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We under expose on Nikons to save highlights and can then easily recover shadows or back lit subjects. In real world practice it makes a real difference. I work with a lot of canon fans and when it comes to the raw files out of the d800 or A7R it really shows the weakness in canon sensors.

Thanks every for watching. I was one of the lucky ones to get it early. I uploaded a new Prores version

Also, remember that you can now set a manual aspect ratio for the project - this means that you are no longer stuck with 1920x1080 & the black bars, but can now choose to stretch & not only squeeze the footage. This means you can get 3840x1080 & not just 1920x540 - it should mean that you could also choose other aspect ratios such as 2.93:1 or 2.66:1 & automatically crop the footage by adjusting the x or y axis in the Transform tab.

Motion cadence is a phrase I use to make clients think I'm a pro.

Why get so upset over this? Nikon cameras will never be incredibly desirable for video, as you can only use their lenses on that mount. We'll always have more flexibility with Sony and canon. Why not just let a stills camera be a stills camera :)

Hey guys, New piece shot with GH4 and Isco. Great camera. Worthwhile downloading off vimeo, shot in 4k, edited in 4k and export at 2k. This is one of a series of mini shoots with some local models in AUS. Cheers Rob

Erm, just a heads up: While I know people do edit on Macbook Airs, I'd seriously consider a Macbook Pro with an nVidia GPU if you spend plenty of time in FCPX. For one-offs with simple editing, etc, the MBA will be okay, but why make life difficult? :)

It's a 36,3 megapixel sensor. It is never going to be perfect in 1080p. Comparing it to a XT-1 is silly though. Horses for courses. It's like saying the Arri Alexa is stupid because of the form factor, the GH4 is much more convenient to use...

According to the press release, they've added zebras! Woohoo!

I have a feeling what we're seeing here is the qt gamma problem showing its ugly face again.. when avchd (and probably xavc s) are played back on premier on a mac, the recovery is simply being corrected (changing outputs from 15-235). Rather than extra information in the hot highlights actually being brought back. Though i hope I am wrong.

My english isn't good too :-) With command 4 you get inspector tab at right. So you get effects tab. Go to transform....scale...click little arrow at left to get X and Y values. Y value at 50% Best.

  I said so in the review sir... Set the dial to M stills mode and shoot movies in there like normal, but with the benefits of the stills mode. Just be sure to set aspect ratio of stills to 16:9 so you get the proper framing for videos.   I actually prefer to use M stills mode for movie recording than the actual Movie Mode on the dial. In movie mode you cannot use AF-S to grab focus quickly on an object and record video with it locked rather than continuous. Also in movie mode the manual focus assist is a bit soft and peaking a quite low res affair. Pressing the shutter won’t allow me to bang off a still in movie mode either, nor can the shutter button be used to record a movie! I have set my stills to 16:9 so I get proper framing of movies in the stills mode. When I need MF I get a crisper zoomed display and when I press the shutter button I can rattle of a raw still. Only at 120fps does the framing change when I hit record in this mode and I lose the option for the cropped ‘Active Stabilisation’ for movies too but the benefits of stills mode for movies outweighs those downsides.

To me it looks like a combination of a terrible image stabilisation (especially when she walks @0:24) and slow shutter speed. So when the camera is handheld, every second you get a smooth motion followed by a hard drop - not very pleasant.

To expand on it, let's take 24 frames or one second at film rate. With film you have 24 full images, motion blur is kept in each image, not smeared netween them. With ML 5D raw, Alexa Pro Res, Red Raw, Blackmagic cameras etc, you have 24 distinct images, individually compressed either losslessly or mildly lossily. Motion blur is kept within each image. With AVCHD and other Long GOP CODECs, the I-frame image is divided into pools of pixels for analysis across time. only some frames are whole, the I frames, the rest refer the different pixel pools to the I frame and usually to a frame in the middle of the group too. In order to remove data the codec only moves what it has to. Your one second may have only two complete images, the rest are created as best can be from the other frames, with huge changes causing pixellation and blocking due to so little data headroom. On top of this, the red-channel resolution is quartered, and the blue channel halved in 4:2:0, so the spatial resolution for movement is cut down, as well as the temporal resolution. In short, the plastic movement you get from many implementations of such long GOP CODECs reflects the methods use in compression. Motion blur is also smudged and blurred by chroma sub-sampling (4:2:0:) and by interframe compression.

My buddy showed me this video last week, so I came at it from a non-video-snob perspective, and I had two initial thoughts: 1. This is the greatest thing of all time. Maybe my favorite music video ever. 2. What the hell is that gross jello effect when they place the camera on the tripods? Are they shooting this on a cellphone? So to sum up this forum dicussion: Yes, the post stabilization is gross. No, it doesn't matter.

