markm

[quote name='markm' timestamp='1342557250' post='14056'] I would use driftwoods hack to make a feature film but I'd make sure I used the right card. I've never had a problem with driftwoods latest raft of hacks in fact they are brilliant. But why do it when the BMC is on the horizon! Sorry Andrew I know you haven't said it but I wouldn't use the 44mb for pro use. The GH2 may miff quite a few professionals with nice shiny C300's and the like I feel some sympathy for those who spent many thousands on these cameras. [/quote] Changed my mind went out on a shoot this morning and lost 3 damn good shots using Driftwoods day hack. Will only use something they say is ultra stable. Lesson learnt!

[quote name='EOSHD' timestamp='1342483634' post='14003'] Thank you for coming on the board Steve. For sure the hack is not stable. The extremely high bitrate 'performance' versions are not designed to be the go-to patches for reliability on paid work. Please if anyone is thinking of taking an untested GH2 straight out of the box onto a paid shoot with Driftwood's hack, don't do it. Think about reliability. The 44Mbit image looks almost as good as the 176Mbit version. Driftwood himself gives a variety of patches, some are designed for performance and some for reliability. Lighting is subjective, it is interesting that people reacted more to the lighting than to the cameras and this is a testament to the job those Japanese engineers did at Panasonic to put so MUCH into a consumer cam. It is crazy! But wonderful. Because it opens doors. Long may it continue. I thought that with the huge window at the back, it was too much of a stretch of logic to accept a dark room. Colt seemed to be the only DP to question this. To prove this. But your explanation of Colt's lighting makes perfect sense - the audience reacted to that illusion of dynamic range. He did a great job, because cinema, after all... Is an illusion. I can see why you guys wanted the darker room and brighter window - as a test of the cameras. [/quote] I would use driftwoods hack to make a feature film but I'd make sure I used the right card. I've never had a problem with driftwoods latest raft of hacks in fact they are brilliant. But why do it when the BMC is on the horizon! Sorry Andrew I know you haven't said it but I wouldn't use the 44mb for pro use. The GH2 may miff quite a few professionals with nice shiny C300's and the like I feel some sympathy for those who spent many thousands on these cameras.

Nice seeing Nick Driftwood there! The GH2 On this test looked the best to me. However having said that the lighting was controlled and so they didn't need to worry about over or under exposing they could give the camera an easy ride in its very own demo mode. However the real world is not like that as you can't turn the sun down or the moon up and a huge amount of problems that only the best cameras will solve. Still nice to know the GH2 with a good DP can be every bit as good as a more expensive camera and give a beautiful filmic look. To me the GH2 mullered the C300!

Amanda if you can't get what you're looking for Maybe you could consider something like this, estimate sales figures by using a formula you prepare and describe. Maybe Four calculations like worst Average Good and excellent. How much you could lose and what plans are in place if you do. As an example You could make a graph or chart and say if a thousand people buy a certain camera that can use your accessory and 5% buy your accessory and then go up to 10% 15% 20% You could mention your different areas of advertising selling and why and how you can reach x number of people or companies.

Andrew 1) It would be nice to have video competitions or even somewhere to show your latest film or test film but if you did think about this I'd be careful about making rules and then sticking to them as it takes a lot of time and effort to make something even though it might be fun and then real annoyance when a pro steps in and takes first prize or someone enters a film so good but is outside the set rules. 2) I'm not sure its time yet to have separate forums for different cameras and so I'd go with the forum as it is for now. Definately something to consider for the future though. 

http://www.tvtechnology.com/news/0086/sony-sinks-nearly--billion-into-hdr-capable-stacked-cmos-sensors-/214069 [i][color=brown]Looks like it's all change! I wonder if the cameras will do away with an iris ;) maybe just have one half open. Maybe in professional studios the camera operator will become head of the camera department after all who needs a DP when you can create your own lighting in post. [/color] [/i] TOKYO: Sony is planning to invest 80 billion yen—around $994 million—to step up production of stacked CMOS image sensors. The corporate parent wants the Nagasaki Technology Center to crank out as many as 60,000 wafers a month by the end of September 2013. engadget notes that stacked CMOS sensors render devices capable of capturing high-dynamic range video. “In light of the rapidly expanding demand for smartphones and tablets, Sony plans to continue to solidify its leading global position in CMOS image sensors by strengthening its production capabilities for stacked CMOS image sensors, which provide greater performance in a more compact form,” the company said. “Furthermore, Sony intends to accelerate its growth strategy by incorporating superior core technologies, including stacked CMOS image sensors, into a wide range of products for its digital imaging and mobile businesses, which are priorities within its electronics business.” Sony will start pumping money into the project this fall. In addition, the company will utilize a governmental subsidy provided by the Ministry of Economy, Trade and Industry in Japan.

