GH2 official discussion thread

blafarm said:
That kind of a tough question.

Usually, situations like these demand settling on the lowest common denominator. In your case, the lowest common denominator would probably NOT be resolution-based -- as that is an easier variable to control and convert. In your case, I would assume that the interlace/progressive profile would be the driver your workflow decision.

First of all, you need to consider the capabilities of your NLE. If you're using something like an Avid Media Composer, you can use the built-in motion adapters to convert any resolution/framerate -- to any other resolution/framerate in realtime (with no rendering).

For example, in Media Composer, you would import your GH13 720p/50 media into one "project" -- and your GH2 1080i/50 media into another "project". Then you would open your 720 media -- while you were in your 1080 project -- and it would automatically be converted to the 1080i/50 profile.

That would give your the 50 i/p time domain that is required for smooth action.

At that point, you would just edit normally and output your final sequence for DVD and Web compression. However, this type of mixed media will require a complete workflow test (beginning to end) to make sure your deliverables (DVD & Web) are of acceptable quality.

Hope that helps.

Btw: This advice is based on my assumption that the GH2 does NOT do 720p/50 -- NOR 1080p/50
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Thanks. My NLE is Edius 5.5 at the moment, soon 6.0.
It will take all framerates and formats.

And yes, the GH2 does produce 720/50p. But not 1080/50p
 
Grunf said:
Not really. 1080i50 is NOT 1080p25. It has better temporal resolution, as each half-frame is 1/50th of the second. It's like taking a 1080p50 source and tossing every second line from each frame, while alternating odd and even lines for each frame.

Thus it's really like ordinary 50Hz PAL, except much higher resolution.
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Ususally you are right, but not in the 1080 50i mode of the GH1,
because there are only 25fps from thew sensor. So to get 50i, they double the framerate from the same frame and make the 50i from that. So it is no true interlaxe, becasue both fileds have the same conents opposite to normal interlace, where one filed is later than the other.

This is why from the GH1 the 1080/50i is really 1080/25p.
 
This is what I'd like to see from anyone who gets to try it out.

1) Can the Variable Digital Zoom crop in say 10% for my C-mount lenses (crop out the vignette)

2) Like to see some high ISO/low light shots to compare to a GH-1(3)

3) If the 40FPS 4megapixel (jpg) setting really can be sustained for several seconds. It would then be interesting to compare the same ISO shot side by side with the jpeg sequence and the 1080p. Color, Sharpness, noise, DR.

What a potentially amazing feature when you need to get the HIGHEST quality in a take for post work, composting etc. 40fps is great, but if the Firmware gods smile down upon us, it would be great to have a 24 fps setting as well. I do a lot of After Effects work. and that would open up a whole new area of creativity.

4) Definitely like to compare 1:1 crop 24p to regular 24p. Will the pixels hold up? Will the greater noise be too much? Could you cut them together well? Probably better for the lowest ISOs.

How about voice recognition through the mic. Say action and it starts recording, say cut and it stops.:-) Maybe on the GH-3

PS- I don't have a GH-x yet. Does Panasonic offer any tethering, like Canon or Nikon? Even for stills? There is a DYI where you take these inexpensive Wireless USB adapters and can turn any USB enabled camera to wireless. Like for under $100.
 
You can't assume that 1:1 has greater noise yet. If the full sensor image is not using binning and also uses a larger spread out 1:1 pixel arrangement (comb function) to sample the entire sensor, then noise would be the same. The big question is still how the video image gets downsampled from the full sensor.

Since SNR performance of the GH2 is noted to be better than the GH1 for still images, this should surely translate in the video regime as well.
 
timo.vaino said:
This new digital zoom that uses only the center area of the sensor sounds excellent. It makes my 300mm Nikkor with 1.4x teleconverter to 2200mm (35mm equivalent) in 1080 mode and to 3300mm in 720 mode. And with full resolution!
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Why is this remotely attractive? When do you ever need a 2200mm?

Maybe I am completely misunderstanding this 'feature', but isn't the GHx doing just fine in the long department? What we need is more W I D E options, IMO.
 
mpgxsvcd said:
Can you explain why that is?
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I shoot either almost static things (like interviews, etc) or quite dynamic ones and I do not care about broadcasting via HD TV.
On static scenes 50i is actually almost the same as 50p but taking 25p space.
Having 50i also alows to have more freedom making something dynamic.
Having 50p and 60p could be a plus. But I can live with that.
 
