The Panasonic G1HD | GH-1 Video Mode : A Real Video Mode

typically if they do HDMI they will also have a component and composite output. However, in this case HDMI would be easier since it is all digital. In this form factor heat and power management are critical.
 
I dont know if this question has been asked or already answered. But the GH1 comes withthe USB to composite adaptor correct? IF it does, has anyone tested getting live footage out of the composite cable?
 
sorry to bring up something that you guys posted 5 pages back....

but 25p looks identical to 24p in terms of "filmicness".....and this is coming from a person who has a super super critical eye for these things.

the video-ish qualities you're seeing from this camera are all to do with context/settings/lighting/grading/editing.

wait till we've got some narrative-esk footage to view.

so far it looks like an awesome little 720p camera. the only thing worrying me is the latitude and how well it can handle sunny days....
 
plasmasmp said:
I dont know if this question has been asked or already answered. But the GH1 comes withthe USB to composite adaptor correct? IF it does, has anyone tested getting live footage out of the composite cable?
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The GH1 doesn't output any video (not HDMI, not composite) when the cam is in record mode.

GH1's HDMI is strictly playback from the cam's SDHC card (no live HDMI preview). Composite can be output during live preview & playback.

To the best of my knowledge, the question of _audio_ out via the GH1's USB-to-RCA cable during recording hasn't been answered yet, unfortunately ...
 
Thank you! That is really odd that the live feed would be disabled even over composite (when recording). My second Question was going to be does the audio output as well... Guess we'll have to wait and see
 
Kholi said:
Most of the 1080 footage looks to be coming in at around 10mbps. Just about all of my 720/60 stuff floats right around 17mbps.

If that's not the issue, cool. I'm JUST SAYING FROM MY EXPERIENCE SO FAR that 1080/24 doesn't hold up well.

You're welcome to conjur your own theory on why it doesn't work.
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I've played around with camera a fair amount now, and I really haven't seen these deal breaker artifacts you're seeing. Perhaps I missed the post(s), but can you direct me to the .mts files you're having an issue with?

Do you have information about camera settings when the .mts files were shot? I'd like to see for myself.

So far I'm liking the GH1 1080 images far more than a certain 2/3" HD camera I had to use on a commercial last week.

Thanks,

I.

Illya Friedman
Hot Rod Cameras
 
christophersj said:
Wow. I work in 24p documentary and have been vexed by the 30p to 24 conversion (the most difficult of the frame rate conversions) for some time. Using Compressor's High Quality settings alone gave me the best result so far (even besting the Nattress plug-ins for quality). But this method above takes the cake.

I'm a stickler for quality, and this method you linked to was as good as sex. You just made my week. For high end documentary, that's even more important than the issue of video on DSLRs!
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It ain't that bad that Compressor thingy huh? :happy:
 
sorry to bring up something that you guys posted 5 pages back....

but 25p looks identical to 24p in terms of "filmicness".....and this is coming from a person who has a super super critical eye for these things.
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Absolutely. I've shot 16mm at both 24 and 25 fps, which has then been telecined at 25. All of it still always looked like film to my eyes, because it was. Trying to get the most out of the image and the usability of the camera are probably the most important thing I'm getting out these discussions here, as opposed to how close this camera will get to a film look.
 
The funny thing is than when great stuff starts coming out of this camera, and it will, people critiquing it and saying that the image breaks down, low bit rate, etc., etc., etc., etc. are gonna start raving about it, totally ignoring their shortsightedness and all the conclusions they jumped to prematurely without really even trying. It is gonna be a riot listening to them.
 
christophersj said:
Wow. I work in 24p documentary and have been vexed by the 30p to 24 conversion (the most difficult of the frame rate conversions) for some time. Using Compressor's High Quality settings alone gave me the best result so far (even besting the Nattress plug-ins for quality). But this method above takes the cake.

I'm a stickler for quality, and this method you linked to was as good as sex. You just made my week. For high end documentary, that's even more important than the issue of video on DSLRs!
Click to expand...

hehe....google is your friend. I came across it when I was researching whether or not I could get 24p from the 5D. I ended up deciding against the 5D because you have to re-trick the shutter/ISO settings every time you hit record which is even more annoying than the D90 and there's also the 50hz scrolling wave issue. Glad to hear it works well I haven't had a need to try it myself. The other way to do it is with twixtor but I think you need to do a bit of tweaking to get it looking good.
 
Illya Friedman said:
I've played around with camera a fair amount now, and I really haven't seen these deal breaker artifacts you're seeing. Perhaps I missed the post(s), but can you direct me to the .mts files you're having an issue with?

Do you have information about camera settings when the .mts files were shot? I'd like to see for myself.

So far I'm liking the GH1 1080 images far more than a certain 2/3" HD camera I had to use on a commercial last week.

Thanks,

I.

