Leaderboard

Andy is such an amazing guy, full of knowledge.. just saying THANKS for your contribution..

Happy to have two threads actually...   One for problems.   And one for design aspects.   Slow-mo softness at 96fps and 2.2x crop in 4K is an aspect of the design.   A problem for me would be a bug or usability quirk.   Let's continue on the thread but be clear on what we mean...

I really, really hope this camera lives up to its intention. I currently shoot wedding films as a primary gig, working on breaking in to commercial work, and just wrapped my first narrative short (36 min). On that short, we shot with the Sony F5. It was a dream, and I loved working with the extra range and PQ with the Slog2 and XAVC codec. During the beginning of the year, I almost pulled the trigger on 3 Canon C100s to replace my FS100s. I wanted log workflow for my primary job, but the price was just too high. Now enter the A7s, full frame capable (i think) of shooting in a super 35 format, XAVC S codec at 50mb/s, and the glorious sLog2 gamma. It's so much more than a "low light" camera (which many are already tagging it with) This just checks so many boxes for me, a premium event camera with advanced dynamic range and codec, and capable of being a great B cam for a BMPC 4k or URSA, or Sony F series. I really need to see what shooters can get out of it, and the "S" after XAVC has me suspicious that this could really be "AVCHD 3.0". I do think many of you are expecting too much from this camera though. I'm okay with 4k external, the camera has true pro cinematography tools featured in Sony's pro lineup, and the body can only dissipate so much heat for well implemented internal 4k shooting.

If I could shoot like that, I'll be happy for quite a while.

That A6000 autofocus is insanely fast... that'd be great for documentary. So at the moment, we know that over 60-odd FPS the GH4 softens and has more aliasing. This is in line with the FS700 as well, probably a better option than Red Epic's sensor cropping still. That audio pulsing is probably solvable by using a TRRS jack and sending the correct part to ground, so the pulsing signal doesn't oscillate the recorded sound. It probably doesn't make a huge difference, but still isn't great design, as you can't really bury it, it will always oscillate the audio recording (probably creating a harsh feel) unless it's defeated by grounding. Their own mics are TRSS connectors, and I'm sure they want you buy the YAGH too. A real design flaw is obsessing about 24p. why not 25p at full 4k? why no 100fps? It appears to be an artificial limitation.

Here is their response: "Please be advised that international distribution of the film "Warsaw Uprising", due to the policy of international film festivals, will take place at the earliest in the first quarter of 2015."

I would say that the 50% improved rolling shutter and super-high stock bitrate for All-I are both strong talents of the camera. Unfortunately neither are available in 4K mode. So they may not be the fan's flashiest talent, or your personal favorite, but they're talents nonetheless. Jello reduction and motion rendition are high priorities for some people, and forgoing resolution in their interest wouldn't be wasting any talents at all for those users. Don't get me wrong, I'm super excited to use 4K for great 1080p finish- when I can get away with it, motion- and jiggle-wise- but let's remember that the GH3's 1080p modes are already very, very good. Assuming the GH4's are at least a nominal improvement on that, it is still a worthwhile camera outside of 4K mode.

Not a pleasing price but I think it is unique enough for me to still want it, for low light, full frame, to sell my A7R and replace it with this just to get rid of AVCHD is worth the extra! 4K in future to Shogun a pretty big bonus in my view.   GH4 still the one to get overall in the here and now... it is simply better featured for video.

More cat coming soon. Planning on making the ultimate internet cat video. Anamorphic, 4K, slow motion, flares, you name it! :P

Great work by Kendy! I see that many of his shots have bokeh, so the equipment does matter to some extent. It would be interesting to see what he could do creatively with a small sensor camcorder. I read that he does not use lighting, only ambient. If the scene is dark, he says it adds to the mood, and that lighting would only make it look "fake". He uses no tripod or Steadycam. He doesn't use external audio gear, just "in camera" with a Rode mic. He uses After Effects to edit and grade, and he does it himself. He created his own camera picture style, which he sells on his website for 9 Euros. He has no crew. He has no budget. He is self taught, and only starting filming a few years ago. If this doesn't prove that you can create great things with minimal gear, and no budget, I don't know what will. It's very inspirational. Michael

The sensor readout is much faster on the GH4, by 50%. But 400% more data coming off the sensor, that isn't enough to compensate. Audio issue is a non-issue as far as I'm concerned. Who shoots video with audio in stills mode? That's what the movie mode is for!   AF is of no interest to me either.   The soft video in VFR mode, well treat it as a creative bonus tool... You could pay $15k for a camera today, and not even get 60p! (C300)

Jason, I'm not trying to pick on you here... but for a few years now you've posted here on EOSHD, dvxuser, cinema 5d and I don't know where else purely on one subject matter... and that has been an absolutely obsessive compulsive whirlwind of posts on which camera to get and which is most "filmic". This has gone on for years now. You bought the 60D, was too soft.. wanted the GH3, it was too much like "video", bought the 5D, and have made endless posts commenting on how the 5D with raw blows the socks off everything out there. Am I right in saying that you never actually even tried 5d raw? Then you say the GH4 is too much like video and much prefer the 5D image... but you're now wanting to sell the 5D to buy something else? This is absolutely crazy. You're a novice with an ultra expensive toy, who just isn't satisfied with image quality. If you were spending endless hours filming and doing tests and actually using your camera, then at least there would be some reason to the madness. But the only video you've uploaded is a handheld point and shoot clip of the 5D that shows no understanding of filming or photography. You've been too busy obsessing with which is the best camera to get. The truth is that no matter the camera you buy, your videos will look horrible. Why? Because all of your energy is focussed purely on comparison without actually shooting or trying things for yourself. You're just judging the uploads of others. Myself and many others have been very tactful in telling you how to get your "film look", but you insist on believing otherwise. Are your friends not tired of seeing the endless camera comparisons you're showing them. Don't they ever ask to see some work you've done? Stop stating with such confidence how things are, and which camera produces the better image. Start being less opinionated on both cameras and the "hollywood look" as you've referred to it as - and start actually learning some real technique from this forum. You have a great camera. Stop wasting your time, read the manual and start using it already. This forum has a wealth of knowledge that no film school could offer. Use it. And please stop wasting your money on endless camera body upgrades. The A7s won't be perfect either, no camera ever will. I'm sorry if this has come across aggressively, but just look over the last couple of years of posts you've made reiterating the same obsession, without having actually gotten your hands dirty. Please, for your own sake start focussing on something else. ( i.e: focus on shooting rather than which camera is best )

This will be THE video camera for doing sex tapes :)

14-bit colour is nicer than 8-bit colour raw looks nicer than 4:2:0 5D3 highlight rolloff is smoother, there's more dynamic range. It's great in low light. however 5D3 raw requires huge fast memory cards that are expensive, lots of fast hard-disk space that's very expensive 5D3 raw requires long-winded workflow with various awkward workarounds as it's not Red-style compressed raw add to that the GH4s 4K and GH4 is a much more sensible choice for most shooters out there. If final image quality at all costs is what's needed, the 5D3 raw is beautiful... for student film, for example, or personal project. Place any real-world restrictions on it and it's harder to get away with when all's said and done. I've seen some amazing 5D3 raw films, but I think far more work will actually be done with GH4. It's an indie film-maker's dream!