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Honoring My Father is the story behind Keith Kadoyama attending the Lantern Floating Ceremony every year. The Lantern Floating Ceremony honors our loved ones who have passed away. Keith honors his father Mitsuo Kadoyama, and he tells his story. Thanks to my good friend Keith for doing this. I conceived of the idea when I saw the announcement just 2 days before, and I'm glad he was up for the challenge. I shot all of this myself, so it was a lot of hard work! Shot on a Panasonic GH4, 4K with Panasonic LUMIX 12-35mm X lens and SLR Magic Anamorphot and Tiffen Vari-ND Filter GH4 shot with CinelikeD Contrast -2, Sharpness -5, Noise Reduction -5, Saturation 0, Hue 0 Master Pedestal +15, Highlight -4, Shadow +3, 0-255 F2.8, 1/50 sec, ISO 200 w Vari-ND, ISO 800 without Interview Audio: Rode NTG-2 shotgun mic with Rode Blimp on a Tascam DR-60D Music by Escape Club - "I'll Be There"

Shame about the mis alignment. That flare colour is lovely. I've always wanted this lens just as a display piece - that front optic is stunning. I'd probably under light it in a glass dome and have it as a centre piece in my bachelor pad.

Here's some of my grades with Cinema profile from the guide. Let me know if you want a complimentary copy JG.   Click for the full 4K.   As long as you expose to the right the shadows are silky smooth on the GH4.      

other than we all have that bookcase from ikea, i can say it looks great, and you should ship it directly to me....!

nice choice of squeeze ratio IMO. If anything i think anamorphics should have lots of breathing. - something i wish the 'Rama had!

Having it sitting for a long time, I said to finally give it a try, as until now it was impossible to get any info about it, or even so to find a video made with this rare beast. Quick test of the Moller Anamorphot 30/2x, on an Oly E-M1. I have to admit that wasn't that easy to work with it, it's big like an Iscorama, not easy to use just an anamorphic clamp and I always prefer smaller anamorphics to play with, so I don't have the proper rig solution for this Moller. But the image quality that comes out of it, puts it (at least) beside Iscorama. Any comment is welcome, this lens is a miracle:

In touch with Sony about a A7S demo unit so wait to see if it turns the world's number 1 GH4 fanboy onto it :)

Yes I see, clamping the rear cell is not such a robust solution and is not ideal for many reasons. A good design would protect the cell from damage. A better mounting solution is required which would enhance its value. If you are interested in having something custom designed for this scope, PM me for details.

Also depends on the exposure. James Miller has had some nice shadows out of it  

  Try Master Pedestal + 15. That seems to allocate more bitrate to the shadows and stops them from crushing so much.   Then I lift the bottom of my s-curve in Premiere like Kendy Ty does with his T2i.   That gives me rich tonality and colour but with more detail in the blacks.

Wow, Wednesday. That is recent. I'm on the other side (toronto). I think you'll love Van. It's beautiful. Post some samples with your 54 when you get it, we'd all love to see it in action!

At last a chance to see this unit perform. Perhaps you can show some daytime footage? These units show up about 4/5 times a year, always without the back lens which would have been a Cooke Speed Panchro F2/50 or similar with focus mechanism. Before the resurgence of interest in anamorphic with the advent of large sensor cameras over the last 5/6 years, it seems that these units were scavanged for the Cooke SPs which is a great pity since the complete unit would be quite a treasure. How are you mounting it, do you have a picture to show?

Ok. this is my last post for this thread cause I am tired of this dispute. I see many people here who are being so defensive like everyone is attacking their families or their belief system. To those I say that they should "pixel peep" more their philosophy in life and communication abilities and leave the technology for a later time. Andrew, I find your post at least arrogant and at worst disrespectful. I could have easily asked if you are getting payed by Panasonic in order not to emphasise the negative sides of the camera. Is this the level of debate you want to maintain in the forum that you have created? I don't believe so but I could be wrong. And last thing regarding objectivity, there are many people who support you cannot end up with 10bit data out of 8bit. I am not expert in that, but I do know there is another opinion on that matter. So I wouldn't call that very objective. Looking forward to the moment when human beings will be more interested about the way they communicate than the technological advancements of plastic or metallic boxes. :)

Wait, there's a face in that picture?

It is rather "GH4 SkinMakeup tones" ;) ... unless you don't look at the face..

Didn't know Canon produced some scopes too http://www.ebay.com/itm/Anamorphic-lens-baby-Canon-2x-Focus-0-32m-WOW-kowa-8z-16h-iscorama-cinemascope-/111370063839?pt=LH_DefaultDomain_146&hash=item19ee2c4fdf

Better DR and finer detail on GX7, but I see some artefacts on the building on the left at 00:13 in the Panasonic's video and a lot of "dancing noise" in dark areas. As someone already said these are two great cameras with some limits and issues. Thanks for your useful video, Inazuma.

