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Maxotics- Haven't seen ascii art in a while. I understand what you are saying. I think that this applies to more of a bi-linear method though? If you were using a rules based algorithm, like in an adaptive laplacian method, this might help prevent the horizontal (or perfectly vertical) problem? I'm interested in learning more about FPGA programming, and experimenting with de-bayering, but this all makes me think that 3 chip cameras are not dead yet... unless someone invents a chip that has substrates like color film.

I find it best to put your imagination in the form of a sensor. Each pixel of your eye sees either red, green or blue. Keep this grid in mind for a 20x5 sensor R=Red, G=Green, B=Blue RGRGRGRGRGRGRGRGRGRG GBGBGBGBGBGBGBGBGBGBG RGRGRGRGRGRGRGRGRGRG GBGBGBGBGBGBGBGBGBGBG RGRGRGRGRGRGRGRGRGRG If you're out in a field and shoot a landscape with a power-line glinting in the sun, how does the sensor "see" it? If the line is perfectly horizontal to the sensor and is two pixels high, then each sensel is debayering using the same light. The 4 sensels get full values for Red, Green and Blue. They de-bayer them and each comes up with white light. The power line will look perfect. These are the pixels that "see" the line RGRGRGRGRGRGRGRGRGRG GBGBGBGBGBGBGBGBGBGBG Now let's imagine that the line is only one pixel high. That means you might have full red, green, red, green, and NO light from the line on green, blue, green blue, etc. So what happens when you de-bayer each block of 4 pixels? Naturally, you get a redish tint because the power line didn't register on the blue pixels. RGRGRGRGRGRGRGRGRGRG If the line is on the green. blue line of the sensor, you get bluish (because it's missing red). Keep in mind, the field is green, so the sensor isn't going to figure out the missing red or blue if it doesn't register it. These are the sensels the register GBGBGBGBGBGBGBGBGBGBG Usually, "lines" fall above and blow sensor pixels. If you look at any video with these cameras and look as thin lines you will usually see some form of chromatic distortion because, as jcs says, the camera isn't resolving enough detail (color samples). In general, there are issues with missing color at all stated resolutions for bayer sensors. It blends in when we don't have sharp edges that fall between a minimum of 3 pixels we need to properly ascertain the color

In simple terms, it's possible to get decent reconstruction using statistical analysis (vs. simpler methods such as bilinear interpolation (which is easy to code and is very fast)). If one starts with super high resolution, such as with RED (say 5K) and are targeting 2K, the quality of the debayer step is less important than say 5D3 RAW 2K debayered to 2K (ACR and Resolve do a much better job than the on-camera hardware+firmware: much sharper and more detailed images when debayered in post). Interestingly , RED Epic at 5K debayered (and without any sharpening) looks softer and less detailed than GH4 4K H.264 compressed (100Mbps):

Along with such disappointing video quality on both of Nikon's flagship models the D4S and D810, it's suggested by some that Nikon do not care about video on DSLRs because it is a small market. They make stills cameras! Video is a tiny niche. And so it goes, on and on (mainly from people on photography forums and not actual working pros)... So I was very much taken aback to see 34 mentions of "video", 14 mentions of "cinema" and 10 mentions of "broadcast" in their official press release for the D810. That compares to only 18 mentions of "photographer", 4 mentions of "photography" and zero mention of the word "still" or "stills" in the entire release. Read the full article here

Slog2

I'm sorry, it sounded like you were saying you couldn't get an actual 4k sized image after de-bayering, I think I took the part about the "Nyquist 2x sample theory" and "A 4K Bayer sensor can't actually capture 4K- it's some percentage less, perhaps 3.2K-3.8K" a little too literally. I can see now that you were just saying that it's not true trichroic RGB. And you think with 5k to 2k, the de-bayering factor is less important than 2k to 2k. Got spammed with an interesting article on 4k today from RedShark news. "Before we all leap into 4K, maybe we need to understand resolution better!" http://www.redsharknews.com/technology/item/1799-before-we-all-leap-into-4k,-we-need-to-understand-resolution-better?utm_source=www.lwks.com+subscribers&utm_campaign=fe5b3d60da-RSN_June27_2014&utm_medium=email&utm_term=0_079aaa3026-fe5b3d60da-76206849 Essentially he's making a point about motion and how higher resolutions change the perception of motion.

GH4 CODEC INFORMATION: (GH3 1080P has profile 4.2 cbr about 50Mbs) GH4 1080P has profile 5.0 vbr about 80Mbs max 106Mbs GH4 4k has profile 5.1 vbr about 80Mbs max 106Mbs Bitrate bits/pixel/frame: GH3 50P-0.457 GH4 60P-0.652 GH4 4k 30P-0.313 GH4 4k has relatively slow bitrate per pixel but I think that better profile compensates that partly. GH4 files are more difficult to decompress because of more complex profile. I found also an interesting thing: When shooting 1080P video in creative video mode it uses video profile 5.0 When shooting in photo mode using red video button is uses video profile 4.2

  Yeah Nikon are really going to give us oversampled 4K video on a DSLR aren't they??! What from? 8K!?

