I'm wondering if anyone has any experience with using a GH4 through a blackmagic HDMI to SDI converter and then passed to a Blackmagic ATEM. I'm only looking to work in 1080p25 or 1080p50, but will need a 10bit signal as were shooting green screen and keying in the ATEM live. Basically creating a virtual set. I see there is discussion on the GH4 outputting 50p when shooting 25p, that is fine as long as the ATEM will see the signal. We are finishing with a live stream through a converter. Does it make a difference if the cameras is set in AVCHD or not on the HDMI output?

My interest in the GH4, is we can also take the multi cam setup on location shoots, recording directly into the cameras themselves. Where as a solution like the Blackmagic studio cameras require separate recorders. (the BMD studio cameras are not very sharp either)

Maybe someone found a solution to invert 180 degree HDMI output signal when GH4 is on Ronin at inverted mode?

I have Ronin-M attached to tripod at inverted mode, and HDMI signal recording by ATOMOS SHOGUN is inverted. SHOGUN have "flip" button in Image Option but after that, image is correct but all controls go to invert :)

Thank's for any idea!

can someone tell me what kind of problem is that , if that is sensor or something else... and in the case you know where I can get the part for repair that would be of help, I love this camera...

Thanks for your time and consideration

Nicolas

Thanks!

Once again thanks to the ones that use their brain and take time to create some crazy good things !

I have a question about 4K photo mode.

For those who don't know, it enables to record 1:1; 4:3 and 3:2 image.

Here are the image sizes possible:

• 4K UHD 16/9
• 3840x2160
• 4K Anamorphique 4/3
• 3328x2496
• 4K Photo mode in mp4
• 1:1 2880x2880
• 3:2 3504x2336

With the combination of an anamorphic lens it allows in 1:1 for example, to shoot in 2x time anamorphic with a 16/9 ratio. (not exactly 16/9, maybe 17/9 or 18/9…)

It is awesome because you can have the benefit of shooting anamorphic without being restricted by the "cinemascope" format. This format is nice but may not be appropriate for all movies and anamorphic also has other great attribute :

• different bokeh.
• wider field of view.
• flares for those who like them.

So you'll tell me what's the problem ????

When you enter this 4K photo mode and want a live output via HDMI you need to have a 422 10bit output feed. This 422 10bit option disable the recording on SD card…

And as the output is via HDMI it can only output 4K…so all the various picture sized written above are downscaled to enter in a 4K size… For exemple the 2880x2880 become 2160x2160 in a 3840x2160 so you get a 4K UHD ratio with a square image on it, and so black recorded on left and right.

If you edit in 1080 HD, this 1:1 ratio recorded by 4K HDMIwith a 2x anamorphic, is used by 100% wide and 50% height… So that's not to bad but a little bit of deception as well.

I've tried this morning with a Atomos Shogun recorder I had a chance to use at a production company.

I really plan to test with a Odyssey 7q+ but I think it will be the same because all those equipment are made to work with standards and limited to 4K…

I don't understand why Panasonic made this limitation and in the same time gives us those possibilities (1:1, 3:2…)… They don't have a higher camera to be canibalized (like Canon with 5D and C300…) and they don't sell 4K portable recorders…

SO MY QUESTION IS : May GH4 be hacked ?

to allow 8bit HDMI output with 4K photo mode ?

or to allow recording 10bit 422 on SD ?

I understand the second option may be limited by hardware of the GH4 or by the speed of the SD cards.

The benefit would be 1- having the choice of the image ratio ! 2- having the ability to desqueeze image that I think is a necessity to have a good framing for the operator or other people of the staff/ client

Am I dreaming ? Maybe…but so sad to have the perfect tool for anamorphic and having to use it in a crazy/dangerous/not precise way !

And I don't believe the feature will be unlocked in GH5…

THX for reading! Best .V

Panasonic LUMIX is proud to introduce a new photographic function called 'Post Focus' that allows anyone to capture multiple photos with multiple in focus points through a single release of the shutter.

Post Focus leverages Panasonic's high-speed, high-precision, 49-area DFD (Depth From Defocus) auto focus technology, and leadership in 4K Photography and Video, to capture 4K (3840 x 2160 pixels) images at 30 fps.

The operation of Post Focus function is quite simple and easy – set the camera to Post Focus mode, and press the shutter button. The camera automatically "racks" the focus while capturing photos with varied in focus points. During playback, use the touch screen to select the in focus area desired, and save as a separate 8 megapixel photo file…all right in the camera.

