Panasonic 4K GH4 possibly coming next Spring...

FelixGER said:
10 bit 4:2:2 is a bit pointless without a descent log mode to squeeze in the DR. Maybe those Cinelike profiles are logish-like, but that´s a bit to much "almost like the real thing" "Shoot like a professional" for my taste.
Click to expand...

For me, those cinelike profiles are the little detail that will make or break the GH4. If they keep the 12+ stops of DR that the sensor should have, it's a winner. If they don't it's a GH2 on steroids: great for resolution nuts, uninteresting for me.
 
Cine like D should offer the best results for keeping the DR....that and the fact that DR won't be thrown away on a lackluster codec. 100 IPB should be pretty damn strong.
 
RatLabProductions said:
What are people complaining about? It will be a $2K or sub $2K camera that shoots 4K and some amazing HD modes. 200 AllI will be amazing in camera. The 1DC is 5x the price. Lets not act like spoiled brats. The GH4 now has zebras, peaking, bars and a ton of other features people were begging from panasonic and when they deliver its still not enough?.
Click to expand...

+1

The only gripe I'd have is that Europe is getting somewhat shafted with the lack of 25p for 4k. If the rumoured price is true then it's a big step forward in specification versus value for money.
 
Quite frankly my biggest gripe with it is that with the big a/v box under it you are hosed for attaching iris rods for a mattebox or ff.

Everything else doesnt look too bad.
 
mcgeedigital said:
Quite frankly my biggest gripe with it is that with the big a/v box under it you are hosed for attaching iris rods for a mattebox or ff.

Everything else doesnt look too bad.
Click to expand...

There's some speculation that the a/v box has attachment points for rods (though only out the front, not through). Hopefully that's the case.

Cine like D should offer the best results for keeping the DR....that and the fact that DR won't be thrown away on a lackluster codec. 100 IPB should be pretty damn strong.
Click to expand...

I'd image so as well... using 100MBps FlowMotion hacks with the GH2 for a few years, it can handle being shoved around with some aplomb
 
P13 said:
+1

The only gripe I'd have is that Europe is getting somewhat shafted with the lack of 25p for 4k. If the rumoured price is true then it's a big step forward in specification versus value for money.
Click to expand...

Maybe I'm missing something here but why do Europeans still insist on shooting 25p? How often are you going out to a film print or a disk that has to meet 50Hz? Most video is downloaded or streamed these days and computers have no problem with 24p. It's my understanding that all blu-ray players worldwide will also play 24p.
 
roxics said:
Maybe I'm missing something here but why do Europeans still insist on shooting 25p? How often are you going out to a film print or a disk that has to meet 50Hz? Most video is downloaded or streamed these days and computers have no problem with 24p. It's my understanding that all blu-ray players worldwide will also play 24p.
Click to expand...

Because most European countries have 50hz power systems as opposed to the 60hz system in the states.
So that is why they have 25p as a standard for shooting.
If you shoot 24p, 30p etc in Europe under certain lighting conditions you might see flicker.
When shooting in a country that uses 50Hz, use multiples of 50 for your shutter speed.
For 25p or 50i use 50, for 50p use 100.
In the states or countries that use 60Hz power systems, use shutter speed of multiples
of 60. So when using 24p, 30p or 60i use 60, when shooting 60p use 120.
 
Interesting that there is no word on what actually happens in the camera in terms of audio. Yeah XLR is cool but other devices can add XLR to the GH3. What is one of the reasons why so many record external audio isn't as much the XLR factor as it is the AGC and pre-amp in the GH3. Just adding phenomenal XLR with manual physical controls isn't enough to stop many from still recording externally. It could basically be acting more or less like a beachtech device where it has high quality XLR connections and levels meters and manual controls but then just passes that through the normal camera AGC and pre-amp. Not that this is such a bad thing. I record audio directly into my GH3 all the time for run and gun shoots and for the most part am very happy with what I get.

This by no means is a complaint at all and just a point that those who may buy the GH4 may still want to record external audio for the best results.

Keep in mind that camera still needs to be able to function without the external adapter so the audio guts may virtually be the same in the GH4. Again not really a bad thing at all.
 
I see four HD-SDI outputs, I assume for the 4K 10-bit. I don't think that the Atomos Samurai Blade handles that many SDI. What would, the Odyssey?
 
Am I the only only a little surprised that it can't record 4:2:2 1080p to internal cards even using an 8 bit codec? Or did I read those stats wrong...

