4K Panasonic GH4 May Arrive This Spring to Compete Against Canon Cinema Cameras - Page 4 - AVS Forum
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post #91 of 798 Old 02-07-2014, 01:03 PM
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There’s also a very useful new feature which allows you toggle which broadcast safe RGB luma range to use.

Thats the first time that I see this on a consumer camera. Thats one of the reasons why I always color correct my AVCHD videos. With the GH4 you wont need to do that.

Most of you will need that. You guys dont color correct your videos. That means that the guys shooting with the AX100 will have gamma shifts, superwhites and ugly shadows, while the guys shooting with the GH4 will have better cooked images. It will deal with the dynamic range much better that way. That is a GREAT feature.

The color signature from this camera also looks far better than the Sony, with no "amateur camcorder" look. We have yet to see how the Cinema profile deals with the dynamic range.

Anyway, it looks FAR better than the AX100. They are very different cameras. The AX100 is not a serious camera. It has only gimmicks and a bad 4k mode. The GH4 has really nice implementations.

Its a shame that it doesnt have a usable 10-bit 422 mode though. It would be too good to be true.

Another interesting thing is that when you are shooting in 4K, the sensor gets cropped, so instead of the usual 2 times crop factor, you will have a 2.3 crop factor. That will probably give it a good performance with aliasing and moire, because you will have no downsampling. The crop will be the same one as in the BMCC.

In 1080p, there will be no crop.
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post #92 of 798 Old 02-07-2014, 01:40 PM
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Originally Posted by hatchback View Post

I agree, my AVS brother: full speed ahead on the AX100.

The AX100 a good camera for home use - but its "4K" is 3840x2060, while the GH4 and Blackmagic Production Camera offer the option of a DCI-compliant 4096x2060. Panasonic is hoping that indie filmmakers (and even studios) adopt this ~$2000 camera for theatrical 4K production. If they are successful, they will absolutely turn the world upside down.

Good piece on "when 4K is really 4K" here: http://videoandfilmmaker.com/wp/index.php/news/4k-really-ultra-hd-know-difference/
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post #93 of 798 Old 02-07-2014, 01:41 PM
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Another interesting thing: it has 4:2:2 sampling on the sensor, debayer, right through the imaging pipeline until the actual encoder, then it goes to 4:2:0.

It has an interesting way to compress image data. Wow... the AX100 just feels like a bad joke.

It looks like Panasonic is not afraid to tell us everything about the camera. Learn something Sony.
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post #94 of 798 Old 02-07-2014, 02:04 PM
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The prices for some European retailers is around $1,500 Euros. To put things in perspective, I believe the GH3 first sold for around 1,200 Euros. In the US, the GH3 retailed for $1,300. In other words, we should expect the US retail price to be $1,600 at the absolute most for the GH4 although I believe it'll most likely retail for $1,500. We'll see.
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post #95 of 798 Old 02-07-2014, 02:06 PM
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Originally Posted by thedest View Post

Thats the first time that I see this on a consumer camera. Thats one of the reasons why I always color correct my AVCHD videos. With the GH4 you wont need to do that. Most of you will need that. You guys dont color correct your videos.

Agree that the GH4 shows features that go far beyond consumer cameras like the AX100. We see here a tendency to merge the prosumer world more and more with the professional world - what is great.
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That means that the guys shooting with the AX100 will have gamma shifts, superwhites and ugly shadows, while the guys shooting with the GH4 will have better cooked images. It will deal with the dynamic range much better that way. That is a GREAT feature.

The color signature from this camera also looks far better than the Sony, with no "amateur camcorder" look. We have yet to see how the Cinema profile deals with the dynamic range.

Sure you can also color correct an AVCHD 8bit 4:2:0 codec, I typically do that in Vegas. As long as the correction is not too strong, the amount of noise that you bring in by doing such a correction is ok for small productions like wedding videos. But with 10bit 4:2:2 you have a huge reserve in correction - not so much with 4:4:4 12bit raw, but still enough (and not everyone like a time consuming storage requireing raw workflow in Davinci).
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Anyway, it looks FAR better than the AX100. They are very different cameras. The AX100 is not a serious camera. It has only gimmicks and a bad 4k mode. The GH4 has really nice implementations.

