Filmes assistidos em janeiro de 2014

  • A Grande Beleza, de Paolo Sorrentino
  • Álbum de Família, de John Wells
  • A Vida Secreta de Walter Mitty, de Ben Stiller

terça-feira, 22 de julho de 2014

Primeira Exibição do longa metragem AMPARO

Dia 30/07/14, às 21:00, nosso filme AMPARO estré

ia no Memorial da América Latina.

#9o Festival de Cinema Latino Americano de São Paulo


quinta-feira, 17 de julho de 2014

Amparo terá sua estréia no 9o Festival de Cinema Latino Americano de São Paulo


Estaremos participando do 9o Festival de Cinema Latino Americano de São Paulo. E com grande expectativa.

Na sessão de encerramento, no dia 30/07/14, às 21:00, nosso novo longa-metragem, "Amparo", terá sua primeira exibição pública. Convidamos a todos.




Bruno Perillo

Bel Kowarick e Rodolfo Valente

Gabriela Rocha



terça-feira, 24 de junho de 2014

4K chega à TV com House of Cards

Baselight finaliza cor em 4K de House of Cards

Série foi capturada em câmeras RED, algumas com a funcionalidade HDR para contraste estendido e cor em escala dinâmica
Publicado em: 24/06/2014
Baselight finaliza cor em 4K de House of Cards

A segunda temporada de House of Cards, série popular do Netflix, foi lançada em 14 de fevereiro e foi disponibilizada para assinantes em 4K Ultra HD. Encore, uma companhia de Serviços de Entrentenento Deluxe, conduziu a pós-produção do show, com Laura Jans-Fazio, colorista líder, trabalhando na descompressão 4K na pós-produção. A locação foi da companhia VFX em Los Angeles. Para chegar aos resultados desejados, ela utilizou dois sistemas de Baselight e uma superfície de controle Blackboard. 

A série foi capturada em câmeras RED, algumas com a funcionalidade HDR para contraste estendido e cor em escala dinâmica. O processo de ponto flutuante na Baselight deu a Laura novas opções criativas.  Janelas que aparecem de repente, por exemplo, podem ser graduadas para mostrar os detalhes na composição do resto da cena. A energia da Baselight supõe esta cor sofisticada e o controle da composição pode ser feito em tempo real,  então os clientes podem ver os resultados finais imediatamente.

O coprodutor Peter Mavromates e o pós-supervisor Hameed Shaukat trabalharam diretamente com Jans-Fazio na escala, com o diretor David Fincher e  DoP Igor Martinovic dando retorno com a ferramenta de colaboração PIX digital.

"Assim que os episódios eram finalizados, eles eram atualizados no PIX, com a permissão do produtor, diretor e DP para visualização do conteúdo nos monitores calibrados Sony OLED", explicou Morgan Strauss, SVP de Operações da Encore. "Eles deram o retorno e nós pudemos extrair diretamente na Baselight, e Jans-Fazio finalizou o visual e entregou os arquivos para a Netflix. Foi essencial para maximizar esse processo colaborativo assincrônico e, com a ferramenta sofisticada Baselight, isso significa que nós conseguimos pôr em práticas as necessidades criativas dos produtores de DP."

A aparência da série tem um elenco um tanto imprevisível, refletindo a tensão e intrigas políticas da história. A gradação evitou cores super-saturadas, mantendo a paleta com a visão que Fincher tem do show.

"Baselight tem muitas características e o fato é que trabalha em um processo de ponto de flutação que me dá a qualidade de imagem para uma imagem de excelência a cada segundo", diz Laura Jans-Fazio, colorista líder. "Nós frequentemente usamos múltiplas formas em uma só imagem, e estamos prontos para fazê-lo em uma só camada com a Baselight que tempo um armazenador em tempo real. Nós poderíamos compor em matizes VFX, e fazer as substituições no monitor em tempo real."

"Baselight foi desenvolvida para ser realmente intuitiva", ela acrescenta. "O time de desenvolvimento e suporte na FilmLight foi exatamente o que era necessário."

