levisdavis

Have been shooting with the PhotoMode vs. 4:3 anamorphic. It appears that the anamorphic has "film-grain" whereas the PhotoMode has a different looking grain pattern. Seems wise to stick with the 4:3. Also, FYI, image resolution is the same in both PhotoMode and 4:3 anamorphic. Accessing 4:3 in 24Hz, 50, and 60HZ does not affect the image resolution. In 24Hz there is an option for 4096x2160. 4096X 2160 equals an 8.8MP image. However, the 4:3 anamorphic, in 24, 50, and 60 only equals an 8.3MP. I was seriously hoping they would increase the image resolution in 24p, but they didn't. For example, one of the PhotoMode options includes a 2880x2880. Anyway, makes me wonder if they could have gone taller and wider.

Updating now...

Been shooting with the GH4 for the past 10 months... Super excited to hear about the V-LOG / RAW rumors (like that GH4 camera with v-log found last Nov and also that Panasonic employee who mentioned how raw was a possibility)... As time goes by, I'm not too sure if Panny will consider the raw option, though. There may be a lot of development costs to get a 4K signal through an HDMI 1.4 output? Then again, Sony did something similar with the SDI output of the FS700. Why can't Panny? My take on the Nov V-Log discovery and why Panasonic hasn't released the profile in the last 2 firmware updates is that the 100Mb/s codec might not be able to hold a clean grade. Bring on the Atomos Shogun in 10 bit 4:2:2, right? Then again, that's been out for the past 4 months and there really isn't much of a need for the unit outside of the incredible monitor, scopes, falsecolor, and histograms. Looking closer at the GH4, we always have the option to shoot raw in 16x9 at 4600x2600 in burst mode. It provides a really great example of just how well the sensor truly performs. I actually just discovered that ISO 2500 is downright picture perfect. For what it's worth, the GH4's sensor is totally top notch. Then again, does Panasonic see that as as valuable attribute for their consumers? Back to the codec debate/trail and error, there might be some kind of a cheap video component that's highly regulating the GH4's video output capability (enter a new camera- ouch!). Perhaps Panny can eliminate that by outputting raw to the Shogun? If you're like me, there's something special about the GH4. I find the image to have an almost 3D presence in a meager 2D world. Panasonic it's time to make the most of it, right? Again, the camera's raw performance (specifically the noise floor with it's very natural film grain) even at 2500 ISO is absolutely stellar. However, the same can't be said by shooting with the GH4 and the Shogun at ISO 2500. It's just not the same. Honestly, I bought the GH4 over the A7S because of the 10-bit HDMI output thinking that the camera was future proof. But, is Panasonic actually seeing their GH4 in the same light? Where are the cinematic qualities of a great sensor that's perfectly unstressed when shooting in reasonable low-light? It's there when shooting raw stills. it's not there when shooting 4K at ISO 2500 on the Shogun samples with Cinelike D or Cinelike V. Why? That being said, I find this situation to be a bit of a struggle as a consumer. Panny has such a significant market contributor. In my mind, it's a great platform to push capabilities further/faster with options like raw and V-Log. ... Been following EOSHD and reading all of your powerful questions and great knowledge. Fortunately / unfortunately it's the right time of the year to ask them and/or answer them. And now on the front page of EOSHD there are mentions of the Ursa mini. Will Panny's V-LOG rumors and raw output rumors (in combo with Atomos Shogun), when/if released, stand up to the 2015 NAB announced Ursa mini? Cost wise, they might be in a similar bracket (batteries and possibly media - - excluding CFast). If you remember, Andrew shot a photo shoot with the BM Production camera in 4K raw. Will the Ursa be the right camera? It's got the same image resolution as the GH4. Then gain, the aspect ratios might make for a bit of a challenge to justify selling off mirrorless cameras. Hmmm? Ultimately, thanks to Magic Lantern's .raw & .mlv and Blackmagic Designs' compressed raw it's easy to know how tough it is to outright beat a DNG image sequence. Sure, ProRes and DNxHR are fantastic options! And thank you Atomos for making this happen! Hopefully, a GH4 V-LOG output really makes an impact for users. Hopefully the camera is capable of outputting 4K raw to the Shogun or similar. Hopefully the camera is capable of recording 1080P raw internally. Then again, we're just minutes away from finding out more. To NAB 2015!