To assist in getting the perfect image, take advantage of Focus Peaking, 5x magnified view and fine adjustment functions, taking as much time as needed after shooting. The process can be repeated to get multiple images as many times as desired from the original photo.

The Post Focus function is best for non-moving subjects, such as portraits or landscapes, and is ideal for shooting at wide apertures to create dramatic, shallow depth of field effects. Create different impressions out of a single shot by changing the highlighted subject after capturing the picture, taking the risk and anxiety out of getting that perfect picture.

This capability will also assist advanced users interested in macro photography. Simply capture the scene using the same process, then use third party software to perform "focus stacking", to combine multiple frames into a single image, which has more areas in tack-sharp focus for amazing results in a fraction of the time typically needed for great macro images.

The Post Focus function will be available on the DMC-GX8, DMC-G7 and DMC-FZ300 by updating to the latest FREE firmware upgrade, which will be available at GMT 1:00 a.m. on November 25, 2015 at LUMIX Global Customer Support Site.

The firmware that enables the DMC-GH4 to comply with Post Focus is scheduled to be released in early 2016.

Available at:

• Black - http://www.amazon.com/Panasonic-DMC-GM5KK-Compact-System-Camera/dp/B00NHZUFXC/
• Red - http://www.adorama.com/IPCDMCGM5R.html

I am using the Marshall V-LCD50-HDMI

I don't get any lag in PAL or NTSC.

Any feedback would be great! This film asks the question, "If a corporation can have rights, why not an ecosystem?" And we're documenting the collision between the free market and democracy, out of which the rights of nature has been born...so in a way, capitalism could be creating its own death.

Most probably we will see G7 sensor and LSI in small case.

I am planning to do an interview with G6 in the upcoming days, and I was hoping you could help me to check the optimal settings for this. I would really appreaciate all your helpful comments, and sorry if this post belongs to somewhere else.

Exposure mode: M

1. First of all, I've been thinking about AVHCD/MP4 and not sure which one I should use. I think I am going to use Premiere Elements 12 for editing (at least to combine the video with the separately captured audio track). The file size seems to be pretty same with these different formats. Any reason why I should pick one instead of the other?

2. I'd like to have the "film look" so I've been thinking of shooting either 24p or 25p (I know the film look is not just the fps, but also the lighting, DoF etc.). I should use shutter speed 50 with 24p or 25p, right? I live in Northern Europe, does that matter when choosing the 24p or 25p and the correct shutter speed? We have PAL.

3. I have to choose between AF and MF. I've been testing the AF with AFF and face detection, and it seems to work pretty well when the exposure meter shows the exposure is spot on. But when it's even little underexposed, it does not track the interviewee if he moves (leans forward etc.). Maybe I should just use MF, set it at the beginning, and just accept that the subject will be out of focus every now and then if he moves. I cannot keep checking whether the subject is focused or not, because I also have concentrate on doing the interview.

4. I have to set the Depth Of Field really shallow (F1.8) because there is not going to be much light. My lenses are Olympus M.Zuiko 25mm & 45mm F1.8. Especially if I shoot with shutter speed 50, I have to get as much light through the lens as possible. Do you agree? So if there is very little light, my options are to set the ISO as high as possible (which means more noise), or to switch to 50p and shutter speed 100, right?

5. Which Metering mode do you recommend: Multiple, Center weighted or Spot?

6. How long have you been able to shoot with one BLC12 battery?

Other:

I've been reading other threads about G6 and set the following settings:

I've set iDynamic and iResolution OFF. Photo style: Natural -1,0,0,0 White Balance: Do not use automatic setting.

Any other recommendations?

I have the G7 since a few days and something bothers me a bit. I hope this wasn't asked before because I googled for quite some time and couldn't find anything; maybe I used wrong keywords?

Just as with my GH2, when I hit record the image gets darker - also the Histogram changes, just like the GH2 did. Now from my understanding, that was a legal range thing with the GH2; it always bothered me a bit that when I framed my cam and got the setup, I didn't saw what I recorded after all, because of this "bug". Now the G7 has this nice feature to let me choose if I want to record 0-255 or 16-255 (which seems not to change the actual data beeing recorded when I may trust the internet), but even setting it to full range it still changes.

Is it still the legal range-thing from the GH2, and is there some way around it?

