Comes with top handle, top rail mount, cold shoe, and HDMI lock.

Cold shoe can be moved anywhere on the cage.

All metal and super solid. I was using it with my A7s and it was great. I have decided to go Kinemini 4k, so I no longer have a need for this cage.

Top rails not included.

Paid a little over $300 for the whole thing about a month ago.

$210 shipped any where in the US. I'll ship worldwide but the actual cost of shipping will need to be paid. P.M. me for a quote.

||Items|| 1. Panasonic GH4 4k Camera | I Bought it for $1,697.99 + Tax in NYC for about $1830 Total 2. SD Card | You get a 64 gig High Speed Sandisk SD card for 4k Shooting as well. 3. Adapter | Nikon Adapter for Most G and older Nikon lenses, has aperture control. Total Value is closer to $2,000 but I am only Asking $1700!!

Would Like to meet In person Manhattan Or Brooklyn, NYC ......or I can Ship it too but meet up is probably best. You can reach me here via Craigslist (Best Option) or through OSGFilms.com / Contact area for emailing me. Or texting my work # 646 389 0602

Please do NOT contact me with unsolicited services =P

Maybe it had to do with my way of shooting. I used a horizontal leveled tripod at eye level and just did a horizontal pan. Maybe it's better to put the tripod lower because I framed her on the lower end of the image and therefor pointed the camera slightly upwards. Anyway 12mm on GH4 4K represents only like 28mm and I wonder if a 28mm on a full frame camera is also that sensitive to small angle changes. I know the lumix 12-35 rely strongly on lens correction and maybe it's not that great. I saw in a review that the slr magic 12mm 1.6 has far less optical distortion. Does that mean the SLR magic is a better lens for people in the frame?

Can someone confirm this or give me some tips to get better shots in the future? Especially wedding videographers could face this same problem.

I've been researching this camera for a while now before I decide to buy it, and a personal problem for me is wider angles, given how the widest I can go is 2.24x with C4k. I'd read a wishlist of ideas for a GH4 hack allowing full sensor width capture at 4608x1920 (2.4:1), which would be awesome. Although, this raised the question for me as to whether or note a full sensor readout of 4608x2592 (16:9) is possible?

As far as I know, 4k writing speed had been clocked at 12.5mb/sec. Assuming the 4k (8.3mp) is written at 12.5mb/s, and C4k (8.85mp) at a slightly higher rate, how taxing would it really be for the camera to record at a full sensor 4608x2592 (12mp)? If we were to simply crunch the number in mp, full sensor 16:9 capture would be 1.44 times the file size, meaning it'd require an 18mb/s writing speed. Also, if that full width recording, 4608x1920 (8.85mp), was hacked for, it doesn't seem to me that it should be any more taxing on the camera and the cards.

I mostly bring this up because of the crop factor, though the increase in resolution for 16:9 would be sweet, frankly. Personally, I'm interested in the GH4 for shorts, so a 4608x1920 recording would still be a wet dream come true, but C4k suffices for the time being. My interest in 16:9 is for potential client work. These are just a few thoughts on possible hacks, custom/2.35 grid lines would be sweet.

Hope this doesn't arouse the ire of pressured hackers, just some thoughts. Thanks for reading :)

http://videocamerahirebrisbane.com.au/?page_id=546
http://videocamerahirebrisbane.com.au/?page_id=10 Cheers

I recently had a chance to shoot video at the US Youth Sport Climbing Nationals along with several other people. Myself and one of the competitors were just shooting handheld home movie style for our own highlights videos. However, there was a crew there who was hired to shoot the official Highlights video. Since there are so many climbers not much was overlapped between all of our videos.

I used my GH4 mostly but I always had the GH3 running as a backup with a wide angle lens in case I missed something. The other person was using a Canon T5i and the camera crew had full frame Canon cameras with rigs and stabilizers.

It is pretty obvious that the extra time the camera crew put in for editing paid off. The overall editing of their video is what they really get paid for. However, I was really surprised at how different the Canon video looks to the Panasonic video. Even on youtube you can see that the extra bit rate that the original file has shines through. You can also see that the Canon cameras consistently clip the highlights in almost every scene. The GH4 only clips it in the scenes with direct sunlight shining through the windows.

The video in my file was completely ungraded. It is straight out of the camera and just pieced together with the music. I started out shooting 4K @ 30 FPS because I wanted to see if the extra resolution would allow me to do image stabilization in post processing. I quickly realized that while the extra resolution is a plus the slower Auto Focus was a HUGE minus. With these shots the kids are moving constantly and changing direction during falls.