Well, the AX100 does not target a professional customer segment - but the GH4 does if you have a look to the technical features. The AX100 will have a certain advantage in handling, since it is more a camcorder but not a DLSR - and the question will be if we will see Panasonic cameras emerging that will show the same features as the GH4. Probably not, given the economic background of the actual industry.

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Its a shame that it doesnt have a usable 10-bit 422 mode though. It would be too good to be true.

Well, fair enough I think. We should be aware that we still are in an HD-age, and the 4K age is still emerging. So the major benefit will NOT that we will have 4K here - but that the quality of HD footage will be blown up to 10bit 4:2:2. Still interested mainly in HD since we will continue to deliver HD for the next time - and that offers the opportunity to use a non-expensive external recorder like the Atomos Ninja2 or even the Atomos Samurai Blade to capture 10bit 4:2:2 with good codecs like ProRes or DNxHD. Both codecs have some drawbacks in the Windows world - ProRes for example has an luminance issue in Vegas while DNxHD is fine, but in Edius ProRes is fine and the luminance of DNxHD is changed in that NLE. So one must know what to use in what NLE - but the workflows are established and stable. Today.

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Another interesting thing is that when you are shooting in 4K, the sensor gets cropped, so instead of the usual 2 times crop factor, you will have a 2.3 crop factor. That will probably give it a good performance with aliasing and moire, because you will have no downsampling. The crop will be the same one as in the BMCC.

In 1080p, there will be no crop.

Very true. For HD that will be fine, for 4K it will be a (limited) issue as far as I understand it now.



The more intesting question is the dynamic range that we will be able to achieve with a GH4. It is NOT raw footage and I think we will not see something like c-log or s-log as we have it with the C100 - so the dynamic range is one of the most interesting questions for the GH4.
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It looks like Panasonic is not afraid to tell us everything about the camera. Learn something Sony.

That is the point in the communication - THE point. I still do not know if the AX100 will offer 10bit 4:2:2 with 1080 footage. Nobody knows for sure. I do not know yet if the hdmi output of the new Z100 will deliver 4:2:2 for 1080p - maybe with the firmware update, maybe not?

See on the other side the communication policy by Panasonic: they tell us EVERYTHING, all restrictions and how it will work with the GH4. We had long time the point that the customer were not interesting to know everything about color subsampling, for example. Now they are interesting to know that. Not that Panasonic has been much better here - in the past. For me it was a big question if my Panasonic Z10000 deliveres true 8bit 4:2:2 at the hdmi port - yes it does.

But TODAY I know it for the GH4 in advance, because everything has been published in the press release today. Everything. I like Sony but I think they will have to change their communication policy too. The good old days, where you can hide technical features - and what is not mentioned you will not get -these good old days are gone, I think.

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post #96 of 798 Old 02-07-2014, 02:25 PM - Thread Starter
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Originally Posted by Paulo Teixeira View Post

The prices for some European retailers is around $1,500 Euros. To put things in perspective, I believe the GH3 first sold for around 1,200 Euros. In the US, the GH3 retailed for $1,300. In other words, we should expect the US retail price to be $1,600 at the absolute most for the GH4 although I believe it'll most likely retail for $1,500. We'll see.
That would be great if it was only $1,500-$1.600.
http://www.43rumors.com/gh4-gets-already-a-price-in-sweden-and-norway/
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post #97 of 798 Old 02-07-2014, 02:26 PM
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Originally Posted by Wolfgang S. View Post

Very true. For HD that will be fine, for 4K it will be a (limited) issue as far as I understand it now.

Yep, thats right. Those 4K cameras may have some artifacts problems caused by the color sampling and the rolling shutter, even if the downsampling is good. The guy that shot the first sample video had some problems with A&M.
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The more intesting question is the dynamic range that we will be able to achieve with a GH4. It is NOT raw footage and I think we will not see something like c-log or s-log as we have it with the C100 - so the dynamic range is one of the most interesting questions for the GH4.

The release video was shot in 8-bit 420 using the standard profile. The guy who shot the video dont have info about the new "CINEMA LIKE" profile. The only thing we know is that the camera has 2 different cinema profiles. We have yet to see how they work. And yes, it will be FAR from RAW, but who knows.
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The good old days, where you can hide technical features - and what is not mentioned you will not get -these good old days are gone, I think.

