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I've been playing with the GH4 for a while now. I'll share my video's here. Shot a lot more material, still have to edit/upload it. Will do so in the following days. Go over to Vimeo/YouTube for all the details in the lenses/profiles/settings used. You can download 4K files or high bitrate on Vimeo. Cinema 4K mode - sunset and lowlight. The 14mm makes razorsharp 4K images. Also used a cheap 200mm f/3.5 Vivitar lens. Hard to get the focus exactly right and maybe not really suitable for 4K. For the video on Vimeo I used pretty high iso values. Shots with the birds are 3200 for example. 96 fps slomo test: with shallow dof shots it is pretty sharp. I have some slomo sufing shots as well, the resolution looks less good with very detailed scenes. Short test shot at ISO6400 in C4K. Anamorphic test with Minolta MD 28mm f/2.8 and Petit Cinevision 1.5x

Hello everyone, These are just some random snaps cut together using the DSO Trump FF58 with a 1.5X oval aperture inside, combined with the iscorama 1.5X anamorhic. Simulating the bokeh of a 2X anamorphic.. Anyways I thought some of the shots looked pretty good an wanted to share. Pretty cool being able to shoot this on a D800 and not go to wide like 3.25:1 Password is buds

wide open, an 80mm f2.8 medium format lens will transmit more light onto a full frame sensor than a full frame lens of the same aperture/focal length. almost all full frame lenses show vignette wide open on full frame, but the vignette on the medium format image circle is cropped away when used on full frame so the illumination is more uniform. in the centre of the frame you will see exactly the same exposure, but the edges will be different by a stop or more. Edge image quality will also be worlds apart - the medium format lenses delivering better quality due to being used within their sweet spot. I use Hasselblad and Schneider medium format lenses on the sony A7R because I often like to position the subject at the edge of the frame, while keeping the lens wide open. Only with the medium format lenses do you get really good results at 36mpx at the edges when the lens is wide open. regarding iscorama use on medium format, you'll only see light loss and related issues from step rings if you use them on medium format sensors. the crop factor negates any adverse effects. finally, As i have said a few times, medium format lenses only tend to deliver 'creative' looking images when on big sensors/film surfaces. when on smaller sensors you loose the aesthetic benefits such as that awesome wide fov and shallow dof obtained by a longer lens delivering wider fov due to the bigger imaging area (80mm on medium format = 50mm on full frame). The main argument against using medium format lenses is that some will say they are not as capable at delivering a fine enough resolution in 'line pairs/mm'. - due to not being designed to compress all the information into such a small area. I know for a fact that my schneiders out perform my hasselblads drastically in terms of resolution when used on full frame, 36mpx. Once on medium format imaging areas this difference is less noticable. It is worth reading up on lens talk in the view camera / bellows type technical camera user forums since this subject is easier to discuss in the domain of 8x10" frames! Schneider make a range of 'digitar' view camera lenses which aim to address this issue by delivering way more line pairs per millimeter than typicakl view camera lenses - which would suggest there milage in this discussion.

Hard to see what the subjects are doing through that overwhelming lens flare. What is it exactly? Looks like two Dolphins and a CHP police officer trying to wrestle a giraffe in flip flops. Am I right?

I would like to give my platform to up and coming musicians around the world to showcase their music through my cinematography to an audience of around 250,000 people per month. This is the EOSHD Music Challenge. Readers act as DJ - they can pick music from up and coming singers and bands, with suggestions that might suit the mood of my cinematography and future camera tests. Cinematic music is really important to me but I haven't been satisfied with The Music Bed or similar resources so far. How does the challenge work? 1. Suggest a band or musician on this thread. They have to be up and coming not signed to a major label or already huge. 2. I investigate and do the contacting of those which I like and credit you for the find! 3. If they agree to let me use their music, they will find a new audience through my blog and hopefully sell some tracks on iTunes from a link on EOSHD. You will be designated as the discoverer of talent and winner of the challenge. 4. You can have fun with this challenge and play DJ - use your taste to select the right standard of music to fit EOSHD and in turn you might discover new music yourself which you really enjoy listening to. 5. My cinematography at EOSHD is purely an artistic endeavour and experimental, non commercial and does not make any money but for all videos featuring unsigned acts I will consider enabling the Vimeo Tip Jar and sharing the proceeds with the musician 50:50! This is a new idea and it will start off as a trial. If it works then great! If not then we will swap things around until it does, because I am determined to find new music and up and coming artists. Good soundtracks are really important for filmmakers and I believe in finding new talent. Perhaps you know some artists yourself? Perhaps you are one?

Recently I got a cat, so now I can make proper test videos :P Panasonic GH4 firmware 1.0 Lens: Minolta MD 28mm f/2.8 + >Petit Cinevision 1.5x anamorphot 4K @ 24 fps (3840x2160) Cinelike V profile, ungraded All shots at f/2.8, 1/50. ISO around 4000. Soundtrack: "Menehune Dance" by James Pants (jamespants.com)

If you're boosted up to being effectively APS-C then you're in the range of the 35mm portions of The Master. As these were chosen specifically for their ability to cut well with the 65mm portions of the film that's "interesting" enough for my money. That's plenty "magic". That film is tangible enough proof that not all is lost when going smaller than full frame. PT Anderson and his DP tested literally dozens upon dozens of lenses, access to anything and everything, and this was the selection made for cutting between formats without jarring moments. There was no portion of the film that didn't look amazing and without having previously read specific references to what scene might have been shot with what format nobody here can either say what is what or that the proof isn't in the pudding.

