I am using a 32 gb sandisk extreme pro 90mpbs

Test footage details:
The choice of lenses was done very carefully. Considering different crops of the APS-C and micro-four-thirds sensors (1,5x vs 1,86x recpectivelly) I've used the lenses that have similar view angle, same speed and extremely similar optical performance. All lenses had proper lens hood at all times. The aperture was most of the time stopped down for one step (day at f/4.0, night at f/2.8) except in very dark scenes, where both Nikkors had fully open diaphragm. In the NEX-7 there is no possibility of shooting in 24fps mode so I set it to 25fps and adjusted the GH2 to HBR and 25fps.

NEX-7 with stock firmware (PAL) // GH2 with the patch Cake 2.3 by @balazer
AVCHD 25fps 1080 // AVCHD HBR 25fps 1080
The GH2 camera files were quite exactly double-sized compared to the NEX-7

Daylight footage settings:
Lens: Canon FD 35/2.8 // FD 24/2.8
Lens aperture: (always) 4.0, no filters
Crop: 1.5x35=52,5mm equivalent // 1.86x24=44,6mm equivalent
ISO: 200 // 200 (always)
AWB // AWB
EV 0.0 // 0.0
Metering: multi // frame+center
Colors progr.: standard // standard
In-camera setting: default // default (0,0,0,0)
Mode: aperture priority (both)

Night footage settings:
Lens: Nikkor 35/2.0 Ai // Nikkor 28/2.0 Ai
Crop: 1.5x35=52,5mm equivalent // 1.86x28=52,1mm equivalent
Lens aperture: 2.0-2.8
ISO: 1600-1600
AWB // AWB (one take manually set to 2500K both)
EV: at first 0.0 both, later -0.3 / +0.7
Metering: multi // field+center
Colors progr.: standard // standard
In-camera setting: default-default (0,0,0,0)
Mode: manual (both)

Comments and bit of my subjective impressions:

Exposure: by default settings (EV 0.0), NEX-7 tends to overexpose EV+2/3, GH2 to underexpose EV-2/3
Colors: NEX-7 tends to reddish, GH2 to greenish colors. The NEX-7 has possibility of adjusting the color tones for every color mode, also for AWB.
White balance: NEX-7 is capable of getting much cooler AWB, extremely weird situation occurs at 2m45" when the WB in both cameras was set manually to 2500K
Moiré: two tipical situations by 1m40" but generally, the NEX-7 has obviously less moiré
ISO: NEX-7 has feature of changing the ISO sensitivity during the recording, the GH3 offers this but GH2 and GH1 not. In the daylight ISO was set manually to 200, in the night to 1600 in both cameras.
Sharpness: I was expecting clear winner GH2 and much worse NEX-7. Yet, the result is very similar. Please mind that in one scene I forgot to focus the lens (by 2m35") mounted to the NEX-7
Contrasts: in all test situations the NEX-7 shows more details in the shadows, but it would need bit more testing because of the camera's propensity to overexpose what I didn't notice at first.

The NEX-7 is even smaller than GH1 or GH2 and it has bigger sensor.... I like its concept, very minimalistic- pure idea of the "mirrorlessity". Its big advantage is the still photography, such a comparison wouldn't make much sence because it simply blows off not only the GH2 but even most of the DSLRs with APS-C sensor.... it's newer generation. The big drawback of the NEX-7 considering its video functionality is its sensor overheating. On the room temperature, some 20min are maximum one can expect, regardless if the display is lifted or left in its position. I am kind of very pleased to see that the NEX-7 renders the shadows very smooth and in cinematic spirit, with lots of details. It is a feature that we are struggling to get with our GHx cameras. This cinematic image gets more obvious by using a bit less sharp lenses than Canon FD or Nikkor that I used in this test.

panasonic lumix gh2, gh3 and gopro hero3 etreetsoi

thx

2X anamorphic lenses provide a very wide 3.55:1 aspect ratio when shooting in 16:9. When I get an anamorphic, I plan to have my final product be either 2.39:1 (or occasionally 2.75:1 if I'm feeling gutsy).

I have found plenty of info on how wide of "taking" glass the various 2X anamorphic lenses can utilize without vignetting, but only when used at 3.5:1. (For example, a Kowa 8Z/16H in 3.55:1 is good down to a 35mm "taking" lens on GH2.)

But if I'm cropping off the sides of my final product to 2.39:1, I would assume I should be able to use a bit wider of a taking lens, even if it vignettes on 16:9, as long as I'm able to crop out the vignette on the sides when trimming down to 2.39:1 from 3.55:1.

