GH2 Cinema Anamoprphic footage and More | Evolving

PaPa said:
lol, you're going to need some 7mm lenses to get your wides on etc mode :)

ps, those two greys on your beard are very experienced hairs.
Click to expand...

My widest lens in Zeiss Superspeed is a 5.9/T1.8 =D

Matty's Kinetal's have a 9mm/T1.8
 
Class 10 card/Quantum 7 "L"/ very very happy. I really like this combination in an interview situation Pana/Leica 45mm 2.8. Smooth -2-2 0 -2. I really couldn't ask for more out of any camera, perfect for my needs.
http://youtu.be/ypWE1fAR7Is
 
Video
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Format : AVC
Format/Info : Advanced Video Codec
Format profile : Main@L4.0
Format settings, CABAC : Yes
Format settings, ReFrames : 2 frames
Codec ID : avc1
Codec ID/Info : Advanced Video Coding
Duration : 1mn 54s
Bit rate mode : Variable
Bit rate : 19.0 Mbps
Width : 1 920 pixels
Height : 1 080 pixels
Display aspect ratio : 16:9
Frame rate mode : Variable
Frame rate : 23.976 fps
Minimum frame rate : 23.974 fps
Maximum frame rate : 23.981 fps
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 8 bits
Scan type : Progressive
Bits/(Pixel*Frame) : 0.382
Stream size : 259 MiB (99%)
Writing library : x264 core 119
 
Beautiful stuff, Royfel

Am I correct in saying that 24L on Quantum v7 is basically an updated Aquamotion?

Aquamotion still the only patch I film with professionally and I'm a bit scared to change up. I've recently realized it doesn't span reliably on Extreme IIIs (or Class 10 Lexars/Transcends) but the file size/quality ratio is about as much as I'm willing to deal with for a 10-hour day of interviews.

If this is why I use Aquamotion, would you guys recommend this version of Quantum for me?
 
I really like Quantum a lot, though to be fair, a lot of my testing has so far been in black and white, as I'm prepping the hack and GH2 for a short film this coming weekend that will be shot in B&W.
 
Here are some shots of downtown Austin using the Quantum v7 hack and the 14-40 kit lens. The video was exported at Blu-ray level settings, so be sure to download if you want the best quality (the Vimeo video is set to display 1080p as well).

 
Second actual shoot with GH2 + Hack, first time using EF lenses on the camera. ACtually liking the combo, and I'm trying out 5DtoRGB batch. Found something interesting, but not sure if it's going to be of use. Luminance Range setting in 5DtoRGB, apply "Full Range" + 1.8 gamma = SUPER FLAT IMAGE. Scary flat, actually. To the point where I think it's bad flat? But, I tested it out with lowly 422HQ to see what would happen...

All three are same settings
GH2 1080/60i 24mb/s (Sage's X3 hack doesn't have high bit rate 1080/60i, need to find one)
EF 85/1.4 @ 1.4 + ND .3
ISO 200
Smooth +2 -2 -1 -2
Non ETC mode (Such a fan, but not for this)
1/60 shutter
Vignette Added in post (A little too heavY)
1 Light Grade with Colorista II -- Same grade on all images, no adjustments.

NOTE: Because FCP is kinda silly, these are screencaps that represent what I'm actually getting in FCP, versus what FCP decides to spit out. You can click each one, but they are not 1920x1080.

5DtoRGB + 1.8 Gamma + Broadcast Range



5DtoRGB + 1.8 Gamma + Full Range on Luminance



5DtoRGB + 1.8 Gamma + Full Range on Luminance + Denoiser (lightly Applied)



Even though I was afraid, I could imagine trying this out with DPX sequences (highest quality yer gonna get) and in DaVinci to see what I get.

Thoughts?
 
For safe measure, I went back to the FulL Range and dipped the color contrast a bit more so it wasn't as milky.



And here are the "raw" looks:

Broadcast Range + 1.8 Gamma

broadcastrangeraw.jpg


Full Range + 1.8 Gamma

fullrangeraw.jpg
 
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It looks really good Kholi. They all look really really close to the point that I can't really tell much of a difference that couldn't be eliminated with color correction. I do see in the top two some slight banding and purple/pink-ish color above his right should (left side of frame). I don't see it, at least not nearly as much, in the 3rd image (5DtoRGB + 1.8 Gamma + Full Range on Luminance + Denoiser (lightly Applied)).
 
Will do tomorrow. Finay left the house.

Looked like +2 helped banding a tiny bit in cam, so I tried it. Not sure how I feel about it yet though.

Thanks Mike. I should've shot 400IsO but there was enough light for 200. Decided try it out for knce. I think I'll stick to 400 though. Banding is a bit of an annoyance. Someone showed me sensually nice noise work on those stills that looked perfect.

I'll have to experiment with that too.
 
So much of this is situational, but it'd be nice to have a baseline that will produce decent results.
 
Until someone shows otherwise I feel like 200, 400, 800, 1600 are safe.

Oh, and Devon, I got some cheap 18% gray cards from Filmtools, dunno how much they were but they work just fine. Balanced both cameras to them today, results = excellent.

Also, not all GH2 LCDs are made equal... although both were white balanced to the same card, the LCDs were drastically different. I had to run them both to the TVLogic 5.6 (and out HD-SDI to Panasonic 17") Just to make sure they matched and they did. LCD lies hardcore, or at least some. The second GH2 was much more accurate, but my new GH2 was not.
 
Awesome, link?

I'm glad I dished out for the DP6, but we still have the issue of it not accurately matching, and the color shift. I hear the tv logic is a bit better.

I'm heading to inFocus in Charleston Monday, maybe I can do some testing with peeps there.
 
I want to throw in my two cents on using +2 Sharpness with the GH2, based on my experiences. I HIGHLY advise against using anything other than -2 Sharpness when shooting close-ups of people. I made the mistake of shooting a middle-aged actress with Sharpness at 0 for just one shot (all others were done at -2), and the difference was striking. With Sharpness set to 0, wrinkles, pimples, everything was accentuated, and this was a beautiful woman. But I had to bring it into MBL and add diffusion to soften it all up. I never made that mistake again. For panoramic wide shots, Sharpness can add perceived resolution, but it just ain't friendly to faces.
 
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