GH1 First impressions and footage

Car3o said:
heavily graded films/shorts/videos are bad taste...music videos i can see going overboard with. other than that, it's redundant and looks amateurish
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Agreed. It's a great technique to have available, but (as is often the case) it's being worked into the ground on a lot of films and is going to look very dated before long. If you want to see an example of the technique gone wild, watch 'The Golden Compass'. There's a night scene that takes place on a boat that had me looking around the back of my TV for a hidden lighting crew, it took an important character development scene (at least in theory...) and turned it into a cartoon.

When the d90 came out one of the things I liked about it was the limitations of the image in terms of 'grain' and color, a lot of the footage had a gritty feel to it that I found very involving.

I like dirt and texture - so for me, the GH1's low light performance is actually pretty good (eg Philip bloom's pool hall footage, which I found hit a sweet spot between being sensitive enough to be evocative and dim enough to be mysterious and interesting).
 
Car3o said:
removing pull down in premeire pro takes 1second to do.
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Well, that's a second of my life I can never get back, Mr Fancy-pants. Look, in the time it takes to process film at the lab for dailies I could have removed pull down on 86,000 GH1 shots in 'just a second' each time. How d'you like them apples!

Seriously, he's right. I only did a few quick tests for but importing GH1 footage into CS4 doesn't seem to take any longer than SD video. In fact, I'm pleasantly surprised at hpw smoothly it's playing back on my machine which is good but not great.
 
You see Philip Bloom is guys like you that make the difference. You took the camera and bang, you shot with it. The footage looks great even though you hadn't even read the manual, then you grab tons of publicity! Thats the way showbiz works. And thats what we are part of. Laforet did the same thing and it worked great for him. Excellent for the engadget plug. You deserve it 'cause you take risks and do it well. Keep it coming until we get our own cameras. Thanks a bunch for your input.
 
I now have an English pdf of the manual if anyone wants a copy... email me at philip@philipbloom.co.uk and I will send you details

Phil

P.S. John, appreciate the words man! it's been a manic few days responding to mails and stuff! But fun!

I can't share the manual any more at the moment...i will again later
 
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it's been a manic few days responding to mails and stuff! But fun!
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Good for you Philip, you really do great work. Thats the secret in this business, go out shoot first and ask questions later. Now you gonna get a ton more emails for that manual.
 
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Philip, did yo have any posibility to compare the results of the PAL camera to the NTSC model? Is there an advantage of the 25p over 50i compression compared to the 24p over 60i (as I suppose)?
 
Philip, I have a question about this video:

http://vimeo.com/groups/gh1/videos/4441911

During the close-up of the fire (around 1:20) I see lots of horizontal line "glitches", kind of like what you get when the shutter is half closed during a flash, but not quite exactly like that.

I've seen these "glitches" in other Vimeo and YouTube videos as well, though they seem more apparent when filming fire like that.

Does everyone else see that too?
Anyone know the cause?
I'm thinking:

1. It's caused by compression or frame-rate reduction needed for Vimeo/YouTube.
2. It's because my computer is too slow to stream the video properly (or I need an updated codec).
3. It's an artifact in the original video (hopefully not).

If it's not in the original video, how do you avoid it when posting vids to Vimeo or YouTube?
 
philip bloom said:
no more manual sharing an afraid...
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Damn you Mr. Bloom!!!! I'll get you next time!!! Oh well, I think I have most of it hard wired in my head by now (yeah right)...if you change your mind I wouldn't be unappreciative if you would PM me :love4:

EDIT: BTW I'm liking that Matte box setup you have going there.
 
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