Does anyone have any recommendations for a hack that would work best in a live music setting with constant changing lights and what not?

In April or May I will codirecting and making of DP in a short i wrote with a friend. The story have some common elements with the novel 'The tunel' of Ernesto Sabato. Its a psychological drama, with elements of noir cinema, thriller, etc. its dark. My intentions aesthetic are closer to the tenebrism of the painter Caravaggio, films like The Godfather, Stay, Gattaca, etc. Palette with predominantly brown-ochre, black and some of red.

I have this gear in the Panix with TerraQuake: Two cards SanDisk Extreme 16 GB @ 30MB/S Class 10. Lenses FD: 50mm f1.8, 35mm f2, 28mm f2, 80-210 f3.8 & 135mm 2.8. M4/3 glases: Pancake 14mm f2.5 and kit 14-42. But i think need to acquire the pancake 20mm f1.7 have a soft look.

Thanks by help friends.

PS: I have the first and probably one GH2 in my country. Everyone told me acquired Canon, so I hope show what can this noble camera.

The meanings of my account name "bkmcwd" are "Burger King, McDonald's, and Wendy's." LOL Please do not mistake! :-)

At the same time as the silent users of my settings have increased in number, the request to me has also increased. Moreover, those who improve my settings uniquely also appeared. Therefore, I start a new topic, in order to arrange them.

I am a resident of Official Low GOP Topics. I was shocked from @kae's 3GOP in August, last year. In compromise to image quality and motion, I have thought since then that 3GOP is the best solution, in some mode like 24p at least. Although surely many wonderful longGOP settings also exist, the clearness of noise grain does not match Intra and 3GOP.

It is serious that I acquire information from this forum since I am poor at English. And in Japan which is a home country of GH2, I was hardly able to acquire information. However, I have learned much know-how from many experts, @cbrandin, @LPowell, @Ralph_B, @balazer, @towi, @Stray, @proaudio4..., especially the great settings of @driftwood!

I do not know whether my settings are the best. However, since those who are pleased with my settings adhering to big I frame size and short GOP have also increased in number, I continue improvement further more.

Because my English is poor, there may be many unclear things, but I do my best in some questions to answer enduringly.

[The common feature of my settings]

For example, if some setting tries to use low qp with the frame size limited like Intra, many level lines of the high qp macroblocks will also appear in each frame pictures. Although it is unclear for appearance in looking with eyes, it means that the codec is not committing this correctly. I am making the settings which can use the lowest possible qp appropriately, avoiding this isuue by using the biggest possible I-frames. On the high definition scene, if the minimum qp is too low, the range of qp will spread and, as a result, many of these level lines of the high qp macroblocks will appear. Therefore, in my settings, on the high definition scene, it has adjusted so that the minimum qp may become high appropriately. On the other hand, it has adjusted so that the lowest possible qp can be positively used under the lowlight. I think that 3GOP can realize this all-round performance with the motion. Therefore, when using my settings as only for lowlight, you may feel thing insufficient only a few, although sufficient dark place performance is still given. However, also in a bright scene, the codec hardly wavers with my settings. This is the point that especially I am scrupulous. Another point to which I attach paramount importance is "recording does not stop by any means in any situations." In order to adjust so that recording may not stop in a high stress scene, you have to test supposing the stress beyond it. I have spent many hours also on the torture test for it.

If it may become unstable with SanDisk 95MB/s SDXC, please give me feedback.
These features are common in almost all my settings.

[The feature according to type]

About "Valkyrie", it is to here:http://www.personal-view.com/talks/discussion/4391/apocalypse-now-quest-for-simulated-444-smooth-cinema-quality-driftwood-cbrandin-bkmcwd/p1

Since the link place was closed, Valkyrie of the new improved versions have been released in this thread. Please look at the latest information on downward.

"GOLGOP3-13" series is the settings for using low qp under lowlight positively. Simultaneously, it has tuned up so that a codec may work also in the high stress scenes as correctly as possible. The value of "Q13" to which I have stuck from last year realizes high image quality by practically lowest qp.

Furthermore, the original matrix is adopted in the newest GOLGOP3-13s. It is the middle of a Sedna matrix and a stock character. If it says plainly, it will be the Sedna matrix optimized in 3GOP structure.

"GOP3ZILLA" series is the all-round settings which covers all the scenes with the mean bit rate. In a general shooting, this series realizes the highest image quality with the value of "Q15" to which I have stuck from last year.

