GH2 official discussion thread

roei z said:
thanks Peter. is it possible that the lens have some influence on the judder too?
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No.

However, when panning the focal length in part determines the preferred panning speed. Typically the longer the focal length, the slower the pan should be, unless of course the intent is for a fast swish pan to completely blur the frame. There are tables which list recommended panning speed per degree of arc (and frame rate) in the ASC manual & elsewhere.
 
roei z said:
damn, that's what drives me crazy too (shooting on the GH2). the fact is you have to use 1/50 always.
but still, it's a lot more distracting to me than on real film. i hope it get's subtle after you finish post or something..
if someone has more tips i'll be happy.
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For tips, watch some good films and learn from the best :) After shutter speed, the second biggest issue causing "strobing" motion effect is panning speed, which is too fast. In most films I've seen panning on a scene in deep focus is done slowly. If there is a subject in the scene that moves relatively quickly, either the camera needs to move with it causing the rest of the scene to blur out or the subject needs to be isolated optically with narrow DoF. All of this requires practice so the end results looks good. Manufacturers can put in all the cinematic gizmos they want in order to increase the attractiveness of the product, but good camera technique, composition and lighting are still critical elements that need to be controlled by the operator.

And this should probably be discussed in another thread.
 
svecher said:
For tips, watch some good films and learn from the best :) After shutter speed, the second biggest issue causing "strobing" motion effect is panning speed, which is too fast. In most films I've seen panning on a scene in deep focus is done slowly. If there is a subject in the scene that moves relatively quickly, either the camera needs to move with it causing the rest of the scene to blur out or the subject needs to be isolated optically with narrow DoF. All of this requires practice so the end results looks good. Manufacturers can put in all the cinematic gizmos they want in order to increase the attractiveness of the product, but good camera technique, composition and lighting are still critical elements that need to be controlled by the operator.

And this should probably be discussed in another thread.
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these are the facts i DO understand :)

but- if you take an extreme long shot of a wall, with the object near the wall, running across the frame - when you watch it on film, the object usually not judder. at least not as drastic as shooting it on HD.
and what about hand held docu shooting ? i like it best, and i never find it judder or distracting in that way.
 
On the GH1 I used the 720p mode for most work and was great when we could lower GOP and get very smooth motion and slo mo....What I looked for in the GH2 was less FPN and moire,audio level control,better low light, and simultaneous Hdmi monitoring...so really I am a happy puppy.

the only real bugaboo would be the lower GOP which the hack provided....however that said if HDMI out is recordable in 720p ( probably not from reports) I could sport for a nanoflash and record on that in better codec and still be under A 5d mark2 in price ..

The exported colorspace is only 8 bit and On the Af 100 forum in comparing internal camera codec to external there did not appear to be alot of difference given the 8 bit output ....but the improvements could lie in the smoothness of motion of an external capture....

Anyone know if Barry or anyone else has been able to capture motion on an external recorder?

Also does anyone have any updates on arrival of GH2 in North America Yet? I have some stuff booked for Christmas I would love to use this new gear on ...."he said panting":) ...

Larry
 
roei z said:
these are the facts i DO understand :)
but- if you take an extreme long shot of a wall, with the object near the wall, running across the frame - when you watch it on film, the object usually not judder. at least not as drastic as shooting it on HD.
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I don't know. I'd have to see an example. With 24p it is the subtlest (to a layman) of things can have big impact on how footage looks and perhaps many digital shooters don't have sufficient training that a film operator would need to get before being allowed anywhere near a camera.
and what about hand held docu shooting ? i like it best, and i never find it judder or distracting in that way.
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There is a reason that this type of shooting, like news, sports, etc (where you cannot redo the take) is typically shot at higher frame rates, like 50 or 60 fps. In my experience, these frame rates are much more gentle on the operator both in terms of shutter speeds and the type of motion being captured.
 
Hmmmm ... pulldown, deinterlacing, stobing and juddering are getting tangled together in some of these posts.

My take on it:

- 3/2 pulldown is a technique for displaying 24P footage on a 60i broadcast TV system. It gives a distinctive cadence to 24P when view on television, which is what I think folks often refer to as judder.

- 60i footage can be deinterlaced by hardware or software to create 60P or 30P progressive footage. This has nothing to do with pulldown.

