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this promo videos became rorschach test... :)

[media]http://vimeo.com/49420579[/media] Could this be the moment Panasonic finally get the wider acceptance they deserve for the GH line? Here's the first promotional short movie shot on the Panasonic GH3 by [url="http://philipbloom.net/2012/09/15/genesis/"]Philip Bloom[/url].

https://vimeo.com/49420579 download enabled...

Hey all, Here's my first music video shot with the Panasonic GH2. I've done several with the 60d, and working with the GH2 was a serious step up. Such crisp images! :) Numerous vintage primes were used for various scenes, as well as a Glidecam HD1000, and even my Kowa Anamorphic for a few of the "sun shots" although I kept the image squeezed. This one was pretty tough to edit, I could only go four about 4 hours at a time before becoming too queasy. Still though, I think it turned out pretty good. FWIW, the audio mix was by Fredrik Nordstrom & Henrik Udd. If you're into metal that might mean something :) [media]http://www.youtube.com/watch?v=G-j4OOn745U&hd=1[/media]

looks good ! horns up oo/o

[quote name='OzNimbus' timestamp='1347804943' post='18268'] I'm guessing that's 60 [i]seconds[/i], not 1/60th. [/quote] Yeah.. That was probably a dumb question for a camera most people will buy to make movies with, lol. That would be like, $7000 for a video camera that shoots 8bit, 4:2:0 in Avchd, hahahaa! Wait a minute.

I can't believe some people are complaining about the $1299 price tag. Have you forgotten what you're getting and what a big step this is up from the GH2? Blackmagic is considered a bargain at $3000, and it is. But the GH3 has 1080/60p, a larger sensor, stills, swappable internal battery, better low light performance, is smaller and lighter, likely better handling, more physical controls, the list goes on. And next to the Blackmagic after you've graded raw, ALL-I 72Mbit H.264 stands up very well with a fine grain of noise and as much detail. What the BM does better is 2.5K resolution, the advantages of raw for grading and likely an extra stop of dynamic range. Very different cameras but if the BM is a bargain then the GH3 bloody well certainly is. I love both personally even though I've not used either yet. My view may swing one way or another once I do.

I admire your screenwriting skills greatly germy! Though as someone who owns and uses a real U87, i can tell you that after a couple days you aren't thinking "that's a U87." You are thinking about whether it gives the vo talent a cold or a kazoo voice or it's perfect. And if you are worth hiring you are simultaneously considering the bigger picture of what this means to the delivered narrative, and adjusting accordingly. And after doing vo with a U87 you aren't likely to waste much time with the GH3's of microphones. Let the local car dealerships cope with that sound.

