Personal View site logo
Updated w/more footage: Epic and GH2
  • 72 Replies sorted by
  • @ Roberto:

    Sure there is. There is a reason why we already have a Scarlet and an Epic on order. But try the same test with any other AVCHD camera…

    BTW, skin tone IS very important ;-)

  • I can see a pretty big difference. Then again, the gh2 isn't, in its best mode,1080 24p, which stomps all over the 720.

  • @ 720 lines of resolution vs. 1080, a pretty big difference is to be expected.

  • Unfortunately the Gh2 hack isn't ready for 1080/29.97, or I'd be using that.

    But I'm gonna roll some 1080/24 in about an hour after crew lunch side by side with 5K.

    In my experience the differences between 720 and 1080 weren't drastic. But, I'm used to 4/5K as well so thats probably why. Dunno. Honestly, the 720 still cuts very well, and that's saying a lot. Scale from there.

  • @kholi 720p from the gh2 holds up far better than many full 1080p video dslrs.. and it does scale to 1080p decently, but then again, it also scales flaws of the gh2 image (enhancing them).

    I totally get why you did it in this case though.

    Looking forward to 5k downscaled!

  • @RRRR "720p from the gh2 holds up far better than many full 1080p video dslrs.."

    +1

    It looks like there's more detail in the GH2's 720p 60fps image than my 7D or 5D at 1080p...

  • It's more than just 720 vs 1080. It's the quantum 720 vs quantum 1080. The bitrate is double.

  • I thought the quantum 9b in 1080p was supposed to hold out well, even at 24fps. If not lpowells aquamotion looked amazing too...

  • @bwhitz that was actually true of the GH13 as well. GH2 720p was an even better upgrade.

  • I definately see quite a difference in GH2 720P verses 1080P.
    I've also seen (and most others) that GH2 720P holds as much or more detail than the past Canon DSLR cameras 1080P. The 1DX will probably change this. I'm now questioning the Nikon D4, but time will tell.

  • @Reckless

    as Promised --

    Will try to cut at least 30 seconds of some of this stuff and throw it up on vimeo.

    More stills for now.

    Zeiss Ultra Prime 24 @ 4 | ISO 160? (I think, it might've been 200 | ND .9 | Soft FX 1 (full) | Standard -2 -2 -2 -2 | 1080/24

    Pretty sold on Standard with cinema runner up. Tried Dynamic randomly today, too much sharpening in the curve.

    Soft FX 1 does help a lot with the aliasing, and GH2 still rocks it on resolution.

    BlondeHair1.png
    1546 x 720 - 2M
    BlondeHair2.png
    1280 x 720 - 1M
    Shhhh.png
    1546 x 720 - 1M
  • Geez Kholi....very helpful indeed! I'm not really "surprised" by what I see. It's also exactly the sort honestly and balance that I have come to expect from you. All of that said, it's great to SEE IT with my eyes, just to connect my research, thoughts, feelings...and now I have images to complete the loop. Please do post your other footy asap!!!! YOU DA MAN!!!!

  • @Kholi: curious as to why you don't like Smooth? (maybe you do, but ... :)) Looks great. I quite like the Soft FX look - it makes it a lot more organic and film-like. The Zeiss UPs are somehow recognizable.. I guess it's due to watching them on the big screen! (I haven't had the pleasure of trying them out!)

    What's your take on the Ultra Primes? I saw you thought they were too sharp, but other than that? Have you had experience with other cine lineups?

  • @RRRR

    Hmmm so here's my take on Smooth: there's still sharpening occurring in the film mode that's a bit heavy for my tastes, even dialed down to -2. That sharpness also may be giving off the appearance of a brighter image. Along with that, the noise is actually a bit annoying now.

    Of all the profiles, I think Standard is the most linear base to work from, where you can denoise or add a tiny bit of sharpening.

    The Zeiss Ultras.... I like them, but I've gotten used to Cookes that I'm not sure which I prefer. Without a soft filter or diffusion they are definitely too sharp, with that they have quite an interesting and full look.

    I've used a lot of cinema glass, Cooke s4s are by far my favorites with Zeiss standard speeds next, then Zeiss master primes which are fun. Cooke classic 18-100 I used on my feature. It's a little warm but when corrected the soft look is very pleasant.

    Not a fan of compact primes, the fringing wide open sort of irritates me and they lack character to me. But they feel nice on small cameras.

    Red Pro Primes are super fast and super sharp but man they are heavy as heck. The 18 is a cool combo with the Gh2. Used them on Epix X for my last commercial, interesting look.

    Man I've used a lot of sets now that I think about it. I need some more time with cooke Panchros. The set I use is getting a special coating, that should be interesting.

    And, we've got a set of Kowa Anamorphics on the way. Gh2 + anamorphix finally!

