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Here it comes :

It would be a nice addition for Panasonic to implement a Cinemascope aspect ratio right in camera using as much of the width of the sensor as possible. It is nice to have 2880 vertical resolution for anamorphic but the horizontal resolution suffers. (Not to deny the value of the special look of anamorphic lenses) The sensor is 4608 pixels wide. 4608 / 2.35 is just over 1960. 4608 x 1960 is a few more pixels than 3840 x 2160 (9,031,680 versus 8,294,400) and just a bit larger than 4096x2160 (8,847,360 total pixels). One would assume that they could do 4608 x 1960 at 24 fps at least. I would love to have that frame width! Or they could do 4512 x 1920 (8,663,040) or stick to their current pixel count at 4414 × 1878 (8,289,492) for 30 fps. David

Wow, Panasonic really wants my money!!! It's so positive not only from a features/price ratio, but from the fact that they are finally listening what people wants!!!!!!! :P :lol: :D ;) I had the LX100 in my radar, but this could change everything!!!

This was so informative. Obviously you've done your homework Andrew. I cannot wait to see some new anamorphic shooting as a result of this! It's such a beautiful look. Panasonic has been great about listening to it's users. They might be up there with the very best, especially when it comes to it's cameras.

Very interesting. The announcement was so photos oriented that I missed the anamorphic implications. Almost enough to make me want to deal with the hassle...almost. ;-) I really, really, (really) hope that Panasonic listens in regards to higher quality color output. Be that RAW, or even uncompressed 4:2:2 in a true log format. It's wonderful how the GH4 can record light weight 4K images in camera to SD, but it would be equally wonderful to have the option to record higher quality to an external recorder when warranted.

With the success of the the GH4 all over the world as Panasonic says especially in Europe can y'all imagine how good the next GH camera will be. Good job Panasonic for at least listening to consumers and trying to give us what we want.

Aspect ratios including 4:3, 3:2, 16:9, and 1:1. Limited to 29.97P for U.S and 25P for 50Hz shooting. Shooters have the ability to shoot in Cine Picture profiles with full-manual controls. No 23.98 or 24P in PhotoMode. The 1:1 aspect ratio with a 2x anamorphic is a native 16:9. Internal recording at 100 Mb/s. HDMI output is still enabled! Might be a huge advantage to shoot anamorphic with a ShoGun after all! Will the GH4 embed the 1:1, 3:2, and 4:3 in a 3840x2160? I'm noticing a completely different grain structure in PhotoMode... Shot a 16x9 in 3840x2160 in Movie Mode and a 16x9 at 3840x2160 in PhotoMode and the grain texture in PhotoMode shows signs of compression artifacts not found on professional video or film cameras. Sorry. It's almost as if the sensor is acting differently. It's possible to notice the grain-structure change in 10x LiveView. The codec already has issues with recording in low-light, as seen by Dave Dugdale's GH4 vs. A7S demonstration (Dave's video mentions how a white background in low-light causes strange codec issues... I'm in a similar circumstance and it's helping to distinguish the new noise-floor patterns). This new grain texture appears to be present at ISO 320 and above. The white backdrop is close to 35 - 45% luminance values and not 80 - 95%). Needs more testing and proper lighting. Also, I'm under a 5200k CFL and not a professional non-strobing video light. However, this may be distinguishable in future tests with proper lighting and at low ISO values. Keep an eye out for it. Other info about 2.0 firmware... - - No new Gamma Picture profile. - - No 23.98 in 4096x2160.

you can make your own diffussion very cheaply - stretch nylons over the back of the lens - this is an old Hollywood trick that works a treat - they have been doing it for years - how tight you stretch it effects the amount of diffussion. Janusz Kaminski’s work with Steven Spielberg uses this alot , as well as Joe Wright’s Atonement, shot by Seamus McGarvey, have a read of this ! http://coltondavie.com/tests/testing-net-diffusion/

This is great info. Thanks, Andy! Much appreciated.

  Panasonic understand indie filmmaking better than any other manufacturer and with this, they're showing some real cinema DNA in their products. Great gift for us and can't wait to see what happens next.

Nice.

Shooting 4:3 in 24p on the GH4 is a very, very exciting prospect. Do keep us anamorphic shooters posted, Andrew!

  Indeed, and focus hasn't come much further than the 70's in 2014. Time it was sorted out.

George lukas had focus pullers measuring distances and taking notes :p

Great news. Here some size comparisons with 2x stretch preview. Personally I think the 1:1 would be my favourite, anamorphic look with realestate.

The only thing oversimplified here was your response. I took the time to read the financial reports for Canon and Panasonic. As someone else previously mentioned, Canon is making a profit currently and Panasonic is losing money. It's starting to get clearer what Canon's strategy is here. With the market for mass market cameras shrinking due to competition from cell phones, etc., they have evidently decided to preserve profits by cutting product development costs except for their high margin lines. So their APS-C cameras have shared the same sensor design for the last five years. 4K capability was added only to their two most expensive cameras. The only real innovation added to any Canon model under $10,000 in the last few years that I can think of has been "dual-pixel" focusing on a few models. Panasonic and Sony are doing the opposite - taking some losses to make cameras so advanced that they hope cell phones can't compete with them. For the advanced videographer who doesn't have $15,000 or more to spend on a camera, currently the best choice of what to buy, I'm sorry to say, is probably a camera that doesn't say "Canon" on it.