[quote name='Anil Rao' timestamp='1347753417' post='18180'] ok, my genuine points to consider after watching this. 1. Watch the fans blades in the beginning, that was really shocking, unless they are all really furry, as I have seen fan blades with tassles before. 2. There is no demeaning here, the grading really is all over the place and that is not the fault of the camera now is it? 3. I'd like to know what is the budget of this, time frame of schedule and furthermore, look at how many people worked on it? This would negate a few things to consider, the first being if you are going to do this properly, give it all the quality it needs. I am not going to fault the craftsmanship as there is a considerable amount of blood, sweat and tears that goes into a production like this and especially with a short timeframe to accomplish everything, however, if this is an official Panasonic showcase why didn't they take the time to do it right instead of a rush job? More importantly, most of us are not going to have the kind of background support this demo utilises when working for ourselves, so that is not a real working example to use, to fairly showcase the camera, and even if we did, in all honestly I expected a better showcase, and not these kind of Ideal Home Exhibition demos, or shots of frogs close up you see on HD screens in Dixons. I watched this as a film first and it was just too hammy, now before the obvious reply to that will be, yes but it is to show what the camera can do, I say that is fundamentally wrong as an example to sell this camera and here's why... I want to be held by the idea, if this idea is to show the GH3 as a working tool for filmmakers and not just to start flames and wars amongst the online pixel peepers, then shoot it as a film and not a technical promo, then when one watches it, you can say to yourself, 'wow that was great', followed by, 'what!!!! that was all shot on a GH3', then you have proven the point. Philip made a film about a camera guy who collects cameras and it was awesome, then he told us at the Mac Video Expo where it was projected for us, that it was all shot on the NEX 5N, I was totally floored, that's the kind of example I expect to see. Even now when I think about it I can recall my wowness at watching it. When I made a short film for the French filmmaker [i]Luc Besson[/i], I shot it on a 200 line resolution security camera, the kind put outside your garage, I just loved the field of view, (which was very [i]Terry Gilliam[/i] meets[i] Jean-Pierre Jeunet[/i]) and the image the camera gave me. I had reworked the wiring so I could record the image to a DV Deck and shot my film as a film, as an idea I wanted to express. I then graded it at VTR (now known as Prime Focus) in Soho, by the legendary colourist [i]Tareq Kubaisi[/i] and it was screened in Paris, London and Tokyo. My point being here, is that I could have shot it on 70mm if I really wanted to, however I am a guerilla filmmaker, and by guerilla I mean that I want to push what can be achieved without all the bells and whistles that raise costs and still be held up as a validated professional piece of work.[i] GENESIS[/i] obviously has all the bells and whistles thrown at it and it's unfortunately speaking, not a good showcase for what it should be doing, which is telling a story that at the end of it, has us go wow and then unbelievable. They should have given this to Michael Mann and stipulated, off you mate and only by yourself, but he loves his Nikons too much ha :) Doesn't matter though, I am really looking forward to getting one of these, and if I had the added expenditure I'd feel the same about the BMCC, I'll be watching how that all develops before stepping in, but it's all good. Someone already said it before, but a new kid always stirs things up for everyone else to re-raise their game and that's better for all of us right? :) [/quote] Pretty good points here man. Most of us have been following the development of the, (we'll call it) - "affordable cinema look project" since 2008 when Reverie hit the web. I'm sure it went back further, I remember Wolf Creek was shot on high-def....but that ran how much then? I like the philosophy of "the best camera for the job is the one you have".... It keeps you productive. This is a love for cameras that has developed since the dawn of DSLR cinema and its affordability over the last 4 years though. It's likened to a breakthrough medical explanation, lol. (yeah, turns out a.d.d. Is legit!) We spend a ton of time watching tests with different lenses, patches, cameras, etc... Most of them are flowers. "Flowers with Sedna AQ1" - because we don't have Paramount budgets. But those are some of most cinematic flowers i've ever seen... The case could be made for both. If you have a story, and the resources to make it, schedule it, and rent a Scarlet.... they're reasonable on lensrentals.com, and Red has a few big budget flicks under its belt. Otherwise, you're probably looking at a camera for under $3000 because you want to own it, and use it whenever you want, can. If you love the cinematic look... Shallow dof, interchangeable lenses, Etc... - you won't get that with an ipad. So I think for some, it is about the cameras and that's cool, because I can see how it's happened. These are exciting times for poor, talented, aspiring filmmakers and if something like a GH2 would have been around when I was making my Army movies as a kid, I would've shit my pants. So i see your argument here man and it's a good one... Because from an image standpoint, technically the GH2 has impressed me far more than a Nex 5n ever has...but I haven't seen a story on it that moved me... But that's a matter of personal taste on my end. In Genesis, we see shallow dof, low light, wide angle, fast pace, detail, etc.. Shots most will pixel peep for things like banding and shit, even though it was a pre-production model. Obviously the story didn't concern anybody as much as the rolling shutter did. Ha! It's funny. I spend more time watching vimeo than I do actual films anymore...Bourne Ultimatum is on right now in the background as I type this. Such a gritty, badass movie. It however breaks every single law of Vimeo cinematography I've come to know.. It's hilarious. I didn't care in 2007 when i first saw it. Now i subliminally think, "Cameraman on Adderall.". or "Blown highlights everywhere...all the time... Blown out.". Then that car chase comes on, and i don't give a shit anymore what it was shot on. So yeah, i think if you shoot movies for a living, it takes something special to draw you away from that when you watch one. Same thing for a recording engineer. Good music, and all he's thinking is, "That's a Neumann U87."