"Os episódios da televisão tem sempre um desafio real para gradação, porque você tem pouco tempo para refinar a gradação em relação ao tamanho do material", explicou Wolfang Lempp, cofundador da FilmLight. "Os desafios foram compostos em House of Cards por causa da necessidade de trabalhar o 4K descomprimido. Nós construímos um forte processo na Baselight apenas para encontrar para desafio diário. Então, usuários como Laura Jans-Lazio e o time de pós-produção da Encore não perdeu tempo." "Baselight é a escolha profissional porque é a ferramenta certa, e porque entrega a perfomance adequada para demanda intensa", conclui Lempp.

sábado, 14 de junho de 2014

Nova câmera Imax 3D e 4K

New IMAX<sup>®</sup> 3D Digital Camera Makes a Big Screen Debut in Transformers: Age of Extinction
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IMAGES
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Michael Bay Image 3D Camera
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Director/Executive Producer Michael Bay (far right) on the China set of TRANSFORMERS: AGE OF EXTINCTION, from Paramount Pictures. Photo credit: Andrew Cooper.
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IMAX 3D Digital Camera
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The IMAX® 3D Digital Camera. Photo copyright ©2014 IMAX Corporation
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IMAX Digital 3D Production Camera Hands
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The IMAX® 3D Digital Camera. Photo copyright ©2014 IMAX Corporation
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Christine Azzolino
Coyne Public Relations
973-588-2000
cazzolino@coynepr.com

For UK Media Inquiries:
Edwin Hayfron
Premier
+44 207 292 7378
Edwin.Hayfron@premiercomms.com

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LINKS
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IMAX

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IMAX Blog IMAX Blog

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TWITTER Twitter

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As part of IMAX’s commitment to innovation and providing leading filmmakers with the highest-quality technology to bring their creative vision to life, the company has developed the world’s first fully integrated dual 65mm 4K digital large-format 3D camera.

Go behind the scenes with IMAX’s camera team in this new featurette to see how IMAX is revolutionizing 3D capture by allowing filmmakers to capture major action scenes as never before. The IMAX® 3D Digital Camera will make its big-screen debut in Michael Bay’sTransformers: Age of Extinction, which is the first feature film to use this new camera technology.

IMAX® and Paramount Pictures today also released the first photo of Michael Bay on the set of Transformers: Age of Extinction with the IMAX® 3D Digital Camera.

About the IMAX® 3D Digital Camera

IMAX’s fully integrated dual 65mm 4K digital large-format 3D camera delivers stunning image quality and is smaller, lighter and easier to use than other 3D digital camera systems on the market.

Exclusively in IMAX® theatres, sequences captured with this camera will expand to fill more of the IMAX screen with unprecedented crispness, clarity, color and earth-shattering 3D for a truly immersive experience.
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FEATURETTE
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spaceFeaturetteThe IMAX® 3D Digital Camera featurette includes a first look at the new camera that will be featured in Michael Bay’sTransformers: Age of Extinction
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QUICK FACTS
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  • IMAX® has developed the first fully integrated dual 65mm 4K digital large-format 3D camera.
  • The IMAX® 3D Digital Camera delivers stunning image quality and is smaller, lighter and easier to use than other 3D digital camera systems on the market.
  • The IMAX® 3D Digital Camera is a true 4K stereo camera. This means that both the left eye and right eye images are captured at full 4K resolution.
  • Transformers: Age of Extinction is the first feature film to ever use the new IMAX®3D Digital Camera.
  • Exclusively in IMAX® theatres, sequences filmed with the IMAX® 3D Digital Cameras will be presented in a 1.9:1 aspect ratio – offering moviegoers 26% more of the image than standard cinemas for a truly immersive IMAX® 3D experience.
  • The production team on Transformers: Age of Extinction was able to capture major action sequences of the film – including chase scenes and helicopter shots – in high-resolution 3D in a way that was previously impossible thanks to the compact size of the new cameras.

IMAX QUICK FACTS & FAQ  IMAX QUICK FACTS & FAQ

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QUOTES
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"We're blown away by what Michael Bay has been able to do with our new digital 3D cameras. With Transformers: Age of Extinction, he takes IMAX® 3D to the next level - putting moviegoers smack in the middle of the action with the Autobots and  Mark Wahlberg as audiences have never seen before."