  • @Kholi cheers for sharing..! It's hard in this end of the world to find such gear to rent. The choices are pretty limited, mostly standard speeds and so on..

    It would be really nice, if you have the time (at some point) to do a rundown on cine lenses, perhaps with some grabs to show off character and for reference. Obviously it will make a big difference what camera you stick them on, but it should be pretty helpful in asking for the right gear when it has to be shipped in..

    Also, there is this idea to create an equipment pool in the region which will serve basic needs of film-makers here rather than having to bring in stuff from across half the country - so for that I'm more than interested in looking over the different cine lens lineups and their characteristics..

    Have you had the chance to check out the new Leica's? I'm guessing they are pretty similar to the Ultra Primes..?

    Sound like you have fun times ahead, with those Panchro's and Anamorphics coming up!

  • since we are talking lenses, what do you think of the Zeiss SuperSpeed lenses? I am thinking of renting a set for a narrative short (not GH2, FS100 :-(

  • Have a look at this test: http://matthewduclos.wordpress.com/2011/12/12/portland-lens-test-2011-bts/#

    Interesting similarity between Uniqs and RPPs, the might come from the same source. The Panchros came out pretty well. BTW, I like the older Zeiss/Arri primes very much, compact but more character than today's Compact Primes. You may find them sitting in a corner collecting dust in some rentals.

  • Hai I don't think there will be driftwood quantum v10. Because there is no sdxc yet to record something which exceeds 180mb/s bitrate.there might be a v9 final and quantum 200 or v9 rock stable version I believe.

  • Yes I am sure next improved quantum v9 will kill red epic. thanks to driftwood sir. I request something behalf of some cinematographers here. Please improve quantum 100 and come ip with quantum 200 which shld performs better than q100 quality and lowlight on h mode 1080 24p. Which shld span and run well in 30mb/s sdhc cards too..please sir,..

  • @RRRR

    I've heard that a bit, about the lack of equipment in certain areas, so any advice I can give I will. Might be able to pick some stills from different projects and even post some video. Can't do it too soon because I've got a lot of other stuff cookin' (projects).

    Interest in the new Leica's but nobody's got a set around here yet. My friend's thinking about investing in some, then I'd get to play with them. Will let you know if I do.

    @B3Guy

    Superspeeds are good, they flare fast though so that has to be something you're interested in. I have a few issues with them, but it's actually not the glass just the camera you use. For instance, you're asking about the FS100: that camera is sensitive as heck, too sensitive for my tastes. If you get caught in daylight you're shootin at a 5.6 + ND all the time. Also, they are soft wide open, and bloom a bit. You need to hit T2.1~2.8 to find the sharpness, and Standard Speeds are sharper @T2.1~2.8 than Superspeeds are.

    All in all, I like Standard's more than Super's but Super's could come in handy during night shoots, especially on the GH2.

    Additionally, both the Standard and Super's wide ends are a bit of an if: The 16's bow like crazy, the 20 isn't, the 28 is sweet. I find myself reaching for the 28 on the GH2 more often than any other lens, concerning the Standards.

    @nomad

    You might. Depends on the area though; they're picking up steam in LA. Six or so years ago a set of great Standards could be had for 20K, or even less if you caught the right person at the right time. Now? A set of five's going for 22K+, and rising.

    Rental rates for all PL glass has gone up 50/day or more. I could've rented S4's about two to three years ago for 400/day, Hook-up rate was like 350/day. I don't even think I can score them for less than 600~650/day now. =[

    The Pancrhos will be filling in for S4's from now on, I think. Which is fine, as camera's become more sensitive the T2.8 for Panchros isn't as slow as it sounds. However, the T2 of S4's would be perfect for GH2.

    Glass... such a pain.

    @rajamalik

    No amount of hacking will get GH2 to RED status. It is what it is: a great substitute and/or a great A cam for those that own it.

  • Ya ya but just curious to see improvements in quantum v9b.. Red is red 5k who cares ;). I am poor

  • @rajamalik

    "RED is RED 5K, who cares; I am poor"

    You may not realize it, but this is exactly the kind of attitude that will free you from the silly shackles of trying to compete out of your range. That gets people over it and to business.

    Good stuff.

  • GH2 is first, Epic is second.

    Download from the vimeo link for a limited time.

  • its 100% night shooting . . . a dark office, a club exterior, and a limo interior.

  • Great job on the videos. Still waiting for Al mount scarlet to arrive to the same kind of tests and stuff. I don't really think you'll have a DSLR that produces a better picture than a scarlet or epic in the next 3 years or so, but at the same time, you don't really need a Red for every situation. So finding the best way to make them compatible and being able to cut between them is the best information to get out right now.