Posts tagged gh2
Yesterday driftwood released what is probably the last and greatest update for hacked GH2 cameras.
This group of settings is called Apocalypse Now and works to achieve a better and smoother color matrix that not only improves upon the native 4:2:0 h.264 of the camera, but also softens the natural sharpness of the Panasonic lenses when used in video mode.
If you have a higher-end monitor capable you should be able to see the subtle changes in color rendition to the blue channel in this still.
These are just preliminary tests, but I would hazard to say that I would now recommend using Panasonic electronic lenses without fear of sharpening artifacts.
I’ll post more information and links when its done, but right now I ‘m working on making a new series devoted to the Bolex Moller Anamorphot 1.5x anamorphic adapter. Here’s a sample of the lens combined with the Konica 40mm 1.8 taking lens
This is the only card that can reliably span at high GOP1 bitrates and at the same time record for nearly an hour straight at those high bitrates. I’ve previously used the Sandisk 45mb cards with good success, but the 95mb cards are a whole new ballgame. I just hope you have a place to store all the footage.
Fourth in the Hacked GH2 Tutorial Series. In this episode we start with the footage loaded and ready to test with the streamparser software. This software will tell us that the footage has recorded at the correct bitrate, and has all red frames which represent I-frames (GOP 1) which makes this essentially a CBR Intraframe AVCHD codec. Very impressive for a $600 camera. Following this we have information on the ISO Bug which affects ISO 320 and 640 and can be countered by setting a higher ISO and returning back downward. This segment was recorded in true anamorphic which I will talk about in a later video. The video ends with using Kelvin for white balancing.
Brought to you by http://www.cavootle.com
What is Cavootle? http://youtu.be/D41vHGWAqts
Third in the hacked GH2 Tutorial Series. In this episode we test settings on the camera and try to test the limits of recording to the card. Here’s the best card for these settings available at B&H.
Brought to you by Cavootle.com
This is the first in a four part series that will go through and show you the basics of getting the GH2 firmware patched with new settings that will allow bitrates 6x times higher than come stock with the camera.
Technically this isn’t 4k. It’s not even 2k, but it is the best way to upload your footage to youtube or Vimeo for the absolute best quality and for future-proofing your work. Here was the first test of “4K”
click “ORIGINAL QUALITY”
So what is going on here, and why should I do this? First, I created a 4000×1800 project in Sony Vegas 11. I interpolated the anamorphic footage shot to the correct aspect ratio, and “graded” the footage in Magic Bullet looks – Let me show you some examples of the benefits.
Taken sample from this video (which was done at 2k)
Now, if you control the master that you upload, every downsample will be from that file, but if you upload at 1080p or below, your future footage can only be upsampled from that lower quality master and who knows what method will be used to upsample when the age of 4k or 8k hits us in the upcoming decade. Also if you upload at 1080p with anamorphic footage, its quite posible that you will actually lose vertical resolution if your footage is encoded with bars. 4k or even 2400×1080 will make sure that your footage wont be downgraded before it goes through your favorite host’s compression.
This is a great deal for this kit. A great starter package for those new to the m4/3 camera format. This camera hacked to 176mb produces some of the best images you can get this side of a Sony F3
The GH2 offers a burst JPEG mode @ 40fps for 1 second. With the new release of Ptool 3.62, I wanted to test how it held up to 132mb with the hacked GH2. While 132mb might not be the best quality setting that will be discovered for the GH2, for the time being, I think it makes a good benchmark for comparison versus other cameras, or even other camera modes, such as this burst mode.
It’s actually fairly shocking how close the two modes are. They could be easily intercut with each other, although I would certainly use the burst mode if it was avaliable for full time shooting.