Greg Foster
Senior Executive Vice President, IMAX Corp. and CEO of IMAX Entertainment

“The goal with The IMAX Experience® has always been to transport moviegoers into places they’ve only dreamed of. With the lightweight and compact IMAX® 3D Digital Camera, we are providing today’s leading filmmakers with the ability to take high-resolution 3D cameras into places they’ve never been able to before.”

Hugh Murray
IMAX® SVP of Film Production

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quinta-feira, 12 de junho de 2014

A volta do Festival de Paulínia

Notícias do Cinema Brasileiro

PAULÍNIA CONFIRMA FESTIVAL PARA JULHO.

Redação


A partir desta quinta (11/06) e até o dia 25, estão abertas as inscrições para o VI Paulínia Film Festival – 2014. O evento terá um total de R$ 800 mil em prêmios para 23 categorias. Serão selecionados 16 filmes brasileiros para a Mostra competitiva, sendo oito longas e oito curtas, que podem ser de ficção, documentário e animação. Dentre os curtas, poderão ser escolhidos até quatro títulos da região metropolitana de Campinas. O regulamento e a ficha de inscrição estão disponíveis no site www.pauliniafilmfestival.com.br ou na Secretaria de Cultura da cidade – Av. Prof. José Lozano de Araújo, 1551.
O VI Paulínia Film Festival – 2014 acontecerá no período de 22 a 27 de julho, com atividades nas dependências do Theatro Municipal Paulo Gracindo e do Polo Cinematográfico da cidade. A programação do evento terá, além da exibição de longas e curtas, debates com equipes de filmes, workshops internacionais, homenagens e as solenidades de abertura e de premiação/ encerramento.

Para participar da SELEÇÃO, o filme deve cumprir os seguintes requisitos:
• Ser uma produção brasileira, nos termos da lei federal 8.401, de 1992;
• Ter cópia em DCP disponível para todo o período do festival;
• Ser inédito em todo o território nacional;
• Ter duração mínima de 70 min. (para longas-metragens)
• Ter duração máxima de 15 min. (para curtas-metragens)

Os filmes que cumprirem os requisitos acima deverão preencher a ficha de inscrição que estará disponível, junto com o regulamento completo, no site acima mencionado e enviá-la com o material solicitado, para o email festival@paulinia.sp.gov.br 
ou pelo correio para a sede do evento: Secretaria de Cultura de Paulínia - Av. Pref. José Lozano de Araújo, 1551 - Parque Brasil 500 – Paulínia – S.Paulo – cep. 13140-000, A/C da Coordenação Geral do Festival.

A seleção de filmes brasileiros e internacionais será coordenada por Monica Trigo, Secretária de Cultura de Paulínia, e pelo crítico Rubens Ewald Filho, curador do evento.

Prêmios do VI Paulínia Film Festival: 

Serão conferidos Prêmios do júri oficial e prêmios do júri popular. 
Os premiados pelo júri oficial receberão o Troféu Menina de Ouro e os prêmios a seguir: 

Filmes de longa-metragem 
Melhor Filme : R$ 300.000 
Melhor Direção : R$ 50.000 
Melhor Ator : R$ 30.000 
Melhor Atriz : R$ 30.000 
Melhor Ator coadjuvante : R$ 15.000 
Melhor Atriz coadjuvante : R$ 15.000 
Melhor Roteiro : R$ 15.000 
Melhor Fotografia : R$ 15.000 
Melhor Montagem : R$ 15.000 
Melhor Som : R$ 15.000 
Melhor Direção de arte : R$ 15.000 
Melhor Trilha Sonora : R$ 15.000 
Melhor Figurino : R$ 15.000 
Especial Júri : R$ 100.000 

Filmes de curta-metragem
Melhor filme : R$ 30.000 
Melhor Direção : R$ 20.000 
Melhor Roteiro : R$ 15.000 
Especial Júri : R$ 20.000 

Júri Popular
Melhor longa-metragem : R$ 50.000 
Melhor curta metragem : R$ 20.000 
As exibições dos filmes serão realizadas no Theatro Municipal Paulo Gracindo e as atividades paralelas, como workshops, debates e palestras estarão locadas nas dependências dos estúdios do Polo Cinematográfico de Paulínia.

