Panasonic unveiled G1-HD...

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mattsand said:
most dp's i know own no gear except a light meter, and if they're the geeky type maybe an hv2o or nokia video phone. i'm an exception owning a d90 as well as both 16 and super 8 cameras, and i hardly ever use them on paid gigs either.

/matt
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Most DP's I know are the same way.... or WERE the same way. This isn't last decade, though, and it's much more cost-effective to own your own digital gear as a DP if you shoot digital.

It used to be just a light meter, now they can justify the expenses of lenses etc if they shoot with them enough and also are able to return investment.

It's a different time, man.
 
PaPa said:
kholi, im pretty sure to get 24mm field of view on the 3/4" system you would need an 11 mm lens.

the quesiton is where the hell to find that?
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Right. So if the widest 4/3's lens is a 7mm, that means the widest lens you can get is a 14mm Equivalent. That's not bad!!! I just wish it was faster.

Also, the 7mm doesn't really have too much distortion which is pretty rad.
 
mattsand said:
it won't be longer than a 50mm, it will be a 50mm. when on earth did 24x36 still photography become the norm for filmmaking? it's not a rhetorical question, i'm seriously wondering. i never stopped for a second trying to figure out the equivalent focal length in stills when shot 35mm, 16mm, super 8 or any other format for that matter including video, red and so on. compared to a 50mm lens on a 16mm camera it's actually wider on the d90, why is that not as important?

/matt
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Bolded for another response: my comment has nothing to do with Full Frame acquisition. I do NOT WANT FULLFRAME ACQUISITION.

Vistavision is old hat! It looks ODD AS HELL to me, but it was pertaining to S35 and 35mm Format's/sizes.

Sorry for the confusion.
 
now the quesiton is, where the hell do you find a 12 mm lens? or at the very least an 11 to something zoom so that you have your wide lens for this new camera?
 
Kholi,

I wouldn't be so sure of that. The new 6K Scarlet and Epic full format cameras (as well, the upcoming electronic glass made by RED) will have their place along the new DVX (5D Mark II). Do not forget the most recent autofocus systems each day more advanced with multi-face-detection, etc.

Maybe that's just me though.

E. :-)


<PS>

Mattias, it can be not the norm but it surely be a new standard for many. As matter of fact, I think a new generation of players (still and motion) will raise from the former tech limitations. If for any painter including the modest ones, it has never been a problem to buy the pencils, now it is the same for a shooter, sometimes constricted to play from outside the curtain.

Take a glance over the Daniel (Aragão) case.

Had it been possible to shoot that with film?

Yes, but would he have the necessary money for bringing to life?

Maybe, as a 1/3" piece. Would it be the same object? Could it get the same reception? Don't count on it.

Many professionals will shoot with the same device on both sides of the fence. Office and backyard. Call it playground as you wish. Jim Jannard has called it DSMC.
 
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Emanuel said:
Kholi,

I wouldn't be so sure of that. The new 6K Scarlet and Epic full format cameras (as well, the upcoming electronic glass made by RED) will have their place along the new DVX (5D Mark II). Do not forget the most recent autofocus systems each day more advanced with multi-face-detection, etc.

Maybe that's just me though.

E. :-)
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I'm sure Full Frame will be nice for most. I just can't get over the "Jason and the Argonauts" look it brings. LoL!

There's a shot like that in Gladiator as well.
 
there's the tokina 11-16 but I'd rather spend the extra $$$ on the Olympus 14-35 it's way sharper and faster. it would replace a few nikon primes too. I don't know how the GH1 can control the aperture on the tokina though with an adapter???
 
PaPa said:
now the quesiton is, where the hell do you find a 12 mm lens? or at the very least an 11 to something zoom so that you have your wide lens for this new camera?
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It's gonna be tricky to find anything fast, man. I mean, you also have to consider the applications you're using it for. I suspect the GH-1 will be inherently faster than an HPX170 + 35mm Adapter setup.

So perhaps using a Wide F4 indoors won't be as painful as we think? I mean, it's not like lighting has been suddenly snipped from the equation.
 
squig said:
there's the tokina 11-16 but I'd rather spend the extra $$$ on the Olympus 14-35 it's way sharper and faster. it would replace a few nikon primes too. I don't know how the GH1 can control the aperture on the tokina though with an adapter???
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Who says it's way sharper and faster?

Which one is wider on 4/3" systems?
 
If I can stretch the budget there's an olympus 8mm full frame fisheye for those "off ur nut" scenes
 
androoow said:
http://www.panasonic.co.uk/html/en_GB/2146697/index.html?trackInfo=true

the uk specs list both pal and ntsc , am i missing something??
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From the site:

AVCHD NTSC [Full HD] 1920 x 1080, 60i (sensor output is 24fps)(FHD: 17Mbps)
AVCHD NTSC [HD] 1280 x 720, 60p (SH: 17Mbps, H: 13Mbps, L: 9Mbps)
AVCHD PAL [Full HD] 1920 x 1080, 50i (sensor output is 25fps)(FHD: 17Mbps)
AVCHD PAL [HD] 1280 x 720, 50p (SH: 17Mbps, H: 13Mbps, L: 9Mbps)

Panasonic provides NTSC in the European HPX301 also.
I
It would mean that the 25p over 50i is a 2:2 pulldown instead of 2:3 with 25% less compression.
 
Question:

If at NAB, Panasonic showed a version of the GH-1 with a modified body, recording AVC Intra to P2 cards, a full selection of frame rates. with two XLR inputs with phantom power and other little changes...for $12k or $15k MSRP (priced above the $10,500 HPX300), what would you think?
 
DavidNJ said:
From the site:

AVCHD NTSC [Full HD] 1920 x 1080, 60i (sensor output is 24fps)(FHD: 17Mbps)
AVCHD NTSC [HD] 1280 x 720, 60p (SH: 17Mbps, H: 13Mbps, L: 9Mbps)
AVCHD PAL [Full HD] 1920 x 1080, 50i (sensor output is 25fps)(FHD: 17Mbps)
AVCHD PAL [HD] 1280 x 720, 50p (SH: 17Mbps, H: 13Mbps, L: 9Mbps)

Panasonic provides NTSC in the European HPX301 also.
I
It would mean that the 25p over 50i is a 2:2 pulldown instead of 2:3 with 25% less compression.
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25% less compression than 60i 24p?
 
DavidNJ said:
Question:

If at NAB, Panasonic showed a version of the GH-1 with a modified body, recording AVC Intra to P2 cards, a full selection of frame rates. with two XLR inputs with phantom power and other little changes...for $12k or $15k MSRP (priced above the $10,500 HPX300), what would you think?
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I'd think about flying to NY and mugging you for yours

It would be fantastic but out of my price range for this film. I'd expect panasonic to bring out something in the hvx price bracket plus lenses

do you know something we don't?
 
DavidNJ said:
Question:

If at NAB, Panasonic showed a version of the GH-1 with a modified body, recording AVC Intra to P2 cards, a full selection of frame rates. with two XLR inputs with phantom power and other little changes...for $12k or $15k MSRP (priced above the $10,500 HPX300), what would you think?
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I would think that someone in the marketing department at Panasonic was smoking something.
 
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