Thanks

This is the music video that we made for the dutch DJ Bassanova. The video was filmed with two GH2's. Technical specs:

Camera : 2x Panasonic GH2 (AVC-Intra Driftwood MOON T7) Lens : Nikon AF-S 24-70mm f2.8 G ED, Nikon 50mm F1.2, Nikon Fish Eye, NIKKOR 80-200mm f/4.5, 2x Meta Bones SpeedBoosters Gear : Sachtler FSB-4 75 CF, Kessler Hercules 2.0 Head, Kessler Pocket Jib, Kessler K-Pod Tripod System, Kessler K-Flex Dolly Track System, Gini Follow Focus Rig, 2x Lilliput monitors, ARRI 650 Plus Tungsten Fresnel Light

Yep I want to hack the GH2. I just am doing green screen and want a nice clear image. Want a very reliable hack that's not going to destroy my camera.

Question 1. Which one do I buy?

Question 2. Once hack is installed do you just press record on the hacked settings to get the best video?

Once again don't kill me, I am just lost. I'll even donate money to the person that helps me out if I need to lol.

Cheers, D.

1/2-inch format ENG lenses are made for 3-CCD cameras. The standard specifies an amount of glass behind the lens for the prism and color filters. It also specifies slightly different flange focal distances for green than for red and for blue. Since the GH2 has no prism and has its color sensors all in the same plane, these lenses are not perfectly matched for the GH2. In my testing, at wide aperture settings the image becomes hazy due to some focus aberration - I'm guessing mostly because of the absence of glass behind the lens. Stopping down to f/4 or so mostly fixes the haziness. In theory, the lack of glass behind the lens could be corrected with nothing more than a flat block of glass between the lens and the sensor. It would take more complicated optics to correct for the differences in the flange focal distances of the different colors, but I don't expect the longitudinal chromatic aberration to be very bad if this weren't corrected.

There are two 1/2-inch mounts: standard, and Sony. Most 1/2-inch lens models were made in both mounts. About two thirds of the used lenses for sale are in standard mount, and one third in Sony mount. I have attached sample images of the different mounts. The standard mount has a flange focal distance of 35.74 mm. The Sony mount has a flange focal distance of 38 mm.

ciecio7 on eBay makes a 1/2-inch Sony mount to Micro Four Thirds adapter: http://en.foto-akcesoria.com.pl/index.php/shop/product?idproduct=321&productname=1-2-quot-38-mount-mft

He also had a 1/2-inch standard mount to Micro Four Thirds adapter listed for sale, but I ordered the adapter and it was wrong. I'm sending my adapter back, but I'm sure someone could work with him to get him the proper specifications for a 1/2-inch standard mount adapter. The 1/2-inch standard mount is quite similar to the 2/3-inch B4 mount, except with a different flange focal distance. He already makes 2/3-inch B4 mount adapters.

Canon 1/2-inch ENG lens models:

• KH: portable high def
• H: portable
• PH: studio/field

• YH: portable pro standard def and pre-HD (semi-pro)

• SX or SY in the servo unit model number indicates a Sony interface. IX, HX, or BX indicates a standard interface.

Fujinon 1/2-inch ENG lens models:

• HS: premiere series high def, standard mount
• HSs: premiere series high def, Sony mount
• ZS: high def, standard mount
• XS: high def, Sony mount

• S: standard def and pre-HD

• -38, -D38, -18, or -D18 suffix in the servo unit model number indicates a Sony interfaces. Suffixes with other numbers usually indicate a standard interface.

Standard definition lenses in most cases are more than capable of delivering HD resolutions, though not necessarily across the entire frame and at all focal lengths and aperture settings. HD lenses are made to a higher standard, and they cost a lot more.

References:

http://www.cinematography.net/edited-pages/HDLensesOnFilmCameras.htm

http://tech.ebu.ch/docs/tech/tech3294.pdf

http://www.usa.canon.com/CUSA/assets/app/pdf/whitepaper/bctv/2.3InTriImager08.pdf

http://www.usa.canon.com/CUSA/assets/app/pdf/bctv/CanonMarch06WhitePaper.pdf

http://www.usa.canon.com/CUSA/assets/app/pdf/bctv/Whitepaper_Revised.pdf

I just post a few workflow ideas for Avid and also Edius to get around some common problems.

Some cameras (eg GH2) wrap the 1080/25p in a 50i (25fps) container or do other weird stuff like show you a very strange framerate.

Workflow Avid MC6 or higher:

• create a 1080/25p project
• AMA link your card (don't rename your files otherwise your AMA Link doesn't work)
• In your bin enable the "field motion" column/heading and with a click on the line(s) Avid interprets the file(s) as progressive or progressive strobe.
• Transcode to Avid DNX and hope for the best because Avid struggles a lot with GH2 files (Avid is king with pro files but h.264 isn't pro for him).
• When you run into transcode troubles you have to transcode the files that didn't work with a 3rd party program like usually Squared5 (doesn't like my GH2 files too), so like Adobe media encoder.

if you have files with weird frame rates

• Open the Console (Under Tools) and type eg. "SetAMAQTForcedFrameRate true 25.00" and hit enter
• some message appears and your linked AMA's are now 25fps (or whatever you typed in)
• you have to type in the commando every time you start your Avid (doesn't remember it)
• to stop type "SetAMAQTForcedFrameRate false 0"

If you have different framerates / resolutions you can mix and match them in Avid

• work in another project on a different framerate / resolution
• open your main project
• import the bin(s) from the other project(s)
• Avid will handle everything

And because I'm on field in the middle of nowhere with a small laptop I take this approach to check my files, make a rough cut or transcribe an interview.

