@RRRR Wait...is that the "Brick's" price standalone or bundled with the camera? From what your statement suggests the body alone will come out to around $1,6999 USD. Still high...but maybe doable for some.

@Ian_T That's what I said too.. the BMPC 4K is looking way to good for it's price point and quality & about the YAGH will see how it panes-out.

@Whiterabbit Check out my last short film Citizen (

) shot on the GH3 and the G6. One of our subjects had a jacket on that had moire. The banker has a coat on that moires. I usually tell my subjects to wear solids, but this one interview (actually two), I just forgot to mention it.

On my last feature, Three Days at Foster, we had one problem with moire in one interview. Other than a little moire, the interview looked great--skin was nice and the composition was really good. I found that the bigger the screen, at festivals and so forth, the less noticeable the problem was. In one screening on a huge screen, it was not noticeable at all. And that was a screening from Blu-ray.

With doc work, I can get away with it. In a narrative, it would be easier to control, naturally...

@Ian_T standalone yes.. I´d guess that would mean 2299 for the brick, 1699 for the cam. Mind I would not be surprised if it was a tad lower in the US as the prices between here and the US are not exactly linear. (I´ve never experienced that it would be the other way around)

I think people have to consider if they actually need the XLR inputs and uncompressed 4k (SDI out) e.t.c.

I hope someone who speak Spanish is capable to extract some useful info on 4K without the brick from this interview of Mr Advertisement...

Audio cut in and out a couple of times but I do believe he said 200Mbps was available in DCI 4096×2160 but only 100Mbps in 4k 3840×2160. Seems to conflict with other reports. Of course it was a beta firmware so it may have been that the 200Mbps in DCI was implemented on his pre-release demo but not make the cut for the product that actually ships. I guess we'll see.

guys, regarding the 4:2:2 output and that "brick": I am thinking long time now about buying an external monitor. There are so many (Small HD, Zacuto, Ninja 2) I am having the hardest time to make a decision and now I see the Ninja 2 records as well so might there be a monitor with recording option 4k in 10bit 4:2:2 that might be cheaper than Pana's "brick"? buying one device that would be a monitor (with good display and options) and recorder would be what I am looking for...

"Guys, please remember that GH4 HAS internal 1080p 444 recording. It is just called 4K :-) Simple convert utilities will appear after GH4 release that will make 444 lossless formats out of 4K videos."

@Vitaliy_Kiselev am I correct when I say that 1080p 444 has 4 times as much info as 1080p 420? Would that mean that 1080p 444 would look exactly the same as 4K 420 when it comes to resolution or am I wrong in my assumptions? If so wouldn't that mean you loose none of the info of your 4K recording?

At the same time I'm wondering what would yield best results 1. 4k 420 ipb recorded at 100mbs converted to 1080p 444 2. 1080p 422 all-i recorded at 200mbs

Perhaps the only way to know is to test it but maybe there is a technical explanation. There is so much talk about those numbers that it makes my head spin :-)

am I correct when I say that 1080p 444 has 4 times as much info as 1080p 420? Would that mean that 1080p 444 would look exactly the same as 4K 420 when it comes to resolution or am I wrong in my assumptions? If so wouldn't that mean you loose none of the info of your 4K recording?

You are wrong, I think I already provided here links about color sampling.

@andrevanberlo

Please, go back in topic and check links. You are right if you are talking about ONLY COLOR information.
Thing is, human vision is also close to 420 encoding :-)

Maybe somebody already posted this, but this is pretty interesting with also new footage screenshots http://www.eduardoangel.com/2014/02/13/7-things-we-discovered-after-shooting-4k-with-the-gh4/

@whiterabbit With Citizen, I used three lenses: the 14-42 kit (broll and the one wide library shot); the Leica branded Panasonic 25mm; and the Zuiko 45mm. Cameras were the G6 and the GH3.

The GH4 is supposed to have peaking like the G6 and, man, that really helps. In the Canon universe, with Magic Lantern, peaking is a Godsend. When I'm shooting broll of houses for reality programming, having peaking with handheld is just completely necessary. Couple a better more robust codec in the GH4 and I think you'll have a fantastic camera.

I wonder if the peaking will be even better with a better processor in the GH4. When shooting handheld, you can just use the peaking to following the movement and set your distance (if that makes sense).

On all my interviews, I typically shoot the 25mm for head and shoulders and a close-up with the 45mm. The Zuiko is my favorite lens. It is really sharp and the color is mighty fine.

The 25mm is a great lens as well. It sometimes isn't wide enough to really get the hands when I'm shooting in small rooms. I have to watch my composition so that the hands don't creep in and look awkward. It is always a struggle.

The next lens I'm going to buy is the 14mm 2.5. A guy I shoot with sometimes, who bought my GH1s, has the 14mm and it is wonderful.

I want to also purchase the teleconversion lenses from Panasonic, but I need to find out it I can slip an ND filter in there somewhere. The fisheye might be just what I need for some shoots.

I have a number of legacy lenses including the classic Super-Takumar 50mm 1.4 and the Pentax 135 3.5. But I prefer to do everything by wire these days--usually, I'm doing everything myself.

Also, for this film, I used two small LEDs. With my feature, Three Days at Foster, I used three softboxes and a couple other lights. I shot 46 interviews and it wore me out. So, I'm trying the small LED approach moving forward.