And we should thank Blackmagic for that. Not a long time ago, the only discussion in consumer/prosumer forums were about "sharpness" and black and white chart tests. Pretty ridiculous.
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post #98 of 798 Old 02-07-2014, 02:34 PM
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Originally Posted by thedest View Post

The release video was shot in 8-bit 420 using the standard profile. The guy that shot the video dont have info about the new "CINEMA LIKE" profile. The only thing we know is that it has 2 different cinema profiles. We have yet to see how they work. And yes, it will be FAR from RAW, but who knows.

Well, that is nothing new in the Panasonic world really. Even in cameras like the AC90 or the Z10K you have such scene files different and gamma cuves. That is fine and great, but seems to be even far away from c-log. But we will see. Better then nothing.
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And we should thank Blackmagic for that. Not a long time ago, the only discussion in consumer/prosumer forums were about "sharpness" and black and white chart tests. Pretty ridiculous.

Right. Funny enough, a new small player can change the rules of the game. 4K will be a quality revolution in the first place for HD - great.

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post #99 of 798 Old 02-07-2014, 07:57 PM
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Originally Posted by brunerww View Post

The AX100 a good camera for home use - but its "4K" is 3840x2060, while the GH4 and Blackmagic Production Camera offer the option of a DCI-compliant 4096x2060. Panasonic is hoping that indie filmmakers (and even studios) adopt this ~$2000 camera for theatrical 4K production. If they are successful, they will absolutely turn the world upside down.

Good piece on "when 4K is really 4K" here: http://videoandfilmmaker.com/wp/index.php/news/4k-really-ultra-hd-know-difference/

For those of us who are not in to Indie film making and using the camera for event recording, there will be no real advantage to this as you mention.
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post #100 of 798 Old 02-07-2014, 08:10 PM
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Ah, I see from the quotes here that some things never change. Pretty hilarious stuff actually. Let's see, I think my buddy covered all the bases in his never-ending attacks on the AX100:

* Gamma shifts
* Superwhites
* Ugly shadows
* Amateur camera look
* Not a serious camera
* Only has gimmicks & a bad 4K mode
* Panasonic not afraid to tell us something. Learn something Sony.

All this from a demo that most people raved about (including many who make their living from video). Now, let's see, why did I block this guy's posts? Unreal. At least I got my night's laughs even if having to read these indirectly. biggrin.gif

I actually thought the Sony demo was more impressive, but I obviously don't know 1/4 what this guy knows...none of us do. I gotta look in to the King of cameras, the BMPCC. Everything else pales by comparison. Why are we wasting our time with this other garbage? rolleyes.gif
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post #101 of 798 Old 02-08-2014, 01:01 AM
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Originally Posted by Ken Ross View Post

Ah, I see from the quotes here that some things never change. Pretty hilarious stuff actually. Let's see, I think my buddy covered all the bases in his never-ending attacks on the AX100:

You think that we are attacking the small AX100?

Let me take an example. I am interested to continue to shoot HD with my Atomos units, but at higher quality levels of the pixel - so 10bit 4:2:2. May I ask: where can I read that the HD-output of the AX100 will be 10bit 4:2:2, or 8bit 4:2:2, or even only 8bit 4:2:0?? That is something that is not clear to me, has not been published by Sony as far as I know. I would even consider the PXW-Z100, but even here it is not clear what is coming out from the hdmi interface NOW - before the firmware update was released.

So how should I assess the AX100 based on the missing informtions? I mean, for the GH4 I can read the press release. I can download the specifications that state what will be possible (10bit 4:2:2 using hdmi) and what not (internal recording not at 10bit 4:2:2).

The AX100 may be a nice piece of hardware, but I do not know yet really. For the GH4 it is possible to come up with a much better assessment - at day +2 after the first press release.

So for me that is a difference in the quality of information that has been delivered. If you think that such a statement is an attack against a camera, you are wrong. It is an attack against the information policy but not against the camera.

