Zak Forsman

This GH4 V-Log L night test came up in my Vimeo feed. Shot at ISO 800 or below. Not mine... "We really tried to push the camera in the low light arena with the new v-log firmware. Shot in 4K - downconverted to 1080p" Voigtlander 17mm f0.95 Voigtlander 10.5mm f0.95 Canon 50mm f1.8

My understanding is you need to order it for each camera. I'm only doing one for now.

I had to enter mine when I pre-ordered from the Panasonic site. It was right under the credit card fields, if i remember correctly. Received a confirmation email too.

i have a GH4, Kowa B&H and Rectilux. For the taking lens, I like using the SLR Magic 25mm, 35mm and their new 50mm (which might not be officially released yet). rounded aperture blades help keep bokeh soft. but I also find these three look great at T/2.8 or T/2 and you can go down to a T/1.4 but I start to see a touch of purple fringing at that point. I have my eye on the Dog Schidt Optiks FF58/38/88 line for taking lenses with a lot more character. Should look something like this. Notice the swirled bokeh form the Helios 44-2.

For my own sanity, I'm going with the last one. I think I'll live longer.

That's what we call the old switcheroo.

GH4S ???!!?!?! Oh Shit!!

I really don't think that's the case. it's much more likely that GH4R just means V-Log is pre-installed. And I'm sure the pricing will reflect that too.

The "GH4R" rumor just seems to bolster the notion that it will be a paid upgrade. Otherwise, why would they need a new designation for a version that has V-Log pre-installed? We already have GH4KBODY (body only), GH4-YAGH (with yagh), GH4H-K (bundled with lens). And maybe others I'm not aware of. If true, GH4R is probably just the designation for: "bundled with V-log".

Received my color checker a while go, but just got a chance to audition it. and well, I wish I'd sprung for one of these sooner. Now I get the skintones I prefer from the GH4's Natural profile and can quickly balance the image before grading it. I'm thinking I should just permanently mount the color chart to the slate during production. Here's a sample. Uncorrected frame followed by the instantly balanced version using the color checker grid. I did no other adjustments. GH4, SLR Magic 25mm @T/2.8, Kowa Bell & Howell, Rectilux 3FF-W, Hoya ProND 4. ISO 200, Natural, Contrat 0, Sharpness -5, NR -5, Saturation -2, Tint 0.

I swear, the second Rich starts taking orders for EF mount FF58's I'm buying a ton of schidt!!! Basically i want: 1. two or three FF58s for different looks in terms of contrast, flare and oval bokeh. maybe just two to start. 2. the FF88 & FF38 attachments, plus the FF58 Hood I want the EF mount to use with my GH4 and speedbooster right now, and with an URSA Mini in the future. Around here, everyone has been pre-ordering the EF version because it's more indie-friendly.

Anyone have any insight into how this might affect using an external 4K recorder to capture the 10 bit 422 signal over HDMI?

need to cut about 7 or 8 stops.

i don't use multiple step up rings. i use a either a 49, 52, or 62 to 77mm. i've got step up rings coming outta my ears. i'm silly with all these step up rings.

yeah, i'm referring to the Rectilux's glass being optically neutral. meaning, any blooming or softness or chromatic aberration is going to be from your scope and taking lens. the Rectilux doesn't degrade the image any further. i'm all MFT on a GH4 right now. And i use the SLR Magic cine lenses as taking lenses which all have rounded aperture blades. I have a couple Sigma Art prime lenses that have rounded aperture blades, but those are a little big to pair with a scope. But maybe someone else in this thread could chime in with some more FF lens recommendations.

GH4 in C4K recorded externally to an Odyssey 7Q+. for day exteriors i'm usually trying to shoot at T/2.8 with ISO at 200.

I haven't run into an X pattern with the SLR Magic yet but I know they (SLR Magic) have stated it can happen. I use it with step-up rings as well (49, 52, 62 to 77). I believe the only hesitation I have about it is that it maxes out at cutting 6 stops. And sometimes, especially on bright southern california days, I wish I could cut as many as 8 stops.

Which Hoya NDs did you have? Their ProND line is very good. But their others, not so much. If you want a variable ND, I've have very good experiences with SLR Magic's. In this video I compared it to the Tiffen VariND.

This is another reason why i prefer the Rectilux optics. Coincidentally, I use SLR Magic lenses as taking lenses. They have rounded aperture blades which keeps things oval as you stop down.

yes, i didn't mean the image data was lost. just that it was mapped beyond what premiere is designed to look at (16-235). Also, YUV ProRes files are 16-235 which might be why premiere isn't mapping the values correctly.

let me tell you a little anecdote that sums up Michael bay for me. on the set of the first transformers movie, I saw him bark orders at his camera dept with a megaphone. they were standing six feet from him.

my understanding is both settings record the exact same information. what you are changing is the flag that tells your NLE how to display the image data -- across the full range (0-255) or across the broadcast legal range (16-235). but I don't think it inherently changes the data captured by your camera, only how that data is mapped out when you're looking at it. and as andrew noted, when you have a file flagged to mapped the data across the full range and an NLE that overrides that flag to adhere to broadcast values of 16 to 235, it's going to clip 0-15 and 236-255. I shoot 16-235 because everything I produce has to adhere to broadcast standards. if I didn't things would look pretty effed up on blu-ray to television. one of the reasons I love media composer is the full control you have over the luminance range (data/full vs video/broadcast) when importing clips.

it's probably the same glass as the Rectilux 3FF-W which doesn't restrict wide open apertures. it's pretty much neutral optically.

IMAX has been full of shit for a while and it sucks that it requires a lot of extra digging to know if you're going to get a legit experience. five years ago it was for using their brand name for screens that were barely bigger than normal cinema screens. http://azizisbored.tumblr.com/post/106587114

heh-heh...