This is the simple setting which harnessed the feature of the stock as it was. I recognize this to be the normal evolution version of the stock.

"natural" series is the economical settings which covers all the scenes with the mean bit rate. In these series, it has also aimed that a codec works correctly also in a however high-stress scene. The value of "Q18" to which I have stuck from last year realizes the safest and good balance setting.

"MAX" versions in each types are the settings using maximum I-frame size which GH2 can use in24p mode. However, with MAX version, playback in camera may not often be available in 24p. This is because the maximum frame size which can be played back by GH2 may be exceeded. Of course, the file which cannot be played back in camera can also be satisfactorily played in PC. Supposing you consider that the playback in a camera is important, I will not recommend you this setting.　Please use normal version. However, IQ of MAX version is better than normal versions, IMO.

"A" means "Almighty" or "All-around". Since former GOLGOP3-13s were not able to use the too much low base Q all around, "standard" and "lowlight" were prepared, but since latest GOLGOP3-13 controlled qp appropriately on all the scenes, it was taken as "A." Unlike "MAX", in this "A" edition, in-camera-playback can be available in all the modes also including 24p.

*I decided that I did not use the name of "standard" and "lowlight" in the newest settings.

"standard": The Almighty setting which the codec works correctly as much as possible on bright scenes, and realizes low qp under the lowlight.

"lowlight": Although the codec may waver in a satisfactory grade on bright scenes, realize strongest high image quality under the lowlight.

*These features are mainly in 24p.

All my latest settings are here: http://personal-view.com/talks/discussion/comment/57882#Comment_57882

All my latest experimental settings are here: http://personal-view.com/talks/discussion/comment/57882#Comment_57881

REMEMBER: IF YOU USE THESE SETTINGS PLEASE MAKE A DONATION ABOVE TO VITALIY KISELEV FOR HIS TIRELESS WORK IN MAKING THIS HAPPEN. THESE SETTINGS ARE TOTALLY DEDICATED TO HIM. THERE ARE MANY QUIET USERS OUT THERE WHO HAVE NEVER BOTHERED OFFERING ANYTHING. PLEASE, PLEASE HELP TO KEEP THESE HACKS GOING. NO MORE DONATIONS = NO MORE SETTINGS. IF YOU HAVE MADE A SMALL CONTRIBUTION IN THE PAST, NOW IS THE TIME TO DONATE AGAIN. Thank you, bkmcwd

Again, special thanks to @driftwood, @cbrandin, and of course @Vitaliy_Kiselev! :-)

I have hacked my gh2 and it used to record at 98000kbps but now with the same hack it will only do 15000kbps.

I can't seem to figure out why it is doing this.

Does anyone know how to fix this?

I'm a newbie (those dreaded words!)

I've recently got a GH2 and mainly use it for filming. I'm now looking to get some filters for it (polarising and variable ND) purely for video.

Initially I thought I'd just buy screw in filters, namely the digital ones from Hoya but it quickly dawned on me that that would be an expensive option as it would mean individual filters for each lens due to the different thread sizes on each of them, also I have one which doesn't take filters ( the Panasonic 7-14mm wide zoom).

I then thought that a good option would be slot in filters such as the Cookin variety, as a cheaper option to the screw in type. Also with the slot in filters I would be able to filter the Panasonic 7-14mm? However these filters I understand are made of resin (plastic) so would I be right in thinking that they would not be ideal for filming, not as good as glass screw in filters?

I'm confused to say the least!

I'm contemplating just buying uv filters for all lenses (for protection) and getting a polariser and variable nd one screw in just for my main lens ( the panasonic 14-140mm).

I'm just imagining myself on a sunny day and wanting to reach for 7-14mm panasonic but then thinking "Gee wizz Batman, I can't polarise or use an nd on this" colours could turn out washed out due to reflections, I guess the nd issue could be resolved by stopping down the aperture as I wouldn't get a shallow depth of field on this lens anyhow :-P

I understand a lens as wide as this just isnt possible to have a thread (vignetting issues, protruding lens,) so do I guess the best thing i can do is just stop down on sunny days but no solution for the polarisation?

Thanks

Rafael

This stuff really stresses the AVCHD codec and the poor bugger that has to shoot it :-)

does any one know what causes this? it looks like an IS problem to me, I have tried to replicate the problem here at home but I don't get the same results. I was using the new 35-100mm and I hope this is not a bug, because this is my most expensive lens and it would be a shame. I shot 24p and shutter was high since I did not have an ND filter with me, so things to consider:

• 24p
• new 35-100mm IS on
• Shutter was high
• bug on the lens?
• I was using a slider, so there was some minimal shaking when sliding, but very minimal

if anyone has had this issue, what was the conclusion? how is it avoided?

