After reading all of this, even myself have recorded on 24p 1/50th shutter speed, the motion blur didnt look smooth as you would get with a perfect synced shutter speed with the recording framerate, and it does look abit unattractive.

You can it is most noticable at 29secs in this video:

Therefore, hasnt anyone found a way to at least implement a 1/48 Shutter Speed setting? like 1 step/level/click away from 1/50???

@Misterj Thanks for the props on Flow Motion v2. One of my goals was to see if I could improve frame-to-frame motion picture continuity by boosting B-frame image quality to match the quantization quality of the I-frames. In an FM2 1080p video, there are two B-frames between each pair of I-frames. The macroblocks in each B-frame are formed from reference blocks taken from both previous and following I-frames, averaged together. This inter-frame compression process is similar to techniques used to generate "tweened" frames between the key frames in animated videos.

In FM2, the theory is that high-quality B-frames can effectively form a bridge between consecutive I-frames, by blending object details from both I-frames together. (Of course, B-frames are not simply averaged pixels, the details in each frame are individually refined to closely approximate the details captured by the image sensor for that frame.) My hunch is that when viewing moving objects in a video, your eyes make every effort to integrate the consecutive frames into a continuous stream, and that random frame-to-frame discrepancies are perceived as undesirable distractions. Hence, the disturbing judder we see in some videos, that mysteriously vanishes when you step through the video frame-by-frame.

In an intra-frame motion picture, whether film or video, each frame is individually captured as a self-contained still image, with no inherent connectivity to any other frame. Frame-to-frame continuity is produced only by the coincidence of having captured consecutive frames at very short time intervals. At 24p, the frame rate interval is just barely short enough to maintain the illusion of continuity, and it can easily be dispelled by any perceived irregularity. I personally find the mismatch between the 60fps refresh rate of LCD monitors to clash noticeably with a 24p video cadence, whether interlaced or progressively displayed. And that's the main reason why in practice, I prefer 30p to 24p.

Possibly because it 'is' Intra. Flow motion and all longer GOP settings use P and B frames which maybe making the blend from frame to frame less obvious. Pure theory mind.

Hi All!

I just saw @davidhjlindberg nicely shot shorty "The Final Dance". I downloaded the video and watched on my edit. It's also good example of strobing shots. I'm not sure what shutter speeds David used in this, and my opinion is that specially in war scenes strobing works great - aka style of "Saving Private Ryan".

Go and see and it

But as @rajamalik commented that there is no strobing effect in latest hacks and many of You are saying that there is no eye-bothering strobing effects in material - and - testers don't see any problem how hacked GH2 captures this "cinematic motion": You must be right after all. Probably I should just forget it and shoot. = )

So this is my last try. =D @bwhitz @Roberto @mo7ies @LPowell @driftwood I did a test shootings with sedna A, crossfire variation 1 and Lpowell's latest Flow Motion v2.02. I did not have OIS on and I used Kit Lens 14-42 and Voigtländers NOKTON 40mm. I shot using same settings that I used shooting those flowers earlier on. And I see there is differences. LPowells hack seems to have more motion blur during handheld camera movement than others. After I exported 422(HQ) from NLE I conformed all three videos from 23.98fps to 25fps and compared again. LPowell's version passed without any strobing.

I like most SEDNA A in picture quality, but Flow Motion is better capturing motion. In a slower camera movements, sedna did not do almost any motion blur. When you make a zip-pan blur is there, but in a slower movements its notn

A question for everyone insisting that the judder is inherent in all GH2 footage: do you watch it on a monitor with a refresh rate that is a multiple of 23.98?

@mo7ies Thanks, wrong call I'm afraid. It was as if Vimeo might have sensed my slow internet connection and dropped back to 14fps (now that would be a clever trick) I really did notice a flicker when the guy swings the golf club - but then they might well have chosen a sporty, too-high shutter rate just for that shot.

@roberto I'm still trying to understand what you (and everyone else) means by stutter, but I think I'm getting there.

I was previous of the understanding that you meant there's a noticeable shift in cadence, like a jump from a poor pull down, there's none of that in there.

If you're on about a little consistent frame cadence on horizontal (and sometimes vertical) pans, well that's intra-frame 24p for you. With the motion in that piece you linked to, if 24p cadence is a problem for your viewer, then you'd be nuts to shoot it that way. I don't see why that piece would need, or even want 24p...it's not cinema. But, I suppose if you're hooked on the detail of the hack, and you're unwilling to go HBR/720p, you're then at the mercy of a 24p intra-frame motion capture. But, having said that, I don't think it's as bad as some people make it out. It really doesn't put me off watching something. As someone said before though, it's like the DLP/LCD discussions that rage on. I see the rainbow effect, but it doesn't put me off so much, if at all.

I realise I've just opened the door to the Red/Alexa boys (of which I have zero experience) to say the above would look fine at 24p on them. All I know is that if the above was shot on film, with that range of motion, it would display a very similar motion capture character (rolling shutter aside).

Personally, I'm 'almost' desensitised to 24p cadence, as I'm just so used to it from the movies.

@roberto before you analyse, do you know the precise shutter speed and frame rate that the video was captured at?

difficulties separating the edges of moving objects

That's a big problem. Pans with no subject are rare opportunities to use full motion-blur of everything you see. But much more common are tracking shots: blurring the nearby bushes as they scoot by is easy enough. But the buildings further behind the bushes will be revealed by parallax, moving slower; the mountains will hardly move at all, while the sun will stay rock still. I would get annoyed with any software which wanted to motion-blur my mountains & sun.

after quantum v9 was released until date none of the patches has such strobe effect at all....for example quantum 9 x orion sedna canis cluster all these are somewhere beyond this kind of effects.... may be its lens...

Film at 24fps, if you talk to a DP or operator, has well know pan/dolly speeds that they won't exceed for those exact reasons.

I shoot film, 35mm and 16. The faster I pan, the better it blurs at 180 degree shutter. A zip-pan looks smooth on film. It also looks fine on a GH2:

We all do the still/pan/stop routine, intuitively:

Press shutter, and ONE, two, three, then pan [Object frame right moves to frame centre left slowly] and ONE, two, three four five, slow then stop] and still ONE two, three - and CUT.

In narrative film, a pan without camera following a central figure is a rare animal.

The limitations to speed are more often aesthetic. When panning you need to know why. In whose time is this shot I'm about to take? For example:

Scene 4_________ Interior________Day_________Gary's Room_________ Scene 4

Gary returns home to find his home ransacked. He looks around, afraid the burglar could be waiting behind any door....

This is one of those rare circumstances where a DOP might choose a slow pan.

Using film, you can get a smooth shot of what Gary sees as he looks around the room. The audience have no central figure moving around to distract them. Their eyes will follow every bit of this POV shot, scrutinizing everything they see.

A GH2 may give you problems here.

Note: Luckily, you can apply motion-blur in post here, because the whole scene is moving, so everything gets a one-click blur. If you had someone walking around, [ie static within the frame], you'd have your work cut out for you trying not to blur them too, along with the moving furniture.

BTW, make sure your OIS is off when panning – it might introduce judder.