I want to use the HDMI of my 2 GH3’s for webstreaming using some software like wirecast but also for recording instructional videos on my Mac.

Now I’ve been looking at solutions from AJA, Matrox, and Blackmagic but I’m unsure which one actually does what i need it to do.

This is the short list of features that I’m looking for: 2 hdmi inputs that can be streamed simultaneously to the web Able to record the HDMI of both cams to an SSD the device or card would help out with any rendering done by FCPX , Pr, AE, etc...

Extra’s: I have also one GH2, I’ve read that the HDMI of the GH2 is useless for recording but maybe it can be used for streaming? The possibility of adding the GH2 to the setup and thus having 3 cams would be a welcome bonus but not necessary.

I have an RME fireface 800 that i'll be using for audio capture.

What would you all see as the best way to go about doing this?

first size and cost and weight. No one can beat size performance. shape 4:3 perfect for multiaspect.

the shutter 40 for 24p. it was all about cadence and motion blur. To properly emulate certain texture and movement. those topics are already understood and well documented.

But the theory i have is more from the optical/sensor perspective. I said in a previous thread that m4/3 sensors are special for the human eye. You see, the usable human retina is about 21mm diagonal in diameter in a standard adult, The size of the retina is very similar to the m4/3 format sensor which is 22mm diagonal.

For me this is very important, since the lens you use will behave very similar to your eye, if there was a lenses in front of it. there is something about from f2.8 to f3.5 that you can position your self when you use the EVF and connect only one eye to camera and immerse in video mode on your head. The characteristics of this size sensor and the way it behaves on camera is quiet similar on how you see on day to day.

Yes Yes, each focal length at different apertures on different sensors can achieve similar effect. But no the one m4/3 does.

is like the old battle from full frame to smaller sensor, there is some big bokeh to achieve on 5DMKIII or D800 that m4/3 would have to make a trick to achieve but the other way is also doable, but on each part the result always are not only different (they can look similar) but the characteristics are different. The behaviour is the key.

So for me is a special sensor size, maybe i cant explain it very well, but for narrative purpose this format works for me better than super 35mm sensor.

maybe im crazy, but super 16, super 35 look grate full frame excellent, but m4/3 its more real. human retina sensor size and optic characteristics brings an special look and feel not possible withe smaller or bigger sensors.

for me sweet spot.

Graded with Osiris LUTS and all GH4 and some GH3 footage.

I'd love to hear your thoughts! Please give it a like via vimeo if you err... like it!

I recommend listening with headphones!!!

Comments are welcome dudes! Some pics of the session can be found here : http://www.switchmag.fr/decouverte/2015/11391-session-park-a-la-clusaz-matteo-cuny-nico-palladio.html

All in all, I was the "Jack of All Trades" for the film, and due to the fact that I'm an avid procrastinator, it was a very tedious process. By far any attention or advice I've gotten has been from the personal-view forums, so of course this film was shot entirely with the GH2, aside from about 2 scenes, and I wanted to update the people who I spoke with consistently on the site about the project. The project is now finished and we released it on IndieReign.com alongside a brand new trailer for the film! Though I'm terrible at taking constructive criticism (all filmmakers are), I wanted to share the trailer with everyone on the personal-view site regardless, I mean after all we all don't just get crew and actors together just to film a personal home movie to lock in a vault!

I'm currently back to writing a new project but I plan on putting together a few youtube tutorial videos focusing mainly on how I scored the film, went about color grading the film itself, and how I went about with the pre-production of the film (casting calls, paperwork, shot lists, scheduling). I hope you guys enjoy the trailer for the film and thank you for the ones who read all of this before actually watching the trailer!

Official name for this product will be: FLEXIOM

Flexible Input Output Manager (or Module) ...

The official website will be http://flexiom.com (under construction).

Support: feha[@]flexiom.com

P-V members will get rebate.

I have decided to make DIY product for Universal DC converter. This unit will allow use of any power source 3-30v as input and max output current will be 2A. The unit consists of voltage converter that gives you adjustable output for example GH2, GH3 8.4 V or any other equipment that is sensitive and requires exact voltage.