Cada júri (longas e curtas) será composto por cinco profissionais de entidades representativas da área audiovisual, que não tenham ligação direta com os títulos inscritos no evento, e escolherá os melhores filmes e os melhores profissionais das categorias concorrentes.

O VI Paulínia Film Festival - 2014 é uma realização da Prefeitura Municipal de Paulínia.

Primeira Câmera com Vídeo 4K


Article

Panasonic FZ1000: Not just another superzoom...

Barnaby Britton

Superzoom cameras get a bad rap. Also known as 'bridge' cameras (forming as they do a bridge between compacts and D/SLRs) the physical design of the average superzoom is predicated on compromise. Their longer lenses and more traditional ergonomics make them bigger than normal compact cameras, but they can't offer the same large-sensor image quality as a DSLR. They're right in the middle.

The only area in which superzoom bridge cameras can unequivocally eclipse DSLRs is zoom reach. Today's bridge cameras can offer zoom ranges that span ridiculous focal lengths, some from wideangles of 24 or 25mm to telephoto settings sometimes well over 1000mm (equivalent). They manage this feat thanks to their tiny, compact camera-sized sensors. You might not get stunning image quality at the extremes of the range, but that's the compromise.

The FZ1000, as per the headline of this article, isn't just another superzoom. Even given the generational improvements in the class, the FZ1000 is a genuine leap forward. The FZ1000 improves on the traditional strengths of superzoom cameras while greatly mitigating the usual weaknesses. The first and most obvious sign that the FZ1000 is a little bit unusual is its 1-inch type sensor. Although not as large as the APS-C sensors in most DSLRs, 1 inch is a considerable improvement on the 1/2.3in and 1/1.8in sensors in conventional compact cameras. Certainly, my initial impressions of the FZ1000's image quality are very positive indeed and it's great to be able to say that about a camera in this class. I don't feel like I'd be making serious compromises on image quality if I picked up the FZ1000 in preference to an ILC for a weekend excursion, for example - certainly not at low to medium ISO sensitivity settings.

Shot towards the end of the day, this ISO 125 image made a pretty dull JPEG but careful processing of the raw file reveals a lot of detail, and I've boosted the saturation a touch to bring back some of the natural warmth in the late afternoon light.

The FZ1000's impressive image quality is of course not only a result of its sensor, but also its lens. At 25-400mm the FZ1000 lacks the telephoto reach of some more conventional bridge cameras, but the Leica-branded F2.8-4 optic really delivers the goods. I don't exactly love Panasonic's JPEGs, but we've been offered a beta version of Adobe Camera Raw with preliminary support for the FZ1000, and it's very obvious when playing around with the camera's raw files that at medium-low ISOs the images contain bags of detail.

The combination of zoom range, lens quality and a decent sensor make a compelling package, especially for travel photography, hiking, biking etc., where you don't want to carry a lot of gear.

Once you've turned the stupid operational beeps and clicks off (sigh) the FZ1000 is extremely quiet, but in 'silent' mode it is literally silent. This makes the camera ideal for candid photography, like this 'grab' portrait of a sleeping shopkeeper (also created from a raw file).

I only spent a day shooting with the FZ1000 but I did say 'wow' more in a few hours than I have for a while. Partly, I must say, due to the FZ1000's AF performance, which is seriously impressive. AF acquisition is extremely fast and for static subjects it's pretty well rock solid, even under interior light. My colleague Richard didn't have a 100% success rate shooting moving cyclists, but at 12fps I know he got more in-focus shots than he was expecting. Getting anything in focus on a camera of this type when your subject is zipping towards and across the frame is a novelty, to be honest, and Panasonic deserves credit here. 

A local bike race offered the opportunity to test how well the FZ1000's AF system copes with tracking moving subjects. Focus tracking wasn't terribly effective in this situation but it's a tough test and continuous AF gave a reasonable hit-rate at 12fps - certainly compared to our expectations of this class of camera. Photo: Richard Butler

As well as stills the FZ1000 offers a very competitive video specification. Capable of recording 100Mbps 4K video (with a moderate sensor crop) the FZ1000 immediately stands out from its class, and joins a very exclusive group of 4K-capable stills cameras. It's no GH4 (if you want 24p footage for example you can only shoot at HD resolution using the AVCHD file format) but we didn't expect it to be.