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post #102 of 798 Old 02-08-2014, 03:47 AM
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Well, apparently at the press conference they did say that it was 4:2:2 internally, and that presumably would be output through the HDMI. I think most manufacturers would not list that because the version 1.4 HDMI spec is 4:2:2 or higher, not 4:2:0, so why would they need to say it? It is implicit in the spec. The current Canon prosumers put out 4:2:2 for example, but they don't really mention it at all in their promotional material, except at one point buried deep in the XA25 pages. I think they assume that anyone who would use those ports for recording would be knowledgeable about the spec.

Btw, consumer recorders do not currently do 4K, so no matter what, your current gear will not help you with these cameras (unless you shoot in 1080p, in which case there is no real point in getting the camera in the first place. AFAIK the best any of them do is 1080p30/25.
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post #103 of 798 Old 02-08-2014, 03:49 AM
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Funny thing is while we are making arguments over which one of these 4K cameras would be a better choice, some guys on the internet and a few in my areas are already making their living shooting 4K with the Samsung Galaxy Note 3. Why? For many months it's been virtually the only device on earth that can do the kinds of jobs they've been doing. 4K product demos, equipment reviews, instructions etc. on sites like YouTube etc. Could those have been done at 720p or 1080p with more professional equipment and more importantly with better results? Yes, but then you have to ask, for whom?

Most audience on the internet and I would say the majority of audience of broadcast programs are not like us. They would buy the technical hypes even if they only have the faintest clue about what they actually mean, visually speaking. Then they would look at the picture. The first visual element that would impress the most people is resolution. The apparent resolution of whatever it is they are looking at, provided, of course the other elements such as color, contrast, brightness, and artifacts such as noise and irregular motion are within the bounds of normality.

I wouldn't have to tell you why those 4K warriors are not using the Canon 1DC, Sony FS-700+Raw recorder, Sony F55 or even the Sony AX1.

If you do video for a living like myself or some of us here or those 4K cell phone folks, you have to take what is available and what you can only afford. If I made my living shooting for Hollywood producers or programs with sophisticated audience like National Geographic or BBC etc., sure it would matter a great deal what equipment I would use and how good I could make use of it.

The thing is none of us have even seen the original footage so that we can say which one of these two is better or worse and in what way. One thing I can say for sure is they are intended for different groups of users. Just as the Note 3 is for yet another group of users.

But please enough about that know-it-all mentality. It's even worse than crappy color sampling or fake resolution, really.
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post #104 of 798 Old 02-08-2014, 03:56 AM
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Looking at the YouTube footage I believe I see what the issue is with respect to the relative softness compared to the Sony promotional footage. The Panasonic version has many more compression artifacts in the form of macroblocking than the Sony one, and I think that is the reason. Either they outputted the edited footage with a relatively poor encoder, or they are using a lower bit rate at some point, and that is what is causing the damage. It is not constant throughout the footage however, so IMO it is an editor/YouTube issue rather than a camera issue. The shooter likely should be shouldering some of the blame as well, focussing might not be ideal, especially the bits using the drone.

I think we will only have a realistic comparison of their respective merits once they get out into the wild. So far both of them appear to blow the BMPC4K out of the water in terms of resolution however, although that may change once we see something other than prototype footage from BM.
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post #105 of 798 Old 02-08-2014, 03:59 AM
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Originally Posted by P&Struefan View Post

Funny thing is while we are making arguments over which one of these 4K cameras would be a better choice, some guys on the internet and a few in my areas are already making their living shooting 4K with the Samsung Galaxy Note 3. Why? For many months it's been virtually the only device on earth that can do the kinds of jobs they've been doing. 4K product demos, equipment reviews, instructions etc. on sites like YouTube etc. Could those have been done at 720p or 1080p with more professional equipment and more importantly with better results? Yes, but then you have to ask, for whom?

Most audience on the internet and I would say the majority of audience of broadcast programs are not like us. They would buy the technical hypes even if they only have the faintest clue about what they actually mean, visually speaking. Then they would look at the picture. The first visual element that would impress the most people is resolution. The apparent resolution of whatever it is they are looking at, provided, of course the other elements such as color, contrast, brightness, and artifacts such as noise and irregular motion are within the bounds of normality.

I wouldn't have to tell you why those 4K warriors are not using the Canon 1DC, Sony FS-700+Raw recorder, Sony F55 or even the Sony AX1.