It's now available for download - - http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html

Banding in A, lower left near shadow area, spells the quality of 8bit vs. 14 bit found in B.

... Thinking that the 1:1 and 4:3 modes, with a 2x anamorphic, is actually closer to a classic 35mm field-of-view based on the new pixel height... Adding a .71 speed booster might actually take it over the top. Hey, that post earlier about changing the sensor resolution to create a "CinemaMode" is awesome! Great idea. Hoping this is taken seriously by Panasonic. - - - - - - - - - - - - 2X Lensing Tests in PhotoMode: I've found that with an ISCO 2x Ultra Star Mini that a 28mm Nikkor Prime doesn't vignette with PhotoMode set to 1:1. When shooting towards lights vignetting becomes noticeable. A Nikkor 35mm Prime in 4:3, 3:2, and 16x9 has no vignetting. However, in a 16x9 aspect ratio the vignetting becomes noticeable when shooting towards lights.

There is audio in PhotoMode... The whole concept of "PhotoMode" appears to be an attempt to make the most out of the MP4 video codec. A 2880x2880 is roughly 8.3 megapixels. The other aspect ratios are nearly the same, but do differ. I wonder if this is a "last-minute effort to combat H.265?"

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.

Andrew: I read your remark about the A7S / GH4's internal downscaling... Could you please help clarify? I've been wrapping my mind around this particular downscaled shooting scenario quite a lot and am wondering if it's actually effective with the GH4. For example: I've shot some test footage with the GH4 and the BlackmagicDesign Hyperdeck Shuttle 2... I was shooting in 4096 x 2160 at 10-bit output through the HDMI at 1080p... In theory, this produces the same results as the additional downconverter box, right? Of course, I'm totally taking your previous comment into consideration... But, I truly wonder if it would be much of an advantage with the GH4 having 10bit output turned on. 10bit vs 8 bit is about 4 times the information.... 8bit UHD vs 8bit FullHD is about 4 times the information... In essence, this provides an external recorder with a true 10bit 422 recording. I think. I've also read on your site that UHD 4:2:0 is essentially close to a 10bit 4:4:4... Which also goes to prove why the downconverter chained to a 10bit 4:2:2 full-HD recorder is such an awesome tool for the Sony A7S. But what about the GH4 with the native 10bit 4:2:2? Mathematically, there is a possibility of gaining a 400% image increase in Full HD with the Sony A7S... While there would be a potential of what??? with the GH4? Maybe 110% to 150% max...? At best, we would have a UHD 10bit 4:2:2 to FullHD 12bit 4:2:2 conversion factor... However the external recorder already made it's match at 10bit 4:2:2 in FullHD when shooting at 3840x2160 or 4096x2160. Anyway, what I recorded to the BM Hyperdeck 2 produced footage that appeared highly detailed for 1080p, little to no noise floor, great sharpness, no moire or alliasing, and also featured the 1.9:1 aspect ratio embedded in the 1.78 image area from shooting 4096x2160. The results produced a great key, however, the native 4k 4:2:0 keyed better... Totally did not expect that. All said and done, I suppose this might be a good test factor for the A7S and GH4's ongoing cost factors... Will the GH4 save shooters from the external downconverter option by providing FullHD 10bit 4:2:2 natively? Great discovery by the way! Easily the cleanest 1080p footage to date! WOW!

Sounds just like a Canon 1DC... Just add a MFT to EF smart SpeedBooster to the body... Could be a great investment.