SO an update, I finally got ahold of Helicoptersean and he is sending me one of the gears he came up with for the iscorama pre36. I'll let you know how it goes. He is looking for any info on how to make it any better so hopefully this is going to be the one :) Just need to pull the trigger on a Follow focus now. Might rent one in the meantime. Rob

I share your verdict. To be brutally honest, I rarely find chases engaging, or fights and battles. These are the obligatory scenes an action move has to have, in the script it probably says Joker attacks the convoi in a garbage truck, and Batman joins in his batmobile, if I drank too much Coke a chance to go to the toilet. I can easily imagine Nolan telling someone, can you put this together somehow and make it look good. Take all those miniatures and throw in some close ups of expendables, but don't waste too much time for this, I won't chastise you for being sloppy. Look, everybody knows that this defies logic anyway, so don't try too hard to be convincing. I never witnessed anyone saying, great fun all in all, but the chase sequence was completely unfollowable, after we left and discussed the film in the foyer. It just doesn't deserve all that attention. Here comes Emerson, presumably some TV show editor, to examine the corpse and lecture on bad editing in minute detail. Oh yes, he's so right, it's really frustrating to see so many inconsistencies in a multi million dollar movie. Come on, Nolan, we deserve better.

There seems to be various pissing matches concerning specs of this camera and that. At the end of the day, does it produce an image you like and how useable it is? I'm in prep for a movie I start in a few weeks. Intended for theatrical release we need IQ that'll hold up to the big screen. So we tested F55 vs Dragon vs Alexa. The tests were precise and extensive: ISO, over / under exposure, all with people and Macbeth Color Charts. Because of the tight schedule, I wanted the smaller cameras (f55 and Dragon) to be as good or better than the Arri. So we graded and projected the results at a full on commercial grade suite with a 15' screen. The producer and director immediately felt the Arri was a hands down the better image. They couldn't quantify it. Being a tech, for me and the colorist, it all came down to flesh tones and color grade across the entire exposure range. When we wrestled with the F55 to get a rich honest flesh tone, the color chart was completely off (read: extra time in post keying and windowing that no one wants to pay for). The Epic came close, having quietest noise at all ISO's, but it too had some flesh tone issues as well as color aberrations in clipped areas. Worth noting, we shot the Alexa at 444 Pro Rez, not Arri Raw. How does it retain its amazing colors? Trading pixels for color space, instead of spreading your butter too thin. Why do I bring this up? Because much of the conversations here obsess about pixel count, DR and other specs but few mention how well it grades the human face and how the grade effects your back ground colors. When I compare cameras, it's the first thing I look at (and what audience's pay the most attention to). The F55 despite it's stellar specs is dead to me as a feature film camera. We don't make movies for techs. So I'm holding my judgement on the GH4 until I see some footage, not of rocks, bridges and buildings at night, cars, aggressive music video LUT's but just attempts to shoot faces, graded as naturally as can be. This is what attracted me to the BMC line up. I felt the colors were honest, requiring little work out of the box. I believe this is much of the success of the C300/500 line (see Hurlbut tests) despite being 8 bit and clippy on the high end. The F55 held highlights 6 stops over key. Insane DR. But specs do not a great image make. We also tested Scheider Xenars vs Cooke S4's vs Super Speeds. The sharpest of the bunch, the Schneiders were the F55 of lenses. Soulless paperweights.

I am sorry to say that it seems to me that this review is somehow biased. Subjective qualities shouldn't be confused with objective ones. There is a strong emphasis on the pros, which are undoubtably many and a trivialisation of the cons. Mainly noise and DR. From the various videos posted, it is objectively evident that the GH4 performs very bad above ISO 1600. Many users say the wouldn't use it above 800. Also since most shoot 4k fot a better HD, i am focusing on HD. As another poster noted, and this is also not subjective, there is a huge DR difference between BMPCC (and obviously the A7s) and the GH4. Personally i'd go further an add that the image from the BMPCC is miles better and it costs 4x -that is four times! less. Is it as crisp - no, is it 4K - no, but the quality is not just crispness as many have noted and to which I totally agree. And also I don't understand why compression and small size is a good thing when comparing the GH4 to higher end cameras with higher bit rates and it is a bad thing when the A7s does it, compared to the 200mbps HD of the GH4.(which almost no one uses anyway as they shoot 4k which is HALF the data rate of the A7s. A 50mbps rate which is constantly under attack). Again, I believe that the GH4 is a great overall camera from the many different reviews I have read/watched but a rounded review, if it wants to be unbiased, should point out- not hide, the cons. And to my opinion, and I believe to many others, these two points Dynamic Range and Noise are quite vital. I might have misread the review, bu this is how it comes out to me.