Among everything you can use for white balance card PTFE is usually best. Just make sure that it is not too shiny to reflect light spots.

Reason for this is

In visible range it has exceptional uniformity, so it reflect exactly only light source spectrum, contrary to most white paper that can play trick due to UV agents added to boos perceived whiteness. Here is sample of paper (they are all different, btw):

Do not use too thin PTFE items - use 2mm or more.

Price is around $6 for 100x100 sheet.

• http://www.ebay.com/itm/PTFE-Teflon-Film-Sheet-Plate-Thickness-0-3mm-0-5mm-1mm-2mm-3mm-100mm-to-300mm-/371767062871

Also, i am using Filmconvert (GH4+VLOG) to grade. The WB parameter (in Film Convert) is an offset rather than a setting in my past experience. Would it then actually wreck my clip if i dialed the Film Convert WB parameter over to 3200K from it's default position on Daylight if the footage was shot on 3200K too?

I now own 3 cameras. The GH2, BMPCC and the GH4. For the Blackmagic I bought the BMCC Speedbooster, so I can use it on the BMPCC and the GH4, if I would buy it any time soon. And I did - today. Excited about the Speedbooster working with my Nikon Glass and getting away with no vignetting in UHD mode (crop factor 2,3 becomes 1,472 like APS-C), I just wanted to give the Custom White Balance a try, since I had to dial in the correct color temperature on the BMPCC, I wanted the luxury back, to have the right settings at the push of a button.

So I was just about to flex my finger and set Custom WB... when I remembered... my GH2 always using the mechanical Shutter, when taking the custom WB. Cause I want to use the GH4 a little longer, I dismounted the BMCC Speedbooster and took the Custom Whitebalance.

Long story is short: Even with activated Electronic Shutter, the GH4 still uses the mechanical Shutter for Custom White Balance and can be damaged with attached BMCC Speedbooster. Since the SB touches the inside of the Shutter Casing and even leaves a mark there due the pressure of the adapter, when it´s attached.

So better stay with the Blackmagic way of dialing in the color temperature or use your MFT Kit Lens - if you own one - to do the work.

By the way.... am I the only one who sets custom WB? Cause I didn´t read about this issue anywhere else. At least the BMCC Speedbooster Users don´t care much about it and stick with automatic WB ;-)

That´s it for today!

Cheers from Austria! Stefan

List of features:

• 180 gram vinyl
• Two vinyl-only hidden tracks hidden beneath the center labels
• One hidden track plays at 78 RPM and one plays at 45 RPM, making this a three-speed record
• Side A plays from the inside out
• Dual-groove technology: plays an electric or acoustic intro for "Just One Drink" depending on where needle is dropped; the grooves meet for the body of the song
• Matte finish on Side B, giving the appearance of an unplayed 78 RPM record
• Both sides end with locked grooves
• Vinyl pressed in seldom-used flat-edged format
• Dead wax area on Side A contains a hand-etched hologram by Tristan Duke of Infinity Light Science, the first of its kind on a vinyl record
• Absolutely zero compression used during recording, mixing and mastering
• Different running order from the CD/digital version
• Utilizes some mixes different from those used on CD/digital versions

White's new album is set for release on June 10th.

EDIT: The .3 to 1.2 kit has sold. But the 1.5 to 2.1 + Circular Polarizer kit is still available for $220. Shipping is free.

I'm selling 2 Tiffen Indie ND Kits. One is the kit that has 4 NDs in it (.3, .6, .9, and 1.2). The other is the kit that has the (1.5, 1.8, & 2.1 NDs, and the Ultra Circular Polarizer). I bought these brand new from filmtools.com about 6 months ago for a film shoot. The script went through some revisions and ended up being shot all at nighttime, so we had no day shots, and didn't need to ever use these ND filters. These are all 77mm.

They come in black padded pouches that have a belt loop so you can attach to your belt for easy access on a shoot. They are still in the Tiffen boxes, new and unused. If you want both of these, I'll offer them at $350 for the pair. If you want just one, the .3 to 1.2 kit is $165, and the 1.5 to 2.1 plus Circular Polarizer kit is $220. Shipping is free.

"The Lumix sensors are also all a bit predisposed to green at the expense of warm reds, yellows and oranges. Energy saving lightbulbs especially don’t help, since these have a green cast and the GH2 exaggerates it.

On any white balance preset (even auto) that you intend to use, customize them so that the notch in the color chart is two steps toward yellow (on the left) and 1 step down toward Magenta. Don’t go any further than this because it will give whites a pink cast. This compensates for the green cast, and warms the auto white balance preset slightly to remove the grey and neutral color tones. This will give you much stronger results indoors, in studios and render sunsets and evening skies in a much more lifelike way with deep scarlets and oranges rather than pathetic yellowy greens!"

If true, as a general question, does this still hold true when using the various custom created settings? Again, if the above is true, do the custom settings take this into account and so one should put use the GH2's default White Balance?

I hope I asked that right.

Thank you

Watch the video in 1080p to see what I mean, anyone else get this? I'm wondering if it's a sensor problem, I'm using Sedna AQ1 patch.

I know that Nostalgic film mode has best dynamic range (from what I've read), but I also read on EOSHD Guide to GH2 that Black and White Smooth Film mode on GH2 is supposed to have the best DR and smoothest gradation out of all film modes. Should I just shoot Black and White Smooth mode straight in the camera or do use another mode and then do B&W in post? How about the best patch?

Any input is appreciated enormously,

Thank you so much.

Would it be possible to get digital cinema 4k black and white out of the gh2?? or atleast 4096 × 1714 (2.39 aspect ratio 4k)??

I love my GH2 and the Driftwood quantum x v4b orion patch and its a bullet proof combo for my work. but i would love to experiment with black and white 4k.

.Patch: quantum 100

.iso 640 (down from 800)

.kelvin 6300

.24h

.standard -2,-2,0,-2

.shutter 40

.lens 14-140.

.AFS - continuous AF off

.OIS on (1)

.Tripod: Camera locked

late afternoon indirect natural light, indoors. grain and noise was constant and pleasing. Color was great and faithful...

But: In the middle of the shoot (two and a half mins in) after a pink shirt appeared on 1/5th of the frame, the image turned greenish, specially on the skin tones Mids.

this samples are two frames apart. direct screenshots from quicktime with avc plugin for playback of mts file.

I've also noticed this almost a year ago in a shoot, using original firmware. In a scene where yellow was background and blue and pink elements appeared in the foreground while panning. kind of like the pink shirt that comes in and out of the frame.

In this case it never goes back to normal up to the end of the clip, up to 5 minutes, the shirt keeps coming on and off frame every 10 seconds.

Anyone noticed this? It looks like although everything is locked the codec is performing some kind of auto white balance adjustment?!

I'm aware of the possible color shift in the first few seconds after you start recording, but this is different.

I've posted this on another thread but it was out of place.

I appreciate your input.

thanks