You can see in the T5i video how often the focus goes out and comes back in. You really need good AFF for this type of video. Therefore, I switched to 1080p @ 60 FPS with a 1/120 shutter duration and 1080p @ 96 FPS for slow motion.

I liked the fact that I could do super slow motion with the 96 FPS footage. However, there is a severe resolution drop when using that 1080p mode. In the end I found out that the 1080p @ 60 FPS mode really is the most versatile. It simply never loses focus and it still has significantly more resolution than any of the Canon cameras. It also retains all of the highlights in creative movie mode with the Cinema D setting.

So what do you guys think? Everyone complains about the Panasonic cameras having 13 stops vs. 14 stops, or the lack of All-I for 4K, or the rolling shutter not being fast enough. Does that really matter? Isn't the significant resolution difference and compression artifacts of the Canon cameras a much bigger issue? Yet the professionals still shoot with the Canon cameras and get paid for it.

So what do you like about the videos below and what do you dislike? I for one love the shallow depth of field of the larger sensor cameras. Even the mighty 35-100mm F2.8 doesn't give me the depth of field I would want on the GH4. However, I wouldn't trade that for the lack of resolution.

Videos:

Amateur T5i video. Remember to select 1080p in the youtube player for highest quality.

Amateur GH4 and GH3 video. Mostly 1080p @ 60 FPS, with some 1080p @ 96 FPS, and 4K @ 30 FPS. Remember to select 1440p for highest quality.

Amateur GH4 video. Almost all 1080p @ 60 FPS. Remember to select 1440p in the youtube player for highest quality.

Professional Canon full frame video(I think. Could be APSC as well). Remember to select 1080p in the youtube player for highest quality.

I now own 3 cameras. The GH2, BMPCC and the GH4. For the Blackmagic I bought the BMCC Speedbooster, so I can use it on the BMPCC and the GH4, if I would buy it any time soon. And I did - today. Excited about the Speedbooster working with my Nikon Glass and getting away with no vignetting in UHD mode (crop factor 2,3 becomes 1,472 like APS-C), I just wanted to give the Custom White Balance a try, since I had to dial in the correct color temperature on the BMPCC, I wanted the luxury back, to have the right settings at the push of a button.

So I was just about to flex my finger and set Custom WB... when I remembered... my GH2 always using the mechanical Shutter, when taking the custom WB. Cause I want to use the GH4 a little longer, I dismounted the BMCC Speedbooster and took the Custom Whitebalance.

Long story is short: Even with activated Electronic Shutter, the GH4 still uses the mechanical Shutter for Custom White Balance and can be damaged with attached BMCC Speedbooster. Since the SB touches the inside of the Shutter Casing and even leaves a mark there due the pressure of the adapter, when it´s attached.

So better stay with the Blackmagic way of dialing in the color temperature or use your MFT Kit Lens - if you own one - to do the work.

By the way.... am I the only one who sets custom WB? Cause I didn´t read about this issue anywhere else. At least the BMCC Speedbooster Users don´t care much about it and stick with automatic WB ;-)

That´s it for today!

Cheers from Austria! Stefan

Can be used with the GH4. GH2 as well, though battery access slightly blocked. Bought 2 for my GH3 and GH2, but only need one.

i;ve tried it in every way to do it but no luck

I tried this guy apps on a mac and it works perfectly

How can we do this on a pc? anyone knows how to do pixel summing? Thanks

Who would have thought this: the GH4 wins :-)

Has anyone else noticed that the GH4 produces duplicate file names on some of the video segments in successive SD cards?

For example I often shoot events where I fill an SD card, stop the recording, swap to a new SD card, format it in the camera and then start recording again. (I'm recording in 4K cinemalike-D mode.)

For example here is a path to the contents of one SD card:
E:\media\2014-06-25 AAG\Day-1\Reel-1\DCIM\102_PANA
and here is the directory listing in that folder:
P1020168.MOV
P1020169.MOV
P1020170.MOV
P1020171.MOV
P1020172.MOV
P1020173.MOV
P1020174.MOV

The path to the contents of the next SD card:
E:\media\2014-06-25 AAG\Day-1\Reel-2\DCIM\102_PANA
and it's contents:
P1020174.MOV
P1020175.MOV
P1020176.MOV
P1020177.MOV
P1020178.MOV
P1020179.MOV
P1020180.MOV
P1020181.MOV

Notice that file P1020174.MOV is the last file in the first SD and the first file in the second SD. I really prefer unique file names without regard to what folder they are in.