Great job with the tests, Julian. That rolling shutter skew seems very minimal given the speed of travel, was it shot in 4K or FHD?

lovely man. You need to make another nice family vid with this setup:) @Lucian.. The TRUMP58 has enough room to fit a iscorama 36 or iscorama into the front cavity - this was part of the design criteria. Rob has a extension tube to allow the rama to be mounted into the trump in the same way it would mount to a ff58 iscorama optimised. biggest aperture on trump or ff58 on oval 1.5x is f2.8 biggest aperture on trump of ff58 on oval 2x is f3.5 However, since the ovals are still as tall as an f2 round aperture the depth of field is almost as shallow, even though the aperture is a smaller area. Vertical dof is shallower than horizontal dof in simpler terms. The rama inside a trump makes it a little awkward to align the iscorama, and it looks strange too - since the two buttons are harder to access, but its not a real problem. I do intend on machining a iscorama rehousing specifically for the trump58 - giving focus gears but havn't had time.

Hah. I immediately recognized the song. I also found that song on soundcloud a year or so ago, favourited it and thought "This would be a lovely song for a video" :)

Sadly the comparison images seem to be gone. Anyway, it is simply impossible. That DP can't beat physics either. Yes, they gather more light, but they distribute it to a bigger image circle because they have to cover medium format film. So you will loose that light. If there would be some kind of speed booster for medium format, you could bundle that light onto a full frame sensor and actually win an F-stop. On the other hand, a 50mm 1.4 on a full frame camera has a lot of light fall of in the covers (vignetting). A medium format lens on a fullframe sensor wont have much light fall off wide open because you are only using the middle of the image circle (which is the brightest). So maybe that's the difference he's seeing. Claiming f/4 is like f/2, that is a two stop difference. A f/1.4 lens might have close to 2 stops light fall of in the corners, so there you'll probably see a difference, but that's gonna be it.

I have a bunch od these lenses they are Pentacon 6 mount (P6) so to use a speedbooster you will need an adaptor from P6 to what ever mount your speedbooster is Yes I have used my Schneider anamorphics on the Carl Zeiss 80mm f2.8 Biometar it has a 67mm front so works will with the Schneider that has a 70.6mm rear

Thanks Julian, for just hanging out enjoying the lovely weather we had here for a short period they came out pretty good. That combo sounds crazy, Might be better with the stopped down oval aperture. The second shot is like an F4 aperture disc. I have tried the 2X oval aperture and the isco and wide open its just a bit too much. Its so cool we can have these creative freedoms to play around.

It's a fake press release designed to fool people. Knock yourself out if you want to remain open to every bit of bullshit on the internet, but I think a bit of skepticism goes a long way.

That was one of my main reasons to always pick up the GH3 for a long handheld shoot. The battery life is insane. A full day on a half battery.

The battery is excellent by the way. Shot 179 4K clips today (10-20 seconds) between 11:30 - 15:00, camera was on pretty much all of the time. Still 2/3 full.

More slow motion:

Beautiful shots, Julian! The iso 6400 shot seems surprisingly good for such a small sensor. Your footage really makes me wish that the GH4 tech will trickle down to GX7-like models sooner rather than later, so I can convince myself to upgrade from the Sony NEX :)

slow motion video looks great - thanks for sharing :)

Inazuma, From the preproduction videos we seen (here from Andrew and elsewhere) Looking at 1/3 stop better performance (yes not a massive amount) - so image quality has been improved and so too the noise characterists. But its not a mega leap over the GH3 (at 1080) Andrew has taken the time to upload examples to Vimeo - AND provide the source files via links to copy.com (or some hosting thingy he has) Don't make the mistake I made and rely on the Vimeo/YouTube videos - you really need to download the originals and have a look. However, taking the 4k image from the camera and downsampling it to 1080 via your NLE, you will notice a nice difference in 1080 quality :) Back to shipping... I bet BHPhoto and Adorama will be shipping next week too, can't believe it only one of the big retailers to have obtained stock. Both of these are closed for this long weekend... Fingers crossed for Tuesday eh!

  No, it's a passive mount adapter with no electronics. The AF in Nikon lenses is usually optimised for phase detect sensors and the GH4 uses contrast detect so even if it worked through a smart adapter, it probably would be a bit shit :)

Say it Rich & say it with Pride! I think they make a lot of sense on the Pocket cam & hopefully they'll come down in price (or not if people don't stop dumping their SLRMagics on ebay).

This is my fifth attempt to find an affordable stabilization solution for the BMPCC, particularly for the heavy setup with Speedbooster and Sigma 18-35. It works perfectly, and the only two things that are missing are 1. Pistol grip to be clicked underneath the cage with a quick release plate and 2. Lanc-controller with button on top of the grip for START/STOP. It consists of an old, self-built shoulder pad with counterweight (aluminum rack, ~$ 5,- , bent in a vice and padded with foam rubber, ~ $ 2,-), a micro goose neck with 3/8" connections, ~ $ 7,- , filled with a steel rod, ~ $1,-) and a ball head (~$ 30,-). The ball head allows for fast height- and angle-adjustments. I found this to be the most crucial aspect of all shoulder supports. You both stress your neck with only half an inch of unergonomic proportions and run the risk of unintentionally rotating your frame. Not with this ball head. If you loosen the ball, you can screw it on or off the cage within 10 seconds. The counterweight could be substituted with a battery pack, and the rod that helds the goose neck stiff could also be a steel tube (well, perhaps, it could turn out to be too weak then) to hide the cable. The shoulder pad doesn't look particularly elegant, I'm sure you can do better.