Yeah, it's just an incremental, yet clear upgrade to a DSLR. Not something a keen cinematographer would kill for in the first place. As for the the question why some people might get upset, apparently it's psychology. Apparently some people are projecting their egos onto their Nikons, and/or expect a brand to conform to their will. On the other hand, looks like most people in this thread are excited rather than upset. Whether they want or like the D810 or not. After all, any new high megapixel Nikon is a feast for the gadget geeks, a one that will keep them busy for weeks. The D810 means a new bonanza of nerdy-nam-nam, and since it's about Nikon, this thread alone is likely to get at least ten pages of it in no time, and probably a couple of other similar threads, too. That's just how the cookie crumbles. It has little to do with actually shooting/making video. /snarkasm alert ;)

Faster CPU = Faster Export. Faster GPU = Faster Workflow.

Focal lengths are focal lengths. The sensor size they cover is independent of that. EDIT: To be clear - always calculate based on the focal length. To base FoV equivalent calculation on the projected image circle is like saying a pound of feathers is lighter than a pound of iron.

Then extra DR in the shadows becomes useful no? At 14+ stops it's right up there with the Alexa (for stills) and its awesome to work with in post. Also its not bad for video either i get pretty good results with it.

If I buy Nikon glass I can actually mount it on almost anything. This is why I stuck with F mount. Its the other way around if I bought canon glass it wont fit to F mount. F mount is a crappy mount for the cameras but on Lenses its great. I rent out my Nikkors and Fmount lenses for use on Emount, EF mount, PL mount Cameras...Its actually made my whole system very configurable. So with a D800 and Kinemini I can use every lens I own on both cameras.

Ehm no, I guess you haven't really tried.

The data behind Derek Weston's post. Like he said, if you're shooting people the 5Ds are fine. But if you want to extract every last piece of usable DR then Nikons deliver. If anyone on this forum thinks Nikon full-frame cameras are bad cameras because they stink at video they are very mistaken ;) http://home.comcast.net/~NikonD70/Charts/PDR_Landscape_scatter.htm

you probably know about this, check it out for the ones who don't http://www.vision-color.com/visionlog/

Whilst you lot have created..... what...   A bunch of astounding negativity on a forum!?

not a huge fan of the video, but,... the work involved was impressive and the song itself is pretty good.

FWIW Had a lot of success with program "cliphouse" it has speeded up our ML workflow. Its most important feature is to preview your clips very quickly (not instantly but pretty quick) giving you on set playback. we have a laptop with connected card reader, we dont offload card just use it to connect files to program for playback. Also we found it can process/export your video file in the aspect ratios you decide.

Thanks Rungunshoot for all the feedback. (I'm having issues with my forum account so Im logged in via FB until I can get it straightened out.) There was zero color correction done. This was all edited as a quick teaser of just the gh4 footage. I think some stuff worked out very well but I really wish I had the time to cleanup and improve a lot of the middle section. There's better shots I could have used. I jsut wanted to get something out quick to show. My sensibilities on these type events lean towards a cinema verite style so in the rare case I get to edit my own footage I look for unique moments. I like a flawed image so i use a lot of windows. The gh4 does seem to have a little more dr over the gh3, but not much. My opinion is the jump from gh2->3 offered a larger increase in visual quality, for how I shoot. The gh4 in some regards handles images close to the gh3 but with better fleshtones and 4k. The 4k shouldn't be dismissed though because it adds a new dimension to the image beyond clarity, which I'm at loss to describe. Maybe you could say it makes it more of what it already is... if that makes sense. Its really cool to be at the limit of your glass. I've shoot some neat stuff with vintage glass in 4k. I haven't really done very much in post with gh4 footage so I can't say. I don't think its going to be a huge leap of gh3.

Great stuff. Just up the road from me. You should flog that to Fraser Coast Tourism. You should see their video on their webiste - http://www.visitfrasercoast.com/ Yours is in another league.

I wanted to share a test video I shot with my new GH4 out at night on the streets of NYC. It was shot on the 60fps VFR mode with a Sigma 30mm 1.4 for Nikon + Metabones speed booster. I've heard lots of people saying this camera is awful for low-light shooting, but so far i'm pretty happy with it.

Here is a movie done with the SLR Magic Anamorphot 50, a 1.33X anamorphic lens. All the details are subtitled in the movie, here are the material : SLR Magic Anamorphot 50, 1.33X anamorphic lens 1-On Sony A7 with Konica Hexanon 40mm f1.8 pancake lens 2-On Olympus OM-D E-M5 with Nikon E Serie 50mm f1.8 pancake lens and Lumix 20mm pancake lens Some of the shots done with the focal reducer TurboLens, a cheaper version of the SpeedBooster Some of the shot done with SLR Magic achromatic diopters (0.33X and 1.3X) and Tokina 0.5X diopter ND variable filter No color correction