Did anyone try that? Do color information really improve?

I am specially interested in the conversion to achieve the 4.4.4. as mentioned here: "Downscaling and transcoding to ProRes or CineForm at 1080p can convert the RGB 4K data from the GH4’s 4K 100Mbit/s codec to the higher bit depth of 10bit and colour sampling of 4:4:4."

There are various product types such as GoPro Studio (Premium, Professional, etc.) available. Which would I need and how would the workflow be with Premiere Pro CC 2015?

The average resolution for a full frame lens is around 45-50lp/mm and a great m43 lens is around 77-82lp/mm. The resolution charts shows the lenses at around 2000 - 2600 lines resolution maximum in still photos. Using a full frame lens in m43 sensor is worse because the sensor magnify the center area so the lp/mm will be half compared to same lens in a FF camera, a focal reducer can help a lot.

So the still lenses can work good up to 4k resolution, sometimes lower resolution than 4k video, and maybe for 8k video there will be the need of new special lenses, high price.

Considering that the indie people can buy only low price lenses, so work with 8k video will not make sense. 4k video is the maximum resolution for our photo/still lenses, no matter they are m43, aps-c or ff lenses.

Example: the 12-35 lens at f4 is around 77lp/mm in the image center, the GH4 sensor in 4k is 8.1mm height, doing the maths this lens will resolve around 1250 lines in GH4 4k video.

The new full frame Sigma Art 20mm 1.4 can do around 47lp/mm, so it will resolve around 770 lines in GH4 4k video. With a focal reducer this can increase to around 1080 lines. Most good Full Frame lenses are around a 50lp/mm maximum, and this is stoped down to f5.6

In a full frame camera, considering the sensor 36 x 20,25mm, this same sigma lens can resolve around 1900 lines.

The RGB bayer pattern decreases the camera resolution a little bit, around 1,33x less than the pixel count, so a 2160p video will deliver a maximum 1620 lines. The GH2 is 1080p and is around 810 lines.

Lens resolution is a good reason for Panasonic release new cameras with the multi aspect sensor, a bigger sensor can use more image area form the lens and record higher resolution, more lp/mm. The GH4 sensor is 8.1mm height, 1250 lines with the 12-35 lens. The multiaspect sensor with 3840x2160 pixels for video would be 10,09mm height, and could record 1560 lines from the same lens.

All these maths shows that 4k video is the sweet spot resolution for a video camera and for the lenses we can buy, and all these maths are in image center, in corners the lenses resolution is worst.

Bought it for a project that never ended up happening.

Asking $1150 shipped within the continental US. Willing to ship internationally, if buyer will pay costs.

I've been following various posts for some days regarding research for a new camera for my video works after having used the canon sx200 for several years to shoot video. For my last work (degree show video at art school) I borrowed a gh1 and I quite liked it, but only due to the existence of this enormous lively community which enriches video life to such a high degree! thanks for that girls and guys!! For the work with the hacked (using mostly 100Mbps Max Latitude Settings V2) gh1 I bought myself two voigtlander noctron prime lenses, one 42.5mm (equiv. 85mm) and one 17.5mm (equiv. 35mm) which I quite enjoyed. I also used a photo tripod, one LED extra light and the great sound device t702 with a great 20 yrs old neumann mic from my school. I search for a camera that works well with these two micro4/3 prime lenses.

I now think about getting either the nx500, gh2/3/4(?), nx1, maximum 1000 EUR. But then I still want to have a lot of extra equipment like for sound, tripod, monitoring and so on. By the way is it possible to use a Mac-Book Air as a live monitor with any of these? I have absolutely no experience and I feel a little bit overwhelmed with all that extra research/equipment, trying to figure out everything here at the forum. Getting a lot of extra gear slowly is wanted, I want to grow up using more and more specific equipment for monitoring, recording sound, follow focus...

For my approach to video/cinema I never worked for money (except for one apprenticeship) so far, my personal projects are non-funded projects and I do operate everything myself (sound, video, editing, even standing in front of the camera) so far. I’d like to shoot either still or handheld mostly, considering the possibility to buy a rig or something similar one day. I’m not so much the studio and big team guy until now...

