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Hey guys, I've written a really simple command line app for Mac that will resample GH4 footage from 4K 4:2:0 to 2K 4:4:4 using pixel summing. This will give you real 10 bit data in the luminance channel, so it's not just doing a brute-force bump from 8 bits to 10 bits. There actually is some interesting pixel finagling going on here: http://www.mediafire.com/download/f7h950spj5hrn9f/gh444.dmg There's no GUI, so you'll need to run it from the terminal. Do this by copying the app into the directory that contains the GH4 MOV files and using the following command in a terminal: ./gh444 INPUTFILE.MOV Make sure you cd to the current directory first if necessary. You can do this by typing "cd" into the terminal, add a space, and then drag the folder containing the MOV files into the terminal window. It will automatically add the path to the cd command. It'll look like this: cd /path/to/gh4/files The app will spit numbered DPX frames out in a folder named "dpx_out." I'd love for you guys to give it a try and see if you find it useful!

I just watched this video and it convinced me that the C100 is still far and away the best all-round moving-image camera under $5000. The image is just awesome despite the specs and there are no compromises with functionality (apart from the poor EVF - does anyone use the C100's EVF effectively on a regular basis?).

lovely video, and Belfast, I love the king crimson's music

If this were an A7S video you would say something about colors or skin tones being off :) But seriously, nice video even though the quality of the grades was a bit uneven. 70% of it looks really nice, the other 30% has this green cast, especially on people's skin.

And don't forget the 35-100mm as well.

Erik, I follow your blog. I buy much of what you say from the perspective of a fellow working cameraman who pays his mortgage with TV work. Many of the user unfriendly features become a deal breaker on field. While acceptable for the personal art project, when the meter's running high, delays with gear futzing or failure loses you clients fast. I'll probably end up getting an A7s but won't use it for work until it's rigged right. I use on board monitors with DSLR's because I'm expected to get virtually everything in focus. So I'd go the Shogun route. Now if I can find a reliable way to secure HDMI.

You'd have to rent them each, perform some real-word tests and see which meets your minimum requirement. You get what you pay for with glass but the FE 1.8/55 IMO is actually quite a bargain. DXO is akin to a "job interview for a lens" a lenses character is only revealed when stressed under different/challenging shooting conditions. Just like a persons character is! And by magic, this just appeared over on TOP: How To Get the Best Performance from Your Camera Lens, Parts I and II (TOP Classic)

Look at the Canon 24-70 f4 IS - $1500 and Sony has their equivalent at $1200. They are pricing around the market.

That might be true for still photography with an 36 mp sensor.. Others considered any ol' AIS 50 as good enough, in their vision content is king...

Michael1, Canon 50/1.8II is only $125 compared to the Nikon 50/1.8G. Leica 50/2 APO just got a $1000 price increase to north of $8K. Sigma 50/1.4 ART is about $1000. Zeiss Otus 50/1.4 is about $4000. Lots of choices for consumers, with many tradeoffs across those choices. The Otus is four times the price of the FE 55 or Sigma Art 50. Some consider the FE 55 and Sigma Art 50 among the greatest bargains in lenses.

Yes that could work, I try to avoid proxies if I can. I am not sure about the latest version but as far as I know premiere doesn't have a good way of switching between online and offline editing. In the past I have rendered out high quality 'fat' versions to a blackmagic codec and then edit friendly proxies to another format, each to there own master folder. I made sure to keep the name and flie type identical as well as file structure in each master folder the same for both versions. Premiere would read files from the proxy folder for edit, when I wanted to render the final I would rename the folders so the 'fat' version root folder was the same as the old name for the proxy folder. Then when you open premiere it will automatically read the 'fat' versions. A total hack but it worked well enough for small projects.

What that article shows is that the Economist doesn't know much about cameras, and their view is a typical US-centric at that, borrowed from some other site or publication, and edited slightly. Looks like typical copy-paste journalism in action, or just another meaningless filler story. Next story, please. That sentence has a strange logic. It's a bit like saying that if, for example, you don't buy the official 911 story, you must also be a 1969 moon landing and a holocaust denier, UFO nutter, and a rabid home grown terrorist nut job. And so on. Or that if you don't write about the Fisker Karma, Chrysler Volt or whatever geeky car designed by some South African tycoon, you can't know anything about motorcycles, either. I believe the Economist do know a thing or two about a number of issues, but mirrorless cameras just aren't one of them. Which is hardly surprising.

Hmmm, i'd prefer to see green leaves and red buttons in one shot

I shot this music video for The Fold using the GH3, and a couple of car exterior shots with the Blackmagic Pocket Camera.   https://vimeo.com/76622768     Lenses: Panasonic 12-35 2.8, Rokinon 35 & 85. Black Pro Mist 1/4 filter on most shots.   I used an Ice Light for a couple of shots where I had no access to power, and it totally screwed me. Check out the motel scene, and  you will notice rolling bands. I later figured out if the intesity of the light wasnt at 100 then it created the bands. For the most part I was totally pleased with the GH3, especially with the 60p.    

Hi everyone, I'd like to share my new short film 'a moment before awakening'  Created by me in Bory Tucholskie National Park (Poland) Hope you'll like it YT https://www.youtube.com/watch?v=cvsaVcFnKw8 or VIMEO https://vimeo.com/74399092  

A short compilation of footage from a recent trip to Ireland. Thank you Andrew for putting together the 5d raw shooting guide, it was invaluable.       http://vimeo.com/72332567