"40%, 48%, 80% Slow Motion Video Quick-motion and slow-motion video let you apply a variety of effects to the video timeline. In addition to three types of quick-motion and 80% slow-motion video, the DMC-GH3 includes 48% and 40% slow-motion, all in Full-HD. "

-- That sounds pretty sweet to me. That's all in camera via a mode like the 80% I am assuming.

@mpgxsvcd I agree about 25% but as to the other question: it depends on codec and bitrate settings.

Using 80% mode the GH2 let me use the 24H codec settings on the material instead of the HBR ones. The bitrate and image quality were higher in several hacked settings in 80% than with HBR and I often used it for music videos where I did not mind tweaking the start time by hand, or for non-sync footage.

@thepalalias

For the GH2 I wouldn't use the slow motion modes at all. 30p is not a fast enough frame rate for real slow motion. It really needs to be 50p/60p or much higher if possible.

@mpgxsvd.... I get that for what you typically shoot which i believe is sports/skating etc right?.... For me since I shoot theatrical... typically if I have slowmo the audio is only music as the "cool guy" walks into class etc.... that kinda stuff. 60p slowed down to 24 is good enough typically for me. But if I can save a step and do it on the spot it also makes it easier to see what the result will be as a DOP i often have to show the director playback and they want to see the result right then and there.

@mpgxsvcd I mean for the typical "music-video slow-mo" which is where essentially the entire video is filmed at 30P and played back at 24P. The effect should be subtle enough to be psychological more than an obvious one.

The problem with synced slow-mo is performing it in sync for different rates. Each time I will take the original track and slow it down or speed it up for each frame rate. Lets use a starting tempo of 100 bpm for example.

24P = 100 bpm 30P = 125 bpm 60P= 250 bpm

As you can see, higher framerates are generally un-performable if you are trying to get synced slow-mo.

On the other hand...

24P = 100 bpm 12P = 50 bpm 8P = 33 1/3 bpm

Those are great for some unusual synced looks using long shutter speeds without breaking the 180 degree rule. :)

Has anyone mentioned photo in this thread? If you take a step back, it is a hybrid. Still we want even more video features. I'd love 10 bit, 4:2:2, sure. If I tell people that all my stuff comes from that little photo camera around my neck they stare in disbelief. Perspective.

Take the file samples from Photokina for what they are, rushed, clandestine use of a prototype. Can't really compare those to the perfectly composed, exposed, noise cleaned & edited Vimeo pieces of the hacked GH2.

Thanks Dieter for your write-up of the Q&A and the editing of the interview.

Personally, I'm exited about the GH3, but I need the x 12-35 1:2.8 more than I need a new body. If jobs bring in more, then I'll get a 2nd cam. Most likely a GH3.

@vladnik I don't use Panasonic or any other electronically coupled lenses. If there is some additional sharpening being automatically applied then that may account for some of the GH3's moire problem. I still haven't seen moire as noticeable as this on the GH2.

@mpgxsvcd I will PM you since this is not really GH3 specific for the rest, but I will just take a monet to quickly address the bitrate part on the GH2.

On the GH2, the choices for 30P capture were (for the most recent firmware) HBR or 80% mode. If I wanted to get the maximum frame size with hacked setting for 30P capture, 80% mode completely outperformed HBR in the demanding hacked settings that supported it.

On the GH2 the choices for capture rates above 24P were HBR, 80%, SH, H, FSH, FH. SH and H supported higher frame rates but the hacked settings typically gave a much lower overall bitrate (which was in turn divided up among a greater number of frames). To try and preserve the maximum individual frame quality, I would sometimes shoot at 50P instead of 60P for my slow-motion.

So what I was saying about the GH3 is that if we have a similar situation, where the 24P settings can be pushed further than the other modes (for instance right now All-I is supported for 24P,25P and 50P but not 60P) and the VMM slow-mo modes are based on the 24P codec settings again, then there may be codec advantages to shooting it that way.

I will write a PM about the music video stuff now.

Her eis another short one:

Any news on the color profiles? Can we get a flatter image?

There is so much more to the image of a camera than what Sensor is used. Yes it's a huge part of the system but there is so much more about how the image is processed. I could care less about what brand of sensor is used. I'm more interested in how the entire system works and in the case of the GH3 I think there is improvement all around. We still don't have the final version so it's hard to say just how much has changed, but so far I can see that Moire/Aliasing is not a consistent problem. In time we'll get to the bottom of it as to what is causing the problem.

The GH3 footage has IMO been very spotty so far. Sometimes looking great other times looking less impressive. It will take time to see what is the best way to get the best image. I also hope that we'll again see a hack to add a few things and improve image just as we've seen with the GH1/2.

In last resort we can have a mosaic filter for the gh3 :-)

I think that Vladnik is right, it may be the combo of the lens and camera.

The stuff I watched I just couldn't see anything nearly as bad as what was in that guys' short, and the footage wasn't done with Panasonic glass.

Oh well, time will tell.