If you do video for a living like myself or some of us here or those 4K cell phone folks, you have to take what is available and what you can only afford. If I made my living shooting for Hollywood producers or programs with sophisticated audience like National Geographic or BBC etc., sure it would matter a great deal what equipment I would use and how good I could make use of it.

The thing is none of us have even seen the original footage so that we can say which one of these two is better or worse and in what way. One thing I can say for sure is they are intended for different groups of users. Just as the Note 3 is for yet another group of users.

But please enough about that know-it-all mentality. It's even worse than crappy color sampling or fake resolution, really.

Lol, the reason could be that the Note 3 costs a tiny fraction of what those other cameras cost smile.gif. And it shoots pretty damned good footage as well, all things considered.
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post #106 of 798 Old 02-08-2014, 05:32 AM
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It is implicit in the spec. The current Canon prosumers put out 4:2:2 for example, but they don't really mention it at all in their promotional material

No, it is not implicit in the specs. Especially the GH3 has NO output with 4:2:2 at the hdmi interface.

Beside that, I think it is preferable to know for sure what one purchases.

From some compressed youtube videos we will not be able to assess the footage really.

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post #107 of 798 Old 02-08-2014, 07:05 AM - Thread Starter
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The Odyssey7 should work with the GH4 interface unit.


http://www.convergent-design.com/Products/Odyssey7.aspx
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post #108 of 798 Old 02-08-2014, 07:54 AM
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You think that we are attacking the small AX100?

Absolutely! Not you, but our resident Professor. He takes shot at the AX100 at every single opportunity he gets. That's why I don't read his posts unless they get quoted in someone else's posts. There's nothing I can do about that. It gets very tedious seeing the same diatribe in every one of his posts. If you've seen one, you've seen them all. Let me put this in perspective. His shots at the AX100 are almost precisely the same garbage he threw at the RX10 when it first came out. Go back and check. Same dribble, different camera. Now once the RX10 came out and was thoroughly reviewed, almost all reviewers raved about the video quality making my buddy's endless attacks look like the foolishness they were. So now we have the AX100, same sensor as the RX10, what appears to be similar processing and very much the same camera with the obvious inclusion of 4K and a camcorder style body format. I expect the video quality to be much the same as the RX10 but with the superb resolution of 4K.

Let me go a bit further. If the demo video from the GH4 had been put out by Sony and labeled 'shot by the AX100', I can almost guarantee my buddy would have made remarks such as "soft" "macroblocking" "moire" "aliasing"...the list would have gone on. Rather than assuming many of the issues could have been the result of YouTube compression, the blame would have landed squarely on the AX100. So yes Wolfgang, I do think he attacks the AX100, there is zero doubt about that. But he does provide some comic relief, so it's not all bad. wink.gif

What I actually find most amusing regarding my friend's pot shots is that he always omits the biggest real omission in the AX100 (and the GH4), 60p@4K. Now Wolfgang, why do you think that is? Could it be because his beloved BMPCC also has this glaring omission? No, couldn't possibly be. Of course it doesn't do 4K either. biggrin.gif
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Originally Posted by Wolfgang S. View Post

Let me take an example. I am interested to continue to shoot HD with my Atomos units, but at higher quality levels of the pixel - so 10bit 4:2:2. May I ask: where can I read that the HD-output of the AX100 will be 10bit 4:2:2, or 8bit 4:2:2, or even only 8bit 4:2:0?? That is something that is not clear to me, has not been published by Sony as far as I know. I would even consider the PXW-Z100, but even here it is not clear what is coming out from the hdmi interface NOW - before the firmware update was released.

As I recall Sony did mention that the camera was doing 4:2:2 but I don't know about it's output to an external recorder. Regardless, what 4K external recorder are you going to use? I've never seen one. Perhaps I'm just not aware of its existence.