rich I guess this is aimed more at indie film makers. £20,000 could get you an F3 with primes and a recorder. That could be an upper limit for an indie film maker if you wanted to really go to town. The lower limit being the GH2. From my point of view I cant afford to invest in gear this year only to find next year its a tenth of the price and out of date. Its literally stopping me from investing in a camera now. The only investment I see as worthwhile is the GH2 and I miss the for factor and goodies of a proper video camera but just cannot justify the prices being asked and in a recession. For those in my situation the BMC is brilliant. Although it shows the way it could still be done better IE larger sensor better mounting options etc. I think they may have missed an opportunity here that could cost them later. The problem really is that the BMC will be followed up by a newer model that does the things it doesnt Whereas the BMC could have been a better spec in the first place for a target price of about £4000. The BMC has now given fair warning to Japanese manufacturers that others CAN cut the cost unlike red or ikonoscop and a lone manufacturer may just step in from nowhere like Red threatened to do. Sony craftily sit on the sidelines with the FS700 ready to switch to 4k if and when this happens and the peripheral needed at a cost that competes IE the gamma curve on its media that cost £2700 that came down to nothing when the C300 competed. Personally I think the manufacturers apart from BMC are still trying  to maintain the old school of expensive unnafordable pro gear except by TV and hollywood and a crippled indie market for the rest of us. How soon will it be before the manufacturers unwillingless to let go of crippled and overpriced cameras leads to a complete change where even a camera like the Alexa is superceded by a £2000 camera made in china. From what I can see there are already a lot of unhappy people out there who invested and got bit. I'm not queuing up to be one of them. For me the GH2 and perhaps the BMC will do until the manufacturers manage to sort themselves out. Funny how they have all those marketing people paid wonderful salaries who can't work out the obvious.

If I was serious about making a film I would choose the BMC. The FS700 is 8 Bit 4.2.2 out. I'm not sure if that could change if it ever gets its 4k option.

The only improvement I can see is the codec or sensor and they no longer have to provide a fixed lens So are you really paying for R&D costs. Although since the 5dm2 and the release of large sensor cameras like the GH2 Shouldnt that cost be coming way down. £20,000 or £600 just for a sensor to be unlocked perhaps in some cases. As for ND filters 10 bit out form factor ALL been done before and often rather better. Wouldn't an F3, C300 or a Sony FS700  as well as a lot of the overpriced DSLR's like the 5dm3 be a waste of money. The evidence is there with the BMC and the GH2 Surely anyone investing in cameras right now will see their investment slide to worthless as manufacturers like BM make hit after hit either forcing other manufacturers to lower prices or to go out of business. Although this is a great time for film makers there is now the potential to lose thousands within a year even.

Thanks for the info Axel. I don't think there can be much of an advantage using the ninja as you end up with 8 bit 4.2.0 You can't use ex tele and with driftwoods NEW hacks I'm better off.

Seemingly the GH2 does have clean HDMI out? http://atomos.activehosted.com/kb/article/input-sources/dslr-cameras/panasonic-gh2 Can this be true 8b it 4.2.2 or is there a catch?

One thing I'd REALLY really like is HDMI output prefer 10 but know its going to be 8 bit The real biggies for me are 1) A bigger crop mode that covers super 16mm lenses better. 2) [color=blue][font=trebuchet ms][b]HDMI out for crop mode.[/b][/font][/color] ;D That with Vitaliy hacks and Lovely Jubbly  :)

[quote author=johnnymossville link=topic=865.msg6310#msg6310 date=1340198976] markm,  I wouldn't be quite so hard on Panasonic.  What they have done in an $800 Camera that others couldn't do with a $2500 camera is impressive.  Hacked or Not Hacked.  The lenses, sd cards, batteries, tripod, slider and lights I've purchased with the $1700 left over by not buying a 5DMII had to come from somewhere. [/quote] To be honest I wouldn't have bought the GH2 without the hack! The thing is though is if the technology is already in the camera to be as good as the hack makes it why did they not sell the camera like that. The answer has to be they crippled it So expecting them to come out with ND filters or the like is not very likely to happen. Some consumers though may be happy with the GH2 without the hack and for moderate improvements in a new model. However I would say it could be seen as a rip off as the technology is inside and if they tweak it they could make it available but probably wont. Instead they will want to use what we have hacked from the GH2 in higher end cameras at a bigger price. Judging by how they crippled the AF100 with 8 bit out then a MUCH bigger price Possibly similar to the FS100 end.