Since I'm so unsure about what I need maybe I should for the start just go for the gh1 body only costing me 240EUR?

The fact that panasonic goes to three years of guarantee (gh3/4) sounds tempting to me as well. I guess I'm too unsure/experimental and too easy to manipulate.

Thanks in advance! kolinko

http://www.cnet.com/news/why-4k-tvs-are-stupid/

These two articles also compare 4k with 1080p and 720p with closeup from screen images and interesting graphic tables for viewing distance/screen size:

http://www.rtings.com/tv/learn/what-is-the-resolution

http://www.rtings.com/tv/learn/4k-ultra-hd-uhd-vs-1080p-full-hd-tvs-and-upscaling-compared

in all these 3 articles the conclusion is: if you are 10 feet (around 3 meters) away from a 50 inch TV 720p is enough.

A good thing using 4k resolution is home theater projectors with high lumen output to allow large screen, but affordable 4k projectors are far away to be real.

When you shoot and edit 4K video or 3D video how do you deliver it to your clients?

What I do now is I transcode the 4K footage (H264) to 4K (ProRes) and edit away on a 1080 sequence - if the delivery asks for 1080.

The problem is that once I render the sequence and decide to change some small things around or add/trim clips, I have to render again for every step that I change and overall it can be very time consuming.

Is there a way to for example transcode the 4K original footage to a 720p small files JUST FOR THE EDIT and then once the sequence is a lock, conform the clips in the sequence back to their original size (4K) and export the sequence in 1080 and 4k?

Thank you so much.

On paper it has the perfect specs. fast Leica lens, 4K video with 100Mbps bitrate to name a few.

The question in my mind is - Can it really be used as a A camera for broadcast quality documentary production? (I am not concerned about the audio)

Your views?

Thanks

Here are two examples in 4k of my baby Hypergonar (1.75x anamorphic lens, on C-mount Pentax Cosmicar 25mm 1.4 C-mount lens) , one with the new 4:3 24p mode on GH4, the other in 3:2 25p. More info on the Vimeo pages.

Thanks for watching, any comments welcome :)

Seb Farges

‪

If you are interested in the results I could achieve, download this 5 minute sample video I prepared (size: 1.1 GB): https://archive.org/download/na-lx100-sample/na-lx100-sample.mp4

No artificial light, no stands or other accessories were used in its making.

This video was encoded at 32MBit/s in H.264 - somewhat the minimum of what needs to be invested to provide a decent reproduction of the original (100MBit/s) recording. Notice that it won't make sense to upload this sample to "streaming video hosters", as those typically limit the video bandwidth to ridiculously small values, turning "swarms of moving fishes" into mere "displays of mushy compression artefacts".

Please download the complete MP4 file before replaying it locally, it's unlikely that archive.org can provide you with enough bandwidth to replay it "on the fly".

@Vitaliy_Kiselev: I included some shark footage especially for you, so you can see how well behaved they are :-) - even though moving, bigger animals, are almost impossible to get pictures of that would really benefit from 4k resolution.

My findings on the usuability of the LX100/NA-LX100 for the purpose:

Pro:

• great lens for almost all underwater scenarios, including macro shots
• white balancing much better than with the GH2 - color correction in post can be much more gentle
• very good resultion and reasonable recording bandwidth in 3840x2160p24

Neutral:

• focusing still usable only with "AFS" and manual - no reasonable operation with continous autofocus, "depth from defocus" only used for still images

Con:

• optical image stabilization generally useful but does cause annoying "stuttering" for intentional pans.
• Insufficient recording bit rates for 1080p modes - so you can't opt for e.g. 1080p50 shooting if you are after Sailfish, Dolphins or alike were 4k wouldn't reveal more details anyway

BTW: It would really help if Panasonic allowed to assign a "trigger AFS" function to some function key - it is annoying that if you press slightly "too hard" on the trigger to only "half-press" it, some unhelpful error message ("cannot take picture while recording") will pop up when you try to re-focus while recording.