Sorry, I think this is much ado about nothing. Also remember that the target audience for the AX100 will probably not be using external recorders anyway...even if a 4K recorder did exist.
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post #109 of 798 Old 02-08-2014, 08:07 AM
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Looking at the YouTube footage I believe I see what the issue is with respect to the relative softness compared to the Sony promotional footage. The Panasonic version has many more compression artifacts in the form of macroblocking than the Sony one, and I think that is the reason. Either they outputted the edited footage with a relatively poor encoder, or they are using a lower bit rate at some point, and that is what is causing the damage. It is not constant throughout the footage however, so IMO it is an editor/YouTube issue rather than a camera issue. The shooter likely should be shouldering some of the blame as well, focussing might not be ideal, especially the bits using the drone.

Not sure Tugela. To me it looks like focus misses more than compression artifacts. Of course the logical question would be, how did he miss the focus so badly and, if so, why would they have included that clip in the demo reel? I certainly wouldn't have. You would hope it's not because it's so difficult to nail the focus in 4K with a relatively shallow DOF. If so, it doesn't bode well for amateurs who are seeking a shallow DOF in 4K.
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Originally Posted by Tugela View Post

I think we will only have a realistic comparison of their respective merits once they get out into the wild. So far both of them appear to blow the BMPC4K out of the water in terms of resolution however, although that may change once we see something other than prototype footage from BM.

And that is the unabashed truth. Until we get these beasts in the hands of users, we won't really know. But it sure makes a whole lot more sense to wait than to endlessly bash a camera based on pixel peeping or questioning one demo video. With that said, I'll guarantee you with 100% certainty, that when actual AX100 owner videos come out, we'll have one guy here who will continue the endless bashing regardless of how good the videos are. If a scene is utterly gorgeous, but there is one cloud on the horizon that's overexposed, the attacks will spew forth. Bank on it.

I do agree, thus far both do appear to blow the BMPC4K out of the water in terms of resolution. Will that change when production models are released, stay tuned.

Either way the 4K world looks like a blast! smile.gif
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post #110 of 798 Old 02-08-2014, 08:11 AM
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Originally Posted by jogiba View Post

The Odyssey7 should work with the GH4 interface unit.

http://www.convergent-design.com/Products/Odyssey7.aspx

Joe, I think Tugela's point was that regardless, Wolfgang would not be able to record 4K to an external consumer/prosumer recorder.
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post #111 of 798 Old 02-08-2014, 08:17 AM - Thread Starter
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Originally Posted by Ken Ross View Post

Joe, I think Tugela's point was that regardless, Wolfgang would not be able to record 4K to an external consumer/prosumer recorder.
Ken, it looks like you would need the $2295 7Q version for 4K recording .



http://www.convergent-design.com/Products/Odyssey7Q.aspx
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post #112 of 798 Old 02-08-2014, 08:23 AM
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Joe, interesting, but that does get to be a pricey proposition between camera, recorder and lenses. In looking at the specs, I'm not sure how universally compatible it will be with upcoming 4K cameras. Would that support the GH4 or AX100?

Either way, from a comparative standpoint, it does offer a lot for the price.
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post #113 of 798 Old 02-08-2014, 08:26 AM
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As mentionrd here, the Odyssey 7Q is one unit which is out right now. Atomos in the past have said that they'll release 2160p recorders in the right time. Hopefully within a few months. That would be another unit people can get. Hopefully the Atomos 4K unit will cost much less then the Odyssey 7Q. It should be since instead of having a ton of features like the Odyssey 7Q, Atomos just needs to record to 2160p at 10 bit and 422 and keep everything else basic.
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post #114 of 798 Old 02-08-2014, 09:15 AM
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I never said that I want to record 4K with an external recorder today. There will be new products when the time is right. And for sure not for 4000 $ - because few people will be willing to pay for that.

No, today I am looking for a high quality solution for HD with 10bit 4:2:2, since we will deliver in HD in the next year anyway (maybe longer).

If that solution has potential for more - fine. That are the benefits for the Z100 or the Blackmagic 4K maybe.

So we will see what comes in the next weeks and month. At the moment it is still possible/required to wait anyway.

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post #115 of 798 Old 02-08-2014, 09:20 AM
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Newsshooter interview: GH4 feature breakdown with Hotrod Camera's Illya Friedman
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post #116 of 798 Old 02-08-2014, 09:48 AM
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In the interview, I had to laugh when he talked about RAW and how he didn't see it as an advantage for most people. He spoke about how bad the color is from people who shoot RAW that just aren't proficient at it, don't have the time or don't have the money to hire an experienced colorist. Amen!