Consider this unit as a protection "Layer" between your DSLR and any power unit.

I know there are many ready power solutions already out on the market, but many still struggle and burn/brick their expensive equipment trying different alternative powering sources.

I decided to take my time and make this DIY product as a test but if there is an interest might get as batch production.

The unit will cost a $75 USD + postage (P-V members price). More than 65% of the price to buying needed components the rest a small compensation for research, drill and soldering :-)

For EACH UNIQUE SALE (per member) I will contribute a $10 USD to support P-V !

Product components :

• ABS plastic project box

• Electronics component (The converter)

• DC IN/OUT 5.5x2.5 mm jacks

• Digital Voltmeter (RED) with external switch to check IN voltage, OUT voltage and OFF

Let me know your interest ?

Price 430€ (Paypal). Shipping is not included (item is located in Italy but i can send internationally at buyers cost).

Panasonic GH3: $625 Panasonic 20mm f/1.7 mkI: $250

Selling from Los Angeles. CONUS with shipping fee included

Also for discussions about such opinions.

For all other discussions use other topics or general GH3 official topic

thx a lot! greetings from Poland

panasonic lumix gh2, gh3 and gopro hero3 etreetsoi

Everything was interlaced 480i or at most Telecined 480p in a 480i container. MiniDV was all the rage and HD was a figment of our imagination.

I started with a Canon mini-DV camcorder in late 2003 that shot 480i(720x480). It looked great on my 480i Tube TV. However, it was absolute garbage once you deinterlaced it for computer use with Progressive displays. I sold it almost immediately swearing that I would never buy another interlaced camera again.

So I waited and waited. Everything new was 480i. Even when HD TVs came about the HD consumer cameras were still interlaced 1080i. Then finally the Canon S1-IS came out in 2004. It was a little known jewel. It shot wonderful 480p @ 30 FPS for up to 1 Gigabyte. The nice thing was that it supported the MicroDrive compact flash cards that at the time went up to 4 GB for about $200.

http://www.dpreview.com/reviews/canons1is/

That camera revolutionized video for me. At the time everyone asked why I was getting a still camera for video. They all said “Why don’t you get a proper camcorder for the job”? I said “The camcorders are all interlaced and this is progressive”. They looked at me like I was speaking Japanese.

I loved that S1-IS and used it for several years as my main camera. Sure it was only 480p but it was good solid 480p @ 30 FPS and it used a decent bit rate(For that time period). The S1-IS also had a really bright F2.8-F3.1 lens on it. With a 10x optical zoom it did everything I wanted it to do until I saw what the 1080p of the 5D MKII looked like in September of 2008.

http://www.dpreview.com/reviews/canoneos5dmarkii

Reverie, blew my mind. I couldn’t believe that you could get such cinematic shallow depth of field and dynamic range in digital video. In addition the resolution seemed astounding. At the time I couldn’t imagine ever needing more resolution than that.

http://www.learn.usa.canon.com/galleries/galleries/sample_videos/reverie.shtml

I came as close as you could get to buying into the 5D MKII with a complete set of lenses. I saved and saved until I was finally ready to pull the trigger by the fall of 2009. Then something caught my attention.

A little known camera maker (At the time) called Panasonic had developed a 720p camera that was actually really small. It was called the GF1 and looked too good to be true. It could use any lens ever made with adapters. It wasn’t super expensive and all the manual focus lenses for video were super cheap on ebay.

They also had the mighty GH1 but it was hard to find without the super small aperture 14-140mm lens. By that time I had come to realize what I loved so much about the Canon S1-IS was that its lens was relatively bright. Just like I had with interlaced video I swore off super slow mega zooms.

However, I simply couldn’t resist the GF1 with the 20mm F1.7 lens. I bought the GF1 on day one and never looked back. I bought every large aperture MF lens I could get my hands on and loved them all. However, those lenses were heavy when it was all said and done. I realized why full frame wasn’t really considered to be portable back then. 5 or 6 lenses added up to a lot of weight in a backpack even though the camera body was so light.