If you have no interest in video capture at all, you'll be reassured that Panasonic doesn't seem to be charging all that much for the feature. At an MSRP of $899 the FZ1000 is a full $500 cheaper at launch than the Sony Cyber-shot RX10, which offers half the FZ1000's maximum bitrate in full HD video mode and less zoom flexibility - albeit at a constant F2.8 aperture. The RX10 certainly feels nicer in my hands (the FZ1000 is a little plasticky in comparison) but in my opinion that's a small price to pay for... well, a smaller price to pay.

When we reviewed the Sony RX10 we said that it was difficult to assess given that it had no direct peers. Well, it certainly does now.We'll be comparing the FZ1000 and RX10 in more detail in the coming days but for now, it's very clear that Panasonic's latest compact is not just another superzoom. Read our detailed first-impressions review for more information, and check out our gallery of real-world samples. 

Read more:

quinta-feira, 3 de abril de 2014

Advento das DSLR 4K

Above: GH4 test footage shot in 4096 x 2160 Cinema 4K DCI mode. Academy 1.85:1 aspect ratio. CineLikeD profile for best dynamic range.

Tip jar EOSHD just $5 if you think this article is useful

Below: Cooke S4i Mini (uncoated Panchro/i version) on the GH4 with Ciecio7 PL adapter (buy it on eBay here)

GH4 Cooke PL lens

Andrew Reid (EOSHD) and Frank Sauer (Filmmaker) are shooting with the Panasonic GH4

On Day 1 of shooting with the GH4 we did a location scout at the Spreepark abandoned theme park in Berlin. The park has granted us paid access to do a proper shoot with the free runners so I am going to save the location scouting footage for when it comes to that edit and the final piece. Frank is near Frankfurt now with the GH4 to shoot a piece with a new aerial drone and gimbal (similar to MoVi) and I have been out shooting with the GH4 around Berlin to get an idea of the image quality when it comes to 4K. I’ve also tried grading the 100Mbit/s 4K codec in Premiere to see how well it holds up. Here are the results in glorious 4K!

Disclaimer 1: This GH4 is a pre-production model. Firmware version is v0.5. The image quality may not represent the final camera.

Disclaimer 2: Because I don’t have NDs big enough or good enough for the Cooke lenses yet, most shots were shot at higher shutter speeds than 180 degrees (1/50)

Tip: if you don’t have a Vimeo Plus account to download the original file and pixel peep I’ve uploaded some short GH4 4K clips here in ProRes LT format. Try grading them and looking at the detail 1:1!

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Above: Andrew Reid. Filmmaker and blogger, EOSHD

Frank Sauer

Above: Frank Sauer, Filmmaker

The real magic hour for me is the morning at sunrise. The dawn light has a other-worldly feel, it is pearly and hazy purple and more ethereal. Sunset in the evening has a more in-your-face impact, it is more romantic but less subtle. So for 2 days I have been awake, GH4 in one hand, tripod in the other to catch some of this incredible light in 4K, as well as capture a new dawn for camera technology.

The first thing which struck me when I started editing the footage is how well the 4K codec grades. I have never had H.264 that grades as well as this. You can do huge white balance corrections. It handles more like 10bit ProRes rather than something from a £1299 mirrorless camera.

CineLike D and V are available on the GH4 and these are pro picture profiles Panasonic also uses on the VariCam. CineLikeD is flat and brings up the blacks so great for grading. CineLikeV gives you a nice smooth cinematic image but punchy and ready to show straight off the card.

Film Convert is not yet optimised for the GH4 and there’s no profile but choosing a profile for the Blackmagic Pocket Camera (Video) or a GH3 setting allows you to work pretty well with it. The image is not ‘thin’ like on other DSLRs, it can be pushed around and not break up – especially if your final delivery is going to be 1080p from a 4K master. If this is the case you also have the added creative bonus of being able to do ‘ExTele’ mode in post rather than in-camera, with an extra focal length anywhere in the frame when cropping 4K to 1080p instead of scaling. For 1080p or 2K delivery it is best to transcode the 4K files to ProRes before you grade.