'Cause there's a whole lot of shooters who have no desire for 4K and/or messing about with an outboard recorder who would buy this camera in a flash if it recorded 4:2:2 w/o all the add-ons.
 
jdv said:
Am I the only only a little surprised that it can't record 4:2:2 1080p to internal cards even using an 8 bit codec? Or did I read those stats wrong...

'Cause there's a whole lot of shooters who have no desire for 4K and/or messing about with an outboard recorder who would buy this camera in a flash if it recorded 4:2:2 w/o all the add-ons.
Click to expand...

You can get 8 or 10 bit 4:2:2 in HD without the "monster"....just by buying a Ninja and recording out of the HDMI. When you select 10 bit 4:2:2 output, you will not have backup to the internal card at all, when you select 8 bit 4:2:2 output, you can have an 8 bit 4:2:0 back up internally to the SD card.
Recording just to the cards internally is 8 bit 4:2:0.
 
roxics said:
Maybe I'm missing something here but why do Europeans still insist on shooting 25p? How often are you going out to a film print or a disk that has to meet 50Hz? Most video is downloaded or streamed these days ........
Click to expand...
Quite apart from power frequency and lighting flicker, then in 50Hz countries all the TV standards are related to 50Hz - hence broadcasts will all have a 25 or 50 fps frame rate.

(Incidentally, it's not just Europe - worldwide I think more people live in 50Hz countries than 60Hz.)
 
pulpfiction007 said:
You can get 8 or 10 bit 4:2:2 in HD without the "monster"....just by buying a Ninja and recording out of the HDMI.
Click to expand...

This is good news. This is how we run the C100 and it's not too much of a burden, but the last thing I want to be doing is schlepping that giant brick around with the thing as well...
 
pulpfiction007 said:
You can get 8 or 10 bit 4:2:2 in HD without the "monster"....just by buying a Ninja and recording out of the HDMI. When you select 10 bit 4:2:2 output, you will not have backup to the internal card at all, when you select 8 bit 4:2:2 output, you can have an 8 bit 4:2:0 back up internally to the SD card.
Recording just to the cards internally is 8 bit 4:2:0.
Click to expand...

So you can't record 4:2:2 internally. Huh. That's, I'd guess, one of the most requested features asked for on this forum for new cameras.

I could already record 4:2:2 to ninja, etc, via HDMI with my Sony VG20, AF100, yada. And that's something I absolutely hate to do. So yeah, I'd say that - esp considering the speed of these new cards - is not only disappointing, it's a little bizarre.

So, at least from where I'm sitting, it's pretty far from good news. And you can bet at least one comparable competitor will have that feature at NAB - making it even more of a strange decision.
 
jdv said:
So you can't record 4:2:2 internally. Huh. That's, I'd guess, one of the most requested features asked for on this forum for new cameras.

I could already record 4:2:2 to ninja, etc, via HDMI with my Sony VG20, AF100, yada. And that's something I absolutely hate to do. So yeah, I'd say that - esp considering the speed of these new cards - is not only disappointing, it's a little bizarre.

So, at least from where I'm sitting, it's pretty far from good news. And you can bet at least one comparable competitor will have that feature at NAB - making it even more of a strange decision.
Click to expand...

Good point on the 4:2:2. John. And it's not because we like it (we do, of course), but because there are broadcast companies that prefer it, or even demand it for acquisition. If we want to work for them, it'd be nice to have the goods they're looking for. I also dislike external recorders. Just more crap to carry around and worry about. I thought I was through with external recorders since my old 3/4" tape days (I've outed my age).

But getting internal 4:2:2 doesn't seem to be cheap or easy. The cheapest cameras that offer it are the Canon XF100 line, and their sensor doesn't make up for their good codec. I expressed doubts when the GH4's specs were first speculated that there would be an internal 10-bit, 4:2:2 codec in a 4K DSLR-type camera, all for $4,000. (You can check my comments on the first page of this thread).
I guess the BM cameras can get you 4:2:2, but I feel they're limited straight out of the box. Some add-ons are necessary.

But can you get 4:2:2 1080 when down-sampled from a 4K 4:2:0 codec?
 
So does that mean that unless you need 60p, one should always shoot in 4k mode to end up with higher color space 1080p? If the 1080p winds up being 4:4:4 after 4k downconvert, then why not just add a 4:2:2 1080p mode as well? Not like they are giving away the farm with 4:2:2 if you can get 4:4:4 from the 4k stream.
 
You must log in or register to reply here.
Back
Top