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Official Low GOP topic, series 4
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  • @qwerty123

    Yes, definitely spans on 64gb Sandisk Extreme Pro 95mb/s Cards. Did receive my pair of 64gigs today and both worked with 1080 and 720/60

    @driftwood @Zaven13

    I'm using Sage's patch, which means I need to just repatch to Quantum 7 for tomorrow's shoot so that I can get the 70M 29.97.

    Thanks much.

  • @kholi Thanks for confirming man! Does it also give you in camera playback with sound and no hiccups?

  • I did some quantum 7 tests with 64bg 95sec sandisk. Results in that topic.

  • Shot using Quantum 7 beta, 24H dynamic black n' white (+1,-2,-1) Lens: Voigtlander 25mm, ISO 800-1250? (no greater or less); ex tele mode

    Post processing: MB denoiser applied (40%), colour finesse adjustments and MB looks adjustments + some sharpening. I found I had to crush the blacks a bit because of compression artifacts I was getting when exporting for youtube. To be honest I needed to experiment more here, but my render time for the 2min 8second master was 3h 48mins. Denoiser and sharpening is a killer, but I'm also working on a dual core with 4GB DDR2 RAM and that certainly doesn't help. It's a painful process and I need to upgrade soon. Some monochrome 'film' grain added.

    It's been so long since I had the unhacked firmware on my camera, I can't attest to the level of noise at high ISOs ex tele mode produces with stock firmware, but with the hack it's pretty noisy. Having said that, I'm very happy with the results.

    I'm a novice so feel free to offer constructive criticism. If the actor was actually smoking rather than faking it with a tooth pick, that could have been more interesting. Perhaps the smoke would have crumbled though under my post processing er...technique.

    Many thanks Driftwood, every time you post on the low GOP topic I look forward to seeing if you've managed to squeeze more out of the GH2. It's become a highlight of my day, but then I'm working Panto 6 days a week at the moment!

    Great community, great forum.

  • @driftwood @FGCU Guy's I just shot this video with Quantum v7 all I can say is WOW!!! I was surprise with the quality. Don't mind the language spoken it's creole, it was shot for Haiti's Earthquake second year anniversary. Here is the crazy thing even @ 480p under youtube's compression it looks like it's 720p Quality I'm amazed. Uploaded it to vimeo but it's not allowing me to view it as HD yet.

    Setup: Hack: Driftwood Quantum v7 Profile: Cinema (-2-2-2-2) W.B: Custom Temp 5200k - 5600k Custom Color Balance (Will Post Pictures) Iso: 160 - 400 Lens: Pani 20mm f1.7 / Nikon 50mm f1.8 Lighthing: Halogen / Fluorescent

  • Just a simple motion test of Driftwood's Quantum v7 Hack.

    Panasonic GH2 Quantum 7 ISO 320 Cinema -2 -2 0 -2 Rokinon 35mm f1.4 @ f2.0

  • I did a test with Driftwood's Aquamotion ver2, Sandisk Extreme Pro 32GB, 20mm pancake, filming the TV playing Borat. The GH2 did start a new file every 4.29GB, as expected. BUT - I cut the files together in FCP, and noticed that (a) a couple of frames are missing between the two files, and (b) the audio on the second file, i.e. the beginning of each clip, comes in late. Hence, there is no continuous video between the files.

    Have any of you had such problems? Is this to be expected with any spanning files, or only high bitrate spans? I.e. would this problem be less pronounced with less intense scenes (e.g. interviews)?


  • Good to see you both using cinema profile. Under controlled lighting the linear response through the mid levels really make skin tones look great.

    BTW, the fucking Poinsettia looks freaking great!

  • @rbna

    I've now shot dozens of hours with Aquamotion V2 with Sandisk Extreme 30Mbps cards -- and at 24p it's spanned flawlessly straight up to card capacity. Premiere Pro even recognizes the clips as one long recording.

    My reaction is that your problem is either a workflow issue, or a Final Cut issue.

    The only issue I've had with Aquamotion V2 is that the 24H comes in around 89 Mbps, and the 24L comes in around 87Mbps. The 24H is not coming close to 100 Mbps -- and I'm wondering if I've got a problem somewhere.

  • @onionbrain That's interesting, thanks for the reply. I don't think it's a FCP issue, as the frames (and audio) are also very obviously missing when opening the files in QuickTime. Could it be that shooting a TV screen is just much more information to compute (with the permanent full frame flicker) than a "regular" scene, and the processing lags a bit / can't handle the load?

  • @rbna, I second @onionbrain comments. Is it the card you are using the 30Mbps one with with the little "I" beside the SDHC logo (that's the right one)? Often when things go wrong with spanning, the culprit is card, not camera.

