Straight from the Gh1 to your door

[SonicStates]

A big thanks to Daniel L for hosting this stuff

Here are the links:
http://gh1.dark-stone.com/sam/Countr...lotest1080.MTS (http://gh1.dark-stone.com/sam/CountrysideJellotest1080.MTS)
http://gh1.dark-stone.com/sam/Countr...llotest720.MTS (http://gh1.dark-stone.com/sam/CountrysideJellotest720.MTS)
http://gh1.dark-stone.com/sam/KimbertheQueen1080.MTS
http://gh1.dark-stone.com/sam/TrainJello720.MTS
http://gh1.dark-stone.com/sam/TrainJelloTest1080.MTS

These are unmodified files from my Japanese model GH1. Please note they were shot while on a date with my wife so I kind of shot them without paying too much attention. I just thought everyone would be interested in the files as they are for analysis. I will leave it up to the pros to answer technically questions but I will try my best to answer anything where I can.
Sorry about the dirty train windows... the countryside files are a little cleaner...and the self indulgent kitty cat one was because the colour in Kimber's eyes was pretty spesh.
Cheers.
Sam.

[Daniel L.]

Thanks again SonicStates. Many of us have been waiting for this for some time now.

If anybody would like to share more videos and need hosting PM me.

[Isaac_Brody]

Thanks a ton Daniel and Sam. Footage looks good!

[SonicStates]

I'll be doing some more shooting over the next couple of days...any requests? I won't be near any 'artificial' sources of light (aka studio setup) for the next few days but if there are any settings etc you want to see. Let me know.
Cool.

[Oedipax]

Thanks SonicStates and Daniel. I've had a look at all the footage and yeah... like Kholi said, don't use this for traveling car/train type shots. With the 17mbps compression it starts to look a bit like an impressionist painting! Distant objects look passable, but objects passing closer to the camera not so much.

Was there any autoexposure going on in these clips? A few times it looked to me like the aperture jumped (like from frame 123 to 124 of TrainJello720, look at the left side of the screen, the sky).

[Ian-T]

ALl the footage looks very goof...especially the cat footage (sharp). I can see where the codec fell apart during those quick drive-bys of the trees etc. But honestly...HDV does the same thing...and it's not like you see it while it's in motion. Obviously the interlaced artifacts is bothersome but overall the footage looks good.

[Kholi]

720/60P is a LOT better for any motion. I'm ready to resign myself to using 720/60P for everything that has any movement in it, and locked down shots switching over to 1080/24P to net the most detail then mastering the project at 720/24P.

Instant HD > 1080P For any hardcore distribution methods.

Goooo Sonic!

[Kholi]

Exposure jump: Sonic might have his Shadow Correction on. Also, I notice at the wide end of the kit lens, if you zoom in just a HAIR to F4.1 it's actually BRIGHTER than 4.0.

[Elton]

Appreciate the footage SonicStates, it's very helpful, however---I have to ask though--seeing that there are titles at the beginning of the two 720 60p clips that I saw, that leads me to believe that the files were edited, and therefore re-encoded. Is that what you did? Was it some form of native AVCHD editing and only the beginning seconds are actually recompressed?

The footage I saw broke down into a blocky mess as the train passes trees/foliage near the window at speed, but it looks a lot better with the wider countryside views.

Just wondering how you actually arrived at the files you put online?

Thanks!

[SLoNiCK]

I've noticed a lot of interlace artifacts even after pulldown in "countryside...1080". Does it mean that coder is unaware of interlaced structure and simply compress video on frame-by-frame, not field-by-field basis?

Besides, DGAVCIndex definitely shows 13,8 Mbps for video both for 1080 and 720 footage. I suppose everyone would like to see it pushed to maximum, especially on such hard footage.