Since Adobe Premier Pro CC does not, on import, combine the clip segments in to a single clip like it does for other cameras, I discovered this file duplication problem when building full clips manually and got the files confused.

The patches Driftwood manage to make, how he handled the matrices 4x4 no 8x8 matrices...dammnit even 2x2 if its possible on h264, the difference its clear. The looks is clear.

Please vitaliy, opening a film stock world again by hacking this Gh4 beast is something good for the masses.

Its not about performance any more, its about better image.

I've just got registered on this forum, after only reading (and learning!) for a while. Thanks for that! I've recently bought the Panasonic GH4 and now I'm about to finish my first videoproduction with it.

I've attached my project properties and render settings, but i'm wondering: what are the best render settings for the best image quality? And what are the best settings for Vimeo/YouTube purposes? In terms of bitrate, etc.

I will capture my footage @ 4K, but I will render it as a .mp4 full HD file.

Hope to hear from you!

Answer is at the end of the video. Let me know your comments.

I am leaning towards the Olympus due to the build quality and manual focus mechanism but want to make sure I have all the facts first before purchasing this lens.

I have some questions for those that may have both lenses.

Olympus lens questions:

1. When shooting stills and video on the GH4 with the Olympus 12-40 lens does the GH4 correct for distortion, chromatic aberration, etc.
2. Is there a major difference in color rendition from the Olympus 12-40 compared to Panasonic lenses?
3. How does the manual focus feel on the Olympus in comparison to the Panasonic?

Panasonic lens questions:

1. When shooting video on the GH4 with the Panasonic 12-35 does the GH4 correct for distortion, chromatic aberration, etc.
2. Is there a significant difference in focus speed in comparison to the Olympus 12-40?

Thanks in advance for any help.

Yes I have just received the GH4 this morning :) 1st test : why not put my 60’s baby Hypergonar anamorphic 1.75X lens in the 4K cinema mode ? :) Fast filming, run and gun documentary style, focusing improvisation Doing 4K is for me like in 2006 when I went from SD to HDV. A huge orgasm ! Viva GH4 ! :) Baby Hypergonar anamorphic 1.75X lens on Qioptiq LINOS Mevis-C C-mount lens 35mm f1.6 (most of the shot were taken at f2) No diopter, no CC, variable Cokin ND filter EOSHD guide cineV preset settings 4KC mode 1080P streaming version on Vimeo, 4K version available for download 180° shutter speed 200 ASA

This is a Nikon B4-mount ENG lens.

While this may be an "SD" lens, I put it head to head against my Micro-4/3 (M43) still photography glass and this lens more than holds it's own.

This is because the M43 lenses are corrected in camera.

This Nikon is just purely great.

You can shoot HD with this lens.

I'm already shooting 4K with this lens on my Panasonic GH4 in full Digital Cinema mode and there's no vignetting.

If you use the full M43 sensor (for HD) then you see a little vignetting in the corners. But the 4K modes use a slightly smaller crop area and this removes any vignetting. The same can be said for the Blackmagic Design Pocket Cinema Camera's Super 16mm sized sensor area. You would have no vignetting there either.

This lens is PARFOCAL- which means that, once you set the backfocus to your camera/sensor, you can zoom in, get your focus, and zoom out. It's always in focus.

This lens is VERY WIDE. Most B4 lenses start around 8mm. This starts at 5.5mm. In M43 terms, it's like using a 7mm lens to shoot DCI 4K video.

It goes down to an f1.7. And it's a flat 1.7 across the entire zoom range. Like any very low aperature lens, the image qualty steps up once you get to f2.8 or so, but when you need those extra stops, this lens has them.

It has an internal "DOUBLER." But this one is not a full 2x, it's a 1.7x which means there's more light hitting the active image area of your sensor because the "doubler" doesn't spread it out as far as a full 2x doubler.

It has a MOTORIZED SERVO ZOOM. This means you can provide the lens 12v power (adapters are readily available on e-bay) gently push the zoom rocker, and the lens will gently creep through the zoom range- without the lens adjusting the iris in the middle of your shot like it does with still lenses. The motor can be disengaged and the lens used completely manually too.

This lens focuses down to 1-FOOT. You read that right. 1-foot. The other B4 lenses I see all have a minimum distance of several feet. But this lens you can zoom in to a very small item just 1 foot from the front of the lens and you can focus on it without even using the lens' macro.