ok, my genuine points to consider after watching this. 1. Watch the fans blades in the beginning, that was really shocking, unless they are all really furry, as I have seen fan blades with tassles before. 2. There is no demeaning here, the grading really is all over the place and that is not the fault of the camera now is it? 3. I'd like to know what is the budget of this, time frame of schedule and furthermore, look at how many people worked on it? This would negate a few things to consider, the first being if you are going to do this properly, give it all the quality it needs. I am not going to fault the craftsmanship as there is a considerable amount of blood, sweat and tears that goes into a production like this and especially with a short timeframe to accomplish everything, however, if this is an official Panasonic showcase why didn't they take the time to do it right instead of a rush job? More importantly, most of us are not going to have the kind of background support this demo utilises when working for ourselves, so that is not a real working example to use, to fairly showcase the camera, and even if we did, in all honestly I expected a better showcase, and not these kind of Ideal Home Exhibition demos, or shots of frogs close up you see on HD screens in Dixons. I watched this as a film first and it was just too hammy, now before the obvious reply to that will be, yes but it is to show what the camera can do, I say that is fundamentally wrong as an example to sell this camera and here's why... I want to be held by the idea, if this idea is to show the GH3 as a working tool for filmmakers and not just to start flames and wars amongst the online pixel peepers, then shoot it as a film and not a technical promo, then when one watches it, you can say to yourself, 'wow that was great', followed by, 'what!!!! that was all shot on a GH3', then you have proven the point. Philip made a film about a camera guy who collects cameras and it was awesome, then he told us at the Mac Video Expo where it was projected for us, that it was all shot on the NEX 5N, I was totally floored, that's the kind of example I expect to see. Even now when I think about it I can recall my wowness at watching it. When I made a short film for the French filmmaker [i]Luc Besson[/i], I shot it on a 200 line resolution security camera, the kind put outside your garage, I just loved the field of view, (which was very [i]Terry Gilliam[/i] meets[i] Jean-Pierre Jeunet[/i]) and the image the camera gave me. I had reworked the wiring so I could record the image to a DV Deck and shot my film as a film, as an idea I wanted to express. I then graded it at VTR (now known as Prime Focus) in Soho, by the legendary colourist [i]Tareq Kubaisi[/i] and it was screened in Paris, London and Tokyo. My point being here, is that I could have shot it on 70mm if I really wanted to, however I am a guerilla filmmaker, and by guerilla I mean that I want to push what can be achieved without all the bells and whistles that raise costs and still be held up as a validated professional piece of work.[i] GENESIS[/i] obviously has all the bells and whistles thrown at it and it's unfortunately speaking, not a good showcase for what it should be doing, which is telling a story that at the end of it, has us go wow and then unbelievable. They should have given this to Michael Mann and stipulated, off you mate and only by yourself, but he loves his Nikons too much ha :) Doesn't matter though, I am really looking forward to getting one of these, and if I had the added expenditure I'd feel the same about the BMCC, I'll be watching how that all develops before stepping in, but it's all good. Someone already said it before, but a new kid always stirs things up for everyone else to re-raise their game and that's better for all of us right? :)

you guys have no idea about nothing. i know for a fact that in 4 years we will have something really amazing it will blow your minds. infact if you can wait 10 years i guarantee something that will knock your socks off. come 20 years the sky is the limit. hold on as long as you can all this stuff is rubbish compared to the stuff we will get in 50 years

[quote name='nahua' timestamp='1347623289' post='17971'] You understand that when the GH2 first came out you couldn't get it anywhere for over 3 months. Announced in September 2010, it wasn't until March 2011 that there were significant quantities in the US. Only people in Japan and asia were able to get them in 2010. So you can harp on Black Magic all you want, but Panasonic had significant problems supplying anything M43. This includes their awesome pancake lenses, Leica 25mm, batteries... the list goes on. I hope that Panasonic gets their ass in gear and produces mass quantities of the GH3, otherwise it could be well into 2013 until we even see any in the US. [/quote] I did not know about the gh2 delays as I bought mine recently. Sadly it seems to be the trend regardless of the company but that does not mean it is any less unacceptable. Preorder our product that we say we ship in January, but wait actually it will be shipped in march, and by the way when we say we will ship it in march we mean we will ship 50 units for the whole world... Can't believe this happens so much...that's just bullshit