jgharding

I was going to say, maybe ( I don't know how this forum software works) but maybe you could have sub-forums, rather than single threads, as threads become quite a swamp very quickly. Having sub forums for the topics, and even for individual camera discussion could be a brilliant way to keep things arranged and split administration Quite a lot of other forums i use do this: http://www.thegearpage.net/board Kinda like you do for anamorphic, it could encourage whole sub communities

That A6000 autofocus is insanely fast... that'd be great for documentary. So at the moment, we know that over 60-odd FPS the GH4 softens and has more aliasing. This is in line with the FS700 as well, probably a better option than Red Epic's sensor cropping still. That audio pulsing is probably solvable by using a TRRS jack and sending the correct part to ground, so the pulsing signal doesn't oscillate the recorded sound. It probably doesn't make a huge difference, but still isn't great design, as you can't really bury it, it will always oscillate the audio recording (probably creating a harsh feel) unless it's defeated by grounding. Their own mics are TRSS connectors, and I'm sure they want you buy the YAGH too. A real design flaw is obsessing about 24p. why not 25p at full 4k? why no 100fps? It appears to be an artificial limitation.

Perhaps it's a grounding issue, since the socket is designed for TRRS jacks, so this signal should go to ground but instead it's oscillating the recording when a TRS jack is used...

Relax, this is a Sony A7 discussion thread... ISO 409,600! Most cameras top out at 25,600. Each tool serves the right situation. Good luck shooting that room with four-stops less gain and a lot less sensor area... you would see pitch black and a lot of noise. I'd like to see these huge ISOs processed with Neat Video, captured with no internal noise reduction, and using the uncompressed feed

Yes he's great! I've followed him for a while, I think he moved to 600D recently (I did the same, better all round) I thought he used VisionColor, it's the best picture style for 550/600 in my experience, a good balance between flat and grade-able, but apparently he's made a better one! The limitation thing does really help sometimes. I like to just shot with the Zeiss 28mm F2 sometimes, as it does it all! These are still great cameras, everything here bar the Aloosh vids is shot with them, and I stand by it: https://vimeo.com/jgharding/ At the moment I've been using C100 a lot, it's better than you'd think, but I still have a soft spot for the older Canons.

Just the usual smoother highlight rolloff on 5D3. Most evident in the row of four orange light to the lower left. In GH4 they're all orange clipped, on 5D3 they're less harsh and a mixture of blue and orange shades.

It's not resolution as such that makes footage feel videoey, it's a certain type of sharpness. And lighting and so on, but when talking about just footage, excessive digital sharpness is a key culprit. If you want t make GH4 look like the Epic a little more, dial back sharpness, use a speed booster, get some older glass on it and use a film plug-in in post. Glass is great for this. MMM hazy old glass! Whack it on your 4K and massage it into happiness... Smudge it a bit, it'll come to life... Anyone see the Hobbit? That shows how horrible sharpness can be, but the same camera can look great with the right treatment. The issue with the original film mentioned here is just poor production value though. That may be part of the joke, but in this context it results in a lot of flak! It's also bot a good way to show off a new camera, so shouldn't really be on such a blog.

I'd agree, One can't complain about a Speed Booster being used on GH4 if a 3rd-party hack is used to make the 5D3 record raw. This isn't an abstract test of two out-of-the-box cameras, it's a comparison of two customised film-making solutions, each of which uses specialised hardware and software to get the best footage from the camera body in question. The physical size of the 5D3 sensor does make it great in low-light, but since other factors also come into play on most shoots the test provides valid and interesting information that assists with equipment choices, especially if trading low-light performance against other considerations such as resolution and body weight, for example.

14-bit colour is nicer than 8-bit colour raw looks nicer than 4:2:0 5D3 highlight rolloff is smoother, there's more dynamic range. It's great in low light. however 5D3 raw requires huge fast memory cards that are expensive, lots of fast hard-disk space that's very expensive 5D3 raw requires long-winded workflow with various awkward workarounds as it's not Red-style compressed raw add to that the GH4s 4K and GH4 is a much more sensible choice for most shooters out there. If final image quality at all costs is what's needed, the 5D3 raw is beautiful... for student film, for example, or personal project. Place any real-world restrictions on it and it's harder to get away with when all's said and done. I've seen some amazing 5D3 raw films, but I think far more work will actually be done with GH4. It's an indie film-maker's dream!

I feel I have the knowledge and temperament, though I'm not always around work depending, but I'd be happy to assist :)

Just to check if I've got it right: GH4 on it's own will be able to record 4K 10-bit 422 from HDMI using a Shogun? Is that right? SDI is only via yagghahaghagh add on?