[Ian-T]

Appreciate the footage SonicStates, it's very helpful, however---I have to ask though--seeing that there are titles at the beginning of the two 720 60p clips that I saw, that leads me to believe that the files were edited, and therefore re-encoded. ..I have the same question....I thought it was my player that threw in those titles... But I'm glad you said something.

The footage does not look terrible (aside from the blocks)...but overall it does not look as clean as everyone else' footage.

[mico]

Train footage hurts.

It also hurts so much to know that the nanoflash will be out around the same time the GH1 hits the US and there is NO HDMI OUT.

Come on Panasonic enable this feature and any codec issues are gone, and no transcoding too. Why Panasonic why ( i can guess why tho). So close and yet so far.

[RaviSun3D]

..... there is NO HDMI OUT.

Come on Panasonic enable this feature and any codec issues are gone, and no transcoding too. Why Panasonic why ( i can guess why tho). So close and yet so far.

Patience mico Patience!
They will do it..! Just have to wait for 6 months.

They cannot ignore so much complains!
GH2 will be perfect in all directions I guess!

By that time, there will be more competition anyway! :violent5:

[mico]

I know sometime in the future they will implement, but its just so unfortunate that this one simple feature, that even small chip avchd cams can do right now, has been crippled by Panasonic.

The nanoflash would give this cam such superiority over their other cams and that may be why its not enabled. Not sure if 6 months will be enough for them to let go.

[SonicStates]

I have the same question....I thought it was my player that threw in those titles... But I'm glad you said something.

The footage does not look terrible (aside from the blocks)...but overall it does not look as clean as everyone else' footage.

There was no editing or re-encoding...I simply dumped the footage from the card into edius to see what I was looking at...deleted it from the timeline and then renamed the files on the card.

What titles are you talking about??? Sorry can't see for myself considering I'm away from the office.

Also, I may have had the exposure set to auto but I just pointed and shot...will be much more attentive to detail in the next couple of tests... I was thinking some night stuff.

[Ian-T]

I'm starting to believe it's my player throwing in that watermark I keep seeing. I had to download the free k-lite codec to get these files to play back. when I do play it a watermark that says "Divx Video" keeps coming up.

[Elton]

Ian-T--you're not imagining that. I was using VLC player and I just found it has a feature called "OSD" or On Screen Display that was simply showing the file name as an overlay for a few seconds after the beginning of clip playback. Weird.

Still, that's even worse...it eliminates the recompression question.

[codeloss]

Elton - I was seeing similar macroblocking when viewing it in VLC (on a mac). It seems to have trouble playing it back. Going through the footage in After Effects, it's ugly, but it's not THAT ugly.

[Ramon Boutviseth]

I've noticed a lot of interlace artifacts even after pulldown in "countryside...1080". Does it mean that coder is unaware of interlaced structure and simply compress video on frame-by-frame, not field-by-field basis?

Besides, DGAVCIndex definitely shows 13,8 Mbps for video both for 1080 and 720 footage. I suppose everyone would like to see it pushed to maximum, especially on such hard footage.


What program are you using to remove the pulldown?

[SLoNiCK]

Ramon Boutviseth

What program are you using to remove the pulldown?

I tried 2 methods:
1) Wrote .avs script
directshowsource("CountrysideJellotest1080.MTS").AssumeTFF().doubleweave().Pulldown(0,2)
and fed it to VDub. Used Haali splitter and ffdshow to make "directshowsource..." work properly with this .mts file.
2) Demuxed the original file with DGAVCIndex, then opened .dga project in AviDemux via AVISynthProxy and applied Decomb Telecide filter for pulldown.

So decoding and pulldown removal tools were different. And file was processed in proper way - it can be easily checked with pillars at the beginning. As result I got the same blocky mess with some interlacing remains, but without any interlacing ghosting. Or did I miss something?

[chicago]

I get "Unsupported media or invalid structure" warning message. Any suggestions?

THX.