Best, Rick

I received a GH2 as a bonus along with another camera I purchased, but I've been unable to use it for photography. When I shoot in bright lighting conditions, I get extreme overexposure, sometimes almost a white image. When I shoot video with the same settings, I get perfectly exposed images. I've tried different lenses, firmware updates, hacked firmware (currently using Sanity 5.1), auto & locked ISO, multiple shooting modes (M, S, A, P & iA), reset all camera settings multiple times. I've attached images shot back to back with video and still shot with the same settings, any thoughts?

http://imgur.com/KrFc0tK

Here are some LUTS that I put together. I am by no means an expert or colorist at all. I simply wanted some LUTS that have good skin tones and these look decent IMO. In regards to LUTS/LOOKS and grading in general everybody has different preferences so please keep this in mind if you decide to use these LUTS. If these LUTS do not look good to you please feel free to say so and share the LUTS that you created which you feel are better for skin tones.

Please note that the settings were tested with everything being properly exposed and white balanced using a light meter. I have noticed in the past using a waveform monitor hooked up to the GH4 that I get the best skin tones when I expose the midtones between 43-50 IRE. The exception to this general rule of thumb is VLog. I have overexposed VLog by 2 stops without any adverse effects on skin tones.

That being said I am not sure if one LUT can cover everything for skintones because you need a different IRE level for different types of skin tones. Anyway guys I just wanted to share my LUTS with you guys, hopefully it will be useful for some people. Here is some helpful information in regards to skin tones.

https://larryjordan.com/articles/color-correction-make-people-look-normal/

As a point of reference in terms of what I think looks good for skin tones this is exactly what I am trying to achieve with these settings.

Click on link below to access the LUTS:

https://www.dropbox.com/sh/k3woyuwkcismw9u/AACcBkd41LkrQ5O2rY42z4n9a?dl=0

ADDENDUM: Natural Profile I was trying to increase the dynamic range with the Natural profile by adjusting the highlights/shadows and master pedestal As the old saying goes you can't turn chicken shit into chicken salad so take this setting for just that, possibly a feeble attempt at squeezing a little more dynamic range out of it.

There are 2 options with the Natural Profile.

1. Use the Natural Profile like you would any other profile with these settings: Contrast=0, Sharpness-3, Noise Reduction-5, Saturation-1, Hue=0 H/S=0, iDynamic=Standard, Master Pedestal=0, Luminance 0-255. Do not apply the LUT to these settings

2. Use the Natural Profile with the LUT provided with the following settings. Contrast=0 Sharpness-3, Noise Reduction-5, Saturation-1, Hue=0, Highlights=+5 Shadows-5, iDynamic=Standard, Master Pedestal-15, Luminance 0-255. Apply lut to these settings.

Basically, I don't know if its worth it to stretch the image back with the Natural Profile using the LUT because the skin tones look weird to me when doing so. I do notice more detail in highlights like white shirts with patterns and stuff but not sure that I like the skin tones.

GH4 AZO LUT Natural Setting Contrast =0 Sharpness -3 Noise Reduction -5 Saturation -1 Hue =0 Highlight/Shadows = H-5 S+5 iDynamic =Standard iResolution =0 Master Pedestal -15 Luminance= 0-255

GH4 AZO LUT Cine D Setting Contrast =0 Sharpness =0 Noise Reduction =0 Saturation =0 Hue =0 Highlights=0 Shadows=0 iDynamic =Off iResolution =Off Master Pedestal =0 Luminance= 0-255

GH4 AZO LUT VLog Setting Contrast =NA Sharpness =0 Noise Reduction -5 Saturation =NA Hue =NA Highlight/Shadows =NA iDynamic =NA iResolution =Off Master Pedestal =NA Luminance= 0-255

VLog Instructions for Final Cut Pro X: Apply ARRI Log C LUT in the info pane Info-Log Processing-ARRI Log C Next apply azo_VLog_ARRI_LUT with a LUT utility for Final Cut Pro X this should be in the “Effects Browser” tab

VLog Instructions for Premiere Pro: In the Effect Controls panel click on the Lumetri Color tab Click on Basic Correction tab Click on the Input Lut tab and select ALEXA_Default_LogC2Rec709 Click on Effects tab, Color Correction tab, then scroll down to Lumetri Color drag and drop Lumetri Color on to clip. Go back to the Effects Controls panel then click on the second Lumetri Control tab and then select azo_VLog_ARRI_LUT_33_point.

Natural/Cine D Instructions Natural & Cine D Luts can be applied with a LUT utility for Final Cut Pro X directly from the “Effects Browser” or directly from the Lumetri Color panel in Premiere Pro.