By that time 720p had become old hat and M4/3s had more than just a few native lenses. They had some fast primes like the new 14mm F2.5, 25mm F1.4, and the 45mm F1.8. Auto Focus was improving in their newer cameras and I found myself wishing for more.

I finally broke down when the GH2 was announced in September of 2010. It was finally the camera that seemed like it could do it all. 1080p video, ETC mode for endless reach, and it was hackable. Those were the good old days. We ALL spent countless hours eeking out every last ounce of bit rate and reliability that we could.

http://www.dpreview.com/products/panasonic/slrs/panasonic_dmcgh2/review

I even gave up on the MF lenses. I had all of the fast primes at that time and MF wasn’t as cool as I once thought it was. I was much more content to just let the camera do the focusing for me. After the firmware update for the GH2 added 1080p at 30 FPS and much improved AF I sold all of my MF lenses for a nice telescope.

Honestly, the GH2 was probably the camera that I could have stopped at and lived with for quite a while. It did everything I needed it to do and did it quite well. However, the hacking had sparked something in me that made me always look for that little bit extra. I went on to buy the GH3, GH4, LX100, and the 35-100mm F2.8 all on the day that they came out. Each one offered a little something extra that I thought made it justify the extra cost. I finally have 4K @ 30 FPS and 1080p @ 96 FPS and the 4K photo from video mode. I couldn’t have ever possibly imagined those things when I first bought the S1-IS.

Well actually I did predict the photo from video mode way back in 2009. It wasn’t an acceptable thing back then to predict that video could one day replace stills. In fact I still don’t think it is acceptable today either.

http://www.dpreview.com/forums/post/31728454

So we have come a long way in video cameras. I wonder what is next. How much farther can we go? Will it be as big a leap forward as it has in the past? Will I still want to spend my money on upgrades in the future or will I finally be satisfied with what I have now? Who knows? Only time will tell.

Please post your stories with how you got started into video and where you are with it today.

In combnation with a speedbooster this lens is by far the best zoom for m43. See pictures.

Location is Germany.

Price 590 Euro. SHipping is not included.

It comes in original packaging.

Plus AppStore and Android apps.

Below some information on some of the main gear used (besides camera and follow focus, all was rental). Post production was done entirely with FCPX and FilmConvert.

Camera: Panasonic GH3 Profile: Natural -5 -5 -2 -5 (IPB MOV 50mbit) Lenses: Voightländer 25mm F0.95 and SLR Magic 12mm T1.6 Sound: SoundDevices 552 + Sennheiser MKH 416 Lights : 1 x Arri True Blue 2k, 2 x Arri Mini-Cyc 1k, 2 x Arri Junior 650 W, 2 x Arri Junior 300 W (all tungsten, 2 x 2kw Honda generator for outdoor scene) Other: Dana dolly, zacuto rig, lanparte deluxe follow focus, monitoring/focus peaking on Scopebox via Blackmagic Intensity Extreme (this was by far the most important tool on set!)

Trailer

Movie (password: villaida2013 => will keep this open for one month as I don't want it public due to ongoing festival submissions)

More information about the movie (incl. behind the scene pictures) at www.facebook.com/christianwengercine

Cheers Chris

I'm trying to decide whether to hold off updating the firmware on this camera body. Any help is greatly appreciated.

Will consider international sales, though shipping can be pricey.

Thanks!

Almost zero budget shortclip filmed with GH3; lenses: sigma 18 35 and tokina 28-80 with RJ Lens Turbo; minolta 35, 50, 135 with cheap adapter; only 2 points of light ; graded in speedgrade cc in very short time. Check the website with other videos, some quite impressive!

MIX de grabaciones de los últimos años por ciudades y pueblos de la costa mediterranea española con Miki Jaume, Denís Cuerdo, Miguel Castro, Victor Zamora, Cristian Vannella, Benoit Loth, Tom Penny, Nyjah Huston, Samuel Herreros, Trayan Mladenov, Fran Javayoles, Sergio Dotor, Juan Fernández & Miki Huercano. Grabado en Barcelona, Alicante y el Mar Menor.

http://www.skateboart.es/mediterraneomix/

If you're interested in the tecky stuff, here it is, otherwise please just enjoy the pictures!