    Everything I've shot (dozens of hours) with aquamotion has been perfect -- Clipwrap transcoding to DNxHD actually recognizes them as the same file and automatically merges them into one DNxHD. If you plan on doing a lot of work in FCP with the GH2 just invest the 50 bucks in clipwrap -- we've had a lot of annoyances with log and transfer and gh2 files, but no problems since transcoding to Prores HQ with clipwrap before ingesting.

    Certainly keep us updated if the problem persists. But for me, no problems so far.

  • @driftwood, prepping for a twixtor wave-tank shoot. Trying to figure out if Quantum 5 or Quantum 7 is my best bet for 720p60. Any thoughts? (Figured I'd post instead of PMing in case answer is useful for anyone else).

  • @ignatius I suspect your noise problems on ETC mode relate to the ISO. If I can, I steer clear of anything above 640 unless I'm going for noise -- ETC with quantum on 160 and 320 looks great. Also, this may no longer be an issue but I recall early tests with the gh2 saying that the "top line" of ISO's (160 onward to the right) produce better results and for whatever reason the 200 multiples of ISO below it (eg 800) produce a lot more noise. Can't recall how scientific those observations were, but just a thought...

  • @JDN Sage has combined Q7 with his own 720p setting and seems to love it. Downside is it makes 60i unusable.

  • Agreed, 60i = no good with Sage's hack.

    Gonna go back to Q7 in the future for 1080i shoots and have Sage's on stand-by for narrative work.

  • @Hallvalla Thanks! Perfect. I will usually throw a temper tantrum if someone tries to make me shoot 60i anyway (or at least talk them out of it) so this setting sounds perfect!

  • A la Dvx:

    "Just to clarify: this patch does not have a 1080i option. By boosting 720, 1080i is made unstable because it is entwined. It is only for 720p 60 SH, and 720p 50 H (60 H will do for spanning). For the extreme, its an unstable 720p 60 SH, and a stable 720p 60 H."

  • @rbna It's FCP fu…ng it up, I observe the same and have no problems in Premiere Pro. Time to switch!

  • @JDN @onionbrain Interesting - imported the MTS files directly into Premiere, and alas, it was fine. BUT: I also imported the Clipwrap generated ProRes (normal) file into Premiere, and while it did seem to get the video correctly, there was a tiny break in the audio. (I'm using the Sandisk 45Mb/s, with the I next to SDHC). So you guys cut on ProRes (and haven't had the audio break issue)?

    @JDN Do you also work on Premiere, or does your GH2/Clipwrap/ProRes/FCP workflow work?

  • @nomad Really - is it time to switch? Some people are still waiting for Apple to get their s*** together... others go back to Avid. I'm just not sure what to do right now. If FCP7 can't handle the GH2 workflow, I'll have to go somewhere...

  • @rbna, did you import the clipwrap generated mts into FCP7 as well? That is our preferred workflow at the production company I'm at now. That said, we're always recording separate sound (DR-40 via a Mix PreD) so we have a clean audio track and can paper over any audio gaps (though I'm not aware of any so far).

    As for premiere, sorry, can't help. This is actually my first time using FCP in about five years. Since then I've been on AVID, mainly at large procos where simultaneous access to media and crash-free hour long sequences are needed. Out of the price range of most individuals though, I know -- except if you're a student, in which case you'd be a fool not to take advantage of the educational price and four years of free upgrades. But if you're working primarily for web, I can see why the others would be just as good if not better.

  • @JDN Thanks for the advice! I just investigated further, and noticed that in fact the last frame - or maybe last two - of the clip (prores encoded through Clipwrap) does NOT show up at all in FCP, but it DOES in Quicktime... So it seems really, that FCP is the culprit. But then you say, that you had never any problems going Clipwrap->ProRes->FCP? Hm...

    If I use the "rewrap" function in Clipwrap, FCP crashes trying to play the such created files.

    In Avid, do you then just cut the MTS files - or do you still transcode?

    Sorry for all the questions, just starting a long-term doc project, and trying to get it right from the start... I've used FCP since they brought it out, but maybe it IS time to switch to Avid...? (With the $1000 FCP crossgrade discount...)

  • Premiere CS5.5 is the new FCP, fwiw. It even has the FCP keyboard shortcut set built in. Avid is quite different.

  • @Sage Yes, functionally... but how many people are on Premiere? Everybody, at least many, used to be on FCP, which made file transfer / working at different places easy. Now all is quite different...

  • Another Sample of Driftwood´s Quantum 7. Thanks to all, starting with VK, who have turn GHx owners really proud! This is a great comunity!

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