Digital Bolex is now holding pre-sales on their website. www.DigitalBolex.com. It's a big moment in camera history! Congratulations D16 backers as well as the production team behind the D16. Digital Bolex is fulfilling pre-sale orders within 8 - 12 weeks. One surprising factoid is that the camera has an internal hard drive option. It's the buyer's option to purchase a 250GB or 500GB internal SSD. Additionally, they are offering a number of different products including accessories and apparel. As stated in the D16 advertising, the camera costs about the same as a Canon 5D III. However, if you are a hot-rod camera enthusiast like myself, you're going to find a great deal more camera accessories for the D16 than the 5D III. For example, the BMPCC Metabones Speedbooster. Don't let the name fool you. This lens option will push the D16's low-light ability beyond the BMPCC's big brother the BMPC. Just a reminder here, the BMPC and the D16 are the only two budget-minded professional Cinema DNG cameras with a single-plane sensor offering global shutter. On somewhat of a side note, why is the camera called the Digial Bolex D16 and not the Digital Bolex S16? Could it be that by offering shooters the entire 4x3 sensor plane that this camera will be better suited for anamorphic shooters and/or cinema photographers interested in shooting unique aspect ratios? Either way, this sounds like a huge step up from BMPCC software developers. It might even come across as a parallel to 5D III shooters backed by the incredible team behind Magic Lantern.

Posted a BMPCC vs 50D video on YouTube. It's not a biased comparison. The topics specifically covered are luminance channels, chrominance channels, base noise floor, and ACR color correction. This comparison is sort of a straight forward realization of how these two cameras tend to operate. It should help shooters understand how powerful the BMPCC and 50D truly are. What camera do you feel is right for your production? Why?

Interesting discovery... The Ultra HD footage from the BMPC plays perfectly fine on a Sandisk Extreme 95 Mb/s SDXC. Andrew had talked about form factor and how the Pocket is perhaps a better design... Who would have thought the BMPCC media would be powerful enough to record BMPC footage? *Footage does not skip frames when played on a Macbook Pro Retina with the built-in SDXC card reader. Found this out while at work. At the time, I had no alternative other than to pop in the SanDisk SDXC card to download / view the footage. What a surprise, huh?