- If footage is shot at high shutter speeds (i.e. significantly faster than half the frame rate) then motion looks harsh and unnatural - which I think some folks refer to as strobing (or the "Saving Private Ryan" look). This applies to both interlaced and progressive footage, at any framerate.
 
snicky said:
Hi guys. A friend of mine brought me a GH2 from Japan this week and I have some free time, so if anyone wants me to perform a test or upload some footage, just let me know.
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Yes please and thanks for offering.

1) Can you check, if HDIM out works also in the 720 mode?

2) If you have a GH1 or GH13, can you compare the 720 footage of a GH1(3) to the 720 of the GH2? Is there a difference to the better?

3) Can you try to make still pictures while filming (in 720 and 1080) and then check later, if something happened to the filmed scene, where you took the picture (i.e. no sound, or some flickering in the film or so).

That would be my wishes for now.

Thank you for your time.
 
Of course you can deinterlace 60i but you will never get real 60p out of that.
Half for the information that 60p has is missing.
In 60i, you have 60 half frames (1st frame hase 1st, 3rd, 5th etc, lines, 2nd frame has 2nd, 4th, 6th ect lines.)
If you deinterlace them, you get 30 fll frames i.e. 30p not 60p.
 
try to download this:
http://rapidshare.com/files/431639197/00034.MTS

(hacked GH1 with pl-mount and cine kowa 25mm ultra-t shot in 1080p no cropping or colorgrading, standard mode)
apart from vignetting - how can i get closest to that on the GH2 ? i think it's amazing.

* i think smooth is still the flattest i could get from all the modes. i'll stick with that.
and there's no doubt the splash player is the best.
 
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AKED said:
Of course you can deinterlace 60i but you will never get real 60p out of that.
Half for the information that 60p has is missing.
In 60i, you have 60 half frames (1st frame hase 1st, 3rd, 5th etc, lines, 2nd frame has 2nd, 4th, 6th ect lines.)
If you deinterlace them, you get 30 fll frames i.e. 30p not 60p.
Click to expand...

If you have a 60i file shot as 60i, you can 'create' a 60p file by having software interpolate between the lines in each 60i field. A relatively simple and largely succesful process -- you have line 1 and 3, the software creates line 2. If there is much motion -- therefore making the creation of line 2 tricky, you accept the lack of firm data and simply double up -- line 1 is repeated in line 2, line 3 is repeated in line 4, et cetera -- either way you end up with a 60p file from a 60i source. What doesn't work as well is to try and create a 60p file from a 30p file that was packaged as a 60i -- suddenly you aren't just looking to smooth out the data between lines, but expected to smooth out the data between moments in time. Software can do this, given time and cpu, but it is clearly more demanding than creating a 60p file from a 'true' 60i one.

A 60i file will only deliver a 30p file if the original was shot as 30p, otherwise you are stuck with interlace artifacts caused by the time displacement in any movement.

Cheers,
GB
 
This is why I wrote
"you will never get real 60p out of that"

You may have 60 frames, but 60p is 60 different full frame files with full resolution, which you do not have in the described way.
No full resolution, only a interpolated 60p.
 
snicky said:
Hi guys. A friend of mine brought me a GH2 from Japan this week and I have some free time, so if anyone wants me to perform a test or upload some footage, just let me know.
Click to expand...

Can you check if the composite video and audio is available for external monitoring in video recording mode?

Thanks for your time.
 
I need some help with deinterlacing. I have several programs like Sony’s Video Vegas, AVSVideo Editor, VirtualDub, VLC, and Windows Media Encoder that offer various forms of deinterlacing. I think the deinterlacing in VirtualDub and VLC are the best. However, I am having trouble getting either of those programs to edit the .MTS files natively.

So what Windows XP program do you all recommend for deinterlacing 1080i/60 into 1080p/60? It needs to work with Windows XP as I haven’t upgraded to Windows 7 yet. It also needs to be fairly easy to use. I don’t want any command line scripts. I would like to know what program offers the best deinterlacing straight from the factory.

Also is there a way to get Windows Media Player to deinterlace a file properly? Unfortunately it is the only media player installed by default on every Windows Machine. It doesn’t matter if programs like VLC can deinterlace very well when average users will end up seeing interlaced artifacts when they play the videos in the default Windows Media Player.
 
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