What many people get excited with when thinking about anamorphic lenses (especially the 2X crop sensor GH2 crowd) is that the anamorphic gives a wider field of view. While this is true in the horizontal sense of the term, it is not true in the vertical sense. A 35mm taking lens with an anamorphic adapter on front may have twice the field of view horizontally, but vertically it is still a 35mm field of view (70mm equivalent on GH2). This doesn't really help you "get wider" for narrative work in which you are framing up people, where extra vertical field of view is what actually matters.

If cropping 2X anamorphic footage down to 2.39:1 allows the use of an even slightly wider "taking" lens, then I would encourage anamorphic junkies out there to start experimenting with this strategy. even if you loos a bit of horizontal resolution, remember the footage still maintains full 1080 lines vertical, which will keep it looking sharp, even when stretched.

Does anyone know how much more you gain when cropping like this? Using my example of a Kowa, could it be good down to 25mm with the sides cropped to 2.39:1?

Any suggestion?

Cheers,

D

Cheers,

D.

Everything was interlaced 480i or at most Telecined 480p in a 480i container. MiniDV was all the rage and HD was a figment of our imagination.

I started with a Canon mini-DV camcorder in late 2003 that shot 480i(720x480). It looked great on my 480i Tube TV. However, it was absolute garbage once you deinterlaced it for computer use with Progressive displays. I sold it almost immediately swearing that I would never buy another interlaced camera again.

So I waited and waited. Everything new was 480i. Even when HD TVs came about the HD consumer cameras were still interlaced 1080i. Then finally the Canon S1-IS came out in 2004. It was a little known jewel. It shot wonderful 480p @ 30 FPS for up to 1 Gigabyte. The nice thing was that it supported the MicroDrive compact flash cards that at the time went up to 4 GB for about $200.

http://www.dpreview.com/reviews/canons1is/

That camera revolutionized video for me. At the time everyone asked why I was getting a still camera for video. They all said “Why don’t you get a proper camcorder for the job”? I said “The camcorders are all interlaced and this is progressive”. They looked at me like I was speaking Japanese.

I loved that S1-IS and used it for several years as my main camera. Sure it was only 480p but it was good solid 480p @ 30 FPS and it used a decent bit rate(For that time period). The S1-IS also had a really bright F2.8-F3.1 lens on it. With a 10x optical zoom it did everything I wanted it to do until I saw what the 1080p of the 5D MKII looked like in September of 2008.

http://www.dpreview.com/reviews/canoneos5dmarkii

Reverie, blew my mind. I couldn’t believe that you could get such cinematic shallow depth of field and dynamic range in digital video. In addition the resolution seemed astounding. At the time I couldn’t imagine ever needing more resolution than that.

http://www.learn.usa.canon.com/galleries/galleries/sample_videos/reverie.shtml

I came as close as you could get to buying into the 5D MKII with a complete set of lenses. I saved and saved until I was finally ready to pull the trigger by the fall of 2009. Then something caught my attention.

A little known camera maker (At the time) called Panasonic had developed a 720p camera that was actually really small. It was called the GF1 and looked too good to be true. It could use any lens ever made with adapters. It wasn’t super expensive and all the manual focus lenses for video were super cheap on ebay.

They also had the mighty GH1 but it was hard to find without the super small aperture 14-140mm lens. By that time I had come to realize what I loved so much about the Canon S1-IS was that its lens was relatively bright. Just like I had with interlaced video I swore off super slow mega zooms.

However, I simply couldn’t resist the GF1 with the 20mm F1.7 lens. I bought the GF1 on day one and never looked back. I bought every large aperture MF lens I could get my hands on and loved them all. However, those lenses were heavy when it was all said and done. I realized why full frame wasn’t really considered to be portable back then. 5 or 6 lenses added up to a lot of weight in a backpack even though the camera body was so light.

By that time 720p had become old hat and M4/3s had more than just a few native lenses. They had some fast primes like the new 14mm F2.5, 25mm F1.4, and the 45mm F1.8. Auto Focus was improving in their newer cameras and I found myself wishing for more.

I finally broke down when the GH2 was announced in September of 2010. It was finally the camera that seemed like it could do it all. 1080p video, ETC mode for endless reach, and it was hackable. Those were the good old days. We ALL spent countless hours eeking out every last ounce of bit rate and reliability that we could.

http://www.dpreview.com/products/panasonic/slrs/panasonic_dmcgh2/review

I even gave up on the MF lenses. I had all of the fast primes at that time and MF wasn’t as cool as I once thought it was. I was much more content to just let the camera do the focusing for me. After the firmware update for the GH2 added 1080p at 30 FPS and much improved AF I sold all of my MF lenses for a nice telescope.