Workflow Edius: Basically you don't have to think about anything

• drag in whatever you like
• change some files to another field motion
• mix other framerates/formats,...

I don't love Edius, but you have to love some features of it like working with everything native on a small laptop or ...

hope this helps ciao, Hans-Peter

I must say that I have been very impressed by the quality of the videos i've shot so far using only the MTS files. But if transcoding the mts files will make my videos even better I would like to know.

Thanks

Thanks in advance guys

I bought a BT Red One MX and shot this TV show trailer which got sponsored after by Toyota/Scion.

We used hacked GH2 and GH1 cameras through out, see if you can tell where - although I'm sure you'll be able to pick out the obvious ones. 3 person crew mostly, mad low budget and a lot of time and care went into it.

Which music works best with the trailer... version 1 or 2?

We are trying to get as many YouTube hits as possible before approaching a few networks and FX Canada,

Thanks!

I'm not sure ,the SAMYANG 35mm Lens , Mount : Olympus/ Four Thirds, are this lens will work fine in gh2? or i need a adapter?

becous i will buy the :

SAMYANG 35mm F1.4 ED AS UMC Lens Samyang 85mm f/1.4 AS IF UMC

and all of him the Mount Olympus/ Four Thirds.

sorry for my English, and thanks

SETUP 1: Panasonic LUMIX G 20mm f/1.7, Sigma 30mm f/1.4, Canon EF 50mm f/1.8 II

SETUP 2: Tokina 11-16mm f/2.8, Nikon 28mm f/2.8D AF Nikkor , Nikon 50mm f/1.4D AF Nikkor Lens

I'm going to be filming for the most part, short films, and I want lenses that will give me a nice cinematic feel? (can't find the right word to use here) But, just want to get your guys' opinions on these setups and what you guys think I should do. I am on a budget here so if you are going to make other suggestions for setups please try to keep it below $850. Thanks!

I keep getting noise on these files. Any tips? SanDisk 32gb 95mb/s Extreme Pro 24p cinema Smooth all -2 24H f - 7.1 iso 160

Like it? Watch some morehttps://www.youtube.com/playlist?list=PL6I_kG1donG08-Oy3ljnrWGUXbHkOjfWd

About: A workshop for a school acting group to understand the difference between acting for the stage and acting for a camera. Focus on the acting in one afternoon we shot it with natural light and kept the fancy equipment to a minimum: a reflector and a home built slider.

Shot in three hours with a hacked GH2 (Flow Motion) and vintage Nikon lenses. Edited in Final Cut Pro X. Graded in Davinci Resolve 10. Sound mix in Pro Tools 11.

Winner of the audience award at the TellUs Short Film Festival.

This is a promotional video I was hired to shoot for Canadian Wilderness Artist, Jan Wheeler.

The entire video was shot with the GH3, RJ Lens Turbo FD-M4/3, Canon FD 50mm f1.4, Canon FD 24mm F2.8 S.S.C. & Konova 24" Slider.

This was also the first shoot with my new RJ Lens Turbo and it performed AMAZINGLY as you can see!

'Graded' with film convert pro 2.

Recently me and my associates made a short documentary film about a typical Brazilian fruit. We shot it with two GH2 and a Gopro Hero 3. I love the image quality produced by the GH2, and there were no need to use a lot of color correction for the end result. I love the look of the film, and I hope you guys enjoy it.

This is the website of my film production company in brazil: http://www.cataventofilmes.com/#!home-eng/c1bpk

And that link for the documentary:

Thank you Kindly, -Trev

I am selling a used Panasonic DMC-GH2 in black. I am selling the body only with original packing, manual and strap.

This camera has been well cared for but does have a small dent in the plastic around the LCD (see photo).

I am including a number of extras including:

2 extra (3 total) Genuine Panasonic Batteries Extra Battery charge with Travel plug Manfrotto 323 Quick Release with Plate Pistol Grip Hoodman HD-300 LCD Shade USB memory card reader with pouch Lens Brush

I would sell for $500 shipped (US) here. Thanks,

I've been using a hacked GH2 for a couple of years and have been really happy with the results. Just recently though, I had a shoot and the GH2 gave me some issues. My camera froze several times while using Moon T7, even with a 95mb/s Sandisk, causing me to miss several key shots. Also, when lighting conditions changed unexpectedly, the GH2 once again let me down with its poor low light performance. There were 2 other cameras on the shoot that picked up my slack, both were Nikon D600's. They smashed my low light performance and of course had no difficulties with their firmware. I've been wanting a full frame cam for a while anyway, so today I decided to buy a Nikon D600. Obviously I haven't really had a chance to do much yet, but after some brief initial tests, I think I'm coming down with a case of buyer's remorse. I was wondering if any of you guys had the opportunity to use both cameras on actual shoots and why type of results you got.

What do you think is the longest lens you can use with a video monopod? I am thinking of getting a mogopod, custom setup, Benro or Manfrotto. I have a standard footless monopod and I get some pretty unstable shots with a 135mm m42 lens. I am doing event videos with this setup, mostly wedding stuff, so being able to get some length would be really nice.

First time post, sorry if I screw something up.

Here's the sort of thing I would like to do: http://www.406films.com/wedding-and-event/

Price: $410 shipped. Paypal only and U.S. or Canada only.