[Oedipax]

FCP's kind of a lost cause unless you have all the directories that go around the .MTS clips. Then you still end up transcoding to ProRes or AIC or whatever. Cineform Neo Scene is a pretty nice workaround for now, if I end up getting a GH1 I'll probably buy it. Either that or see what Apple does in the next FCP release

[SonicStates]

Hang tight. Was in town tonight shooting under the general ambiance of Sakae (Nagoya, Japan)... on the LCD on review most shots seemed pretty nice. Will upload on Wednesday, if Daniel's server space is still available. For all you FCP users that need the 'Private Folder', I will upload as such. In most cases I was at 1600 ISO, wide, AWB (just playing for now), FHD and SH (1080 and 720) shot in Manual mode...sometimes AFS, AFC and M but will give you all the appropriate info when I upload. Please note that these will be straight from the cam without any editing or transcoding (despite the fact that I may change the file names for recognition)
From what I can tell (and this has been reiterated a few times) it seems that this little cam is quite exceptional for 123,000 yen...the form factor truly makes me smile and that's just the start.

[plasmasmp]

I have a theory. I think that the camera is dropping frames and messing up the 3:2 cadence. The interlacing is all over the place and definitely part of the reason for some of the macroblocking. Hmm, I hope this gets fixed, but I bet it wont. Also, this may be caused by using SDHC media that isn't fast enough to write the data. Keep in mind, even though SDHC class 6 is fast, when it is completely full, it has to rewrite blocks and this will be slower than when the card is completely empty. At least this is something to try before dismissing this as a cmaera fault.

[Finster]

FCP's kind of a lost cause unless you have all the directories that go around the .MTS clips. Then you still end up transcoding to ProRes or AIC or whatever. Cineform Neo Scene is a pretty nice workaround for now, if I end up getting a GH1 I'll probably buy it. Either that or see what Apple does in the next FCP release

Interesting. So you use NeoScene to create the ProRes file and then bring that into FCP?

I have Premiere CS4 installed on my Mac, but I've never used it. Maybe I'll have to now? (Apple needs to stop pouring all their manpower into the iPhone and instead give some lovin' to Final Cut Studio!!!).

[AdrianF]

I have a theory. I think that the camera is dropping frames and messing up the 3:2 cadence. The interlacing is all over the place and definitely part of the reason for some of the macroblocking. Hmm, I hope this gets fixed, but I bet it wont. Also, this may be caused by using SDHC media that isn't fast enough to write the data. Keep in mind, even though SDHC class 6 is fast, when it is completely full, it has to rewrite blocks and this will be slower than when the card is completely empty. At least this is something to try before dismissing this as a cmaera fault.

You might have a good point on the SDHC card speed, as this doesn't seem to be a consistent problem, maybe some further tests on faster/higher spec cards could throw some light on this.

[Isaac_Brody]

I have a theory. I think that the camera is dropping frames and messing up the 3:2 cadence. The interlacing is all over the place and definitely part of the reason for some of the macroblocking. Hmm, I hope this gets fixed, but I bet it wont.

I just need to point this out as being THEORY AND NOT FACT. Sorry, but statements like this have a tendency of being quoted enough times and then being taken as fact. No frames are being dropped. I have found that to properly reduce the pulldown I've only been successful from importing the original "Private" file into final cut with prores, and then removing pulldown with either Compressor or JES Deinterlacer. I've actually found that JES looks a little better than compressor.

Removing pulldown from just the MTS clip with no metadata from the original folder has been damn near impossible, but with the original folders intact it works as it should. You wouldn't import P2 by stripping the folders apart, and you need to take the same approach to AVC-HD. You remove that original file from the folder structure and you lose all the metadata for it.

[chicago]

How would you use Compressor to remove pulldown?

[Emanuel]

I've noticed a lot of interlace artifacts even after pulldown in "countryside...1080". Does it mean that coder is unaware of interlaced structure and simply compress video on frame-by-frame, not field-by-field basis?
It is not a surprise at all. Interlaced encoding shouldn't be used for a progressive output -- that's for sure!

