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Hi everyone, I've decided to make all of the music on my site free for commercial use as well as noncommercial. Just please credit me properly as detailed on my homepage. If you decide to use one or more of my pieces, a donation would be greatly appreciated...any amount you can swing would be helpful. As always, thanks for your feedback and I hope you find something you can use. Eric

Earlier in anamorphic forum I asked advice for export options for my first anamorphic material shot with GH4. So here is the result from my shooting: After encoding to Vimeo, material looks a bit darker. Don't know why. Exported master file isn't as dark. Maybe it is because the h.264 encoding? Please comment and share if you like, thanks! :)

Hi guys ! Yes I have just received the GH4 this morning :) 1st test : why not put my 60’s baby Hypergonar anamorphic 1.75X lens in the 4K cinema mode ? :) Fast filming, run and gun documentary style, focusing improvisation Doing 4K is for me like in 2006 when I went from SD to HDV. A huge orgasm ! Viva GH4 ! :) Baby Hypergonar anamorphic 1.75X lens on Qioptiq LINOS Mevis-C C-mount lens 35mm f1.6 (most of the shot were taken at f2) No diopter, no CC, variable Cokin ND filter EOSHD guide cineV preset settings 4KC mode 1080P streaming version on Vimeo, 4K version available for download 180° shutter speed 200 ASA

Just bought 2 x 64GB 1000x Komputerbay cards :) Fingers crossed!

So... if your goal is mostly video and not stills, why not just ignore the usual suspects, and go straight to the Digital Bolex, then? Skip the dishwasher, buy a few new dishwasher brushes and a bottle of Fairy, and save the money for the camera. I think I'd do just that, if my current dishwasher went kaputt today. ;) The D16 is quite a compelling option, albeit a bit pricey, too, for my current budget.

I thought I would introduce you to some big glass which can be had for cheap, in my case I paid £20 The ISCO 200-300 F3.5 is a Vario lens (not a zoom) used for 35mm slide projection, has a 4 inch front optic and is easily adaptable to any camera. First the lens followed by some test shots all at F3.5 of course

This talk of Canon failing has been going on for years, but it just doesn't hold up in reality. They're still the most popular camera manufacturer because they get a lot right, they just don't market to the margins because they don't need to. At least not yet. As far as I'm concerned DXO has nothing to do with the quality of a camera. I find their abstract scores to mean nothing when it comes to actually using equipment in real life. Their criteria aren't aesthetic criteria, they're chart-based scientific criteria, and the tests tell me little about how equipment will perform in production under pressure.

hello guys! i was in paros island and i lost the conversation, im not attacking anyone im not a tiger :D , i had the hacked GH2 and i found it clinical when put next to my other footage, clinical meaning more bluish-colder in tones,(like the inside of a hospital.) also some purple/magenta in skin tones, As i said its my personal opinion as i am a fan of warm earthy colours (this is subjective.) i noticed on the said clip that the people on the beggining have very whitish skin tones, i dont say that you cant bring the colours in post, was talking about the specific clip and my experience with out of camera footage from lumix..Thats the drawback in lumix, you need to be an excellent colourist, otherwise your footage looks strange. this is something i shot on saturday in paros island at a ceramics workshop by chance. no color correction straight out of the sensor, handheld unplanned, has 100 mistakes, blurs, but i dont have to worry about the colours that much, i love using out of camera footage and not spending any time in post, thats just my personal style By the way i read on the ferry "If its purple someone is going to die" on film colour theory, i think most of you will love it, and every shot a rembrandt one of the best books on cinematography out there, very interesting stuff in there!

if it were only for sharpness, all we would need is the GH4 having an EXT TELE CONV of x1.2 and internally recording 1080P this would use the native pixels of the 3840*2160, and downscale it to FHD, like it does now on the HDMI output.. a 'reasonable' upgrade request...?

You will need at least 3 64GB cards. One in the camera, one transferring on set, and one for backup/emergency. Make sure you're running USB 3.0 as well.

Pretty much agree with everything said. My workflow is a little different (I don't get along with Davinci), but until this point, I'd say the same. Yes, buy more. Get Komputerbays, they're MUCH cheaper, but beware because some are bad and won't keep up the required speed. If you come across a particularly bad translated part, tell me about it, and I'll try to beat google translator on the job. hahaha. :) I was supposed to translate this whole thing, but I'm lacking the patience to go through 100 pages. hehe

  Nice test.   Pretty much backs up my own less scientific 'by-eye' comparison between my BMPCC and GH4. Usable dynamic range is almost identical.

What I found interesting to see is that they measured the greatest dynamic range and best Signal to Noise at ISO 100 (measured at ISO 88), you have only access to ISO 100 when you turn on the Extended ISO range, something I never did before now :-) I have just published a blogpost comparing the usable dynamic range of the BMPCC, Nikon D800 and GH4. I also show how I conducted these tests. In my opinion the usable dynamic range is around 7 stops. If I did something wrong in these tests I would really like to know how I could improve it.

You just came to a forum posting about technical specs and complained about people caring about technical specs. We don't need another obligatory "it's not the tool that matters, it's the artist" post.

For Premiere 5.5 I would right click on the footage in the project window and select Modify -> Interpret Footage. Make sure framerate is set to 25fps and Field Order is set to No Fields (Progressive Scan). Hopefully that will be enough clear the problem.

5D3 H.264 needs decent sharpening in post: still not super detailed, but is workable if using sharp lenses. 5D3 RAW sharpened in Resolve or (even better), ACR, is very solid for 1080p. A sharpened 5D3 RAW shot compares very well to even a 4K GH4 shot projected on a 20' 4K screen (saw this in person). 14-bit 5D3 RAW still looks great compared to the GH4 4K and A7S (examples so far): Still no direct competition at that price point for 5D3 RAW color, color science and decent 1080p resolution. The workflow and disk space requirements are another story (I'm shooting mostly with the GH4 now).

I'll try and clear up a few bits: You can edit ProRes on Windows Premiere without installing Miraizon. I have done this many times. Miraizon allows you to encode to ProRes straight from Premiere or via Media Encoder. You cannot do this without Miraizon. Here's an example of it in use: I bought DNxHD and ProRes QuickTime Codecs from here http://www.miraizon.com/store/store.html For the money I can't see a problem with this bit of software. *** On Premiere, yes it's a 32-bit floating-point engine, though you won't always see this in timeline, unless you choose Maximum Bit Depth in sequence settings. As long as you tick the Render at Maximum Depth box at render, you'll get best colour space. If you don't, banding is a lot worse. So tick it! :) The maximum render quality setting at the bottom affects scaling only. Tick this if you've scaled at all in your project. *** I never transcode to an intermediate unless my computer can't play back footage in real time. You don't gain anything visually, as all processing is done in 32-bit. The colour you lost at compression in camera was, you guessed it, lost at compression in camera. Turning 8-bit to 10-bit won't give you any benefit, so if your computer is powerful enough, edit native 5D to RGB did have some arguable benefit, intelligently reshaping the red channel of 4:2:0 footage, but Premiere is pretty good at it all to be honest, so I'd save the disk space and time. Being able to output ProRes from PC is great, as many film festivals and clients want it.