I'm well hipster, I was into Duaghter before they signed to 4AD, like, totally? ;) They're fun live cos Elena is very shy and it's endearing In other news, you've a brilliant eye for a shot, I reckon you're a natural, whether GH1 or Alexa

I use Adobe Suite, Creative Cloud is a good price, updates all the time. Dynamic link between AE and Premiere is great. Link to Speedgrade is great. Link to Audition is great! Link to Photoshop is great! It's a whole solution not just an NLE...

I love what the company do, but as far as paying work goes I think I'm gonna let em cut their teeth for a few more years... I still kinda want a pocket for my own use though, despite the GH4 :)

Four parts! It's great to have someone actually testing the camera as we all need to be tested, respect. The low light is really impressive from a noise perspective. I also imagine denoising in 4K then downscaling will be brilliant. my only worry here how hard-clipped the car bonnet on the right is: the 5D3 rolls off a lot more smoothly than the GH4 here, which appears higher contrast and lower DR. was this shot in GH4s flattest profile or this a characteristic of it's sensor and colour science, or is it just a grading aesthetic choice? A dynamic range torture test would be great to see vs 5D iii, if you get some time

It's good to BE back, Vegas! B) It seems to be dead, yes :(

Hello all, it's been a while! I was wondering, how good is autofocus on this one? Would it be good for camcorder style jobs as well as beauty manual shots? Apologies if I've missed this bit of info, I haven't had a chance to sit down with the articles fully yet, but I'm still tempted to this camera!

Hi all, it's been a while! I'd like to do this, but the link appears to be dead... I've been grading Alexa ProRess 4444 footage for an HSBC film this week so it'd be good to have a try with the GH4 now while I'm in the zone... I wonder if Speedgrade will do it natively? I bet I'll have to transcode... I suppose if I downscale transcode to 1080p in a 32-bit environment it's getting on for 444 anyhow? Is that right? I'm a little rusty on sub-sampling.

The "standard of videoing" is about a lot more then the number of pixels... What it does is allow access to higher resolution capture at a lower price point than before. I'm in the "perfect 1080p" camp more than the "4K" camp, I'd like a small camera with 1080p ProeRes 444 like the Alexa. but the 4K number will sell this body to a lot of people I'm sure, regardless. What this means (unfortunately) is that Canon will doubtlessly release a cheaper 4K body soon, but still with 4:2:0 8-bit recording. Seeing 4:2:0 8-bit in specs has now gone beyond annoying and started to become just... boring... :(

Cool stuff, it also sounds like Reflektor, and I love Arcade Fire like things ;)

It looks great, and what a full write-up too, kudos! 4K at a good bit-rate is a plus. The video unit is massive but it's great that they've made it, it beats third-party botching. On the format front though the 10-bit 4:2:2 being external only is disappointing though, it has so much processing power.... but stumbles at this hurdle Correct me if i'm wrong there It's a shame that there's still no camera without compromise at this price range. Here we a more rounded product than the Blackmagic Pocket, but it demands that you use an external recorder to do what the pocket will internally, and that's a bit sad :/

Wow you got a bargain price, well done buddy! :)

Hi all, it's been a while. I was wondering if anyone knows of any other BMPCC speed boosters planned. Not just M4/3 ones, but the wonderful BMPCC specific ones... I don't own a single Nikon compatible lens, so anything else (EF, C/Y) would be a godsend. Any word on the street?

Ah well, it won't be mine, the company I work for, I doubt they'll let me run away to Berlin with it! ;)

The only place Epic has the edge for me is being able to shoot compressed raw 4k for compositing, and size/weight TBH the prototype Amira I played with shoulder mount yesterday for a bit is much more convenient than Epic, no silly rigging, it just sits there lovely and balanced The shadows on Alexa/Amira are cleaner than Epic by a long margin, due to the dual-channel sensor readout, and the noise pattern is much more film like so when the noise does show, it still looks nice. Perhaps the Dragon sensor is cleaner in the shadows than the 4K one, I don't know, but I doubt I'll be using it much as 6K size is a real hassle, and Amira 1080p ProRes just looks amazing and is easy to deal with and post. It may get used for compositi-heavy scenes with good lighting. I'd happily Use Amira nd a BMPCC B-cam for absolutely any narrative I can think of, aside from one with huge amounts of CG. But then most of those films that need 100% CG are quite boring crash bang wallop fests so I'm not bothered really. I don't particularly need 4K or 6K to re-frame either, I'd rather just get it right without cropping in every other shot, you know, like they did on almost every film ever.