Got a reply from Mosaic Engineering here at 1:40 PM on 12-16-2013… "We're writing to you today because you had previously emailed to us inquiring about a Video Aliasing Filter for the Canon 50D. By the way, we apologize for our delay in responding if we've not replied to you previously. Nevertheless, we'd like to let you know that we do now have the VAF-50D available, for use with Magic Lantern RAW video recording! The VAF-50D is available now, in our online store: http://store.mosaicengineering.com A brief with-and-without demo video of this filter - - has been produced by Mr. Levi Davis. We expect to have additional video example material available before long, and will post that as soon as possible also. Our product page for this new filter is here - http://mosaicengineering.com/products/vaf/50d.html; we'll be adding more information and details shortly. Sorry again for our delay in responding; anyway we hope this information can help you at this time! Thank you again for your interest in our filters," Looks like 50D shooters are about ready to hit the professional market!!! Been having a lot of success with the prototype filter myself. The filter does a great job of resolving details and eliminating moire. The camera before the VAF displays serious issues with moire. These issues appear in every image in some way shape or form. There is moire on straight lines & fine detail. There is more on skin tones in areas of fine detail. With the VAF filter I'm shooing an image that holds about the same detail as a BMPCC. Albeit there are low-level moire issues with the prototype 50D VAF but the levels are nearly identical to the BMPCC. Technically this quite the accomplishment given the BMPCC shoots pixel for pixel and the 50D is line skipping a 5K sensor... Picked up the BMPCC about two weeks back after watching a side-by-side dynamic range test with the BMPCC and the 50D. Dynamic range will play a large roll in future sensor development for sure. The 50D resolves about 10.5 to 11 stops in comparison to the 13 stops of the BMCC. However, the 50D appears to resolve a stronger color pallet. Quite simply, the 50D shoots a wonderful image for a colorist. In my opinion, I've got a long way to go before the BMPCC hits my liking… It's as though one unit is happy and beautiful and the other unit is bland and extremely true… Hmm??? Perhaps the 50D appears to hold a more of a mass-market "look & feel?" Maybe in 5 years I'll say the complete opposite? If the 50D and the BMPCC cameras are going to be compared for their resolution and similar moire issues, then the shooter should be made aware of the sensor's capabilities and limitations… The noise floor is definitely more apparent with the 50D. The image slightly suffers from what appears to be sensor refreshing / banding, even at lower ISO values and exposing to the right. Adobe Camera Raw typically requires the chroma channels and luma channels to have low-level noise reduction. DaVinci Resolve 10 might actually produce a better noise floor, however, ACR typically produces a much stronger result. Essentially, though, we are talking about a sensor that has so much life in the image! The skin tones in particular are very prominent! The strength of the colors wants to reach out and touch the audience. In particular, the sensor has the great latitude so long as the image is inhibited by moire. The grain and noise floor of the BMPCC are much more video/filmic. Additionally, there is no aliasing issues with the sensor. However, at this point in my venture with the camera, the sensor readout lacks the character that the 50D lends so wonderfully. Having applied 6 months of raw color-correction techniques to the BMPCC, I've found the camera captures nearly exactly what that eye sees. It's almost as though a perfect copy of the real world has transferred into the raw digital realm. Therefore, if you want character with the BMPCC, BMPCC shooters need to push "character" into the image in the production. With cameras like a "50D + Mosaic Engineering VAF + Magic Lantern" and the "BMPCC + raw" a shooter is able step aside from technical faults and truly produce an image made for high-quality television productions & independent film productions. Let's face it, this level of confidence is absolutely necessary. After all, the purpose of the shooter is to push the sensor to the limits, right? Quite simply, the 50D's limitations come up a bit too quick without the aid of the VAF. … Continuing with the 50D VAF filter testing… The 3x zoom is soft with the filter in place, but I still shoot 3x with the filter in place…Not that it's a "completely unique look…" It's a usable look without too much degradation. After about three months of testing the prototype filter, I think it is a very positive/powerful addition to the camera. This statement holds especially true considering BMPC's ability to resolve detail on a sensor shooting "pixel for pixel." Effectively, the 50D is right there with the BMPCC's image detail at 1600x900 when the BMPCC is shooting native 1920x1080. Feel free to download the CDNG samples of the 50D with the prototype VAF on Copy. There are full-sesor read-out images as well as 3x image readouts. The images were taken with a near mint 35mm Nikon Nikkor F2.8 AI. The lens has a 52mm ProMaster UV in place. Please follow this link to download native CDNG images https://copy.com/8PP4i3MBODoTiovb. The images are of an author named James Hinkley: Jimhinkleystudio.zenfolio.com & route66chronicles.blogspot.com. James has authored a number of books about Historic Route 66 in addition to other solid works of history! Interestingly, I talked to him about the production of one of his books and the fact that he had shot many of the photos for his books with the 50D. He was very impressed to see the power behind ML! "What comes around goes around," right? Special thanks to the ML team and Mosaic Engineering! Feels great to have such a powerful workflow. Enjoy!

