Davide DB

4:2:2 10 bit can be obtained just with external recorder. Upper part is different so I don't know if it fits inside a nauticam housing. Anyway it's a really impressive monster: High speed 16Mp sensor 2.36Mp OLED EVF 1,036Mp OLED screem 4K: 4096×2160 / 24 fps and QFHD 4K: 3840×2160 / up to 30 fps, up to 100Mbps 1080p modes up to 96fps (in variable frame rate), up to 200Mbps I, or 100Mbps IBP modes (see below) peaking with adjustments 422 recording (external) Stills - 12fps constant focus, 7.5fps - with focusing Interface Unit with two XLR, 4 SDI PAL/NTSC switchable Weight with batteries - 560g Dimensions - 133 mm x 93 mm x 84 mm Wi-Fi and NFC Price - unknown yet http://panasonic.net/avc/lumix/dslm/gh4_special/ http://www.pocket-lint.com/news/126759-hands-on-panasonic-lumix-gh4-review http://www.dpreview.com/articles/9092895041/panasonic-lumix-dmc-gh4-a-quick-summary Recording modes: NTSC MOV [4K] 3840×2160, 29.97p, 100Mbps(IPB), LPCM, [4K] 3840×2160, 23.98p, 100Mbps(IPB), LPCM, [FHD] 1920×1080, 59.94p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM, [FHD] 1920×1080, 29.97p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM, [FHD] 1920×1080, 23.98p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM MP4 [4K] 3840×2160, 29.97p, 100Mbps(IPB), LPCM/AAC [4K] 3840×2160, 23.98p, 100Mbps(IPB), LPCM [FHD] 1920×1080, 59.94p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM [FHD] 1920×1080, 29.97p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM [FHD] 1920×1080, 23.98p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM [FHD] 1920×1080, 59.94p, 28Mbps(IPB), AAC [FHD] 1920×1080, 29.97p, 20Mbps(IPB), AAC [HD] 1280×720, 29.97p, 10Mbps(IPB), AAC AVCHD [FHD] 1920×1080, 59.94p, 28Mbps(IPB), Dolby Digital [FHD] 1920×1080, 59.94i, 24Mbps(IPB), Dolby Digital (sensor output: 29.97fps) [FHD] 1920×1080, 59.94i, 17Mbps(IPB), Dolby Digital (sensor output: 59.94fps) PAL MOV [4K] 3840×2160, 25.00p, 100Mbps(IPB), LPCM [FHD] 1920×1080, 50.00p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM [FHD] 1920×1080, 25.00p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM MP4 [4K] 3840×2160, 25.00p, 100Mbps(IPB), LPCM/AAC [FHD] 1920×1080, 50.00p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM [FHD] 1920×1080, 25.00p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM [FHD] 1920×1080, 50.00p, 28Mbps(IPB), AAC [FHD] 1920×1080, 25.00p, 20Mbps(IPB), AAC [HD] 1280×720, 25.00p, 10Mbps(IPB), AAC AVCHD [FHD] 1920×1080, 50.00p, 28Mbps(IPB), Dolby Digital [FHD] 1920×1080, 50.00i, 24Mbps(IPB), Dolby Digital (sensor output: 25.00fps) [FHD] 1920×1080, 50.00i, 17Mbps(IPB), Dolby Digital (sensor output: 50.00fps) Cinema MOV [C4K] 4096×2160, 24.00p, 100Mbps(IPB), LPCM [4K] 3840×2160, 24.00p, 100Mbps(IPB), LPCM [FHD] 1920×1080, 24.00p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM MP4 [C4K] 4096×2160, 24.00p, 100Mbps(IPB), LPCM [4K] 3840×2160, 24.00p, 100Mbps(IPB), LPCM [FHD] 1920×1080, 24.00p, 200Mbps(ALL-Intra)/100Mbps(IPB)/50Mbps(IPB), LPCM AVCHD - [FHD] 1920×1080, 23.98p, 24Mbps(IPB), Dolby Digital

Hi SPP, Helmstation is at 68 meter while bottom is 73 meter. If you have time take a look to this tutorial. He tries to achieve the same Michael Bay look with different methods. Just check it from 19' onwards. Look how he change the yellow taxi color... I never calibrated my Dell U2412M but I guess it was a lot cheaper than yours. Bye