I used a kowa 8-Z anamorphic adaptor, mounted on a voigtlander Nokton 35mm F1.2. I also had a Tokina .4 achromat and a Cokin Diopter +2 for the Close ups.

It was all shot at night which presented problems as I found the Lumix isn't very good in low light. I was shooting at 50fps which reduced the amount of light I had even further. I also found that if the lens was fully open it was difficult to get a focus. Not because it was too shallow, but because it wouldn't focus on anything with the adaptor.

As you can see I over-cranked the ISO (accidentally went to 3200 when I thought I was on 1600), but I couldn't set lights up on the banks of the Thames at 3am, as we didn't have permission to be there. I wish I'd got someone to stand close by reflecting a bright torch off a white shirt though. I can only hope that I get away with the graininess in the spirit of low/no budget film making, and it looks like 16mm. I couldn't ask the actors to go back into the Thames for me!

I think the Lumix in low light has given the film a real 'look' but in all honesty I wasn't impressed by how much colour information it recorded. This camera really needs light to work well.

You can also see the notorious shutter wobble a few times. Weirdly it doesn't bother me in this video, as I think it suits the slightly surreal mood. Same goes for the sodium street lights making the flicker. I wanted to keep the shutter above 100 (I was shooting 50fps), but I could have decreased flicker by reducing the shutter speed. However, I decided to embrace it, and instead increased the shutter, which made the flicker more pronounced.

Staying close up to the actors, using the diopters, gave me a picture I liked the most. The bokeh looks lovely and soft and cinematic. Shots where I had to focus to infinity were difficult - the bokeh is ugly in those shots (in my opinion), taking the shape of a kind of horizontal tear. But I couldn't film the whole video in close ups!

It was difficult to shot this as a one-man-band. Having to screw two different diopters on or off every time I wanted to change my proximity to the actors made it quite fiddly. I was also moving lights (I had x3 LED panels). I had some other taking lenses, but it wasn't practical to change during the shoot.

Lastly, I know its normal to crop the super-wide picture you get from shooting 2x anamorphic on a 16:9 sensor, but I decided to embrace it. It's fun, and a bit silly, but its a music promo, so why not.

Hope you enjoy. The track by Durlston George, his debut single, is lovely.

This is my latest short film. Shot on a GH3 with Canon EF L Primes (from my 60D days) and a manual aperture adapter (wish the new speedbooster was out earlier, and wish the GH3 had the focus peaking feature like the GH4 does).

I like the Vivid setting in the GH3, the blacks look good after grading. This wasn't aimed as a cinema production, instead TV with a slight filmic quality!

Few things I would of changed, would have lost the massive DOF to one of my interviews. Broke my lens hood on the Canon 100mm f2.8 IS lens and found I had some casting/refraction on certain shots without it.

Shot by: Kirk Gaydon Panasonic GH3 Canon EF L 24mm Canon EF L 50mm Canon EF L 100mm (IS not usable)

Panasonic GH3 Settings: MOV 72Mbps Vivid -5, -5, -3, -3 1080p50 PAL Shutter 1/100 (on track) 1080p25 PAL Shutter 1/50 (interviews)

Audio: Rode VideoMic Pro

Any thoughs or questions, just ask.

All team was fantastic and very helpful on the Making Of, with a special thanks to Gary Hymes who is both a great director, a great technician and a very humble person.

This is the first time in China, a project of that kind is produced at such scale. Interesting thing is that all those effort were made for a theme park, not for a theater release.

On a technical point, shots for the making if were done by 3 cameramen (including myself) working with Sony EX1, Canon 5D2, Panasonic AF100 and GH3. We collected more than 20 hours of footage and I had a hard time to choose among all the great stuff we had. Finally, I succeed to compress the best of it into a 9 minutes exciting piece (edited in Premiere CS6). Enjoy!