Tiffen NDs are the best at a good price , they are superb I use them all the time .(They where used on Need for Speed and Act of Valor movies by Shane Hurlbut) get ND 2, 4, 8 and 16 and stack them to get the exposure you need I never shoot outside without NDs , and I often shoot outside in bright daylight at f1.7 using Tiffen NDs I NEVER use a vari ND as they give odd results including artifacts , rainbow fringing , wierd flares etc and I just do not like what they do to your images. a vari ND is basically 2 polarizers stacked and rotated together (you can make one easily cheaply yourself this way if you so wish!) stick to normal NDs and you cant go wrong. Yes I do use NDs inside on set if Im shooting wide open and need to knock down the exposure to keep a narrow DOF. Tiffen NDs for digital cameras http://www.tiffen.com/press_release_hv_filter_kits.html

I think the way you record your scene depends on many things, the mood and style of your production, and what you wish to accomplish, and of course how you're shooting the scene(s). If it is possible in any way, I'd record both characters separately either with a 'shotgun' or a lavalier, and then worry about the final soundtrack when editing. As a general rule of thumb, always try to get as good an audio track as you can. That's where a small recorder like the H1 or two come handy. I'd say that forget about the scientific thingies and worry more about catching good audio of all your talents, experiment, use your ears and watch movies and TV documentaries for inspiration and reference. I'm not a seasoned expert but that's what I did and do. When we have limited resources to use, we sometimes need to improvise and make do with less. But that's where the inexpensive tools like the H1, a couple of stands, flash brackets and the Røde Videomic come handy. You need only one dead cat to cover the microphone part of the H1. Covering the body with one doesn't help at all. Don't put the H1 in the suspender, get a mic like the Videomic Pro and plug that into the input of the H1. In other words, use the H1 as a recorder, not as a microphone. Buy a cheap bracket to attach the H1 and the mic onto if necessary. If the mic has no suspender of its own, (the Videomic does), put the mic into the suspender, and attach the H1 somewhere within the reach of the microphone cable. When you've got two mics, you can plug one into the H1 and another straight into your camera. I hope this helps. I think selling the H1 would be a mistake, because there's nothing wrong with it. It's quite a handy and compact sized tool, despite its shortcomings. Especially for its price. I use one as a field recorder with one of my mics most of the time. It is quite usable as a standalone microphone, too, when you can use it on a table tripod, for example, or on a light stand that no one is touching. It's quite handy for recording sound effects and a sound bed for your soundtrack. I also use the H1 as a USB microphone when doing hangouts online. So my advice would be to keep the H1, learn how to use it, and buy a couple of microphones to accompany it. It doesn't matter which mics you end up buying, because they won't make the H1 useless. If you end up buying a better recorder at some point, you could still use the H1 as a secondary recorder, with a lavalier mic, for example. Two recorders is always better than one.

@jonpais both picture styles developped by canon and/or users allow you to go way further in your color correction in post production. It allows you to adjust your scene and angles to your color desire for post production and thus gives you more color integrity from one shot to another because you see it work while doing it. That is what can be as close as professional filmaking. The aptitude to put a log (or a lut for canon Raw) in the camera is even much more efficient. Without it you might have a bit too much differences from one shot another and will loose the few dynamic range you have left from H264 to adjust your shots before laying your real color correction. Not so many projects require heavy color correction for tv or shows but a filmick look for cinema, tv commercials or serials is always kind of heavy. That's why a good neutral style (for example) helps you to get back the more dynamic range from what your camera is capable of. This is a thing you can achieve, on a lot of cameras, but the few DSLRs that can use log, lut or color profiles precisely made it efficient (and not just pushing down contrast and gama in the camera's menu), these few cameras really help to get the most neutral preset and effective to edit color in your movie and with another picture style make you preview in some test what is possible to achieve with their files and what will fall appart in post production. So, yes the color correction stays in post production, but you can concieve it before on the most efficient way with this tool and most of the time you can even tweak your picture to get the most your sensor could get for it to be done well. And I think that's a pitty that such nice sensors as Panasonic can't benefit from similar tools, as, for me, since the gh2, they have been on top of what DSLRs could expect for home-made filmmaking with real ambitions. That's much more a frustrating comparision point than a real flaw, I admit it, a flaw would be it not working or not concievable with these cameras. The frustration comes when you clearly see that panasonic, nikon, etc could provide such a color profile tool, but they simply don't. And taking pictures is about color, isn't it? Blackmagic, is much more a personnal experience for me, if you like them, then that's good but until now my experience with them show that they are not reliable enough to prepare profesionnal projects on their products. Blackmagic are good cameras nearly professional broadcasting tools for 1/5 the price, at least, wich is fantastic when they work fine, but their distibution was so hazardous since the beginning, their distributors spent so much money taking the orders for a long period of waiting line, it did put so many people in danger financially for small structures (distributors and projects waiting to get it, just remember how they promised delivery dates for some pre ordering people that never touched them in time), this really has been the weirdest thing I have ever seen since a long time in this domain. I waited to be able to get one for one year and I have been working with their other products for post production on many times, if it works that's terrific, if it crashes you're out alone in the desert facing your black magic equipment. The after sale service is simply not ready yet to deal with their amount of buyers. That's why for me blackmagic, until now cannot be taken seriously, their design and effectivness are great but only as long as they work. When they don't, compare to panasonic, sony, nikon, canon, you're done.

I have a feeling they'll do what they always do. Wait about a year or two on everyone else... then make the best one ;)

Aren't those Cinelike- profiles "loggy" already? This roumor sounds to me like they're going to introduce another log profile. If you shoot log, you NEED a colourist ) There are plenty of GH4 vids at Vimeo shot Cinelike- and shouting - i don't know what to do with the colours! )