@tymeorama Very nice work. Shows what can be done with the GH2 and Moon T7. Can't wait for Moon T8!

Here's a promotional trailer for multiple music video projects I directed and edited. Performance scenes were all shot with the GH2 Moon T7 patch and the behind the scenes footage was shot with the Canon 7D (B camera).

(View in 1080p)

I only got my GH2 a few weeks ago, and i use the 'Apocolypse Now 444' hacks because they give the most detail, I still think they are better than moon T7 (not sure though cause i'm new to the world of GH2!).

@haarec I like sharp details too but sharp details are the first to go when running out of encoding bitrate. Sometimes slightly less sharp improves overall detail capture, especially very low contrast detail and can result in better endresults after post processing.

Even if I find a way to test D9 and M5/M7, I must share MTS files because youtube has its own way to mess up the patterns where my master looks great. Where all little patterns on the flank of the pintail look as if you watch it through a quality binocular. Pretty spectacular for the GH2. I don't know many other camera's that handle these patterns as good as GH2. Here is one example from last year:

Not to get too far off topic..but the 4K revolution is still a ways off. Yes, the GH4 is coming soon, but for most everyday screen sizes, 1080p is more than good enough. Even most movie theatres project in 2K. I think the 'real' revolution of 4K won't be until H.265 or another codec makes distribution of 4K content much more feasible; but then you also need the prices of 4K displays to drop, so more people have them in their homes...which then leads back to needing a pretty big screen or have a very close viewing distances to make it worth it to step up to 4K. Give me more color information (10-bit/RAW) over resolution at this point.

@Tjabo PM sent

@RKM Hard to say. Long GOP codec records only differences between I frames, so when everything is moving P and B frames are large as I frame or camera freezes. My point is if you shoot detailed patterns you may try Moon5 since it is sharper. To me the sharper image the better. We are in front of 4K revolution, so we need as many details as possible. Would be interesting to see picts comparing Moon7 and Drewnet with those details of feathers.

I know how a all I encoding works and I think that Drewnet can outperform Moon on solid steady shots with just the subject moving. I just want to know what happens when circumstances are less steady (camera, atmosphere) or noisy. Does the theory behind long GOP still gain enough advantage?

I tried moon T7 but as I said before I can't use them side by side with one camera. I don't want to flash firmware in the field. My results with Moon7 were okay but Drewnet looked better to me. Very pleasing for the eye, especially the very detailed feather patterns on many duck species and I sticked with that. I don't say Moon7 is not okay. I bet it were just these circumstances while experimenting with new GH2 settings. Remember that the 30p settings are less optimal than the 24p but foraging birds don't move fluently. They switch posture very fast at certain intervals. Especially the closeups calm down the rapid movements and are easier to follow (and with free 25% extra footage). For landscapes I switch to 24p.

I don't need much color correction, WB sun works fine most of the time. I do some luma corrections from the ETTR exposure and some mild selective saturation.

@Driftwood

I've been shooting with Drewnet T9 for months at 30p to slow down in post to 24p/25p. And with great results. It makes sense to me as most of my shots are steady with long lenses and no camera movement. The subject (animals mostly) just moves slightly within the frame. So typical Drewnet material.

What's been bothering me is how will Drewnet compensate for slight camera shaking from wind or situations with atmospheric distortions? I red the GH2 does pretty good motion compensation but when I use stabilizing software it's not just a picture shift. There is rotating, rolling shutter bubble. Do these circumstances just create so much change in the image that the encoder just handles every frame as new? And what about high iso noise or extele noise? Even with a total steady shot the noise will create a different picture in every frame. Or does the GH2 come with smart tricks to handle these circumstances. Or maybe it's better to use an all I-frame compression method in the end. When I look at Drewnet results frame by frame I see no change in quality between frames that indicates that it handles the situation just fine. I can't test Drewnet T9 and Moon T7 at the same time as I have only one camera.

my sigma 18-35 said come on with T8 ;)

@jazzwalker really nice

@Jazzwalker Hey man nice job on the video really cinematic! Could you tell me what you did in terms of the color grading?

@jazzwalker Great great video. Loved the parody. Funny when he's calling for dog like in movie plus running into mannequin in street and saying "NO!". Really well shot. Very cool. Also putting the dog on his back when doing pushups was great. You guys are good - damn good. Thanks for posting.

@DFuture Thanks. Much appreciated it. I decided not to shoot so cinematic for the actual training stuff because I wanted the producers of the show to feel that the training was actually real and not just shots done to make the trailer. I used 4 lenses overall in this video. Daylight shots I used mostly the stock 14-42 lens and a old school zoom sigma lens. Stuff indoors and at night I used the Sigma 30mm 1.4. That lens is a beast for lowlight filming. I highly recommend it. Eventually I will get a variable ND for it so I can shoot in the daylight. Then there is a canon zoom lens that I borrowed to use for just one shot. I hope that helps. :)