Illya Friedman
Hot Rod Cameras
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Well this made my morning. Anyone with links of footage that they question throw them Illya's way. Would love to hear what you have to say further about this Illya.
To start with heres some that you could look at , specifically the train footage from sonic states. Let us know what you see. If you have something interesting to add please start a new thread, this one is getting too long to deal with.

http://www.dvxuser.com/V6/showthread.php?t=170076
 
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When I recently used a 5D, I found that amazing lcd usable for critical focus (sure, you can't swivel it..).
Now I realized GH1 has exactly half res of that..

GH1 460.000 dots on 3''
5D 920.000 dots on 3''

Kholi, Philip, Hunter?
Is this a problem from what you saw, especially since we now know hdmi out can't help?
 
John Caballero said:
The funny thing is than when great stuff starts coming out of this camera, and it will, people critiquing it and saying that the image breaks down, low bit rate, etc., etc., etc., etc. are gonna start raving about it, totally ignoring their shortsightedness and all the conclusions they jumped to prematurely without really even trying. It is gonna be a riot listening to them.
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Kholi reminded me (probably even in this thread) that I once pointed out that every camcorder release goes through the following stages:

When It's First Announced:
"Oh my Gosh I cannot WAIT this is THE ONE!!!11!11!!!!"

First Footage:
"THIS IS THE ROXXOR!!! I CANNOT WAIT! FINALLY I can now make my MASTERPIECE! Look out, HOllywood!!!"

The General Public gets their hands on it:
"What the hell is wrong with this? Look at this -- this is awful. Look at this intolerable issue ("noise", "split screen", "jello", "skew", "rolling shutter", "vignetting", whatever). Canon/JVC/Panasonic/Red/Sony, HOW could you DO THIS to us? We should start a class-action lawsuit.

Macgregor or Philip Bloom or Disjecta get their hands on it:
HOLEY MOLEY! WOW, now THAT's what I'm talking about! This is the holy grail of all cameras again!

Eventually people learn how to work with it and get great results from it, and those who are in business settle down to turn out fantastic work with whichever tool they've chosen to buy. And those who don't work, but just dream? Oh, they're onto stage 1 of the cycle with the NEXT great announcement (D90, GH1, Scarlet, 5D Mk II, take your pick...)
 
Illya Friedman said:
I've played around with camera a fair amount now, and I really haven't seen these deal breaker artifacts you're seeing. Perhaps I missed the post(s), but can you direct me to the .mts files you're having an issue with?

Do you have information about camera settings when the .mts files were shot? I'd like to see for myself.

So far I'm liking the GH1 1080 images far more than a certain 2/3" HD camera I had to use on a commercial last week.

Thanks,

I.

Illya Friedman
Hot Rod Cameras
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It's all over the place. Just walk outside and try to shoot a brick wall or anything with detail in it.

If you're always trying to get Shallow DOF it might be less noticeable, and if you barely move the camera as well.

You got a lot of greenery nearby? Just go point the camera at it, actually record the image and then see what you get. Check the sides of the frame for good ol' mush as well.

But even then, I guess-- as it's been pointed out to me-- my standards may be little higher coming from RED footage on a shoot-to-shoot basis.

All I know is that with MY camera, I don't dare pan, shoot anything with high detail, rack focus, change exposure while actually recording 1080/24.

I hope I've got some sort of defect, that would be nice to know but I'm highly doubting it.
 
Barry_Green said:
Kholi reminded me (probably even in this thread) that I once pointed out that every camcorder release goes through the following stages:

When It's First Announced:
"Oh my Gosh I cannot WAIT this is THE ONE!!!11!11!!!!"

First Footage:
"THIS IS THE ROXXOR!!! I CANNOT WAIT! FINALLY I can now make my MASTERPIECE! Look out, HOllywood!!!"

The General Public gets their hands on it:
"What the hell is wrong with this? Look at this -- this is awful. Look at this intolerable issue ("noise", "split screen", "jello", "skew", "rolling shutter", "vignetting", whatever). Canon/JVC/Panasonic/Red/Sony, HOW could you DO THIS to us? We should start a class-action lawsuit.

Macgregor or Philip Bloom or Disjecta get their hands on it:
HOLEY MOLEY! WOW, now THAT's what I'm talking about! This is the holy grail of all cameras again!

Eventually people learn how to work with it and get great results from it, and those who are in business settle down to turn out fantastic work with whichever tool they've chosen to buy. And those who don't work, but just dream? Oh, they're onto stage 1 of the cycle with the NEXT great announcement (D90, GH1, Scarlet, 5D Mk II, take your pick...)
Click to expand...

Yeah, I posted it in this thread. LoL. That's how it always goes, doesn't really change at all.

Onlyt his time it'll definitely take a Macgregor to shoot something to really get people riled up. After Laforet's MKii deal people are expecting a lot more. Scenery won't cut it.
 
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