Take a glance on the Adam Wilt's findings posted here:

http://provideocoalition.com/index.php/awilt/story/review_canon_vixia_hf11_avchd_camcorder/P1/

http://img140.imageshack.us/img140/8854/hf11hummerpa2.th.jpg (http://img140.imageshack.us/my.php?image=hf11hummerpa2.jpg)

For this reason, I would avoid any camera using this method as same as new Canon VIXIA lineup, except HV40. Even based on the old MPEG-2 HDV.

[chicago]

Check out link for advanced pulldown removal: http://livedocs.adobe.com/en_US/AfterEffects/8.0/help.html?content=WS3878526689cb91655866c1103906c6 dea-7f33.html

[Emanuel]

Check out Adam Wilt's comments (scrolling down the page) on such similar advanced pulldown removal methods. It simply doesn't work it out as we wish. Interlaced and progressive are distinct worlds, as simple as that.

[Illya Friedman]

So I watched the 1080/720 Countryside and Train Jello Tests on my 102" screen.

First of all I want to make a quick comment- it's asinine to jump to any conclusions or make any definitive assessment of camera performance based on the 'countryside' clips! No overall assessment can be made on the GH1 from these clips (Sadly, it seems that someone did just that on a different forum I read today).

Ok, back to my opinion- which as it turns out is essentially the same as Ian-T said earlier; playing at normal speed this artifact is NO worse than another long GOP codec, found in some cameras commonly available around $5K USD. Which certainly looks better than the MPEG4 codec faults in my HD DirecTV DVR!

Watching all this stuff at 60i/60p for the first time, the artifacts didn't make me fall out of my chair and clamor that either the 1080 or 720 was unusable. The GH1 has so many pluses in the image quality, ergenomic and (especially) price categories, over other frequently mentioned cameras, I think this will be a non-issue for the vast majority of GH1 owners, especially those that know how to shoot.

Yes, the same artifacts are present in the Countryside 720 just as in the 1080 version. In case anyone has any doubt, pause when bright/contrasty foliage passes close to the cabin window, and step through frame by frame- same codec faults.

Watching a portion of each "Countryside" clip (720/1080) frame by frame during a few seconds with a lot of motion- that is- handheld, seeking focus, exposure compensating, extremely fast moving (close to camera) foliage, was the most egregious. When all that high-frequency detail zooms past the camera, there's really not much that can be done. However, the good news is that is that it's EXTREMELY unlikely someone would choose to shoot/playback this way for creative purposes- that is stepping through material shot like this- frame by frame.

I'm slightly more concerned about the codec faults on the wider shots with less up-close foliage. However, based on what I'm seeing during these moments, I think that all the rapid scenic change combined with continuous "auto" mode adjustments during the shot significantly contribute to the overtaxing of the codec. It'll be interesting to do a small test to compare codec tollerence in manual vs. auto. I've also noticed "auto" mode contributing to codec problems in HDV.

I watched the "Lemon Soju" clip 0006 on the big screen, while not particularly detailed- you get some idea of what's happening with the running commentary track. As further eveidence of my theory, each time the camera operator suddenly changes shutter speed/exposure during the 'out the window' shot, there are momentary codec faults in some areas of the image- subtler than the train obviously; but still present. These same codec faults are not immediately apparent when the camera is just experiencing handheld motion and concurrent motion from the subjectmoving across the frame. Testing could reveal if "auto" mode is a contributing factor of codec fault, as I said- I suspect it is.

A couple questions maybe SonicStates can answer which could help a little to understand what's happening. On the 1080 Countryside- Shutter speed looks to be around 250? Was this camera in Auto, AP or SP? OIS turned on or off? Any idea about the the detail/sharpness/ISO settings?

Anyone have any other examples like this? I'm interested to see them.