After a couple weeks of testing the prototype 50D VAF the one thing that stands out the most about this filter is the ability to push the RAW image in post. When aliasing and moire occurs in your footage the post-production color correction process has a limitation. That is why I decided to acquire a VAF from Mosaic Engineering. Interestingly, what I wasn't expecting to come about, at least so dramatically, was the range of colors that the 50D could handle with the VAF in place.   The 50D aliasing issue causes post-production color correction limitations.  It's a factor that must be configured into the color correction process. However, with the limitation seemingly removed, especially during closeups & mid shots, the images derived from the 50D become far more capable in post-production processes.   For example, when color correcting footage without the VAF I find that my scopes rest in the 50 - 70% legal television chroma-value range before the image proves qualities of aliasing, moire, and false color. With the VAF in place I regular find myself beyond television chroma-value limits and the image appears to want to go even further without breakdowns in skin tones and other artifacts. This is a very positive attribute that is only derived from a camera that has a lot of flexibility. So as a result, you know, the prototype 50D VAF is proving very valuable to the workflow.   Not to say that everything is totally perfect. There are some additional issues with the filter that need to be addressed. Currently, parfocal lensing is not possible. The VAF negates the user's ability to zoom in on a subject, adjust focus, zoom out from the subject and maintain focus throughout the entire focal distance. However, that is not an issue with prime lensing. I am currently in the process of speaking with Mosaic Engineering to address the filter's performance.   If you follow the link you will be directed to download sample DNG images as well as video footage. You'll notice that the filter eliminates about 85 - 90 percent of the moire and aliasing in the chroma channels. The luma channels appear to hold aliasing and moire but the percentage is about 93 - 97 percent eliminated.   https://copy.com/IOqlwsmWUi8i   So what do you think? Would 92 - 100 percent moire elimination actually take away from detail & texture? Is 100% moire and aliasing elimination a better solution because the shooter would never have to worry about when and when not to use filters to block moire and aliasing? Or, would you prefer more texture and detail with the chance of moire and aliasing in the image?   More or less that is what I'm thinking about the filter right now. The right thing to do will be to post another response after addressing this with Mosaic Engineering. I presume we all want to know just how much of an impact the VAF can make, right? Until then, thanks for reading and enjoy your time.   *I am not affiliated with Mosaic Engineering or Magic Lantern. I just want to own and operate a camera that is enjoyable to use: one that is readily accessible.

Received a prototype VAF filter from Mosaic Engineering yesterday afternoon. Went through a couple tests thus far... Feel free to download DNGs of the 50D with the prototype VAF...   https://copy.com/IOqlwsmWUi8i   Thanks. The company producing/inventing/manufacturing the filter is called Mosaic Engineering. They are headquartered in Pennsylvania, USA. The footage is shot in Phoenix, AZ. I am not affiliated with Mosaic Engineering or Magic Lantern other than I'm trying to put the two and two together... In my opinion, this combination is an incredible opportunity to create an appropriate production camera with high-quality imagery and feel-good results.   Enjoy!

Komputerbay - Amazon Marketplace 1:53 AM (19 hours ago)   to me   Hello,   We are glad you are happy with our product.   We will be launching the 1200X version soon - we are unable to procure a health qualitity of semiconductors for mass production.   It will be available soon.   Thank You Customer Service CS     - - LooKs interesting!

Just want to say thanks for the great article.You have provided such a great "readout" for the D5200. Thanks.

Thanks for the topic... Perhaps the [u]silent killer[/u] in this article is the pixel resolution and the color space values of the cinema camera with the 1.5x anamorphic adapter? It makes me wonder if it is Imax worthy...   Been thinking a lot about how important of a purchase the cinema camera really is. For now, since the camera isn't shipping, it seems like the perfect opportunity to study up on DaVinci Resolve. After all, our most important statement will be in the image.   Myself, I am practicing/preparing for a raw camera by shooting raw photos as well as working professionally with AVCHD on a GH2. For me, when I compare an 8-bit image to a 12-bit image I know that I really truly do have the power to expose and compose. The 12-bit images constantly remind me that great filmmakers truly rely on great image quality to tell their story. In a way, I feel like I'm letting myself down by shooting 8-bit videos.   It's a great article that a lot of videographers and cinema photographers are going to look back on... Great stuff Andrew and SlashCAM.

Just couldn't seem to overlook the Sensor type found on the Canon... They have the most unique sensor of all the digital cinema cameras listed. The sensor is actually composed of a CCD and CMOS. Together they work to read light with individual RGB registry. This makes for a "reduced rolling shutter effect." In fact, the rolling shutter is nearly gone. Technically it's a really great image because of the sensor's design. Is Canon the right company to purchase a camera from? Maybe they are making more bang for the buck off optics than they are producing high-end professional cinema equipment. After all, who's running with the market now! Hopefully the answer is Blackmagic Design, right? Of course, they may very well want to consider a super 35mm chip like mentioned earlier on EOSHD. Great article/information about the Global Shutter on the CMOS chip from Sony F55. This is what it's all about folks! "Bokehlicious"