@strancali Did I just fuck myself by ordering 3 32gb Sandisk Extreme 45mbps cards? Those 95mbps were just too expensive. I thought that the GH2 didn't support UHS-1 anyways.

Konica 40mm 1.8 is fantastic

@DeShonDixon Great! I'll keep an eye out for a clean copy. If you get a chance, look for the Konica Hexanon 40mm f1.8, that lens is beautiful and sharp (under $50).

@DeShonDixon very nice, I'm looking forward to seeing more videos with that lens. Have a link on ebay?

@DeShonDixon @axisart is just complimenting you :). I think he meant that the video did not look like it came from a kit lens but a much better lens.

@thehaz: i like your video a lot. you have an eye for details and a nice perception (i dont mean technically, but i mean observation of surroundings. thats key for making good films). and the music fits too, plus its not stereotype.

did you use any sort of steadycam?

@DeShonDixon and don't tell me it was the kit lens lol...because its NOT!

@driftwoow @MattRobertson7 @mistan

Thanks for the props y'all. The post process was pretty simple. On the Red, I dialed in a different black and white look in camera on set for each scene, this made it easier to quickly tweak the look in RCX. From there I made a prores 4444 and a prores proxy of each shot. I converted the MTS files in adobe prelude to the same. Then sliced and diced as usual in PPro CS6. The only filters I used on the GH2 footage was 'RGB curves' and the saturation slider in the 'fast color corrector.' I applied a tiny bit of Neat Video to the mpc overhead shots because I used the telephoto crop mode to save time on set. The gh2 footage was shot 2x anamorphic 16x9 while the red was capturing 2.4 square pixels through regular cinema glass. So I had to crop some width off of the sides of the GH2 footage. I set my sequence to 1920x820 and just fit height. This allowed me to do a few slick pan and scan tricks, bumping the frame side to side to the beat using motion key frames. As far as landing these jobs, all I do is try and make the best thing possible and work as closely as I can with directors to make it the best it can be, and then they come back with bigger and bigger jobs and we all grow together. It's basically an evolution of free work into paid work by not screwing anything up along the way in terms of quality as well as relationships.

@driftwood My entry into the sunset competition. Have original MTS.. and have various versions.

Two shots: a wide, and a more telephoto shot.

Sedna AQ1 'A' 24fps, 24H, Smooth -2, -2, -2, -2

Lens was Zeiss 85mm f1.4. Second shot used Tele-Extended mode

Some weird youtube compression, but none in original or ProRes.

May upload to Vimeo, to check compression there as well.

Hi guys. Earlier this year, I loaded my GH2 with Sedna Q20 and headed out to Japan for a week. Tokyo and Kyoto and back to Tokyo. Here's what I got. It would be awesome if you guys can weight in on my video. Thanks! And seriously, I know this has been said a lot, but you guys rock! I'd put the whole personal-view dev team up for a technical oscar if I had that much pull.

EDIT: Took out the need for a password.

I shot this with Canis Night check it out!!

@pundit Only a few shots I had to pull up the shadows but all in all what you saw is what we filmed (levels wise). With color, it really brought out the pop. It was actually kind of hard to grade as that day was ping ponging between overcast and sun. It finally settled down near the tail end of the video though!