I meeting up with someone who has a GH1 and plan on doing a few quick shots this weekend. Probably no codec "testing" going on, just beauty shots and that's fine by me.

I've seen some original .mts files that haven't (actually can't) been posted on-line and I'm feeling confident that when the GH1 is shot poorly, it looks like other cameras/formats shot poorly- crap. However, when it's shot well, the camera yields result similar to MUCH, MUCH more expensive HD cameras, so the GH1 is probably the greatest bang for buck camera on the planet right now, and takes fantastic stills to boot. When GH1 material is transferred to 35mm, I think the feel will be quite similar to a S16 blow-up, although this remains to be seen. I'm working with two professional facilities in Hollywood right now to facilitate a quick D.I./35mm film-out test. I'll keep this forum posted as results roll in.


I.

Illya Friedman
Hot Rod Cameras

[SonicStates]

A couple questions maybe SonicStates can answer which could help a little to understand what's happening. On the 1080 Countryside- Shutter speed looks to be around 250? Was this camera in Auto, AP or SP? OIS turned on or off? Any idea about the the detail/sharpness/ISO settings?

Illya Friedman
Hot Rod Cameras

I must confess that as this was an outing with my wife I kind of pointed out the window for the few seconds that you see and pressed the button. It was in manual mode, the OIS was off (I'm relatively certain), the white balance was set to auto, F stop and ISO I can't remember but the Intelligent contrast was off.
I have uploaded some more 'raw' footage for people to have a look at and this time I can provide you with the details...just waiting for Daniel L, who has provided the server space and bandwidth so generously, to give me the green light and then it's all yours. Shouldn't be too long....night time footage in the PRIVATE folder as requested.

[mico]

Fantastic report Illya please keep us up to date on what you find. This is encouraging news. The film transfer will be such a benefit that i hope you do this soon.

Sonicstates thanks for the all the effort in the uploads.. Please make sure Illya knows when you've uploaded the new files.

[SonicStates]

Sonicstates thanks for the all the effort in the uploads.. Please make sure Illya knows when you've uploaded the new files.

You got it.

[Emanuel]

So I watched the 1080/720 Countryside and Train Jello Tests on my 102" screen.

First of all I want to make a quick comment- it's asinine to jump to any conclusions or make any definitive assessment of camera performance based on the 'countryside' clips! No overall assessment can be made on the GH1 from these clips (Sadly, it seems that someone did just that on a different forum I read today).

Ok, back to my opinion- which as it turns out is essentially the same as Ian-T said earlier; playing at normal speed this artifact is NO worse than another long GOP codec, found in some cameras commonly available around $5K USD. Which certainly looks better than the MPEG4 codec faults in my HD DirecTV DVR!

Watching all this stuff at 60i/60p for the first time, the artifacts didn't make me fall out of my chair and clamor that either the 1080 or 720 was unusable. The GH1 has so many pluses in the image quality, ergenomic and (especially) price categories, over other frequently mentioned cameras, I think this will be a non-issue for the vast majority of GH1 owners, especially those that know how to shoot.

Yes, the same artifacts are present in the Countryside 720 just as in the 1080 version. In case anyone has any doubt, pause when bright/contrasty foliage passes close to the cabin window, and step through frame by frame- same codec faults.

Watching a portion of each "Countryside" clip (720/1080) frame by frame during a few seconds with a lot of motion- that is- handheld, seeking focus, exposure compensating, extremely fast moving (close to camera) foliage, was the most egregious. When all that high-frequency detail zooms past the camera, there's really not much that can be done. However, the good news is that is that it's EXTREMELY unlikely someone would choose to shoot/playback this way for creative purposes- that is stepping through material shot like this- frame by frame.

I'm slightly more concerned about the codec faults on the wider shots with less up-close foliage. However, based on what I'm seeing during these moments, I think that all the rapid scenic change combined with continuous "auto" mode adjustments during the shot significantly contribute to the overtaxing of the codec. It'll be interesting to do a small test to compare codec tollerence in manual vs. auto. I've also noticed "auto" mode contributing to codec problems in HDV.

