Blackout-Powell Native 24p Patch - GH1 FTW!!!

Well, after looking very closely at these on the big TV, my feeling is that the GH2 has more in camera sharpening and contrast, and the GH13 BP has similar detail and less artifacts. On the the test chart, that makes the GH13 BP look better. Looking very closely, I can see some haloing around the GH2 details that just isn't there on the GH13--this tells me that there is in cam processing going on. At a distance of four feet, that makes the numbers look darker and sharper--this is sharpening and contrast. But you get a lot of unacceptable crap and moire from the GH2 on the fine lines. At four feet, I like the GH13 BP better on the chart--the extra lines, artifacts and moire are too obvious. Now looking at the colors and foliage, this begs the question, hey, this is camera generated detail, but it looks great, so who cares? And it does look good--at the expense of subtle motion. And no one is going to see the haloing at six inches. So out of the box, the GH2 maybe has better detail on certain scenes, but then the question is which one would win on grading?
Lastly, looking at the fluttering of the leaves, to me the GH13 BP is just smoother. But that's a subtle difference--but video is a subtle art. For the whirling fingers of a virtuoso musician to the elegant arc of a dancer, I like smooth motion. Even for a tugboat.
I think if I do one more comparison I will lure the hummingbirds down from their tree.
 
just installed the Blackout-Powell 24p patch
Where do I select the 24p and 25p frame rates, and the ntsc and pal modes????, looked trough the whole camera menu? so whats the story
My Indoor clip are still 25p ( Im in europe ) ? where is the native 24p?? ..... my average was around 13000 and had a peak of 20500 mbps .. so I guess the patch works
 
pls give us a bit of info for hack beginners =)
so if the REC quality on FHD mode is 25p and 50p on SH , do I actually hav 2 swap to ntsc mode in order to get the 24 P
 
You just switch the output mode from PAL to NTSC - with the hack this will also switch the recording from PAL to NTSC.
 
DrDave said:
...the extra lines, artifacts and moire [on the GH2] are too obvious. Now looking at the colors and foliage, this begs the question, hey, this is camera generated detail, but it looks great, so who cares? And it does look good--at the expense of subtle motion. And no one is going to see the haloing at six inches.
Click to expand...
If you examine individual frames in a video, the artificially enhanced edge details that are due to aliasing will often blend into the image and make it look sharper. Unfortunately, there's a subtle property of spatial aliasing that can spoil this effect when you watch the video in motion.

Aliasing is caused by hyper-fine details, transmitted by the lens, that exceed the spatial resolution of the image sensor's RGBG photocell array. Ideally, the camera's optical low-pass filter (OLPF) would block all image details that are finer than the image sensor can resolve. In practice, the OLPF blocks extremely fine details very well, but passes some of the details that lie just beyond the sensor's resolution limits. As the sensor digitizes the image, artifacts of these hyper-fine details are mathematically folded down and merged into the genuine details that define the edges of objects.

The problematic aspect of spatial aliasing in a video stream is that the aliased artifacts do not perfectly track the movements of the genuine edge details from frame to frame. Because of the folding process, the artifacts will actually move very slightly in the opposite direction as the movement of the image. That's why moire patterns appear to shimmer when you slowly pan the camera. This effect also contributes to the flickering that's often seen on high-contrast edges of moving objects.

The surprising conclusion is that the alias-enhanced sharpness that may subjectively improve the appearance of a digitized still photograph is actually detrimental to video picture quality. For a video stream, preserving the spatial continuity of a moving object is far more important than sharply rendering its finest details. Especially at 24p, where temporal continuity is often stretched to its limit, high quality video requires smoothly blended imagery with stable, clearly defined edges rather than minutely detailed images whose digitization varies perceptibly from frame to frame.
 
Thanks lpowell for another great patch. Needless to say we as a community have benefited greatly from your expertise.
 
question about shutter speed.
so, if we assume that we want to follow the 180 degree shutter rule and are recording at 24p with this patch, should we...
1. shoot at 1/50th?
or
2. shoot at 1/60th?

I'm confused because of the 60i wrapper. I've done some preliminary tests with regular 24p in 60i and it seems to me that the 60i wrapper is the defining parameter, requiring at least 1/60th if not 1/120th for smooth motion.

So does this hack mean we can actually shoot at 1/50th now?

I'm going to continue testing, but wanted to hear from others about their experiences.
 
Personally, I think the "180-degree rule" is a myth derived from the semi-circular shutters used in vintage movie cameras. When shooting film at 24fps, those cameras automatically imposed a shutter speed of 1/48 second. By extrapolation, some believe that to duplicate the look of film, it's advisable to set your shutter speed as close as possible to twice the frame rate.

Shutter speed determines the amount of motion blur captured by the camera, and to my eyes, speeds around 1/40 - 1/60 second produce the most cinematic look. Applying the 180-degree rule to a 60fps video would dictate a 1/120 second shutter, which is too crisp for my taste. I prefer the consistent motion blur produced by a 1/60 second shutter regardless of whether the frame rate is 24, 30, 50, or 60fps.

Two exceptions, however. In PAL regions, a 1/50 shutter is advisable to avoid strobing effects with 50hz lighting. And if you're shooting 24p slow-motion in 60p, to produce a 1/60 second motion blur at 24p, the 60p shutter should be set to 1/160 second.
 
Joho said:
You just switch the output mode from PAL to NTSC - with the hack this will also switch the recording from PAL to NTSC.
Click to expand...

when I do that in "VIDEO OUT" and try to record on NTSC (24p) I get this error message:
cannot record due to incompatible format (ntsc/pal) data on this card
no additional selections can be made

Did format the memory card in the camera doesn't help
(works fine in PAL mode)
 
Blackout-Powell Native 24p PAL

Blackout-Powell Native 24p PAL

Many thanks lpowell , great Patch. I use it with 1080/25p GOP15 and 720/50p GOP10. It works with Transcend 16Gb CL10 card and kit Lens 14-45 with AF on.

Stream Parser Info:

Mode = 720/50p
PCR Timing Interval = 0,095 seconds
Clip Time = 0:00:38,80
Average Total Bitrate = 47.982.739
Average Video Bitrate = 46.698.153
Average Audio Bitrate = 235.096
Average Other Bitrate = 1.049.489
Max GOP Size = 1.305.408 Bytes (10.443.264 bits)
Video Frame Size (Min/Ave/Max)= 39.552 / 119.182 / 388.416

This was high detailed scene outdoor without Crashes.
 
Have you tried it at 1080 / 25p native? Have you tried it with the camera on a tripod on highly detailed nature scenes (grass, etc.)? Please post your finding. Thanks.
 
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