GH2 How I busted Zacuto's mystery ...

S. Matthews said:
I would love to see a test done in the vein of the scientific method next time reduce the variables and show us the real cameras, or make packages for each level of filmmaking and allow multiple DP's use the packages to film the same set up to show the differences in packages.
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They did that last year, and the year before that. All people did following that was get hung up on the gear. People are so gear crazy that there are people who refuse to shoot with anything less than a camera with a super 35 sensor because they hate the image of 'lesser' cameras despite the fact that the largest grossing film of all time was shot with cameras that had 2/3" sensors. I can't even tell you how many people I know who went out and bought a Canon DSLR after seeing amazing images with them and were immediately shocked and disappointed by how terrible the purchase was because they couldn't make the same images. It wasn't the camera's fault, but the modern spec based momentum machine turned it into a camera fault. This documentary is trying to dispell that notion, it's so much more than just a shootout.

Gary Huff said:
Perhaps so, but I've never heard of Celebration, so does that say something as well? Also, it's a pretty well-known complaint that 28 Days Later looks terrible on Blu-ray, even if the reason it doesn't look any better isn't well known.
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28 Days Later is an excellent film. It wouldn't be better if it had been shot on film, even if it didn't age as well.
 
zacuto said:
first off, there are very few 4K theater in 2012, additionally, I'm not sure that many of you realize that this is a business!!! That's why it's called the movie business. Do you think that Janusz ability to tell a story with his cinematography would make Hollywood one dollar less if it looked slightly different then the best camera out there projected in 4K? No. Again, he would probably not want to use a GH2 because it does not have all the creature comforts of a RED or Alexa but for one of use here on the blog it gives us hope that if we have any talent, an excellent story, directing acting, sound, and lastly camera. To maybe create something that is marketable and sellable. Who cares if it looks a hair better in a 4K theater. See the movie the Celebration which was shot on a Sony $500 camera years ago, the film is amazing and after 2 seconds of watching it they grab you and you don't know that the picture sucks and that was in SD mini-dv. LETS START TALKING ABOUT THE REAL STUFF: story, directing, acting, sound, editing & camera. Because that is the order of importance.
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4K theater doesn't make 2K look bad, but better, it masks the dots so you can't see pixels.

see my blog or other post on in this forum
 
Blackout said:
4K theater doesn't make 2K look bad, but better, it masks the dots so you can't see pixels.

see my blog or other post on in this forum
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This is absolutely true. I only go to 4k screens now, I hate the screendoor affect with 2k screenings. (with large enough screens)

This said, I'm sure you could cut carefully shot GH2 footage and RED footage and have it unnoticeable to the most jaded pixel peeper on a 4k screen.
 
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evilthought said:
A month wait? That's ridiculous. A week would have been enough. Two weeks, but WTF? A month?
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And how ridiculous does it sound for somebody who watches the output for free on their computer to expect or criticize anything? Your level of internet entitlement is reaching new heights...

Respect and appreciation are in order, not demands. There are a lot of real world people and equipment involved in the project.
 
Wolfenbarg said:
28 Days Later is an excellent film. It wouldn't be better if it had been shot on film, even if it didn't age as well.
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It is a good film, but the fact remains that it looks pretty bad on Blu-ray, and will look even worse when we move to 4k+ displays.
 
zacuto said:
I'm still shooting elements for part two. Does anyone realize I have 4 editors working 12 hour days and then round the clock for the last two weeks. With close to 30 screenings and a hundred hours of interview and BTS footage, plus the test footage, this is a massive endeavor. Look at the credits. I can't make programming faster then this. Sorry, it will be hard to make that deadline. Even if I had more money, I still don't think I could do it faster. I'm sorry. steve
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I wouldn't worry about apologizing to people who are impatient and ignorant of the process.
 
Blackout said:
4K theater doesn't make 2K look bad, but better, it masks the dots so you can't see pixels.

see my blog or other post on in this forum
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So what's all that buzz about 4k cameras, when blowing up 2k looks so great, we don't need 4k cameras.
Does blown up SD on a full HD TV also look better to you?
Or scaling up a picture in Photoshop at 400% - does that look better to you than the original?