It has a MACRO. Which means you can pull the focus even closer. And unlike other B4 lenses I've used that lock the Macro out, the Macro on this Nikon lens can be used even with the doubler engaged.

OMG! There has got to be SOMETHING wrong with it.

Well, yes, there is. When it got shipped to me from Europe, the manual/servo rocker arm got banged. It's a bit more wobbly than it should be. It still engages and disengages the motor, but you may have to wiggle it a bit. The servo motor still works, but sometimes, if it's not engaged fully, the connection between the motor and the teeth on the lens can be intermittent. If you want to open up the lens and see if you can adjust this to make it better, it's just four screws away. You could also remove the servo grip entirely and the lens would work perfectly as a fully manual zoom with teeth ready for any follow focus system you'd like to add. Personally, I like the grip because it's in the middle of the lens and it balances very nicely in my hand, even with the big Panasonic GH4 on the back of it.

I see there's actually another Nikon B4 lens for sale on e-bay right now and the grip surface around the lens is peeling away. That lens is banged up. That lens has clearly seen many years of service.

THIS lens, on the other hand, looks and feels new (except for the manual/servo switch).

It's VERY clean.

The grip is in GREAT shape, though the leather part of the hand strap does show some wear, it's perfectly functional.

The focus, zoom and iris are SMOOTH.

The doubler pops in and out beautifully.

The optics are CLEAN. Surprisingly clean.

It has a rear lens cap.

It has a front lens hood with protector glass integrated into it.

There is no front cap.

Look at the pictures.

Watch the video.

This thing is amazing and whomever wins this auction will be capturing stunning images with this lens for a long time to come.

Thanks

It almost makes the EVF usable.

We know the priority is on the GH3 hacks right now - and the GH4 and GX7 haven't been de-crypted yet.

Hopefully possible to dump the firmware and coding onto the GX7 in the not too distant future? It could potentially be an even cheaper 4K power house!

The GX7 firmware: http://panasonic.jp/support/global/cs/dsc/download/fts/dl/gx7.html

The GH4 firmware: [still waiting]

Another thing interesting is that the mp4 bitrate on 24/25/30p is low compared to the AVCHD (averages 20Mbps vs 28Mbps), but the codec implementation of the mp4 and AVCHD is identical at 50/60P using 28Mbps. Hacking the bitrate higher on the mp4 mode would be ideal too.

Anyway just wanted to put it out there that this little camera is damn amazing and is worth a shot, because it's pretty similar to the GH4 minus a few of the above features.

Thanks

For Sale - Panasonic GH4 Body - UK

I bought this less than two weeks ago. It's brilliant but I prefer the BMPCC for my needs, so I'm selling it.

Less than 50 shots taken, only used video for testing. In as new condition.

Sells for £1299 new - I'll sell for £1349.

The camera is out of stock most places, if not all, so if you're looking for one and want to save some cash then let me know.

I'm in London, can do an exchange in person therefore, or I can post it if required.

Lens : Nikon AF-S 24-70mm f2.8 G ED, Nikon NIKKOR 80-200mm f/4.5, Nikon Fisheye 16mm f2.8, Nikon 24mm f/2 AI-s, Nikon 20mm f/3.5. Tripod : Kessler Hercules 2.0 Head, Kessler K-Pod Tripod System, Sachtler FSB4 SL MCF.

Using the new Panasonic LUMIX GH4, I'll be taking you through the best options on recording videos using Panasonic's impressive new camera, including the setup, audio, picture setting, and the range of lenses and accessories that will work alongside the camera.

As you know, the LUMIX GH4 is the first stills camera in the Micro 4/3's arena to be capable of filming 4k video. Not only that, it can shoot at 200mb/s (broadcast quality) All Intra at 4:2:2 10-bit colour output. I'll be looking at how personal-view users can make their shoots as best they can for broadcasting purposes and how you can get the best out of the h264 compression plus how to finalise your work for Vimeo/Youtube and Theatre/Cinema release.

During the session, I'm hoping to be able to provide a live demonstration, and show the output on a large 4K monitor. A technical expert from Panasonic UK will also be on hand to answer any queries you might have.

This is a brilliant opportunity for personal-view members in the London and South East to meet me and other members and have a great chat about our experiences.

Park Cameras will also be offering exclusive instore only deals for you to take advantage of, when attending this event. The camera itself will be available from early May.

There's two sessions available one in the morning at 11:00 to 12.30pm and the other in the afternoon at 2.30pm to 4pm. To reserve your place, goto to this page;-

http://www.parkcameras.com/Article/32/Events.html?referrer=events