FF)...Well have a monopod and perhaps a small shoulder/chest rig at times so hopefully these will remove jitters. Also we will be shooting the GH4 in 4K internal for 1080 timeline in post this will hopefully help with stabilisation with post cropping etc and also help match the PMW 200 4:2:2 color space. The GH4 lenses at this stage are the Panasonic 12-35mm with OIS - good for run gun I'm told?, the Olympus 9-18mm and Olympus 25mm (both these are non stabilised), and Panasonic 100-300mm IOS. GH4 rolling shutter is not seen as much of an issue as in post we'll cut to the PMW 200 for the faster action. 2. How well will the GH4 and its shallow DOF intercut with the PMW 200? Obviously GH4 MFT shallow depth of field will be greater than the PWM 200. I'm hoping they'll compliment each other cutting to the GH4 for its shallower DOF in the presenter CU etc. I would not want extreme shallow DOF (like a FF such as the 5d as this would be to contrasting and distracting to cut with the 200) but I hope the GH4 DOF cuts and compliments the PMW 200? 3. Both camera's picture profiles? We have not played with these yet but wondering if anyone has some ideas on these camera's settings that may get the two camera's closer together in look, or what might be best settings to enable post to pull them together better in the edit? If anyone has any thoughts or can see any issues/solutions or has any links to the Sony PMW 200 and GH4 playing happily together, fire away... :) Cheers Obi.

Hi my dear anamorphic friends ! here is a "Scarface's like" wedding :) and my brother's wedding :) all this was shot in GH4 4K and 1080p 96fps happy end of the summer ! :)

Look here fore an interesting camera shootout!: - with high-end cameras like the Alexa, Red Dragon, Epic, Sony F55, Canon C500, Blackmagic Production Camera 4K, Sony FS 700 4k, - and also lower priced rated cams, like the 5dmk3raw, GH4 4k and Blackmagic pocket camera... Guess the camera...:)

Hiya Guys! I'm new to this forum and will try to be as clear as possible. :) I'm about to buy new gear for videography pretty soon and have already chosen to go for the GH4, that i will use with these lenses : Voigtlander Nokton MF 35mm f/1.4 (77mm with crop factor), Nikkor 35mm DX (56mm with speedbooster), Nikkor 50mm FX (80mm with sb) and a Nikkor 18-55mm DX (28,8-88mm with sb). I applied a 2,2 crop factor for Voigtlander lenses and 1,6 for the Nikon ones (DX and FX). Is this correct? I keep seeing different crop factors all over the internet. The main use will be documentary and travel videography, so I'm trying to get good and sharp gear easy to travel with as I'll be shooting alone or with only one person. I've read several threads on the eoshd forum, reviews... and still have a few questions concerning ND filters. It seems like I should get a variable ND filter with a 77 or 82mm diameter. The max budget for the filters (one VND or filter system) would be 300/400 US dollars tops. - would you recommend a VND filter rather than a filter-system + ND filters for my use? - my Nokton diameter is 43mm, do you know if a step up ring 43-82 mm or 43-77mm exists? I couldn't find one over the internet. - if you faced this problem, did you find a solution? - would I get vignetting on corners with wide lenses even with the crop factor? - Reviews seem to highlight the Heliopan and Tiffen VND, are there massive pros for one rather than the other? I'm sorry for this long post! One question always seems to lead to another one... Thank you very much to those who will read and answer me :) And a huge thank you to all other posts and people in the forum for the previous topics that helped me. Woooo!

Hello to everyone! I would like to buy some decent moderate wideangle for GH4 but have limited budget unfortunately. I came down to these 3 options: 1. Used Zuiko 14-54 f2.8-3.4 MK1 4/3 mount + electronic adapter (MMF-1 or MMF-2) - 190€ 2. New Panasonic 14mm f2.5 - 180€ 3. Used Sigma 18-50 f2.8 EX DC Macro Nikon mount - 160€ wideangle needs to be useful for both outdoor and indoor shooting. Since I allready have BMCC nikon speedbooster (0.64x) to me the best option seems Sigma 18-50 f2.8 but I cannot find anywhere how sigma behaves, especially on 18mm with the speedbooster attached (11.52mm). There is also a used Tamron 17-50 f2.8 nikon mount for 250€, but I do not want to go that far with the price if I don't have to. Advices are really welcome :) Thank you all in advance!