I was surprised he didn't know whether the camera had built-in IS. I guess when you're used to working with a crew, built-in IS doesn't appear that important nor does the bulk of the 'brick' and the necessary power supply. wink.gif

It certainly sounds like an interesting camera that should make a lot of people happy.
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post #117 of 798 Old 02-08-2014, 11:08 AM
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Videographer of the "Light of the Yucatan" video.
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Almost everything that could go wrong on a shoot DID go wrong on this one. Without going into details, I feel like the video is 60% of what it could have been. I had a MoVI that went down on the very first day of shooting, which forced me to rely on our backup brushless "FauxVI" Alexmos based gimbal. Also had a lot of MoVI handheld shots planned, but those had to be cut obviously. The prototype GH4's had some quirks that were challenging to deal with but I'm sure they are solved by now with firmware update. All in all I was really impressed by the image coming out of the GH4. We posted this in front of a 60-some inch 4k monitor and the shots looked stunning to me.

And responding to someone previously, yes all 8 lenses and two bodies absolutely did fit handily in my carryon backpack, minus the ocotcopter of course! ;0)
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For sure 4k can be unforgiving in regards to critical focus. The style of this project was designed to highlight the 4k detail, so we shot everything deep focus at F9 or F11, with very subtle camera moves. Typically I'm doing just the opposite and trying to shoot everything wide open with more dynamic camera movement. I was most happy with the aerial flamingo shots as they were pretty amazing to see in true 4k on proper 4k monitor. It's the big wide shots with lots of detail where I really notice the 4k difference. The parrot and caterpillar type shots also resolved well.

Using f/9 to f/11 was really taking a very big risk especially when you consider the size of the chip. I would have liked to see what f/6.3 to f/7.1 would have looked liked.
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this was shot in-camera 8 bit at the standard image look setting. Panasonic initially flirted with the idea of me recording this project externally in 10 bit, but I think it was wise to show people how it looks in the more typical way that most will use this camera.

we arranged special access to the Mayan ruins before they were open to the public.

there was indeed heavy moire on the feathers of the macaw. it was a shame because the detail on that shot was pretty incredible, but any camera without a global shutter would have trouble with those feathers. 4K resolution just made it the worst possible scenario, as each feather is like a series of "stripes" like on a striped shirt when picking up all that detail.

http://www.eoshd.com/comments/topic/4974-hands-on-preview-of-the-powerful-4k-shooting-panasonic-gh4/page-6

It was already posted here but in case people don't know which one....


I guess it'll be better to wait until we see native samples from final production units of both the AX100 and the GH4 and from people who uses different settings.
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post #118 of 798 Old 02-08-2014, 04:33 PM
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Originally Posted by Wolfgang S. View Post

No, it is not implicit in the specs. Especially the GH3 has NO output with 4:2:2 at the hdmi interface.

Beside that, I think it is preferable to know for sure what one purchases.

From some compressed youtube videos we will not be able to assess the footage really.

Then it is not compliant with the HDMI spec and should not have the logo.
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post #119 of 798 Old 02-08-2014, 04:37 PM
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Originally Posted by jogiba View Post

The Odyssey7 should work with the GH4 interface unit.


http://www.convergent-design.com/Products/Odyssey7.aspx

He was talking about his Atomos unit, which is limited to 1080p30 IIRC.

I have no doubt that there are professional level recorders that can record high end standards, but the Atomos and Black Magic units (which are what most enthusiasts use) can't.
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post #120 of 798 Old 02-08-2014, 04:40 PM
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Originally Posted by Ken Ross View Post

In the interview, I had to laugh when he talked about RAW and how he didn't see it as an advantage for most people. He spoke about how bad the color is from people who shoot RAW that just aren't proficient at it, don't have the time or don't have the money to hire an experienced colorist. Amen!

I was surprised he didn't know whether the camera had built-in IS. I guess when you're used to working with a crew, built-in IS doesn't appear that important nor does the bulk of the 'brick' and the necessary power supply. wink.gif

It certainly sounds like an interesting camera that should make a lot of people happy.

I imagine that if you are always shooting from a tripod then image stabilization is unimportant.
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