@Zaven13 I was talking about Cluster V2 and damned if I didn't post it in the wrong thread. I was wondering where it went.

How to film in 2k? Witch mode?

Thanks

@zsound MJPEG files are stored elsewhere. Ensure youre on Manual Movie Mode on top menu. Then goto the second menu down select REC MODE - bottom setting is mjpeg - record away. Remember these .MOV files are copied to your DCIM folder together with a single frame preview jpg image, which gives you an indication to the size and quality of your frames in the .MOV mjpeg file.

On the previous page, there were questions about the Turbo Mode used in Flow Motion v2. This is featured exclusively in 24H mode, and actually does work similarly to a turbo-charger in a car with an automatic transmission. In operation, Turbo Mode seamlessly boosts FM2's 100Mbps peak bitrate to as high as 140Mbps, enabling the encoder to maintain high-quality quantization when shooting extremely detailed scenes.

Here's how it works under the hood. In 24H mode, FM2's nominal peak bitrate is set to a little over 100Mbps. Stream Parser verifies that the encoder maintains this peak bitrate under normal shooting conditions. When a higher bitrate is required to maintain encoding quality, the encoder automatically shifts into what Chris Brandin calls Panasonic's "Trick Mode", boosting the peak bitrate up to 140Mbps.

In previous versions of Flow Motion, I used a static version of Trick Mode in 24L, FH, and H modes to insure 4GB file-spanning at over 50Mbps. With Flow Motion v2, I discovered how to dynamically activate Trick Mode in 24H mode as well. I call it "Turbo Mode" because in 24H mode it acts to boost the bitrate, rather than lower it.

In Flow Motion v2, Turbo Mode is triggered most often in 80% Slow-Motion 24H mode, since its 30fps recording rate inherently requires 25% more bitrate than 24fps. However, Turbo Mode may also occur in the standard 24H mode when shooting extremely detailed scenes.

My tentative impression is that the GH2 in 24H mode is able to file-span with comparable reliability in Turbo Mode at 140Mbps spans as it does at normally at 100Mbps. However, it will take a lengthy amount of testing to confirm this theory in practice.

@driftwood Does Stream Parser report that it's actually working in Trick Mode at high bitrates? If so, I'm interested in whether Trick Mode can be used to improve 4GB file-spanning reliability at high bitrates.

Spanning should be fine on L mode. Thats why its reduced to accomodate the extra bitrate needed. Just did 10 mins on L mode GOP1 'Crossfire' setting - 3 spans - I manually stopped it.

yep, frame limiting does that. First few seconds big... then the dip... reflected in buffer too.

Lee, I love trying your settings :-) PS Forgotten to mention, welcome back after the op. I sincerely hope your back is getting better.

If Sedna AQ1 is best for detail @ 24p. which settings is best for slow motion 720p 60P? i.have a music.video shoot coming up and 90% of the video will be in slow motion and I need it too look as cinematic as poss. will be using voigtlander 25mm and slr magic 12mm. Can anyone recommend a good long lens? I was thinking about a contax zeiss 1.4 50mm (doubles to 100mm) with mft adapter.

@thoughts2uk I have the same two lenses and use a Canon FD SSC 50mm 1.4@2.0. It matches the others well.

The Leica M-mount Voigtlander Nokton 50mm 1.1 should work as well

Or if you can afford it: FD SSC 55mm 1.2 Aspherical!

@thepalalias How is the Rokkor wide open? I have to stop down my FD to 2.0 before I'm satisfied with sharpness. The Zeiss has the same problem, if I remember correctly.

All of the high-speed lenses are a tad soft wide open, but my Rokkor 58mm 1.2 has a beautiful look nevertheless, great for video even wide open, portrait in particular.

At 2.0 it's tack sharp even for photography. The 50mm Rokkor PG 1.4 resolves better starting at 1.4, but doesn't have the same creamy Bokeh.

A lens that's optimized for sharpness normally has a harsher Bokeh, it's your choice…

After testing Flow Motion 2.1, bckmwd beta5, Cluster v2e, M6 sports all on 50p, without a direct comparison but just shooting similar footage and looking what sensation it gives me. Apart of Canis Majoris Night that I have used for a low light shoot and looked great in this conditions. I turned back to Sedna AQ20. IMO on 50p SEDNA is for now still the best; on 24p from the screen shot that I see on the forum probably it is different.

@oscillian @nomad I found some really good bokeh comparisons for 4 of the Rokkor lenses a while back, which I think included the 1.2. My memeory was that I actually personally preferred the bokeh of this particular version of the 58mm 1.4 (note that I am not using a 50mm 1.4).

It gets softer at 1.4 than 2.0 with additional coma if you throw light sources right in the frame of course, but as already suggested, it is a beautiful, forgiving and magical look on many subjects. But you will know when you turn it from 1.4 to 2.0 or back the other way. It is a very definite look and the Nokton 25mm is definitely sharper around the same aperture (at least that is my memory). Remember that the FD 55mm 1.2 was similar in that respect in the limited testing I did, but it was daytime and I did not get to test coma, etc.

Keep in mind that with a 1.2 vs 1.4 you will be able to get slightly more light and slightly shallower DOF, but it is less than a stop. The upcoming M mount version of that 50mm T0.95 (blanking on the name but they make a far inferior M43 version) is closer to your Nokton in aperture (slightly faster since it is T0.95 instead of f/0.95). The early prototypes showed a lot of CA compared to the Noctilux but it is a $3,000 lens vs a $10,000 one and it is cine-optimized already if I remember correctly. Looked very sharp in the most prototypes, sometimes more so than the Noctilux but not more magical (my eyes kept giving the edge in that to the Noctilux). We shall see how it is when it releases later this year.

But it and the Noctilux would be the more expensive ways to really stay super fast etc. and would be sharper than the lenses we discussed here. The Noctilux is also really unusually good with coma, in a league that I have only seen one other lens (a Nikon or Nikkor "Noct" or "Nokt" something) compete in.

Sorry for the lack of specific names, but that is what you get when I type these posts right after I wake up in bed on my phone. :)