Jvc gy-l300

ufff.. I like that picture quality.. to me, looks like BMPCC filming prores ( similar latitude ).. I am a little bit scared of just 50mb 422 50p .. but looks nice graded ( I tried to grade vimeo sample in davinci )..

Very tempting !! Just wanted a higher bitrates.. :((
 
I don't like the highlights, Some shots are worse than others, but many have an abrupt rolloff clipping the whites. I guess you have to expose for it.
 
maranfilms said:
I don't like the highlights, Some shots are worse than others, but many have an abrupt rolloff clipping the whites. I guess you have to expose for it.
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I saw that too. I think that's what the reviewer meant by: "...it may not have the most cinematic look on the market..."
The image isn't bad. Lots of detail. We probably would've raved about it 3 or 4 years ago, but it seems a little behind the current crop of cameras.
Is it the sensor or is it the processing? Perhaps they will continue to improve the IQ prior to launch and then through updates(?)
If Samsung can build a decent camera, JVC should have no problem, having been in the market forever.
 
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"I could not do any testing recording 4K UHD internally."

Kinda disappointing...for the review..and that JVC was caught offguard on this.
 
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TFilipiak said:
I saw that too. I think that's what the reviewer meant by: "...it may not have the most cinematic look on the market..."
The image isn't bad. Lots of detail. We probably would've raved about it 3 or 4 years ago, but it seems a little behind the current crop of cameras.
Is it the sensor or is it the processing? Perhaps they will continue to improve the IQ prior to launch and then through updates(?)
If Samsung can build a decent camera, JVC should have no problem, having been in the market forever.
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And we are looking at internet footage.....I'm getting a unit today or tomorrow and we'll start putting it through it's paces.....

Jim Martin
 
Here's the camera:20150225_112537.jpg20150225_114507.jpg
So, we have it up on a TV Logic 46" and the HDMI into a Panasonic 4K monitor and from what I can see, it looks quite nice....on it's DNA, it is definitely in the Canon/Panasonic area....we plan to shoot footage internally on the camera and out the HDMI to the Shogun, both day & night and have that footage ready for our LA Debut event on March 18th. I'll report back before that with our results.....I really think this little guy is going to do well, especially in moving more people out of DSLRs to a real, functioning cinema camera.

Jim Martin
 
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Thanks for sharing and looking forward to your findings. Lets hope this camera has inspired Panasonic to have a model in the wings for this year's NAB show. The more the merrier.
 
TFilipiak said:
Not sure why peeps dissin' MFT mount. I suspect it's based on negative association. "It's not 'professional' enough..."
Truth is; MFT is here to stay and it's being recognized by many lens and camera manufacturers these days.
Hell; you want to strap top-of-the-line glass to your camera? Zeiss offers their Compact Primes in a MFT mount. (sorry, no NEX)
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Since when CP.2s are top of the line? They are bottom of the line for cinema lenses.
 
Firstbase said:
The dynamic range of the sensor (as reported on the AltaSens site at 68db or 11.3 stops) appears to be quite similar to the Canon C300. If you pay attention to the highlight clipping (AF100 users are used to this), I'm going to guess that good results can be obtained from this camera in most shooting environments. It would be great if they incorporated SLog in the final product! I think their price point reflects this lower performance in DR, but I also think they clearly had the thought of stealing Panasonic's thunder in coming out with their own "AF200." It's hard not to like the on-paper specs of this cam.

View attachment 96939
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This is a weird chart as realistically the 5D doesn't have 11 stops of dynamic range.
 
Sttratos said:
This is a weird chart as realistically the 5D doesn't have 11 stops of dynamic range.
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True. DR tests do seem to vary from analysis to analysis. It would be great to have a single, objective, authoritative voice in terms of camera-to-camera comparative sensor performance, but that utopia is unrealistic. That said, real-world performance tests by pros are going to give us all we need upon which to make purchase decisions. 2015 should be an exciting year, especially if Panny steps up to the plate as anticipated.
 
Sttratos said:
Since when CP.2s are top of the line? They are bottom of the line for cinema lenses.
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I think you missed the point, strawman.
I was commenting on the validity of MFT as a format versus the 'professional snobbery' sometimes encountered here. (Your reply, to wit)
That's like saying; The 308GTB is a "bottom of the line" Ferrari. So??? Even on it's worst day, it's still a Ferrari.
 
DLD said:
The point is that there's more difference between HD and 4K than between 16mm and 35mm film ... and I don't see any director asserting that he'd be just as happy to shoot in 16mm when he can shoot in 35mm. In fact, directors and cinematographers want to go bigger to Vista Vision or 65mm, if they have the budget for it. No one ever advocates the return for the hand-cranked cameras either. The technological progress always points one way and one way only - forward.
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sure, technically there is a significant difference between HD & 4k but the actual perceived difference isn't there when you consider the typical viewing distance that easily negates the resolution gains unless you sit very close to the TV. in practice there isn't really much difference once you aren't close enough to notice it.

david
 
as long as this camera has various firmware updates requested by users like most other their other ENG cams then I think this cam will be enjoyed by many. I'm so looking forward to testing the 4K with the new Olympus Pro f2.8 series or even the Panny Leica prime 42.5mm.
 
TFilipiak said:
Not sure why peeps dissin' MFT mount. I suspect it's based on negative association. "It's not 'professional' enough..."
Truth is; MFT is here to stay and it's being recognized by many lens and camera manufacturers these days.
Hell; you want to strap top-of-the-line glass to your camera? Zeiss offers their Compact Primes in a MFT mount. (sorry, no NEX)
If that price tag is a little too steep for some, there's always Rokinon Cine lenses in MFT mount on the other end of the spectrum.
I imagine there will be more choices in the near future. Especially if cameras like these start selling in reasonable quantities.
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Umm...B&H offers Zeiss CP's in NEX mount. I'm not going to cut and paste
every single lens they offer, but they offer pretty much all of the Zeiss CP's
in NEX mount......so not sure where you heard MFT mount but no NEX.

http://www.bhphotovideo.com/c/product/857894-REG/Zeiss_1916_648_Compact_Prime_CP_2_35mm_T1_5.html
 
david_p said:
sure, technically there is a significant difference between HD & 4k but the actual perceived difference isn't there when you consider the typical viewing distance that easily negates the resolution gains unless you sit very close to the TV. in practice there isn't really much difference once you aren't close enough to notice it.

david
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I'm sorry, but this is not true. The difference between 4K and HD is very obvious. Just go down to your local Best Buy and do your own eye test. I can tell the difference from most any distance, from a few feet to 15. And how much further away are you going to get from a home TV set, anyway?
After watching 4K, I look at the HD sets and wonder why they look so low res. It's because they are, next to 4K.
If you can't see the difference, I don't know what to say.
 
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