I watched the "Lemon Soju" clip 0006 on the big screen, while not particularly detailed- you get some idea of what's happening with the running commentary track. As further eveidence of my theory, each time the camera operator suddenly changes shutter speed/exposure during the 'out the window' shot, there are momentary codec faults in some areas of the image- subtler than the train obviously; but still present. These same codec faults are not immediately apparent when the camera is just experiencing handheld motion and concurrent motion from the subjectmoving across the frame. Testing could reveal if "auto" mode is a contributing factor of codec fault, as I said- I suspect it is.

A couple questions maybe SonicStates can answer which could help a little to understand what's happening. On the 1080 Countryside- Shutter speed looks to be around 250? Was this camera in Auto, AP or SP? OIS turned on or off? Any idea about the the detail/sharpness/ISO settings?

Anyone have any other examples like this? I'm interested to see them.

I meeting up with someone who has a GH1 and plan on doing a few quick shots this weekend. Probably no codec "testing" going on, just beauty shots and that's fine by me.

I've seen some original .mts files that haven't (actually can't) been posted on-line and I'm feeling confident that when the GH1 is shot poorly, it looks like other cameras/formats shot poorly- crap. However, when it's shot well, the camera yields result similar to MUCH, MUCH more expensive HD cameras, so the GH1 is probably the greatest bang for buck camera on the planet right now, and takes fantastic stills to boot. When GH1 material is transferred to 35mm, I think the feel will be quite similar to a S16 blow-up, although this remains to be seen. I'm working with two professional facilities in Hollywood right now to facilitate a quick D.I./35mm film-out test. I'll keep this forum posted as results roll in.


I.

Illya Friedman
Hot Rod CamerasYour optimism is encouraging. I've seen some really interesting stuff coming from Philip Bloom, for example.

But going with any film-out test, do NOT forget to test the codec in every AVERAGE situation the codec faces out there. Not only those kind where it is possible to state this camera is able for the job.

If you won't be minimally scientific with your experiments, what for they serve after all?

I'm referring independent tests for sure, not good marketing on brand advertisement for camera sales.

[Illya Friedman]

Your optimism is encouraging. I've seen some really interesting stuff coming from Philip Bloom, for example.

But going with any film-out test, do NOT forget to test the codec in every AVERAGE situation the codec faces out there. Not only those kind where it is possible to state this camera is able for the job.

Emanuel,

I am a bit of a veteran of film-out tests. When I ran the Camera Rental department at Moviola in 2002, I did one of the earliest comprehensive prosumer/professional digital camera to 35mm transfer test @ CFI. 9x cameras across several formats including SD/HD and 16mm D.I. to 35mm test. Since that time I've been involved in one way or another with about a dozen film out tests- in all modern formats, including uncompressed 4K.

I.

Illya Friedman
Hot Rod Cameras

[Illya Friedman]

I should say to clarify is was 16mm two ways actually- and neither the way that people think of today as D.I. 16mm was actually telecine to HDCam and back to 35mm, and photochemical/optical.

I.

[Kholi]

Your optimism is encouraging. I've seen some really interesting stuff coming from Philip Bloom, for example.

But going with any film-out test, do NOT forget to test the codec in every AVERAGE situation the codec faces out there. Not only those kind where it is possible to state this camera is able for the job.

If you won't be minimally scientific with your experiments, what for they serve after all?

I'm referring independent tests for sure, not good marketing on brand advertisement for camera sales.

I agree wholeheartedly with you Emanuel. Do everything, not just static camera shots.

Illiya I also completely respect your opinion and I'm very happy that someone has an opposite to mines, it helps people to know that one person can't be "right", only opinion so 1080/24 will really suffice for some.

