This is a tricky one, I made this video of a hovercraft for a company extremesports.ie, some people really like it but some people think its too generic! I would like to work on my style and make it more my video style rather than generic action sports videos! Any tips?
Im filming a big project in a month or two with Cliff Jumping, Massive Bungee Jumps and more action sports.
Great to hear your thoughts Also if you can watch in 4k!
A footage with the GH4 in 4K anamorphic, using the baby Iscomorphot 8/1.5x.
In only one shot, I used a Tokina +0.4 achromat diopter. All shots at f/2.8!
Lens was the Nikon 50mm f/1.8 Series E, along with the Metabones Speed Booster.
Both this lovely anamorphic & the Tokina are for sale. PM for details.
Hi, I'm new to this forum, after a while of reading I decided to put my first post. I have always worked with the Canon 60D, and premiere pro CS6/CC. Now I bought Panasonic GH4 and i'm a little lost with the workflow. My PC: i7 3930k Asus P9x79 WS GTX 670 2GB 32GB RAM 1600 Storage: C: 256GB Samsung 840 PRO (Os / App)
D: 2x Caviar Black 1TB RAID 0 (Media / Projects)
E: Caviar Black 1TB (Export )
F: 256GB Samsung 840 PRO (Media Cache) G:Caviar Green 1TB (D: Backups) H Caviar Green 500GB (Music, movies, etc.) Dell U3014 I tried to work with 24p Cinema 4k. Goes well, but applying any effect, it is very slow. When I export to h.264 4k 24p, takes a long time, the CPU goes only to 27% and the RAM to 11GB ... I do not know why not use more. Here are my questions: 1. Which would be the best workflow for working with 4K files? Proress, DNxHD ...? Proxies? The final product will almost always exported at 1080p, only in some cases to 4k for now. So if there are two workflows would seem interesting to me also. 2. After the editing, workflow to move to color grading in Resolve? 3. Better combination for external backups? Any other advice will be of great help. Excuse my English. Thanks
By ZZ VISUAL
A "tech geek's" comment inspired by the Sony A7S release...
I appreciate the quality of codec/bitrates of the new Panasonic GH4 (there are several first examples available online), the maturity and all-round versatility of the system, as well as its plethora of great improvements (like the â€œdepth-for-defocusâ€ contrast-detection AF). However, there is one thing on GH4 I have never found to be the most elegant technical solution. Namely, it is rather high megapixel score (16MP).
I do suppose for a motion-stills/video oriented micro 43 camera the optimal resolution would be 12+MP. The arguments are straightforward:
1. 12+MP on a micro 43 sensor is a â€œnativeâ€ resolution for the academy DCI 4K standard (4096Ã—2160 pixels). On GH4, DCI 4K is supported in the crop mode (x2 vs x2.3), owing to the higher horizontal resolution of its 16MP sensor (4608 pixels). To note: x2 vs. x2.3 crop is noticeably less pleasant for a video maker (!).
2. Higher continuous shooting rates for stills: 30% speed-up in the continuous shooting does matter (!).
3. Slightly lower ISO noise (and slightly higher dynamic range) in the video and picturesâ€™ modes.
For the motion-stills/video-oriented cameras (1) and (2) is much more important than extra 4 MP in stills. B.t.w, I lived a quite happy stillsâ€™ live with my G2 â€“ just be thorough with composition and no need to crop :).
There are well-known successful examples of the strategy (â€œless MP = more speed/IQâ€) in the DSLR world (Nikon D4 (16MP/FF), Canon 1D (18MP/FF)â€¦ And now â€“ â€œsuddenlyâ€ appeared at NAB, the first 4K mirrorless full-frame Sony A7S.
As compared to the GH4, A7S has lower bandwidth/processing power (50 Mbps vs. 200 Mpbs for 1K, UHD (3840Ã—2160) vs. DCI resolution, 4:2:2/8 bits vs. 4:2:2/10 bits etc.) with the advantage in the high ISO of course. Note that A7s has also 14 bit RAW for stills. However I would rather applaud Sony for limiting the sensor resolution by 12MP. It is a very harmonic engineering solution for the motion-oriented hybrid camera.
Dreaming forward about 4K on micro 43â€¦ I would like to see two lines of Panasonic sensors: 16MP for the stills-oriented cameras and 12MP for the motion-oriented ones. For that I would gladly pay extra. Apparently, Panasonic thought about it more than me. Sadly, they do not follow this path likely due to the high financial burden for maintaining the two lines of the "perfect" sensors on one consumerâ€™s products line. This is in contrast to Sony which always seem to have enough cash to sit on several sits (e.g. A7, A7R, A7S, NEX, ... )â€¦
PS I do not intend to compare 4K/micro 43 vs. 4K/mirrorless-FF as systems themselves here: the pro/cons are be basically the same as for the stillsâ€™ counterparts.