My Panasonic UK saga regarding the GH4 audio issue. 2 weeks ago I called the Panasonic UK service centre to ask them if they were aware of the problem, they said they had a bulletin from Panasonic and were aware of the problem. They suggested I send the camera in for repair with a 7 to 10 day turnaround. As of this morning, 2 weeks later, Panasonic have still not been able to provide them with the part. I have suggested that they replace the camera but Panasonic have said any new cameras in the UK would still have the problem. They are suggesting that the part will not be in the UK for another 2 weeks. The service centre have been good and have tried their best to keep me informed. I do feel that Panasonic UK are seriously letting me down, along with this problem and the fact there is still no 25p from the HDMI on the camera, my advice to anyone in the UK buying the camera for video use would be don't buy until all of these problems are fixed on units in stores.

Canon cameras sell very well because they make people look great by creating very pleasing skintones. Apparently for technical reasons (silicon sensors, etc.), Canon makes skintones look great at the expense of color accuracy. ARRI is the undisputed* King of Color Science and reading about how to make a C300 somewhat match an Alexa may be helpful in setting up new cameras such as the GH4 and A7S to produce more pleasing skintones (at the expense of color accuracy): http://provideocoalition.com/aadams/story/color-matching-a-canon-c300-to-an-arri-alexa Art noted that digital cameras do the best in daylight (~5500K) due to sensor response to blue. While I too have noticed that Sony, for example, does much better in sunlight, I've found that cameras also do well in Tungsten (~3200K). While Tungsten doesn't have much blue, it is a continuous spectrum light, and that I believe is the most important issue. Cameras have the most trouble in mixed light (fluorescent + incandescent + LED, etc.) or light sources with large gaps in the spectrum (some fluorescent and many LED lights). I had no idea what kind of light this was, however AWB with the A7S wasn't too far off (minor WB adjust in post: still a bit magenta but that's the look I wanted): In the Art Adams article above, he had to make custom profiles (mostly the special Color Matrix) for each desired color temperature (two provided). This makes it clear that getting pleasing (and/or accurate) color for a wide variety of color temperatures and light sources is a very challenging technical problem. Face/skintone detection is one way manufacturers try to deal with the problem (regardless of race, all skintones have similar color properties (along the 'skintone' line on the vectorscope: ). It's not likely there's anything we can do to picture profiles on cameras to improve color performance vs. factory settings for general use. If we tweak colors for a particular WB and light source, it won't be correct for another light source with different spectral properties. Thus, if someone posts a tweaked color profile that changes WB colors or general color matrices, keep in mind those tweaks might not work correctly for your particular situation. * this is the internet, so the likelihood of disputing is much greater than zero. The Sony F35 and F65 can produce great color, and the new RED Dragon and associated color science is looking very good. The camera system most people prefer in terms of color is the ARRI Alexa (now +Amira).

Hi folks, I'm a total newbie when it comes to shooting video, so please bear with me. I've recently had a chance to play around with a GH4 and a few lens (Leica 25mm f1.4, Lumix GX 12-35mm, and a Nikon 50mm with adapter). I was wondering if there was a way to get clearer focus with the 25mm lens? Just when I think I have something in focus, I notice a lot of fuzziness around edges (see my example below): I shot this test at f1.8, ISO 400. In comparison, here are stills from all three lenses: Leica 25mm: '> 12-35mm: '> Nikon 50mm: '>

Hello! I'm a video producer and i'll be getting a new camera anytime soon but i can decide on wich camera to buy or if i'm supposed to wait for a while. I'm trying to decide between a GH4, A7s, 6D, 5D3, and some others, more expensive like the C-100. Everyone of this cameras concerns me about some things. The GH4 concerns me about the lenses, the MFT mount. I have some canon lenses, nothing great or expensive, but i know they are easier to find, more versatile. And when i wrote to Metabones, asking about the speedbooster MFT-EF, they answered pretty rudely (i guess they get that question a lot). But i understand the superior image quality. The A7s, to me, it's one of the better cameras around, for it's price. I've been watching some "raw" footage of it, but i've been reading some bad reviews about it's color log and the workflow of editing/grading, regarding it's formats. On the other hand, i love the HDR and ISO. Regarding the Canons, i personally think they're more versatile cameras, but the image quality is getting ofuscated by these new cameras, maybe because it's been 2 years since Canon doesn't make any announcement on new equipment. Sometimes, i'm more inclined to buy a Canon for it's flexibility, a GH4 for it's easier workflow, and now, i'm kinda blind by the A7s. But always something turn me down, idk what to do, if i buy one of these, if i wait for any announcements, i'm getting crazy! What you guys think? What would you guys buy today or why wait a while. Thanks!

Hey guys. Another short i shot. GH4 Anamorphic. M42 mount taking lenses and a 70's Vivitar zoom. Another model 1 on 1. 70's vibes and shooting. the 2k pro-res looks awesome, one day vimeo should get there shit together!

