Panasonic Removable Lens Four Thirds HD AVCHD Camera

They were showing 4.1 at the NAB show, which included proper full AVCHD support as well as native AVC-Intra. Downloadable upgrade should be available next month some time.
 
Wow, I absolutely need one of these for a shoot next week. I wonder what is the easiest way to import it. Any suggestions, if not, I'll probably end up just using the D90.. but I think this camera will blow us away under the right lighting conditions!
 
What up with the weird vertical lines in the blue channel? :undecided

GH1_Blue.jpg
 
I've seen very little, but my love for the 5D MKII is still unabated. I just wish they could cut off the cast that is lack of manual control...
 
I've just been catching up from page 47 but I can't remember if Barry mentioned what aperture this was shot on, f/4?

Has anybody got a workflow for AVCHD/fcp/compressor/prores/24p

And just to clarify my previous 1.17 crop factor statements. I was comparing the GH1's horizontal crop to a 35mm motion picture camera. As filmmakers shouldn't this be the crop comparison we make rather than comparing to SLR cameras?

And David do you watch every film in lab mode? Thanks for the info though, I like to know about all the flaws even if I'll probably never notice them.

There's been some hype about the 5D in this thread. I've followed a few 5D user forums and it does have some image quality issues like aliasing etc. And it's DOF is far shallower than a 35mm motion picture camera which ultimately rules it out for me. To get comparable 35mm film DOF you have to close down the aperture a couple of stops on the 5D thus negating it's superior low light performance.
 
squig said:
I've just been catching up from page 47 but I can't remember if Barry mentioned what aperture this was shot on, f/4?

Has anybody got a workflow for AVCHD/fcp/compressor/prores/24p

And just to clarify my previous 1.17 crop factor statements. I was comparing the GH1's horizontal crop to a 35mm motion picture camera. As filmmakers shouldn't this be the crop comparison we make rather than comparing to SLR cameras?

And David do you watch every film in lab mode? Thanks for the info though, I like to know about all the flaws even if I'll probably never notice them.

There's been some hype about the 5D in this thread. I've followed a few 5D user forums and it does have some image quality issues like aliasing etc. And it's DOF is far shallower than a 35mm motion picture camera which ultimately rules it out for me. To get comparable 35mm film DOF you have to close down the aperture a couple of stops on the 5D thus negating it's superior low light performance.
Click to expand...

Wow. Squig with a pertinent post! Holy cripes.

I think it was at 5.6, actually. If that Kit lens was all the way at the telephoto end. Good question, Squig!!! And wow, that really puts something else into perspective: That was with a 5.6 aperture!!! SNAP

And yeah, Full Frame is a double-edged sword. I'm mighty fine with the GH-1 Sensor size. If the lowlight is great then there's really no issue. The GH-1's smaller sensor also makes ENG work a little more tolerable. So long as you're using faster glass.

Not to mention you can adapt just about any lens to the GH-1. I humbly declined taking my 7-14mm Order after discovering the sensor was larger.

The tokina 11-16 is a 2.8. Friggin' bad-ass.
 
Boz said:
What up with the weird vertical lines in the blue channel? :undecided

GH1_Blue.jpg
Click to expand...

Interesting...there is a horizontal banding in both the red and the blue. I wonder if that is some processing error in post or was interlaced artifact. Does it occur on every frame?
 
This scrutiny over footage that was clarified as LESS than test footage is agitating as hell. I'mma do myself a favor and log off of the forum for a few days. Unless I see some bad-ass footage.
 
24p FCP workflow:

1. In FCP, Log and Transfer
(AVCHD-> ProRes 422)

2. In the Clip window in FCP:
Highlight all clips and go to Export-> Using Compressor

3. In Compressor:

Pick Format as Prores 422 HQ

Go to Video-> Frame rate-> Custom, Enter 23.976

Turn on frame controls-> Deinterlace settings-> Reverse Telecine

Set your output folder and click submit (this renders pretty fast and Compressor automatically finds the pulldown cadence and removes it)

4.Now import the new folder with new clips into FCP and you have 1080/24p

Thats the best I can think of for now anyways!
 
I blurred the chroma channel to get the attached result. I would love to test more footage for noise!! Need moar nao :D
 

Attachments

  • chroma blur.jpg
    chroma blur.jpg
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bugger, compressor is spitting the dummy and giving an error. does this look right-

File Extension: mov
Estimated file size: unknown
Video Encoder
Format: QT
Width: (100% of source)
Height: (100% of source)
Selected: 2560 x 1080
Pixel aspect ratio: HDV 1080i (16:9)
Crop: None
Padding: None
Frame rate: 23.976
Frame Controls On:
Retiming: (Fast) Nearest Frame
Resize Filter: Linear Filter
Deinterlace Filter: Reverse Telecine
Adaptive Details: Off
Antialias: 0
Detail Level: 0
Field Output: Progressive
Codec Type: Apple ProRes 422
Multi-pass: Off, frame reorder: Off
Progressive
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 0
Temporal quality: 0
Min. temporal quality: 0

2560?

the error reads- 3x crash service down
 
Make sure you set the output to ProRes HQ , the frame size should be 1920x1080. Also check for the latest FCP update- I was having issues like this before I updated.
 
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