If yes, how would you explain that. It's quite contrary to everything I know about image scaling.
 
Gary Huff said:
It is a good film, but the fact remains that it looks pretty bad on Blu-ray, and will look even worse when we move to 4k+ displays.
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Yeah...but so will a lot of other movies shot on film. i was watching an old Clint Eastwood western the other day on my big screen TV and couldn't help byt notice how bad it looked. I've seen others that looked ok....but this one in particualar looked blotchy (off cable TV that is).
 
Ian-T said:
Yeah...but so will a lot of other movies shot on film. i was watching an old Clint Eastwood western the other day on my big screen TV and couldn't help byt notice how bad it looked. I've seen others that looked ok....but this one in particualar looked blotchy (off cable TV that is).
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But that's simply a bad transfer. Film can resolve to 6k resolution (depending on the quality of the print), so that Clint Eastwood western can look amazing on Blu-ray.

Would you say that the GH2 looks bad because (and this is true) someone uploaded a 720p 1Mbps encode of one of my projects to YouTube and it looks horrible?
 
Gary Huff said:
Sounds like confirmation bias to me, or you simply had a crummy TV before.
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Some HD TVs have decent up-scaling algorithms, so I think there is something to it. I was shocked at how good regular old SD DVDs of stuff shot on my HMC150 looked on my folks' HDTV.
 
I just finished making a really nice DVD encode of a short film and it looks great for DVD, but full screen on a 1080p calibrated display, it looks terrible compared to the Pro Res master.
 
Oh yeah. It's never going to compare to a 1080p master file. I just think that it's possible for a HDTV to upscale DVDs in such a way that they can look better than they did on old standard def TVs. I don't know this for a fact, it's just speculation after being surprised by the quality on the one HD TV I have access to.

The choice of DVD encoding program matters big, too. TMPGEnc is vastly superior to the adobe suite, for instance. At least anything CS5 and earlier. You don't even need to pixel peep to see the difference.
 
DBP said:
The choice of DVD encoding program matters big, too. TMPGEnc is vastly superior to the adobe suite, for instance. At least anything CS5 and earlier. You don't even need to pixel peep to see the difference.
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I don't know. I've done all my DVD mastering since CS5 on Adobe Media Encoder. I often get a lot of requests as well, both for Blu-rays and DVDs, from people who are fed up with Compressor's poor output.
 
Gary Huff said:
I don't know. I've done all my DVD mastering since CS5 on Adobe Media Encoder. I often get a lot of requests as well, both for Blu-rays and DVDs, from people who are fed up with Compressor's poor output.
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Same here Gary.
But what do we know about this TMPGEnc?
This is the first I've heard of it.

~Thanks
 
i've played with it before, but I honestly can't see in what ways it could be improved over AME. I should note that I never use the presets, I build my own.
 
zacuto said:
I'm still shooting elements for part two. Does anyone realize I have 4 editors working 12 hour days and then round the clock for the last two weeks. With close to 30 screenings and a hundred hours of interview and BTS footage, plus the test footage, this is a massive endeavor. Look at the credits. I can't make programming faster then this. Sorry, it will be hard to make that deadline. Even if I had more money, I still don't think I could do it faster. I'm sorry. steve
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Well, after reading some comments in various forums (by people who watched the screening) we now have solved 4 of the camera ..

One person who watched the screening posted this comment a month ago on Red forum

http://www.reduser.net/forum/showth...Great-Camera-Shootout-and-free-parking!/page5

SONY F65: Looked good, in fact was my number one choice. On further viewings I did see a slight magenta tinge to the post corrected version. This may have been a result of trying to fix the color balance on the skin tones.
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Now which clip has the magenta cast? It's H .. So there !

So now we have,

D: IPhone
G: 7D
B: GH2 (too much lights .. too much contrast -- no wonder many people picked it but doesn't look great after analyzing it a bit more).
H: F65 (magenta cast)
F: Alexa (99% probability)

As you see zacuto, it's been only 5 days and the bubble is already busting!

The other ones (just a guess) E, Epic, I: C300, and A and C (FS100, F3 not sure in which order).
 
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