Hi SPP, glad you liked my test but.. you are ovverating me At the beginning I installed GoPro Studio to run some test with protune and cineform files. I loaded both on the timeline. My project was using Canopus HQX codec (4:2:2 10 bit as Cineform) which Edius transcode in background while editing. I tried to CC both and I found no differences between them. Cineform files where huge and lighter to edit but once the HQX files were ready no difference at all. I'm a beginner so maybe I missed something. If I can I try to edit and CC in the same editor. I found that the best filter/tool for underwater clips is the crominance mask: it let you pick up easily one range of color (e.g. all the water) without touching other part. After that you can apply whatever filter you like to this selection. A simple three wheel color correction to remove that water green cast. When later I saw the result on my TV I realized I forgot to apply an Unsharp mask. But I was too lazy to reopen the project Anyway you are correct: current edit is way too soft. I have a DELL U2412M monitor and I'm realizing there is a lot of difference between what I see on my monitor and other TV/computers. It's becoming a problem... Byeee

Ok I see what you mean. People there are obsessed with skin tones. UW it's a completely different game. Try for yourself. Regarding search... Look on my profile content/topic/post. I argued on most of m43 topics

I wrote a long reply completely lost pressing the wrong button on my tablet

Hi richard, On this forum you will find everything and more on GH3 but... For land use. I have a GH2 but yours it's a different beast. http://www.personal-view.com/talks/discussions E.g. http://www.personal-view.com/talks/discussion/7091/gh3-best-video-settings/p1 23 pages... My best wishes For lens it's plenty of suggestions here. Same hints will apply for all M43 camera. PS When using search function here, by default results are limited to six months or similar. This is the reason a lot of people doesn't find anything

https://www.facebook.com/photo.php?fbid=791869604160783&set=a.706134859400925.1073741830.641486265865785&type=1&theater

These are the new SD cards for 4K/2K content allegedly used on the new camera. Kingston just jumped on the bandvagon today http://www.techpowerup.com/mobile/197552/kingston-digital-introduces-sdhc-sdxc-uhs-i-speed-class-3-u3-memory-cards.html Kingston Digital, Inc., the Flash memory affiliate of Kingston Technology Company, Inc., the independent world leader in memory products, today announced its fastest addition to the Secure Digital product line. The new DHC/SDXC UHS-I Speed Class 3 (U3) card (Kingston part #: SDA3/xxGB) allows professionals and consumers to capture 4K and other Ultra-HD video resolutions. The new card is available in 16 GB, 32 GB, and 64 GB capacities. The SD Association's latest specification, UHS-I U3 (Ultra High-Speed Bus, Speed Class 3), guarantees performance of at least 30 MB/s read and write, enough bandwidth to record and playback 4K video without interruption. Kingston's SDHC/SDXC UHS-I Speed Class 3 card provides speeds of 90 MB/s read and 80 MB/s write, which is up to 9x faster (read) and up to 8x faster (write) than standard Class 10 SD cards. The faster speeds ensure the best video and photo integrity by reducing stutter as well as faster PC upload time especially when using USB 3.0 card readers

At Las Vegas's CES Panasonic displayed an upcoming GH-4K. (Actually it was just a GH3 with a 4K sticker). Nobody knows if the new model will have the same GH3 body or not... Rumors sites write that it will be launched officially on 7th February. So just this friday Anyway these are the rumored specs until now: High speed 16Mp sensor 2.36Mp OLED EVF peaking 4K 200Mbps mode 1080p120 422 recording Panasonic announced also a new SD card expressely made to cope with 4K: A second round of rumors add few more specs: There is an attachable XLR adapter H264 codec all intra that give 422 color all intra in 100 mbps. it will be switch-able from 4K and 1080P with various frame rates (can shoot 120fps at 1080P for example) Last but not the least: price less than 2000USD Someone suggested that the new camera will use the new LSI developed from Pana with its codec AVC-ULTRA: http://pro-av.panasonic.net/en/sales_o/p2/AVC-ULTRA_obverview_rev1.0.pdf Will see in few days what's true on this little monster. Via http://www.43rumors.com/?s=GH4k

Tired to listen my friends ranting that their GP3 Black clips fall apart at depth I stole them a camera and I tried for myself. BTW they use this tiny camera without lights. Even a RED would fall apart in pitch black conditions... I tested the GoPro3 Black edition with my current GH2 light setup: 2x FIX Aquavolt3500 with 60cm Nauticam arms. For extra stability I used my Nauticam tray to fix the camera on my scooter mount. To make things harder we dove the tugboat "MISENO" (70+meters deep) on a winter day with a visibility up to 6 meters. Since the heavy rain of the previous days, the complete extension of the light's arms were not enough to avoid a lot of backscatter. It was the first dive with a GoPro and the most difficult part was trying to frame the shots without a display. I found myself dreaming of my tiny GH2 display Hero3 was set on 1080@30p Wide with Protune Cam Raw. Files edited and graded straight into Edius 6.05. I add a couple of transitions showing the clips before/after color correction. I didn't have the patience to go through the endless Neat Video session: after all it's just a test. PS Power of marketing hipe: all tutorials "suggest" that is mandatory to transcode protune files into cineform codec before editing otherwise you'll go to hell or your hard disk will be automatically formatted GoPro site credits the cineform codec magical power, something like Fountain of Youth Actually protune files are just H.264 files so I edited and cc straight into Edius without a glitch.