The GH2 hacked is either Panasonic not understanding their own technology and have been shown the way by the hackers OR they made the camera to be the way it was for profit reasons. Knowing they could unleash the GH2's potential for little or no extra. Panasonic can't undo what the hackers have done Nor can they be see to have intentionally held what the camera can do back. Checkmate then and the only way out is to leave the game. They are not likely to add all the great extras that would make it a competitor for a £12000 camera. Personally I think they will make a GH3 that will be a slight improvement on the GH2 and bring out an APSC video Camera that will be unhackable. Whatever they do the GH2 will not progress at least not at the price point Neither will it be seen to not be progressing. Expecting foul play!

[quote author=sfrancis928 link=topic=853.msg6172#msg6172 date=1339905618] [quote author=ipcmlr link=topic=853.msg6169#msg6169 date=1339901892] I'm guessing gh2 is camera B! [/quote] That's what I reckon too.

As for technology we would have killed for Don't forget we could have bought 2/3" chip cameras that do give some dof But they were PROFESSIONAL Often with a pricetag of about £10,000 So whats changed? Access still denied by crippled offerings and if you can afford the £12000 C300 then good luck. Canons promise of a revolution in film making made many indie film makers think the canon mark 2 was about to be expanded into a proper camera and made us wait until Nov 5th I waited for months only to be told the camera was 8 bit out and $20,000. You could always have access to a larger frame if you had the right budget IE 35/16mm film OR 2/3. What's changed? Apart from you have access as long as you dont mind the broken leg that goes with it.

It means the camera records a bigger picture in RAW that then has to be converted to 1920 x 1080.

Kirk Be nice if it happens!

The BMC captures a DNG file. a raw digital image may have a wider dynamic range or color gamut than the eventual final image format, and it preserves most of the information of the captured image instead of the camera deciding. Raw image formats save what is captured from the sensor, and the metadata.

Why have no manufacturers caught onto the fact there is a lot of super and standard 16mm lenses and gear out there who would love a high quality 16mm camera Yes I know there are options like the Nikon D4 CX mode which crops to 2.7 of a full frame and the GH2 which does similar Only problem is with these cameras is they crop FAR to much. Or the Ikonoscop which isnt really 16mm more 2/3. If someone made a high quality camera like the BMC with a super 16mm camera at a similar price it would sell by the bucket load. Where is it?

2432x1366 gets de-bayered into about 1920x1080. When converted to RGB you'll have close to a 1920x1080 image. My superspeeds at least the 25mm and 16mm will cover the BMC sensor size and I'll likely get away with a 2.35 image with the 9.5 and 12mm

Shijan It's not 2.5 Whan its in raw I've found out it has to be converted to 1920x 1080 so you gain nothing. Just my guess work here. Super 16mm frame size is 12.52 x 07.41 mm so Super 16mm lenses need to have a larger rear dia than 12.52 at a guess say another 3 to 4mm to give it the headroom on the sides. So with that assumption only super 16mm lenses with 18 to 19mm rear diameter would cover the BMC. I have a set of superspeeds Zeiss 25mm  has              20mm Dia Zeiss 16mm  has              18mm Dia Zeiss 12mm  has              17mm Dia Zeiss 9.5mm has              17mm Dia Zeiss 10-100mm zooms    14mm Dia I doubt the 12mm and 9.5mm will cover without framing to 35.1 then maybe some cropping might be neccesary. However I doubt many super 16mm lenses will cover the BMC as most have rear diameters a lot smaller than the zeiss superspeeds.

Being able to use m4/3 lenses. I'd be interested.

Christian How would you do this? As far as I understood the EF mount sticks out a long way making most lenses unworkable?

The problem is though Gary the lenses for this are very limited when it comes to wide angles or speed unless anyone knows of some. I think the most sensible thing is for someway to cut of the protrusion and adapt a new mount for it. I think Black Magic have made a serious error here.