Here’s an example of how well the 4K grades…

The clip was set to the wrong white balance in-camera for the light we had, which was warm evening sunlight. I’ve corrected it with Film Convert Pro.

Ungraded, wrong white balance (click to enlarge):

gh4-ungraded

Graded with Film Convert in Adobe Premiere Pro CC (click to enlarge):

gh4-graded

In particular look at the improvement in the grass and the girl’s golden hair… amazing how it holds up to such heavy correction!

A new era

Back when enthusiasts were using a Canon HV20 camcorder as the cutting edge and pros were using Sony EX3s with clunky DOF adapter, along came interchangeable lenses, large sensors and DSLR video in 2008/9. The moment I saw Philip Bloom’s first GH1 shoot in Haiwaii (Kauai Sunset) the creative possibilities of this new equipment was clear and the price made it possible for me to jump right in. The song used on that video still plays in my head whenever I think back. I went out to my local camera store (at that time I was on holiday in Taipei, Taiwan) to track one down, finally finding a Japanese import at a family run store… got it back and unboxed it, I remember how tiny and advanced it looked for the time. That moment was the genesis of EOSHD, soon after I started blogging about the camera and I have not felt the same about any of the subsequent cameras since. It was a one off life changing moment. Don’t tell me cameras don’t matter. They do. Although they will send you mad.

IMG_0137b

So to the GH4 over 4 years later and this image is in a new league. It cannot be compared to any of the previous DSLR or mirrorless cameras.

Not many people realise this but all cameras do a raw video output from the sensor. 1080p has been done by only reading out a limited amount of raw data from the sensor though, and a JPEG still can use ALL the raw data which is why video always comes up way short in terms of image quality. The GH4 reads out all pixels from a 4096 x 2160 sized window of the full sensor. That data is identical to what you would see if opening a GH4 raw still and cropping out 4096 x 2160 in Photoshop. It is this data the GH4′s 4K codec uses to build the final compressed video. Immediately when that raw data comes off the sensor, Panasonic put their codec expertise to good use. The GH3 had the best codec on any stills camera out there. The GH4 moves this up into a whole new level. Up to 200Mbit/s (ProRes standard bitrates) in 1080p, up from 72Mbit/s on the GH3. The popular ALL-I options remain for 1080p but in 4K the codec is more efficient, using IPB compression (Long GOP) to save space.

Ciecio7 PL adapter for Micro Four Thirds on the Panasonic GH4

Above: The Ciecio7 PL adapter for Micro Four Thirds on the Panasonic GH4 (buy it on eBay here)

I have not seen any moire in the GH4′s 4K output yet. The only artefacts in the 4K image are related to aliasing from 4:2:0 colour sampling. Mr Uematsu told me that all internal processing and debayering is done in 10bit 4:2:2. However the internal 4K codec drops this to 8bit 4:2:0 to save space. You’re thankful for the light footprint of this codec though after using Blackmagic 4K ProRes or 5D Mark III raw files! Much more practical to store and archive. The 4:2:0 artefacts are barely noticeable as is the compression. On some shots any artefacts are entirely absent and disappear altogether if scaling the 4K to 2K, resulting in a 2K or 1080p 10bit 4:4:4 image. You can do this with FFMPEG and Frank has tried it. This will be later in the production diary.

Another option is to use a 4K capable external recorder to grab the uncompressed 10bit 4:2:2 4K image from the GH4′s micro HDMI port.

It’s amazing that the GH4 has such a high spec HDMI output but a Micro HDMI port is not ideal. 10bit 4K is a pro-level feature and the pro video port is HD-SDI so finding a recorder to accept this 10bit 4K signal over HDMI is going to be tricky for a few months before new options appear. Until then we have the rather clunky external YAGH interface unit which gives the GH4 those lovely HD-SDI ports.

The internal 4K codec is not entirely free of compression artefacts like macro-blocking, particularly noticeable on blue skies – but again downrezzing to 2K or 1080p cleans that up no-end and you gave to be really pixel peeping the 4K footage to notice that it is compressed. If you want a finer grain to the GH4 like a ‘film stock’ then again, use the uncompressed 4K output from the camera HDMI port or YAGH box instead.

