GH4 James Miller's Camera Settings for Best Dynamic Range

Lpowell said:
I am just not tony enough for this much name dropping. But yeah, Cine-V is for when you want your footage to look ENG.
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With the right grading, anything well shot can look like truly cinematic, though (by VILLAGEHOUSE from Vimeo) :

 
Thanks so much, Emmanuel. Also, if anyone else cares, I recorded audio directly into the camera, via the LINE OUT of a ZOOM H4n that was acting as a recorder/pre-amp for my AKG CK93 hypercardiod mic. I didn't have to use any of the sound recorded to the Zoom's SD card as everything on the video track sounded great.
 
Some setting is adding a red hue to my eyes. Also seen on the second half of Andrew Reids video here though he used cine-d not cine-v.
 
I do like this one better, maybe the second gh4 video i enjoyed in the 3 dozen seen. Not sure how much this little setting formula could work for other scenario.

Funny to realize im still tented to buy a second hand 5d III as i must say i quite like the image you get from that full frame sensor, with the RAW output and full support of EF lens . Im wondering how the DR of the canon could be compared to the GH4?
Am alone to feel tented and ask myself this question?
Is it better to take a gh4 and later a full frame sony a7s?

Cheers,

vince*

________________________________________________________________
Vincent Thomas
Creative Art Director & VFX supervisor / Senior Lighter & DigiMatte Painter / Concept Designer
http://fr.linkedin.com/in/vincentthomas
http://www.stranger-than-paradise.book.fr/

Emanuel said:
With the right grading, anything well shot can look like truly cinematic, though (by VILLAGEHOUSE from Vimeo) :

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Isn't it at least a question of personal taste?

Other than that, I won't recommend log-style within 8bit material. If you work within the 8bit world - you need to "burn-in" your look at least approximately before finishing in post. If you record log-style footage in 8bit and give it heavy grading you'll just miss tonality not dynamic range. That's what I learned with my FS100 and Frank's profiles, which aren't flat at all but try to use all the tonal range within your limited 8bit tonality.

I think the GH4 works best if you try to get as much tonality into your footage without worn out highlights. That's what you should do.
Hightlight roll of is important in a lot of situations, but good tonality is almost always important! Especially within the 8bit world.

If you record straight into 10bit from the GH4 - the whole workflow should be a different thing as there is much, much more tonality and you can concentrate more on dynamic range.

See also: http://www.dvinfo.net/article/acquisition/review-panasonic-dmc-gh4-camera.html
 
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Erik Wittbusch said:
try to use all the tonal range within your limited 8bit tonality.
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This. Not that I know much, but makes sense to me when using a lesser format to maximize its ability. And to me, each "scene" might require different settings, no "one setup works best". There might be a generic setup for run and gun that works okay, say flatter, or something.
 
My feeling was that it's best to bake the look you want directly when you shot. To what i could see and read on the BMCC forum, when adding contrast, the picture of the GH4 really start to fall appart... The color science and tonal range of the BMCC looks much more cinematic
 
No wonder, as the BMCC produces 12bit RAW-files with tons of tonal range. You can do whatever you want with it - once you were able to capture the right moment...

The GH4 isn't comparable to a RAW-camera - it's a total different league. They only share the mount and sensor size.

It is possible to get 10bit HD footage from the GH4 via the HDMi with any 10bit HDMi recorder. Has anyone done this yet and can confirm that it is really a different class?
I really wonder, that nobody has tried that out. Is it because everyone wants to check that HD from 4k internal thing?
 
Erik Wittbusch said:
It is possible to get 10bit HD footage from the GH4 via the HDMi with any 10bit HDMi recorder. Has anyone done this yet and can confirm that it is really a different class?
I really wonder, that nobody has tried that out. Is it because everyone wants to check that HD from 4k internal thing?
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Because there's no 4K recorder out yet. I thought I remember someone trying the 10-bit (1080) with the Atomos Ninja 2 but can't find the thread.
 
I would love to see that...


Erik Wittbusch said:
No wonder, as the BMCC produces 12bit RAW-files with tons of tonal range. You can do whatever you want with it - once you were able to capture the right moment...

The GH4 isn't comparable to a RAW-camera - it's a total different league. They only share the mount and sensor size.

It is possible to get 10bit HD footage from the GH4 via the HDMi with any 10bit HDMi recorder. Has anyone done this yet and can confirm that it is really a different class?
I really wonder, that nobody has tried that out. Is it because everyone wants to check that HD from 4k internal thing?
Click to expand...
 
SuperSet said:
Because there's no 4K recorder out yet. I thought I remember someone trying the 10-bit (1080) with the Atomos Ninja 2 but can't find the thread.
Click to expand...

The Odyssey 7Q when coupled with the YAGH, which was just released, can record 10 bit RAW from the GH4
 
is the 10-bit from the SENSOR, or from the file creation? I mean, I can make a file any amount I want..... record a 2 bit output into a 32 bit final file. See what I am saying? Just wondering.
 
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