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

I'm pretty sure colors on the second waterfall shot were adjusted in post, there's no reason why 2 polarizing filters would change the colors.
 
GregGory said:
That waterfall picture illustrates nicely why it's usually *not* a good idea to use the double pol-filter trick as an ND filter, at least prepare yourself for stochastic colour reproduction
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divide said:
I'm pretty sure colors on the second waterfall shot were adjusted in post, there's no reason why 2 polarizing filters would change the colors.
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Sounds like the green was neither the polarizer nor the image being adjusted in post but, rather, the longer exposure. Although I'm not so sure about the mist/fog element of the explanation. Perhaps just a reciprocity effect. Is he shooting film or digital? Is there a reciprocity effect with digital?:

An interesting phenomena that took place while I was shooting the 30 second exposure is that all of the fog and mist surrounding the falls picked up a noticeable greenish tone — a tint that was created by daylight being filtered through nearby leaves and vegetation. In the past, I’ve noticed that swirling fog does seem to pick up — and amplify — color tones during relatively long exposures, tones that aren’t nearly as noticeable during short exposures. Though at first this might seem to be a bit of an annoyance, it can actually work in one’s favor when photographing a foggy scene at-or-before sunrise.
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I see lots of posts about people planning to buy diffusion filters for this camera, but I've yet to find a single clip showing that it will help with the aliasing problem. Has anyone actually tested this on the GH1 to see if it works? Inquiring minds want to know! :)
 
Emanuel said:
I was already waiting for ;-)Steev's suggestion is funny, though. :laugh:
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Heh heh.. You think I'm joking though. I'm serious about avoiding shooting things that look awful, including:

- Hideously contrasting scenes that force you to choose blow out or underexposure
- Fine lines that make the camera freak (CAN'T RESOLVE WHAT DO I DO!)
- Horrible patterns that cause moire - this is as old as my experience with video cameras. *Broken record mantra to talent - Don't wear plaid, complex patterns or stripes.
- A stack of DVDs
- Venetian blinds
- Deep dof long shots that provide no interest to the viewer other than looking for imperfections
- Cat's whiskers (unless you really know how to prevent the doom)
- Guitar strings that are perfectly horizontal (tilt yer camera man!!)

The list goes on and on for me.

From what I'm seeing so far, there are plenty of strange instances where the GH1 goes crazy with fine lines, so best to get a firm vision on what you're wanting to do to make the footage shine, rather than look like a bad science experiment.

The quick thing that comes to mind when someone is talking about moire and aliasing that ruined their shot is... identify it in your LCD/monitor at the time, and fix the situation. If you can't see it, be aware of what kinds of things are high risk and know to get alternate shots if you see DOOM in post production.

Cheers!

-steev
 
Ian-T said:
I use two Hoya cicular polarizing filters on my HV20. Works out nicely.
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I don't doubt it, but my question was why only CPL are recommended? Today, the price difference isn't huge, but on ebay sometimes you can snarf some quality B&W brass linear filters for pennies. CPL are usually more expensive.

divide said:
I'm pretty sure colors on the second waterfall shot were adjusted in post, there's no reason why 2 polarizing filters would change the colors.
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If you already have two pol filters, then try them out and see for yourself if the results are good enough, you might have a good match. But be warned, different lighting conditions, different agle of either of the filters can yield different colour reproduction. If 2xpolfilters would be perfect substitues for ND-filters, I doubt photographers would bother with ND filters at all. For matte boxes it's different story of course.

All I wanted to say was, if you are waiting for the only solar eclipse in your life and have spent $5000 on gear and crew, don't rely on a 2xPOLfilter setup..
 
GregGory said:
I don't doubt it, but my question was why only CPL are recommended? Today, the price difference isn't huge, but on ebay sometimes you can snarf some quality B&W brass linear filters for pennies. CPL are usually more expensive..
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You can take 1 circular and 1 linear polarizers. But you will have to reverse the linear on top of the circular polarizer. My setup prevents me from having to use multiple ND fiters. It works just the same. I do this in my camcorder to open up the aperture all the way in bright daylight for maximum background blur. I think, regardless, you will want to get good quality filters instead of going for cheap ones.
 
REC AREA and CROP FACTOR

REC AREA and CROP FACTOR

I am reading the pdf manual and i found a setting called REC AREA. when recording movies in manual exposure the camera sets the REC AREA to MOVIE and this REC AREA is different from the still picture area. What I am thinking is: is this movie REC AREA using all the sensor keeping the 2x crop factor or this movie REC AREA uses a small amount of the sensor increasing the crop factor? this is important because we need to know the crop factor in manual movie mode to know about the use of the old prime lenses...
 
Apefos Adapter said:
I am reading the pdf manual and i found a setting called REC AREA. when recording movies in manual exposure the camera sets the REC AREA to MOVIE and this REC AREA is different from the still picture area. What I am thinking is: is this movie REC AREA using all the sensor keeping the 2x crop factor or this movie REC AREA uses a small amount of the sensor increasing the crop factor? this is important because we need to know the crop factor in manual movie mode to know about the use of the old prime lenses...
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We're all wondering what that does? Is it a blowup of the stream or use smaller real estate on the sensor...

Ps. where did you find the manual?
 
There's some good news and some bad news:

The Bad news is that I dont' know about the 2x and 4x zoom factor.

The Good news is:

holy mother of gahd this camera + primes = Wtf
 
If a c-mount 8mm lens was put on the gh1 and if the rec area could be set to the image circle size of 16mm, what would the fov be similar to in comparison with a 35mm slr.
 
How to know the crop factor

How to know the crop factor

To know the crop factor in the CREATIVE MOVIE MODE (movie mode with manual controls) there is a way to know:

put the lens in wide (14mm) , set the aspect ratio in the still mode to 16x9 , select the maximum quality (maximum number of pixels for the still), and take a picture. after, change to creative movie mode and shot the same scene, and compare the two to see if they are the same angle of view... (the EZ zoom must be off)
 
Jack Daniel Stanley said:
Holy mother of suspense, when can we see the "prime" footage?
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I don't have anything interesting to shoot! But I'll shoot something for a 30 ~ 60 second and throw it on Vimeo.

Here are the lenses I'm using:

Tokina 11-16/2.8 Nikon Mount
Nikon 17-35/2.8 ED
Contax Zeiss 28/2.8
Contax Zeiss 35/2.8
Contax Zeiss 50/1.4
Contax Zeiss 85/1.4
Contax Zeiss 135/2.8
Contax Zeiss 28-70/3.4~5.6 (Love this zoom)

Takumar SMC 50/1.4
Vivitar R Series 90/2.5 Macro

I dont' know how interesting the footage will be, but this camera and faster (than F4) glass is an INSANE combo.
 
upshot said:
We're all wondering what that does? Is it a blowup of the stream or use smaller real estate on the sensor...
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Wild guess but it's almost unquestionably going to be a smaller chunk of the sensor. The sensor is not 16:9, so I would be shocked and flabbergasted if it was anything other than a 16:9 crop out of the sensor, ignoring the top and bottom bits.
 
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