On the downside, built-in ND filters are still missing from the feature set. The ergonomics and power requirements of the bolt-on interface are somewhat backward and no attempt has been made to make this camera fit better on the shoulder. My guess is that this will be saved for other ‘pro’ models to come.
Panasonic GH4 in a professional setting – FAQ | EOSHD
When the camera is set to record in 4K internally the onboard HDMI output is down-converted automatically to 1080p. In playback mode the HDMI output is 4K capable (relaying the 8bit 4:2:0 footage from SD card). Only the DMW-YAGH add-on base can output 4K (uncompressed, 10bit 4:2:2) from the GH4. However the micro-HDMI port is 8bit / 10bit switchable and can deliver impressive 1080p in 10bit 4:2:2 format, uncompressed to an external recorder.
Using The GH4 Camera, Panasonic to Commence Joint Research with Digital Hollywood University | Cinescopophilia
Panasonic Corporation will commence joint research with Digital Hollywood University in Tokyo toward the development of new forms of video expression that utilize 4K technology, and digital imaging equipment such as digital single lens mirrorless (DSLM) cameras compatible with 4K video.
A comparison of two cameras that aren't shipping yet.
Which 4K camera for the masses? GH4 vs Blackmagic Production Camera | EOSHD
The GH4 has a lower point to entry but to get 10bit 4:2:2 and ProRes from an uncompressed 4K feed you will need the add-on box. This will put the camera in the same price bracket as the Blackmagic Production Camera and ideally require the same outlay on SSDs and monitors. At least you get two tasty XLR inputs thrown into the bargain and a full sized HDMI port.
Shoot35 CINEfocus r3 review | Paul Joy
The Shoot35 CINEfocus r3 is the latest incarnation of Shoot35’s follow focus offerings. I reviewed the original (r1) CINEfocus back in 2009 and although that version has worked really well over it’s lifetime the latest incarnation is a totally new design with a host of features that promise to make it more precise, more flexible and easier to use. So lets start by opening the box and seeing what goodies are waiting inside.
Working in the field with the Editshare Field 2 | Pro Video Coalition
Our Editshare Field 2 system came equipped with 6TB of usable storage capacity in a fault-tolerant RAID5 configuration. This was more than enough for our anticipated storage needs of approx 1-2TB raw footage + another 2 TB for ProRes transcodes. We were going to use Adobe Premiere CC for post, so I could have chosen to stay in native formats.
IS THE DSLR DEAD FOR ONLINE VIDEO? A WORLD PRESS PHOTO CONNECTED LEARNING DISCUSSION | News Shooter
Not everyone has given up on the DSLR for video. On a recent assignment for National Geographic Online in the south of Egypt, Matt Ford went with the Canon 5D mkIII for his video: “I go for the DSLR because if I am going on a shoot and I already have a lot of lenses and bodies that I am using for still photography, if my primary camera goes down, I still have a lot of backups.”
PERFECTION IS THE GOAL, PRACTICAL IS THE REALITY | The Black & Blue
And if that seems intimidating to you, then that’s because you haven’t yet dealt with a mistake large enough to realize that you’ll survive it. Life goes on and “in the end, it’s only a movie” has to be your mantra. It can be reshot, it can be redone, it can be reworked.
The New York Times Op-Docs PitchApplications for 2014 are now open! | Sheffield Fest
We're delighted to welcome back one of our most popular pitching opportunities to Sheffield Doc/Fest in 2014 - The New York Times Op-Docs Pitch. Get your short documentary viewed by the world on nytimes.com like last year's winner, Kris Hoffman, who was funded to make An Unfair Game