If I were Panasonic I’d have used a stronger OLPF in the camera just to take the sharpness and edge off the 4K video. This is definitely a camera you’re best dialling down to -5 on the picture profile sharpness setting. I did not do this on all my footage so we live and learn. That’s why some of it looks a bit over sharpened, sorry about that!

IMG_0065b

Editing and grading

There’s two ways to approach the GH4 in post. With the GH2 I hardly ever graded. I put all my effort into the shoot and on getting the image right at the time of shooting.

The good news is a Macbook Pro 15 Retina and iMac 27″ will edit the GH4′s 4K material at full resolution if you just have the clip on the timeline and no effects. If you add effects and multiple tracks then you need to drop the playback resolution to 1/2 or 1/4.

When not grading GH4 footage I used the same tricks I did with the GH2. Expose to prioritise either shadows or highlights. Do your grading in-camera with the picture profile settings.

H.264 is not like raw when you can choose your white balance and exposure in post. What the GH4′s codec should really be compared to is ProRes on the Alexa – the ultimate lossy compressed image. I would love to get some Alexa footage and see how the GH4 grades by comparison. That isn’t to say I think it will be a match, what I am saying is that is the current HD benchmark and I want to see how the GH4′s 8bit 4K codec compares to the best 2K stuff.

There’s around 4x the data in the 4K GH4 files compared to 1080p on the GH3 so your hardware needs 4x the power to crunch through it. Putting playback resolution to 1/4 on less powerful systems or when you have lots of plugins therefore makes sense.

GH4 codec menu

Both Twixtor and Film Convert can be set to GPU accelerated but laptops and iMacs don’t have the GPUs you need to really go for lots of effects and tracks on a 4K timeline. My iMac is the late 2013 model (27″) with Nvidia GTX 775M 2048MB and CUDA but this was not enough to give me realtime 4K playback with Film Convert Pro 2 on full. Rendering speeds improved with the GPU compared to using the 3.4ghz CPU but not by the leap I’d expect. Maybe the plugins are just not optimised to work with 4K yet? Also Film Convert uses OpenCL for GPU acceleration whilst Nvidia cards work better with CUDA – their OpenCL performance is really not that good.

Although setting Premiere to quarter playback resolution results in a very aliased playback monitor, it’s fine for giving you immediate feedback about how the edit is progressing though in terms of timing, mood, etc. without having to constantly wait for rendering your next chunk.

In Premiere it also helps to change the sequence setting to ProRes if using Film Convert, because there seems to be a bug whereby Film Convert will sometimes corrupt image quality (making it look terribly blocky) when editing in native H.264.

Of course 4K can also be transcoded to whatever format and resolution you like for the final delivery. If your final delivery is in 1080p it makes sense to transcode to 1080p ProRes early on so your editing is realtime. The 4K files from the GH4 make amazing looking 10bit ProRes 1080p 4444 but that extra transcode step does add time to your workflow early on, so a fast turn-around might be more tricky.

This GH4 derived ProRes does grade really nicely though in 10bit 4444 and it is this I want to compare to 2k ProRes on the Alexa.

In a nutshell this situation is the same as when full HD came along and people were stepping up from standard definition. And to get some perspective… the GH4 files are much quicker and easier to edit than raw from DSLRs or Blackmagic so the fast turnarounds can be had, even on laptops.

Rolling shutter

In 4K the sensor has to read out 2160 lines which is double 1080p. That takes twice as long so the sensor has to be sped up to avoid rolling shutter which is doubly bad.

The Sony AX100 really suffers from rolling shutter in 4K mode, it is horrendous. Here’s a great example from my friend Emmanuel Pampuri (French readers can view his latest GH4 test too here). Lovely moggy! Rolling shutter test is around 4:35 at the end…

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Thankfully the Panasonic GH4 avoids the worse of rolling shutter issues in 4K, because the sensor readout has been sped up by 50% over the GH3.

This helps with stills too because the camera features an electronic shutter mode when you want to use it in complete silence. This uses the rolling shutter for 16MP raw stills, very nice.