You have a good take on what probably occurred. Unfortunately this is a symptom of business practices that have been happening in the video camera market for a long time. In the olden days you had television stations making tons of money, and therefore willing to pay sky-high prices for equipment. At one time the prices may have been justified, but when the home video market took off, manufacturers of video gear had a problem - how to offer VCRs and camcorders at prices affordable to the consumer, while not risking the fat margins they were making on the professional stuff? The solution of course was to deliberately cripple the consumer gear, by both cutting the resolution and color depth that could be recorded and played back. Effectively both consumers and pros got screwed by this, while the manufacturers laughed their way to the bank. Amateur and low-budget filmmakers got screwed worst of all - forced to make their creations on crippled formats (like DV), just so the manufacturers could protect their high profit margins on the pro gear. Then Canon added video recording to the 5D, and low/no budget filmmakers rejoiced because it seemed like we were on the verge of finally being able to make movies as good looking as the pros were able to do with their $50,000 cameras. Canon however saw it as an opportunity, as you said, to make something for the high margin crowd. How high margin? Well, the C300 came out with an 8 megapixel APS-C sensor that was likely just a mild re-spin of the original 8 megapixel APS-C sensor from the old Rebel XT. They threw in a faster CPU that could handle the frame rate and some professional audio connectors, and presto they had something they could sell for $15,000. With a parts list that probably doesn't exceed $500 in total cost. This probably explains why Canon is making a profit while some other makers are currently losing money.

I did mention earlier in this thread Pentax 40mm f2.8 and Carl Zeiss 35mm Flektogon both work nicely . also the Russian KMZ 45mm f3.5 Mir 26 in Kiev mount/pentacon 6 is a very nice medium format lens - great resolution and has that Russian single coating look / flare - I found this a very nice lens for the Schneider.....and its cheap on ebay too. Also the Carl Zeiss 45mm f2.8 pancake lens in C/Y mount has that classic Zeiss pop look to it....a very very sharp combo with the schneider !! there are alot of lens in the 35- 45mm range to use. another nice Russian lens for character is the Mir-1B 37mm, f/2.8 Im sure Rich will be pleased to flog you a FF38 too as thats an option ! mutant Russian optics redone in his style . ps I almost forgot an insanly good cheap lens is the 35mm Fujinon f1.7 (made in Japan NOT FUJIAN MADE IN CHINA ) in cmount (it needs a quick modification to fit a c mount adaptor - BUT its a steller sharp Carl Zeiss Distagon equivilent lens great contrast and colours ......insanley good and fast for shooting outside at night wide open ....

I love raw on the 5D Mark III. Magic Lantern worked a large miracle with it.   The thing is, the more the practical realities hit home, the more I am looking to make a few trade offs in image quality in order to get more manageable file sizes and a more reliable running camera.   I haven't yet had a single shoot where raw recording did not stop unexpectedly.   And I am missing shots because I can't record too much material due to space considerations. I recently did a shoot of a band in a music studio, 4 songs and each musician filmed separately laying down a track. Drums, guitar, bass, keyboard and vocals. I shot it with the A7S at 50Mbit/s, H.264 XAVC-S and ended up with 80GB of material after the 8 hour shoot was over. Can you imagine how much that would be in raw?   This is where pixel peeping fails and fails badly. It's actual of zero benefit when you have a situation as I described above. We can talk about compression artefacts and workflow until the cows come home, but if you have to start missing shots, or managing data whilst you should be shooting, it really interferes with the creative process.   Still a big fan of raw but... you've gotta pick the right tool for the job.

Wow, too. And nothing ironical this time, keep up the great work.

We put the GH4 through its paces last week with this 3 min. short about Boulder, Colorado. Check it out!

I 've just won mine today, I am really excited to mount it on the FM with my 5D. I hope I didn't get a crappy one. paid 106 euro

It's a shame not all Windows apps can 2x scale, as I'm a committed Windows man. Apple do have advantage here with the closed hardware loop.

No problem! I thought these forums were to share information and not the tight lipped approach some have. Anyway, I am always looking for alternatives to Slog. I don't like restricting myself to 3200 ISO+, so if you find something you like, please post. Thanks!

Thanks for the settings smon222, will try that out.

I believe alot of people would like to know to play around with it. But he has only given the basic and you need to figure out the rest to your taste. Here is a popular setting that doesn't use S-Log that you can fine tune if needed. Black Level: +10 Gamma: Cine2 Black Gamma: Wide, +5 Knee: 75%, -1 Color Mode: Cinema Saturation -1 Color Phase +1 Color Depth: R+6, G-4, B+2, C+1, M+1, Y-1 Detail: Level…+4, Adjust…B/W Type3, Limit 7

would also love to know the settings ;)

Thanks for the guidance Gonzalo. :)

The lighting and motion on this is really great. Well done sir.

Great video. Would love to know the custom settings you used...

Agreed. Those tones look as natural as can be and the video is very nicely done. What kind of things did you do during the grade?