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mcsmooth said:
It looks to be original footage, since you typically don't transcode to .mts. Bitrate avg is 16mbs, so would be 17mbps mode.

Unfortunately, it looks like the codec will probably be the same for non 24p native modes... no B frames in this file. This means that even if this camera did do 25p/30, the quality wouldn't compare to 24p due to the lower bitrate AND lack of B frames.
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Again.
If this footage don't have B frames it is not from GH2. Period.
Upload footage to any of file sharing servers and give a link to it .
I'll tell you if this is from GH2.
 
iHartVideo said:
Maybe I am completely misunderstanding this 'feature', but isn't the GHx doing just fine in the long department? What we need is more W I D E options, IMO.
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This feature allows you to use all 2/3" lenses and many 1/2" ones (I think that almost all). So, you can use wide ones also.
I don't see any bad sides of having camera with native 1080p24 24Mbit mode and improved codec that is able to use good TV zooms (like F1.2 and F1.4 ones) and do not have any aliasing. In fact, you have about 2/3" broadcast camera as free addition :-)
Right now it is absolutely unique.
 
Vitaliy Kiselev said:
This feature allows you to use all 2/3" lenses and many 1/2" ones (I think that almost all). So, you can use wide ones also.
I don't see any bad sides of having camera with native 1080p24 24Mbit mode and improved codec that is able to use good TV zooms (like F1.2 and F1.4 ones) and do not have any aliasing. In fact, you have about 2/3" broadcast camera as free addition :-)
Right now it is absolutely unique.
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I agree... that all makes perfect sense.

But why are people excited about slapping their 300mm Nikon DX lens on there and having it act like a 2200 mm?
When is 2200mm ever useful?
 
Does anyone knows if they are going again with the stupid concept of PAL/NTSC models?

I really hope not!

I looked over the menus but I can't find a menu that changes PAL<->NTSC
 
AKED said:
Well I was away when the unhackable GH1 came up. So I did not follow the threads there.
But in another German forum I was told, that the 1.43 was not a reaction on the hack und just came out just about that time.
Vitaliy might confirm or not confirm, if the Firmware 1.34 is a result of the hack or not.
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Believe what you want.

My question is what added functionality does 1.34 provide over 1.32? Why will Panasonic not answer my questions about why 1.34 was put on the last production batch but is not available to anyone...even my friend a professional, "official" Panasonic camera repairer can't get it.

Coincidence? Purpose?
 
iHartVideo said:
I agree... that all makes perfect sense.

But why are people excited about slapping their 300mm Nikon DX lens on there and having it act like a 2200 mm?
When is 2200mm ever useful?
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I would.... if you shoot wildlife and certain sports, then you want every mm you can get. I would love to get into 3000mm to 5000mm territory.
 
Most people have a 200mm lens. (zoom maybe) for zero cost, or loss of 1080p resolution you can now shoot 1800mm ish? That's value added. Don't have to buy a new lens or carry it. I wonder about a nice 85mm 1.4, could be nice.
 
Vitaliy Kiselev said:
This feature allows you to use all 2/3" lenses and many 1/2" ones (I think that almost all). So, you can use wide ones also.
I don't see any bad sides of having camera with native 1080p24 24Mbit mode and improved codec that is able to use good TV zooms (like F1.2 and F1.4 ones) and do not have any aliasing. In fact, you have about 2/3" broadcast camera as free addition :-)
Right now it is absolutely unique.
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Following on this at the AF100 thread, here is a real advantage of GH2 over any other DSLR and yes, over the AF100.
 
I shoot a lot of music performances etc at a local venue The balcony is 75 ft + away from performers .
I use a canon FD 300mm L series prime which on my GH13 is 600mm . This allows perfect framing of performers It has terrific specs and is very sharp and cost all of $350 It frames performers upper third beautifully.
Larry
 
Almost all modern 2/3" lenses were made for 3 CCD's through prism blocks. While you could probably get half decent images from them, it would be better to use 16mm or Super 16mm glass which is meant for a single film plane through air, and so those film lenses would be better for bayer pattern single chip cameras.


Vitaliy Kiselev said:
This feature allows you to use all 2/3" lenses and many 1/2" ones (I think that almost all). So, you can use wide ones also.
I don't see any bad sides of having camera with native 1080p24 24Mbit mode and improved codec that is able to use good TV zooms (like F1.2 and F1.4 ones) and do not have any aliasing. In fact, you have about 2/3" broadcast camera as free addition :-)
Right now it is absolutely unique.
Click to expand...
 
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