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Andrew Reid

Panasonic GH4 in a professional setting - FAQ

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Above: interview with Illya Friedman of Hot Rod Cameras, by Dan Chung

The GH4 is a consumer camera but has the most pro-camera leanings I've ever seen from a consumer or even prosumer camera.

Because of that many professional shooters are considering the GH4.

Here then are the remaining questions answered...

Read the full article here

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

" According to Eduardo Angel who is shooting with a prototype GH4, their current top end consumer card (Sandisk Extreme 95Mb/s) didn’t take the 4K."

 

I didn't see anything in that link to suggest the Sandisk Extreme 95Mb/s card doesn't work with 4K on the GH4.  He actually recommends using that card.

 

Is the Micro-HDMI limitation for 4k related to the HDMI standard or is this related to what Panasonic allowed for the GH4?  I was also surprised that the GH4 didn't support UHS-II like Fuji's recently announced X-T1.

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Hi Andrew,

At 10:14 in the interview they begin to talk about the two gamma settings, Cinelike D and Cinelike V and Illya states that this will expand the dynamic range but they get off the topic after that. Can you comment or confirm if these gamma settings are going to give us something similar to a flat picture profile or are they more for creating a cinematic look? Thanks for the great coverage as usual.

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" According to Eduardo Angel who is shooting with a prototype GH4, their current top end consumer card (Sandisk Extreme 95Mb/s) didn’t take the 4K."

 

I didn't see anything in that link to suggest the Sandisk Extreme 95Mb/s card doesn't work with 4K on the GH4.  He actually recommends using that card.

 

Is the Micro-HDMI limitation for 4k related to the HDMI standard or is this related to what Panasonic allowed for the GH4?  I was also surprised that the GH4 didn't support UHS-II like Fuji's recently announced X-T1.

 

Yes talked to him on twitter and the Pro cards come recommended, Extreme cards let them down.

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Hi Andrew,

At 10:14 in the interview they begin to talk about the two gamma settings, Cinelike D and Cinelike V and Illya states that this will expand the dynamic range but they get off the topic after that. Can you comment or confirm if these gamma settings are going to give us something similar to a flat picture profile or are they more for creating a cinematic look? Thanks for the great coverage as usual.

 

CineLike was seen on previous Panasonic pro cameras. I have never used it. Perhaps some users of previous Panasonic small chip broadcast cameras can chime in.

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Interesting to hear him talk down the quality of the metabones speed-booster. From all the analysis I've seen it looks to perform quite well. Anybody else notice what he speaks of?

 

I agree with Illya on most things but not Speed Booster, I think it's a great tool and has its place! Sharpness isn't a problem. Perhaps you get a bit of low contrast around out of focus areas with it. In my practical experience it hasn't been bothersome. But ask me again in a few weeks when I have shot with my Cooke PL lenses. This is the benchmark someone like Illya is used to.

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I've read a few times now people say on the internet that 4k 4:2:0 when scaled down to 1080 becomes 4:2:2.

Can somebody shed some light into this? Is this true or just nonsense?

Thanks!

 

The aliasing that 4:2:0 can cause will be smoothed out in the normal descaling process.

 

Oversampling it's called.

 

I have no idea about how it works in theory or if there's an advanced way of processing it outside a normal re-sizing in Premiere.

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I agree with Illya on most things but not Speed Booster, I think it's a great tool and has its place! Sharpness isn't a problem. Perhaps you get a bit of low contrast around out of focus areas with it. In my practical experience it hasn't been bothersome. But ask me again in a few weeks when I have shot with my Cooke PL lenses. This is the benchmark someone like Illya is used to.

 

Good to hear. For me I'll need it to pair with a 8-16mm sigma lens to get the widest field possible for landscapes. Really hope it does it's job at infinity focus, as I'll be there a lot.

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I agree with Illya on most things but not Speed Booster, I think it's a great tool and has its place! Sharpness isn't a problem. Perhaps you get a bit of low contrast around out of focus areas with it. In my practical experience it hasn't been bothersome. But ask me again in a few weeks when I have shot with my Cooke PL lenses. This is the benchmark someone like Illya is used to.

First of all, great article, even though I'll never approach a level where all those add-ons would be necessary (I just do grab shots on the street for the most part). Also, encouraging to hear that the Retina will be able to handle GH4 4K files (though I've only got 8GB RAM, so I might have to content myself with downscaling to 1080p). I am also green with envy that you will be testing the Cooke lenses with the GH4, not that I would even know what to do with them. But it reinforces what I've always thought - that whoever is manufacturing the sensors in these Panasonics, the colors are beautiful (especially from my GM1) - otherwise, you wouldn't bother. Yet so many in the forums complain of plasticy-looking skin-tones, blah, blah... For that reason, this weekend, I went ahead and made a bunch of head shots with the GH3 in a dimly lit post office in Saigon using the the lowly Vario 35-100mm, which I'll be posting in a few days. I'm not a professional colorist or anything, but the results look film-like to my eyes. And I expect the GH4 will be every bit as good, if not better.

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Yes talked to him on twitter and the Pro cards come recommended, Extreme cards let them down.

 

That makes sense since the Extreme cards are only rate to 45Mb/s.  You may want to correct your article as only the PRO cards are rated to 95Mb/s and you say that the 95Mb/s cards won't work.  Also, the UHS-I PRO card doesn't do 280Mb/s, that is reserved for the UHS-II cards.

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I've read a few times now people say on the internet that 4k 4:2:0 when scaled down to 1080 becomes 4:2:2.

Can somebody shed some light into this? Is this true or just nonsense?

Thanks!

 

I was going to just confirm this, but looking into it, Its actually better than that:  Its actually 4:4:4

 

With 1080p 4:2:2 you have 1 chroma sample for every 2 output pixels for a total of  1,036,800 chroma samples.

with 4:2:0 you have 1 chroma sample for every 4 output pixels for half that amount (518,400) .

 

But since the number of output pixels in quadHD 4K is four times as much as 1080, even with 4:2:0 you still have 2,073,600 chroma samples.

That's a chroma sample for every output pixel when you downscale to 1080.

 

Very interesting.. :)

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Interesting. Does the downscale to 1080p need any particular specific method or can you just go into Premiere, set the timeline to 1080p and scale the footage to fit?

 

I would rather downscale when converting to ProRes before importing into my NLE. Then if I need to crop anything I can go back and bring in full-res footage. Better performance this way.

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Interesting. Does the downscale to 1080p need any particular specific method or can you just go into Premiere, set the timeline to 1080p and scale the footage to fit?

 

Scaling down to 1080 in Premiere will be very high quality (Lanczos+bicubic) and will easily run in real-time with CUDA/OpenCL: http://blogs.adobe.com/premierepro/2010/10/scaling-in-premiere-pro-cs5.html (Max Quality is always on for scaling with GPU accel).

 

420 QuadHD and higher will indeed scale down to 444 1080p (with additional vertical averaging acting as a low pass filter to help reduce aliasing). Depending on the compression quality, shooting in 420 QuadHD can produce higher quality vs. 1080p. If for example AVCHD 1080p ultimately does a better job due to bitrate relative to frame size, it might look better in some scenes (> HD resolutions appear to be limited by card write speeds).

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Wow! This is great news!

If that works out as simply as scale to fit on the Premiere timeline, there's one more (as if we needed more) reason to buy this camera.

Looking good! *in Jeremy Clarkson's voice*

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