I'm absolutely, positively okay with that and happy about it. It'll be really great to see filmout results, not only, but as well HF100, A1 and all the comparisons that are set to come next month when it hits the states

[mico]

IIlya some of us know you are more than capable of doing the right tests without having to be told how. And again I look forward to seeing what you come up with great anticipation. Please don't be distracted by every 2 center.

[LizaWitz]

IF the 24fps motion picture "image quality" is the standard we're hoping to replicate with this cameras video, then a whip pan, or shooting out the window of a train should be blurry. The 24fps "look" involves even cars going down the street having motion blur in most situations.

The goal for this codec in such situations is to replicate the blur-- not a huge amount of detail.

Looking at Hunter's Rolling Shutter Demo, at the 10 second mark, the blur looks "right" to me, and there's enough detail in the image that this is working. At 18 seconds, the blur looks right but the codec is breaking down a little bit, and in freeze frame it doesn't look as good as film (and this is on vimeo at not even hd resolution.) I don't know if its the vimeo codec that's causing this issue or if its in the original footage.

But looking at that, assuming your shooting style is at "Crank" or below on the bourne scale, I think this camera replicates the look you'd get shooting film in terms of the motion blur being resolved enough to replicate a the blurry frame you'd get from film.

Or at least, it looks like that so far. Will have to wait and see what it looks like to me doing it at full resolution.

[Emanuel]

Emanuel,

I am a bit of a veteran of film-out tests. When I ran the Camera Rental department at Moviola in 2002, I did one of the earliest comprehensive prosumer/professional digital camera to 35mm transfer test @ CFI. 9x cameras across several formats including SD/HD and 16mm D.I. to 35mm test. Since that time I've been involved in one way or another with about a dozen film out tests- in all modern formats, including uncompressed 4K.

I.

Illya Friedman
Hot Rod CamerasIllya,

I have an idea about your long way to come here. Not since 2002. But I could follow your first film-out test with the HVX more than three years ago or your career at Dalsa. I'm used to read you.

That's why I know you are a respectable professional.

But there are professionals in every fields of the industry. Several industries, as well. Mine is not the camera manufacturing nor the consumer or prosumer electronics marketing for sure.

Coming from the production and education/training fields, I am more focused on independent points of view. I'd dare to say scientific ones ala Adam Wilt, one of my favorite reviewers and an example of independence for everyone. There, you have always the most accurate and unbiased conclusions straight out of the shell.

Unfortunately, with all this buzz produced around this small camera, I haven't read only unpledged posts over the boards.

Hope you may understand my point, I'm sure you will. I'll be following up your interesting film-out test. Hope for the most complete range of samples.

My Best,
Emanuel :-)

[Illya Friedman]

I'm working with some people interested in this technology, so we'll be testing a few things.

Since there is some curiosity as to the content of the test, the GH1 -> 35mm film out will be scenics, a few faces, a couple charts, and we may throw in a shot originated by another camera format. Don't know which one, but something I'm familiar with as a point of reference in the same real. Pans/tilts/movement will be included. Running time is 4-minutes max.

I.

Illya Friedman
Hot Rod Cameras

[PappasArts]

Emanuel,

I am a bit of a veteran of film-out tests. When I ran the Camera Rental department at Moviola in 2002, I did one of the earliest comprehensive prosumer/professional digital camera to 35mm transfer test @ CFI. 9x cameras across several formats including SD/HD and 16mm D.I. to 35mm test. Since that time I've been involved in one way or another with about a dozen film out tests- in all modern formats, including uncompressed 4K.

I.

Illya Friedman
Hot Rod Cameras


You sure are a veteran; I remember the Laser Pacific screening film out of the HVX-200 footage that you, Ben Rock and Matt Compton did years ago. That film-out proved to me we had crossed over the image distraction line.





.Pappas

[Emanuel]

Here's an interesting report on the 5D Mark II going to a film-out:

http://www.cinematography.com/index.php?showtopic=38699