Chicago Art & Architecture | Breaking in the Panasonic GH4 from H. Paul Moon on Vimeo.
Paul Moon has posted the above test of the Panasonic GH4:
Challenges that I posed this time around included rolling shutter, which you'll see in those lateral shots from the L train; pointing at the sun for black holes or blooming sensor; playing with depth of field for focus isolation; and aliased patterns which barely appear because there is no de-bayering from the sensor in UHD mode. Highlight protection and color depth is fair but not great: the GH4 still can't beat the Blackmagic Cinema Cameras that have more dynamic range, and record internally to 10-bit 4:2:2 at a much higher bitrate.
The ultimate explorer's camera? A review of the Panasonic GH4 | Story & Heart Blog
Regarding resolution, the Panasonic GH4 performs exceptionally. The footage, frankly, looks beautiful.Having 4k internally means that when you’re stuck—physically, by a barrier or a body of water, say, as is the case in filming on the Oregon coast—you still have options in post for cropping.
Shooting 4K for 2K on the Panasonic GH4 plus my pre-review short film | EOSHD
The video above was shot with the Nikon 55mm F1.2, Leica R 28mm F2.8 and Panasonic 14-50mm F2.8 OIS from the old days of Big Four Thirds. If you need stabilisation that lens is well worth a look. It does slow down by half a stop at the long end to F3.5 but it’s a great piece of glass which has character.
Tutorial: how to recover GH4 superwhite data in Premiere Pro | Vimeo
This Premiere Pro tutorial shows you how to recover clipped highlights when shot in 16-255 mode on the GH4.This only addresses highlights that were not clipped on the sensor itself but by the YUV to RGB conversion.This methods also works for any other camera that uses superwhites, and there's a lot of them out there...
If you have audio buzz through headphones on GH4, be sure you are in Creative Movie Mode not P,A,S,M modes!!
— Andrew Reid (@EOSHD) May 19, 2014
Canon Collaborations: The Crew of VICE on HBO and their Go-To Gear | Vimeo
Find out why Jake and Jerry turn to the Canon EOS C300, XF105, XF305, and 5D Mark III to get the job done and learn how they configure their cameras while shooting in hostile environments. Then, check out their work by watching VICE on HBO, Fridays at 11PM.
TELLING A STORY WITH NO WORDS – MATT ALLARD ON FILMING MAESTRO WU | News Shooter
I wanted the viewer to be immersed by what was going on and to be focused on the attention to detail and the beauty of what he was doing. For something like this to work you have to think about the style in which you want to shoot and also the best way to convey what you want the audience to see. I utilized almost entirely high speed frame rates for this piece. I didn’t do this just because I thought it would be cool to shoot high speed, but to help tell the story.
Matt Allard reviews Sony's new UWP series mics. They look pretty good, but I'm still wary of spending money on new mics at the moment:
VIDEO REVIEW: SONY UWP-D DIGITAL HYBRID WIRELESS MICROPHONES | News Shooter
I’ve been using a couple of UWP-D systems for a few weeks now and have been quite impressed. I’m not going to go over the technical stuff again today, but instead am going to look at how these new units handle and their build quality.
'3-D is a marketing gimmick' - Irish Cinematographer for Godzilla | NewsTalk
McGarvey says there have been one or two cases – such as Martin Scorsese’s Hugo and the award-winning Gravity – where it has contributed some visual depth but generally the cinema would be better off without 3-D.