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

Sharp announced today that it's going to manufacture the world's sharpest display, a 5.5" IGZO screen with a 4K/UHD 3840 x 2160 resolution. The display has a pixel density of 806 PPI and will arrive in devices in 2016.

http://www.tomshardware.com/news/sharp-4k-display-smartphone-trade-offs,28915.html

(In earlier news, Samsung had announced a slightly bigger organic LED display of the same resolution

I dont know if its just me... but I see a lot of noise and not such great quality especially on the C4K madden video which is weird. All shots are straight from the camera.. no color grading.. I know the editing and shots arent so great... but i just wanted to upload these to get your opinion... I purchased my gh4 off ebay through what seems to be a camera shop's account and they were running a promotion on the GH4 for $1,399.99 and I am using a Panasonic Lumix G Vario 14-42mm f/3.5 - 5.6 lens. Please let me know what you think... is it fine and im just overreacting? should I try to return the camera to get a new one?

MADDEN (C4K, 24p):

One week with SLR Magic Anamorphot 2x on Voigtlander Ultron 28mm f1.9 on Canon FD 50mm f1.4 + Metabones Speed Booster on Canon FD 35mm f2 As you can see the Canon FD work better than the Voigtlander All the close up were taken without diopter except when it's written GH4 UHD 4:3 Cinelike V 0 -5 -5 -2 +2 Lumetri CC and levels adjustments Everything was shot @f4 / f5.6 except some close shot @1.9 in the first part SLR Magic achromatic diopters +0.33, +1.3, +1.8 and Narumi achromatic +3 diopter

The photos only show the bottom part of the Movcam rig. Side &top plate and handle from Movcam included! I didn't have too much time to show different setups.

See link for today's price and image of full rig:

http://www.hdvideoshop.com/de/movcam/1503-movcam-fs-700-full-cage-rig.html

Original packaging, charger, manual and battery included. Instead of simple Movcam rods, I supply it with longer carbon rods.

If requested, Metabones Speedbooster mkII ef to Nex can be sold as well.

Suggested price 3999,- Euro.

Shipping is not included.

Location is Germany.

Before you wait too long and the post disappears, let me know your price offers as well!

Firefox OS is coming to a bigger screen near you as Mozilla partners with Panasonic to bring the open-source mobile operating system to smart HDTVs. It’s a first for the OS, which had previously been restricted to a small set of mobile devices: 16 smartphone models throughout 29 countries.

Mozilla and Panasonic tout Firefox OS as an easier way to access and navigate through HDTV content. “This new platform enables developers and service providers to create a wide range of applications and services to deliver a new user experience," Li Gong, senior vice president of mobile devices and president of Asia operations at Mozilla, said in a press release.

The partnership with Panasonic will expand the devices on which Firefox OS runs even further as it gets integrated into Panasonic's Life+ smart LCD HDTVs, rolling out throughout 2015. Panasonic has also hinted at Firefox OS’ role in powering the smart home, touting the ability to monitor and operate smart appliances throughout a household.

As content creators and television manufacturers battle it out in 2015 with big pushes for 4K ultra HD content and display technologies, developers are also vying to create the software that power those televisions. The addition of Firefox OS to Panasonic HDTVs follows a similar move by LG in recent years as it integrated WebOS into its television sets after acquiring the operating system from Hewlett-Packard.

I just found this.... What do you think about this, guys?

GH4 photomode 4K UHD 16/9 25p + 96fps FHD mode, all export in 24p Dciné mode -2 -5 -5 +0 Lumetri cine1 and cine2 color correction on Premiere Qioptiq 35mm f1.6 MeVis-C C-mount lens with baby Hypergonar 1.75x anamorphic lens SLR Magic +0.33 and +1.33 diopters. Manomi +3 diopter from 200 to 1000 asa

4K version downloadable here on Vimeo (for members) or watchable on youtube : youtu.be/kUzIs1dTCyY

Lisa Bandy youtube and facebook youtube.com/channel/UCDBqyzLcmVbLOWvps9ViMBA facebook.com/jazilljazill

Paypal only.
PM me if interested. I can ship International for additional cost.

THANKS AND HAPPY NEW YEAR!

GH4, Leica 25mm 1.4, Panasonic 12-35mm, Rode VMP Osiris LUTS, Colorista 2 and Levels in Premiere pro CC.

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.