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Some moods testing the new photo mode in the 4:3 ratio with my 2X kowa anamorphic adapter. More in the description. Very nice feature to have now.

Long time lurker, first post here. I bought the GH4 shooter's guide a couple days ago and it helped me seal the deal on the GH4. I've also got an Atomos Ninja Star handy for 1080p 10-bit 4:2:2 capture. So, the GH4 just arrived and I've been going through the guide in more detail, along with getting familiar with the camera, and I came across this statement: I was wondering, before I get into my own test shots, if the recommendations for Cinelike D/V settings are different when outputting to this recorder than they are in the guide for internal codec use? I'm particularly curious about the Flat profile and possibly flattening the curves even more - would there be any benefit to doing this with 10-bit colour? Just curious... I'm still waiting for the right HDMI cable to ship in so can't test it myself yet.

GH4 new 4K photo mode firmware in anamorphic 1.75x quick test Here is a quick test with the new firmware V2 "photo mode" 4K in 16:9, 3:2 and 4:3 Sorry I forget the 1:1, anyway for my 1.75x anamorphic... :P GH4 4K photo mode baby Berthiot Hypergonar 1.75x lens Qioptiq LINOS MeVis-C C-mount 35mm f1.6 @ f1.6 with the diopters and f4 for the others shot SLR Magic 1.3x + 0.33x diopters Vcine mode with EOSHD setting Premiere Lumetri 60's color correction + levels adjustments

Testing out the new Metabones Speedbooster Canon EF -> m43. Really loving it, and working with Sigma ART lenses it just sings! I really want that shallow depth of field look, and it works a treat. Of course it's really hard to focus at F1, worse using a vari-ND filter too (vignette and darkening of the corners at the highest setting). Paired with the SLR Magic Anamorphot it has a great look!

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

Just a quick video testing out a Sigma 35-70mm f2.8-4 canon FD mount I found at a local camera shop for $20. It seems to work better as a taking lens than my canon FD f1.4 for some reason, not sure why. It does have a flat front element. From what I have read online most people weren't very happy with sigma zoom lenses in the FD mount, as far as the overall quality. it was all shot wide open around 39/41mm except for the 3rd shot which was at 70mm. I had heard you could use a 35mm + anamorphic on the gh4 without any vignetting but it is pretty severe when I try.

So Panasonic apparently just announced a 30mm 2.8 macro lens. It seems decent on paper. What I would like to see is a pro level 50,60 or 75mm 1.2 weather sealed Leica 42.5 quality macro lens with image stabilization (since panasonic does not have inbuilt stabilization) This kind of lens would work double duty as a portrait lens and as a macro lens. The MFT world is growing nicely. This new pro level 40-150mm 2.8 zoom from Olympus seems honestly good enough. Likewise I'm happy to hear about the upcoming 300 F4 prime from Olympus. What kind of lenses would you like to see by Panasonic? On a secondary needs basis I would like to see 14Bit Raw images support for GH4. To make it more Pro photography oriented. 12 vs 14 bit RAW's are very important for professional photography needs. on my short list there are 300mm 2.8 with image stabilization or pro level 100-300 2.8 with IS. Perhaps 400mm f4 with IS.

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.

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 »

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!

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

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

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!

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).

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.

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: '>