@matt_gh2 since all of this was shot at ISO 160 I felt pretty confident I was going to have enough detail. There's a section in one where I was surprised at the lack of tonality in flesh tones if Greg was at all in the shade. I had to treat them special in the grade. I'm shooting some stuff now with Slipstream and will be comparing the two patches under similar circumstances, since they're at similar data rates.

@matt_g2 Thanks! I know I only tend to remember the commercials that make me laugh. I was watching a compilation of classic spots from the 60s+70s the other night and funny used to be more rare. I couldn't help myself but fondly remember Demolition Man as I couldn't help but sing along to masterful jingles from back when agencies still treated these like art. It also helped that our talent, Greg Dorchak, is a total cut-up. We got him to play a serious role in our last film but he's an improv and stand-up guy so all of this was ground zero in his wheel house.

But, no, this is all Flowmotion. I wasn't sure at the beginning how much footage we were going to actually shoot so I knew I could get good quality with some space savings. I'd have maybe preferred, maybe, to shoot the beer and BBQ spots on Moon but I stayed consistent for all of them, also to evaluate the different graded looks in the context of all starting from the same base look out of the camera.

We recently completed four of a series of five spec commercials shot over a couple days, totally guerilla-style, in Austin, Texas. Our main interest is continuing features but commercials could be good for short-term cash flow. That's the theory anyhow.

...and I'm still completing the final spot which has CG/Motion-Graphics and VFX. I graded all of them to have a different look. I utilized ColorGHear ( @shian ) for all of the spots and Film Convert on the BBQ and the beer spot.

@MichaelT In the salon vid, which cam/lens did you use for the interview of the guy? The angle thats straight to camera.

As usually, t2i looks much more naturally cinematic.

A piece using Flowmotion 2.02 for half the shots, and a T2i for the rest... Edit/grade with FCPX.

I recently started using GH2. Here is the first video with the firmware GH2 Flow Motion

Flowmotion 2.02 (24H). Standard color settings

New music video test ! FM rules

@BurnetRhoades I've migrated to CS6 and had my first experience of the rain in FlowMotion footage. I guess I'll be transcoding to ProRes from now on. Aside from the alleged improved gradability, I've read it's supposed to scrub better than AVCHD too. Transcoding my current project is going to take up 800 gig of data so lots of storage is a priority if you'll be working on a few projects continuously.

@kurt10 transcode with 5DtoRGB. The rain is in the libraries licensed by Adobe, it's not a patch issue. Non-patched GH2 footage does it just as bad in CS6 under similar shooting conditions as when it shows up in patched footage.

In my experience, 5DtoRGB transcoded footage, filtered and read as ProRes looks better in and rendered out of CS6 than if you rely on CS6 reading the MTS files in any case so, rain or shine, it's not a bad habit to get into.

@LPowell Thanks for the reply. That makes sense as this patch is incredibly reliable. It also is as smooth as butter in FCPX in AVCHD mode which hasn't been the case with other patches which I have had to transcode to Pro Res. It's also very economical card wise.

I would still like a shorter GOP for 720p, so what are my options? Am I able to cannibalise this as I really just want to stick with 720p.