Is there some sample shot out there?

Usually I set the aperture of my 7-14mm to F5. It's sharp enough for my taste but it mantain a useful DOF. This tool it's very useful: http://www.dofmaster.com/dofjs.html The trick is trying to stay hyperfocal as much as possible. I guess that using a faster lens you would fall having soft borders or blurred background. I saw a lot of cave video shot with FF camera having extremely soft borders. You end up beyond dome limits.

BTW which setup do you have?

Thank you. Actually the 12/35 it's a nice lens to have for topside shots Byeeee

Hi, this question has been answered several times I think that the 12-35 isn't wide enough. I have both 7-14 and 8mm and I shot mostly wrecks. Your best option is the 7-14mm. 8mm is nice and I like it's fisheye distortion. The problem is light: with such wide fov it's nearly impossible to cover the entire field. You need very long arms and checking continuosly theyr position on your display. Basically a PITA. 8mm: (cave part) 7-14mm:

After years of pointless debate someone is realizing that we are on wetpixel and most of land shots principles are not valid. underwater a littler sensor is better for better DOF. Most of the people arguing on low light problems shots in shallow tropical waters. LOL

Nice to know there is another Edius user The best denoiser is Neat Video that now it's compatible with Edius form 6.5. I made some test with the evaluation license and it works very well but I did not bought it. It's quite awkward because to get the best results you have to build custom device noise profiles for your camera. I sue a GH2 and I found some user who shared noise profiles for it and it was easier. The luminance mask approach would be the way to go indeed. Byeeee

Hi Richard, I use Edius too. Same export parameters as you except I use VBR with max 15Mbps for 720p and 25Mbps for 1080p. On pc the video is perfect but on TV I see a lot of compression artifacts on all dark area not covered by your powerful lights. I think there's nothing to do. Maybe trying to increase the bitrate but sometimes the vimeo encoder sucks in low light BTW a little bit OT. I found that using a canopus HQX superfine 10bit project sometimes helps with color correction and maybe in the export too. Bye

Many thanks for your post

It's really a good application. What scares me it's the time to tag all my videos

Beautiful video indeed. PS Yesterday I was seeing it on my 46" smart-tv via the vimeo app and I noticed a lot of macro-bloks/pixelation in the low lights. Maybe you should reload with a higher bitrate. In some video vimeo encoding strives to renders low light details. Bye

Hi all, Could you highlight the most relevant settings for underwater photography use of this camera? Thank you in advance

Without knowing too much of the OP desired features, making suggestions it's a difficult task. From what I see under the "digital catalog/asset" umbrella falls very different products. I'm a holiday shooter and right now I have 6TB of clips on 3 disks. About 40k files, mostly AVCHD, MOV and HQX. (BTW I have another 1TB of photos managed via LR4 but phisically organized pretty the same as video. The concept is that if you lose your LR database, you have to be able to navigate through your archive manually). I organized them in folder and subfolders with date and name it's easy to understand what's inside. Until now I was not using a digital catalog program for video. I was simply using some Edius features like consolidate project and so on. Yesterday I gave a try a that free program I suggested above: http://videophile.freeforums.org/index.php Of course it's a long hard work cataloging and tagging thousand of files but it seems to be a great tool. Just the GUI is a little bit naive. From their site: • Auto-create a Library, including thumbnail generation • Browse your Library via multiple layouts • Perform advanced Tagging, using hierarchies, links and synonyms (tag your tags!) • Perform complex, compound searches (combine anything with anything!) • Browse and filter via an interactive Tag Cloud • Create and playback ‘highlight’ segments from your files • Interact with other programs through customisable menus • Create dynamic playlists • Generate Story Board images • View and manage your Library from your armchair via its HTPC mode • Use your preferred Media Player The pro version costs 15$. the basic version it's free. In this page some basic concepts behind this program: http://videophile.freeforums.org/videophile-concepts-t11.html PS Another topic of interest about managing huge archives is the backup or actually synchronization of different assets on several drives. For Windows users the best option it's the free Microsoft SyncToy program. It' was designed to mantain huge digital photo assets. http://www.microsoft.com/en-us/download/details.aspx?id=15155

Nice footage except for the butt effect Which camera/lens/lightning did you use?