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I shot this with an Panasonic LA-7200 and a 105mm canon close up filter. The lens was a nikon 58mm F/1.2 and the Canon 60D. It was very dark and had almsot no light. It did not help that I was filming an African in this enviroment. I was mainy trying to get good oval bokeh with the 2.40 aspect ratio. Some people were hating on this footage but I thought for a total night shot with no light at all it came out decent. Let me know your thoughts. Or if you have any other ways of getting oval bokeh with your anamorphic lenses, [media]http://www.youtube.com/watch?v=asvCxczbx-g&list=UUWP0QQ1jKe0-usGLAXIZTIw&index=1&feature=plcp[/media]

Well 'harm' may be too strong a description depending on how 'precious' we feel the source files are. For me it's more about gaining awareness of what is happening to avoid 'processing' that is unnecssary or unhelpful. By OSX I guess you refer to QT? Premiere doesn't use QT even on mac but FCPx and FCP do of coarse?. I'm not aware of how QT handles GH2 source but for Canon DSLR's it does a very similar approach to 5DToRGB with regard to levels, that is it scales them into restricted range. Whenever i've used QT to decompress it always gives 4:2:2 even from 4:2:0 sources upsampling chroma, not sure what interpolation it uses for that though, as I try to avoid QT for anything. With Canon DSLR sources including 7D and even the prototype 1D C, the MOV container has that fullrange flag metadata set 'on' so many decompressing codecs will scale luma 16 - 235 as per a 5DToRGB transcode. Regarding improper presentation of original footage, yes it's just about being aware of why and how so that when things don't look right we stand a better chance of fixing it.

Still haven't found a satisfactory conclusion for this post. Several ambiguities: 1. Is the GH2's matrix BT.601 BT.709 or neither? I have heard all of the above from contradicting sources who I'd thought were reputable. 709 seems to be the most popular response, though it differs from the recommendation at the beginning of this thread. I'm not intelligent enough to get that information out of Mediainfo for .MTS streams. Is it listed anywhere below? [img]http://public.fennworld.com/Misc/Media_Info_MTS.png[/img] 2. Can the GH2 record 'full' unscaled luma? I believe it records 16-235, but if evidence exists to the contrary please present. 3. If the range is indeed scaled, then one should not use 'Full Range' in the 5dtoRGB options, correct? Or would that not potentially degrade the image as that program doesn't seem to export anything but scaled video anyway? 4. Premiere Pro CS6 recognizes the full range flag and scales video, as pointed out by Yellow and readily confirmed by his test files available for download.  Opening GH2 .MTS files natively shows a scaled image in the waveform, but could this be due to flagging issues like with Canon files? If the GH2 ends up delivering a full range image then this is an issue, no? 5. Recommendations often center on transcoding via 5DtoRGB to the chroma subsampled flavors of ProRes (anything but 4444). A screenshot [u]from Premiere[/u] shows the following difference in my tests between 422 HQ and 444 at 400%: 422HQ: [img]http://public.fennworld.com/Misc/422.png[/img] 4444: [img]http://public.fennworld.com/Misc/444.png[/img] Why the jagged stair-stepping? I don't believe this is carried through to output--certainly hope not or no one would recommend it--but why does the file sent through 5dtoRGB and converted to 422 or 422HQ look so much more aliased than the original or a 4444 transcode inside of Premiere? 6. How does one change the full range flag on .MTS streams? I've run some basic commands via MP4Box in terminal before, but am not familiar with the patch for modifying that flag, nor do I know if it would be Mac compatible. Thank you all for your time and insights.