I can see a pretty big difference. Then again, the gh2 isn't, in its best mode,1080 24p, which stomps all over the 720.

Unfortunately the Gh2 hack isn't ready for 1080/29.97, or I'd be using that.

But I'm gonna roll some 1080/24 in about an hour after crew lunch side by side with 5K.

In my experience the differences between 720 and 1080 weren't drastic. But, I'm used to 4/5K as well so thats probably why. Dunno. Honestly, the 720 still cuts very well, and that's saying a lot. Scale from there.

@RRRR "720p from the gh2 holds up far better than many full 1080p video dslrs.."

+1

It looks like there's more detail in the GH2's 720p 60fps image than my 7D or 5D at 1080p...

I thought the quantum 9b in 1080p was supposed to hold out well, even at 24fps. If not lpowells aquamotion looked amazing too...

I definately see quite a difference in GH2 720P verses 1080P.
I've also seen (and most others) that GH2 720P holds as much or more detail than the past Canon DSLR cameras 1080P. The 1DX will probably change this. I'm now questioning the Nikon D4, but time will tell.

Geez Kholi....very helpful indeed! I'm not really "surprised" by what I see. It's also exactly the sort honestly and balance that I have come to expect from you. All of that said, it's great to SEE IT with my eyes, just to connect my research, thoughts, feelings...and now I have images to complete the loop. Please do post your other footy asap!!!! YOU DA MAN!!!!

@RRRR

Hmmm so here's my take on Smooth: there's still sharpening occurring in the film mode that's a bit heavy for my tastes, even dialed down to -2. That sharpness also may be giving off the appearance of a brighter image. Along with that, the noise is actually a bit annoying now.

Of all the profiles, I think Standard is the most linear base to work from, where you can denoise or add a tiny bit of sharpening.

The Zeiss Ultras.... I like them, but I've gotten used to Cookes that I'm not sure which I prefer. Without a soft filter or diffusion they are definitely too sharp, with that they have quite an interesting and full look.

I've used a lot of cinema glass, Cooke s4s are by far my favorites with Zeiss standard speeds next, then Zeiss master primes which are fun. Cooke classic 18-100 I used on my feature. It's a little warm but when corrected the soft look is very pleasant.

Not a fan of compact primes, the fringing wide open sort of irritates me and they lack character to me. But they feel nice on small cameras.

Red Pro Primes are super fast and super sharp but man they are heavy as heck. The 18 is a cool combo with the Gh2. Used them on Epix X for my last commercial, interesting look.

Man I've used a lot of sets now that I think about it. I need some more time with cooke Panchros. The set I use is getting a special coating, that should be interesting.

And, we've got a set of Kowa Anamorphics on the way. Gh2 + anamorphix finally!

since we are talking lenses, what do you think of the Zeiss SuperSpeed lenses? I am thinking of renting a set for a narrative short (not GH2, FS100 :-(

Hai I don't think there will be driftwood quantum v10. Because there is no sdxc yet to record something which exceeds 180mb/s bitrate.there might be a v9 final and quantum 200 or v9 rock stable version I believe.

@RRRR

I've heard that a bit, about the lack of equipment in certain areas, so any advice I can give I will. Might be able to pick some stills from different projects and even post some video. Can't do it too soon because I've got a lot of other stuff cookin' (projects).

Interest in the new Leica's but nobody's got a set around here yet. My friend's thinking about investing in some, then I'd get to play with them. Will let you know if I do.

@B3Guy

Superspeeds are good, they flare fast though so that has to be something you're interested in. I have a few issues with them, but it's actually not the glass just the camera you use. For instance, you're asking about the FS100: that camera is sensitive as heck, too sensitive for my tastes. If you get caught in daylight you're shootin at a 5.6 + ND all the time. Also, they are soft wide open, and bloom a bit. You need to hit T2.1~2.8 to find the sharpness, and Standard Speeds are sharper @T2.1~2.8 than Superspeeds are.

All in all, I like Standard's more than Super's but Super's could come in handy during night shoots, especially on the GH2.

Additionally, both the Standard and Super's wide ends are a bit of an if: The 16's bow like crazy, the 20 isn't, the 28 is sweet. I find myself reaching for the 28 on the GH2 more often than any other lens, concerning the Standards.

@nomad

You might. Depends on the area though; they're picking up steam in LA. Six or so years ago a set of great Standards could be had for 20K, or even less if you caught the right person at the right time. Now? A set of five's going for 22K+, and rising.

Rental rates for all PL glass has gone up 50/day or more. I could've rented S4's about two to three years ago for 400/day, Hook-up rate was like 350/day. I don't even think I can score them for less than 600~650/day now. =[

The Pancrhos will be filling in for S4's from now on, I think. Which is fine, as camera's become more sensitive the T2.8 for Panchros isn't as slow as it sounds. However, the T2 of S4's would be perfect for GH2.

Glass... such a pain.

@rajamalik

No amount of hacking will get GH2 to RED status. It is what it is: a great substitute and/or a great A cam for those that own it.

@rajamalik

"RED is RED 5K, who cares; I am poor"

You may not realize it, but this is exactly the kind of attitude that will free you from the silly shackles of trying to compete out of your range. That gets people over it and to business.

Good stuff.

its 100% night shooting . . . a dark office, a club exterior, and a limo interior.