We wanted to try compositing basic 3D VFX in the background with GH4 4K video (inspired by videogames I used to write). I used 3DS Max to create a simple scene with an alpha channel and tried to composite everything in Premiere Pro CC. Unfortunately, PPro (and AE) have issues with the 3DSMax alpha channel (not a premultiplied color issue) and the low levels of the alpha channel appear to get clipped, cutting off subtle glows, etc., making correct compositing impossible. So I moved the background plate into 3DS Max and rendered the 3D elements directly on top. I had originally planned for a much more complex 3D scene, including having objects come out of the background and go around her head, but the time spent trying to work around the compositing issue took too much time.

I have previously been shooting pretty much everything at C4K witht he system frequency on 24 (you have to for C4K). I shoot football so I will need to shoot slomo a lot too. If I understand correctly, the best way to shoot 60fps slomo is recording the FHD 200M at 1080p60 with the system frequency on 59.94 rather than leaving the system freq on 24 and using variable frame rate.. Problem is, you dont want to be changing the system frequency during a game. Is the best way just to leave system freq on 59.94 and use UHD 4K rather than C4K? Or is there a way to quickly toggle between C4K and 1080p60 at its highest quality

We felt the best way to really learn how to use the GH4 was to shoot a commercial. All the GH4 shots were in 1080p VFR 60fps mode, Natural picture style, Panasonic 12-35 F2.8 lens, gen 1 Fader ND 77mm (+ adapter), and Flycam Nano DSLR steadicam. The pool shots were iPhone 5S 720p 120fps, and underwater shots with GoPro Hero 3 Black. Edited in Premiere Pro CC with heavy use of the new masking tools. Neat Video was used for denoising. Really pleased that WMG (Warner Music Group) and youtube worked out a deal to allow their music to be used (along with an ad). https://www.youtube.com/watch?v=Hc2LXH_MsQQ https://www.youtube.com/watch?v=Hc2LXH_MsQQ Editing a fashion show shot on the A7S next (will show a wide variety of skintones in low light- shot event style with 'auto everything'- worked pretty well).

http://www.dvxuser.com/V6/showthread.php?325824-Panasonic-discovered-a-fix-for-the-audio-buzz!

Quick Review A7S vs GH4 Where the GH4 is better: Build quality Viewfinder Flip out screen User interface (by a mile) Battery life (by a mile) Color science Skin tones Rolling shutter (by quite a bit) Detail (internal 4K and 4K to HD) Noise grain (mostly pleasing monochromatic) Built-in flash for stills When lens size is included, a much smaller package Can shoot best quality on < 64GB Class 10 UHS-1 cards (A7S requires >=64GB cards for XAVC-S) Price Where the A7S is better: Low light (it's very good however the noise grain is colored and multi-spectral; not as pleasing as GH4's mostly monochromatic fine-grain noise) Shallow DOF (add a SpeedBooster/focal-reducer to the GH4 and this isn't much of an advantage) Audio (no buzz; not tested thoroughly yet though) If a 5D3/full-frame owner: can use existing lenses with a non-focal-reducer adapter (with similar DOF) Super 35 mode allows use of many NEX lenses (some aliasing) Auto ISO After having worked with 5D3 14-bit RAW and RED RAW, where the unmodified RAW looks pretty good straight from the camera, Slog2, Cinegammas, Cine-D/V, etc., start looking like gimmicks. None of those gamma curves are providing a real increase in dynamic range. In certain cases they may provide more information for 8-bit compression, however they can be tricky to use and must be exposed carefully. I've had the best luck shooting Natural with the GH4 (and no crazy curves), though iDynamic is helpful sometimes (appears to be local pixel group based processing vs. a simple curve. The A7S has a similar feature (disabled if any picture profile or effect is active, though)). Rolling shutter is very challenging on the A7S in full frame mode (worse than the 5D3): not very usable for handheld without a lens with IS and/or a solid rig. The A7S menu and button system is a mess. The FS700 has a better design! (many folks find the FS700 non-intuitive to use). Both cameras have aliasing and moire in slow motion. Perhaps similar to the FS700 in 240fps mode (not as bad as FS700 480+fps modes). I haven't done a direct comparison, however the FS700 120fps and less slow motion is better than the GH4 and A7S (all slow motion modes). While the A7S isn't quite a one-trick-pony (low light), the GH4 is a much better all around camera. I haven't had the A7S as long as the GH4, so there may be other elements that make the A7S more compelling, yet to be discovered.