Honestly, the GH2 was probably the camera that I could have stopped at and lived with for quite a while. It did everything I needed it to do and did it quite well. However, the hacking had sparked something in me that made me always look for that little bit extra. I went on to buy the GH3, GH4, LX100, and the 35-100mm F2.8 all on the day that they came out. Each one offered a little something extra that I thought made it justify the extra cost. I finally have 4K @ 30 FPS and 1080p @ 96 FPS and the 4K photo from video mode. I couldn’t have ever possibly imagined those things when I first bought the S1-IS.

Well actually I did predict the photo from video mode way back in 2009. It wasn’t an acceptable thing back then to predict that video could one day replace stills. In fact I still don’t think it is acceptable today either.

http://www.dpreview.com/forums/post/31728454

So we have come a long way in video cameras. I wonder what is next. How much farther can we go? Will it be as big a leap forward as it has in the past? Will I still want to spend my money on upgrades in the future or will I finally be satisfied with what I have now? Who knows? Only time will tell.

Please post your stories with how you got started into video and where you are with it today.

In combnation with a speedbooster this lens is by far the best zoom for m43. See pictures.

Location is Germany.

Price 590 Euro. SHipping is not included.

It comes in original packaging.

This is the latest video, from a free Gregory Porter concert and some touring of the region. It's somewhere between a roadtrip film and a jazz festival report.

I wasn't really setup for capturing the concert in full, so some of my favourite shots came unexpectedly and weren't too steady. Time to invest in a steadicam obviously... but my editing has been getting better I think, so would be interested to hear what you think of the final product. I went quite heavy on the colouring at points to appeal to the instagram generation!

Took me forever to edit wading through hundreds of clips! Second time I have used Magic Bullet Looks and first time using Warp Stabilizer in Premiere Pro CS6, lots of the footage was shaky because it was mostly filmed on a moving train (and my camera movement was pretty terrible at times but this was definitely a run/sprint and gun scenario).

Pretty happy with the outcome altho the laptop I coloured the film on is quite yellow it seems. Still not using a hack...

Like new condition. This piece of equipment is CNC milled of aircraft-grade aluminum so it's built to last forever. Asking price: $275 + shipping (O.B.O.). All reasonable offers will be considered.

PayPal and credit cards via PayPal accepted. Thanks for taking a look!

An in-depth, informative review of the cage: http://www.eoshd.com/2011/05/rewo-gh2-cage-full-review

I switched lenses to my Vivitar 55mm f2.8 Macro and repeated the test, it froze again after about a minute.

The shots weren't very detail heavy either, just an empty wall, couch and ma doggy.

I was using a Sandisk Extreme Pro 32gb/95mbs, which I purchased yesterday. Is it the wrong card for the job?

Does anyone have any advice or experience with this? Should I just reinstall the hack or try a different one?

Although I have worked with still photography and video operating I haven't had much experience with this more artistic film work so I would love some feedback. Most of the shots I was on a very wide aperture, around 0.95-1.4 and kept my ISO very low. I haven't really done any colour correction and I am not entirely happy with the edit. I did it more as a test and rushed the edit a little whilst at a friends house (so I couldn't concentrate 100%). One thing I have noticed is that there is a "judder" effect going on constantly throughout, like it is missing some frames. Not sure if this is because I am using a cracked version of premiere or its the way I exported it.

Anyway here it is (its kind of depressing).

So here is my intended version of the video that we agreed upon. Shot on GH2 with Flowmotion and Nikkor AI and AI-S lenses, edited in FCPX and graded in Resolve.

Password: MyVersion

Official video (if you want to compare):

Any advice is appreciated, thank you!

I've got two m4/3 panasonic brand lenses (14-42kit and 20mm pancake).

I've been wanting to start adapting some foreign lenses to my gh2 and gh4 but I'm pretty clueless on where to start. Since there are so many options, I'm a bit overwhelmed on what route to go. I've read a bunch about people adapt FD mount lenses to their cameras. And I've read about the canon 50mm. I like doing hyperlapse and timelpase photography, also, a lot of different kinds of video work. I usually use my camera outside in the sun, and at night for timelapses. I guess I'm just looking to get some more variety in my choices.

Any help is appreciated! Thanks

MIX de grabaciones de los últimos años por ciudades y pueblos de la costa mediterranea española con Miki Jaume, Denís Cuerdo, Miguel Castro, Victor Zamora, Cristian Vannella, Benoit Loth, Tom Penny, Nyjah Huston, Samuel Herreros, Trayan Mladenov, Fran Javayoles, Sergio Dotor, Juan Fernández & Miki Huercano. Grabado en Barcelona, Alicante y el Mar Menor.

http://www.skateboart.es/mediterraneomix/

I have to mix the footage with the recording from GOPRO that is Progressive, than I'll need to finalize the work for TV (pal) but also I'll need progressive. What is the best workflow? I'm using Avid.

Bye, thanks Federico