In 4K video mode the rolling shutter skew is about what we’re used to with other cameras in 1080p like the GH3.

Almost all cameras, even the Alexa have rolling shutters so if your work needs a global shutter my advice is get a global shutter :) There are some options especially for global shutter and none of them have the all round feature set of the GH4 and the low price. Take a look at the Digital Bolex, Blackmagic Production Camera (both $3k) or for pros the Sony F55 ($29k).

Shooting

For fun I shot this test footage with the GH4 at Berlin’s Mauerpark (Wall park) flea market. Like most things in Berlin the park is currently under threat from property developers. Sucks! I also shot around Mitte and Museum Island in the centre of town.

Since this is one of my first shoots with the GH4, there are some things I would have done differently. I am learning like you all are about this camera as I go. First my PL adapter needs a bit of fine tuning I think. It is a bit loose on the GH4′s Micro Four Thirds mount and I think occasionally it rotates by a tiny amount and gives me a soft corner or two with the Cookes. I’m looking into this now. With 4K you really notice any optical issue because everything else is so sharp.

Secondly I’d have exposed for the highlights a bit more and for the sky to really get the hazy dawn light to sing, as I would have done with the GH2. The GH4 has really good dynamic range – around 12 stops I’d say – and the codec grades really well, but it is not raw. You have to get your exposure spot on at the time of shooting. On the GH4′s display the shadows look a lot darker than they actually are so sometimes you think you’re under exposing too much and overexpose to compensate. That’s a mistake, so use the histogram instead for exposure.

GH3 and GH4 with Cooke and SLR Magic lenses

Lenses

The GH4 with the Cooke PL lenses is pretty special – so sharp, almost too sharp. I think Luke Neumann said it best when he revealed he was selling a RED Epic kit and replacing it with the GH4; spending the money he saved on more important things like lenses and projects.

Lenses are an essential investment when it comes to any camera and in 4K mode the GH4 has approximately a 1.5x crop sensor over Super 35mm and a 2.2x crop sensor over full frame, so get the glass to suit the project. If you want a more ‘full frame’ feel on the GH4, use the Metabones Speed Booster and some very fast Nikon glass, or the super fast glass (F0.95) from others.

So far I have shot with the following lenses on the GH4

  • Cooke Panchro/i (S4i Mini) 50mm T2.8
  • Cooke Panchro/i (S4i Mini) 32mm T2.8
  • Cooke Panchro/i (S4i Mini) 25mm T2.8
  • SLR Magic 12mm T1.6
  • Sigma 18-35mm F1.8 (via Speed Booster)
  • Voigtlander Nokton 25mm F0.95
  • Olympus 12mm F2.0

Sadly all my Canon EF glass can’t be used as there’s still no sign of the Metabones Speed Booster with Smart EF ability. This is really needed. I do have an EF adapter for Micro Four Thirds but obviously it is a bit useless and some lenses like the 85mm F1.2L can’t even focus on it because they have a fly-by-wire focus ring.

Canon 85mm F1.2

Above: The Canon 85mm F1.2L won’t work on the Panasonic GH4 via the passive M4/3 mount adapter here – so sadly it is just for show. Where IS the Metabones adapter?

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Above: Sigma 18-35mm F1.8 on Metabones Speed Booster with the GH4

The Sigma 18-35mm F1.8 is super sharp on the Speed Booster in 4K with the GH4. This is my favourite zoom of all the DSLR options out there. You have to go to modern PL mount cinema lenses designed for Super 35 to get a better one. The aperture is crazy fast yet it is so sharp wide open at F1.2 (on the Speed Booster). Use it without the Speed Booster and it loses some its appeal because you lose the wide end and have to expose at F1.8 instead of F1.2

More to come

What is to come in Day 3 and 4 of the production diary?

  • Low light test up to ISO 6400 in 4K and 1080p - How does it rank against the 5D Mark III raw in low light and the GH3?
  • 8bit 4K converted to 10bit 2K and 1080p – how does it compare to the internal 8bit 1080p?
  • Shootout with the Canon 5D Mark III raw, Nikon D7100, Panasonic GH4 and Blackmagic Pocket Camera!
  • Further footage and shoots

As always check EOSHD tomorrow for the next instalment.

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