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Driftwood VY Canis Majoris: This thread will now be integrated into 'Driftwood Series 6 Settings'
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  • peternappeternap

    @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.

  • 33pato3333pato33

  • zsoundzsound

    How to film in 2k? Witch mode?

    Thanks

  • thepalaliasthepalalias

    @zsound MJPEG. Go to manual mode. Keep going down past all FSH FH SH H modes.

  • driftwooddriftwood

    @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.

  • rockroadpixrockroadpix

    @33pato33 - nice look you have there! You may want to correct a little more to the magenta, but that's really good stuff.

  • LPowellLPowell

    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.

  • driftwooddriftwood

    Some good points Lee. But its not new to me. In Driftwood settings I've always found 80% mode seems to trigger more bitrate than the employed bitrate... can't remember when I mentioned this - ages ago. 147mbps spans ok for me, so I dont see why your Turbo mode shouldnt span too.

  • LPowellLPowell

    @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.

  • driftwooddriftwood

    I'll do some 80% mode span tests on my settings which is what I think you are asking. Normally I use L mode for 80%. when I rarely use it.

    PS you should check Flomo v2.01 on strays colour death chart... it dips after a few seconds. Apart from that its a great setting.

  • driftwooddriftwood

    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.

  • LPowellLPowell

    @driftwood With the latest version of Stream Parser, it measures the TS Clock setting in the MTS file, and if it's not 27Mhz Stream Parser will report that as "Trick Mode". The significance of Trick Mode is that the TS Max Bitrate is based on that TS Clock setting, which is how it can produce a higher bitrate than normal.

    Thanks for testing Flow Motion v2.01. That dip is supposed to kick in with extreme death charts to protect it from overloading its bitrate. With real-life scenes, B-frame height should never quite make it up to the level of the I-frames.

  • driftwooddriftwood

    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.

  • LPowellLPowell

    @driftwood Thanks for the well wishes, I'm feeling much better. Had plenty of time the last couple of months to tweak scaling matrices and grind through PTool's mystery settings. I'm sure you know what a black art that can be...

  • thougts2ukthougts2uk

    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.

  • DeShonDixonDeShonDixon

    @thoughts2uk Orion v4d worked fine for me and cluster v2e is pretty cool

  • oscillianoscillian

    @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!

  • thepalaliasthepalalias

    @oscillian Last month I tried the FD 55mm f/1.2 you mentioned against a Rokkor 58mm f/1.4 (for the Minolta MD mount). The result was much, much closer than I had anticipated. All depends on the look you are after, but both of those are worth looking at for beautiful bokeh. I mention this because if you are spoiled by the Nokton, it will be hard to accept a lens without beautiful bokeh. I find the bokeh of Rokkor goes nicely with that of the Nokton 25mm f/0.95

    The FD 55mm f/1.2 is not a very sharp lens - more of a "soft but pretty" look, unlike the EOS L series 1.2 options (which have all seemed a lot sharper in the tests I have seen).

    @Thoughts2uk The earlier suggestion of Zeiss makes sense in at least one respect: their origin.

    http://lenses.zeiss.com/photo/en_DE/other/products/what_makes_the_difference/carl_zeiss_quality_made_by_cosina.html

    http://www.cosina.co.jp/seihin/voigt/english/micro-e.html

  • oscillianoscillian

    @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.

  • BenibubeBenibube

    @33pato33 June 2 ...one of the best look/quality I can remember here...good stuff on vimeo too..

  • nomadnomad

    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…

  • treibholtztreibholtz

    Nick Driftwood, i think you are a Darvish Man.

    Congratulations.

    Canis Majoris Night Constelletion it's very fine opera

  • KihlianKihlian

    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.

  • driftwooddriftwood

    @Kihlian Thats because Sedna and Canis retains the GOP Related settings that are true to the makeup of the memory ratio allocated to the i/p&b frames in a properly divided up GOP. Don't expect huge i frames without the loss of memory dedicated to P/B frames, and don't expect high i frames when p/b frames are given more memory allocation - there is a limit to the max size of GOP for each of the REC MODEs. 50/60 frames per second are much more intensive than 24. Fact of life.

    On the graphs HBR/1080i frame size can only really collectively equal to just over half the size of 24p progressive because of the frame doubling required. 720p60 is also more memory consuming: 60x1280x720 (55296000) is > than 24x1920 x 1080 (49766400). 50 frame modes are obviously lighter on the load but still require more calculations.

    720 and HBR/1080i modes will never look as good as 24p. period. If you are filming less detailed scenes you can still get a lot done with the other REC Modes. But bang them in a forest with running water and lots of movement you will be looking at mush in erratic parts of the picture. Therefore if you are doing takes in highly detailed scenes and using razor sharp apertures remember your choice of REC Mode. Use 24p. Experiment and playback first.

    I think a lot of GH2 users are now coming to terms with more realistic settings for the other modes.

  • thepalaliasthepalalias

    @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. :)

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