Fot the record, I have used the 14-140mm with IS on with no issues, and no ND filter and I have had no problems.

I want to thank everyone who has helped me out with information so far. I plan to donate a small amount to the site soon, having some financial issues currently though.

Anyway, I have a GH2. I also have FLow Motion V2.2 on a 32gb Class 10 Transcend SD card. I also have Kit Lens 14-140 & an M42 -> M43 adapted Helios 44-2 Lens.

I would like to know which settings (iso, etc etc) to use for wildlife photography and video work in my garden in the UK this December.

I have some time off from studies so wish to film a wildlife short based in my garden. If you can help I really appreciate your time!

Thanks.

I just received my Red 17-50mm Prime lens i am now waiting for the adapter to fully test it on the GH2

I'm an imagination person first. There's a theme park carnival universe in my head / heart - then I'm an an actor, then a writer, then a director, then a DP and then an editor (I think... the orders of those things switch around a lot - and I'm not including music or broadcasting or hosting which I did a lot of too).

Somehow after or before or quantum sideways of that I have something to do with the Thrice Great Okapi but let's not get into that now. Why must you readers always distract me? Oh wait, you haven't read this yet. It's me who's distracting me. So sorry, let me get on with it:

As the title says. Digital Film Making Finally Beats Chemical Film Making.

I just viewed Prometheus. This article is not so much about the movie plot or merits. It was OK. OK it was a little better than OK... I'd say 3 stars out of 4 for you geeks out there. It was dark and highly predictable in that same way that so many sci fi movies are with their ominous shots of Halo like activity that we've seen so many times before but it was a [i]fairly[/i] good movie none the less and the visuals are amazing!

The focus here is that it was shot, edited, and projected entirely digitally. No chemical film. Remember when CDs had AAD, DAD, DAA OR DDD? Well this was the DDD of motion pictures (and then in 3D too so really it's almost DDD+3D). I viewed it in 3D on dual 8K digital projectors from a digital source (it was shot on Red Epic digital cameras with Zeiss Ultra Prime and Angenieux Optimo Lenses) and I was so impressed that it led me to write this column that will only be appreciated by hard core film or motion picture buffs, fellow film makers, or total and absolute techy nerds.

I apologize to my regular 'wacky guy with a hat" audience about the extreme levels of techy geek I am about to enter but I am compelled to write on this for my film making friends. We really need to change that terminology to 'motion picture' or 'movie' making, because old school film making is finally really dead and unnecessary. OOPS I just blew my whole article away! That was a huge spoiler... oh well ...crap...so anyway I thought I'd give the above disclaimer, and now having done that... here we go!

Chemical film is finally dead. Let me make it clear I don't say this with any sort of hatred of chemical film like it is some witch or beast that needed to be slayed. I LOVED the look of it, but it was/is just way too expensive. People who had the money liked this fact as it keep them in some sort of elitist control club. I did not. I used to have fantasies of stealing panavision film equipment when I found out they only rented and didn't sell film cameras and related equipment. I say this as a LOVER of the motion picture 24p chemical film look who has been on a loooong (add as many o's as you need to make that long really looooong) quest to make movies that looked like what...well... movies looked like... well.. at the movies!!!

I was not once ever satisfied with my 60i vhs or 8mm or hi8 or super v or even later with supposed masters work on the digitally shot and digitally projected movies from the Star Wars fiascos to the IMAX lies (especially in 3D) until now.

Watching Prometheus on dual 8K projectors was the first time I could sit closer than mid row and be absolutely immersed in the entire film without seeing the artifacts of digital film making or 3D problems. The picture was as detailed as I have ever seen - other than some outstanding real (chemical film) IMAX 3D films - but nearly the same, and there were no pixels, the brightness was excellent, the 3D did not flicker. I mean seriously - holy s*%t it finally works! Give someone a gold star sticker!!!

DEEPER INTO THE TECHY GEEKY WORLD OF MOTION PICTURE MAKING - FORMERLY CALLED FILM MAKING in part II:

GH2 Gini Rig with modified Rainbow H6x8-II F1.0 Zoom Lens, zip tie gears by Wide Open Camera, utilizing 2 Fifty Dollar Follow Focus for both zoom and focus. In shoulder mode, the levers adjust down for better use while gripping the handles for support.

bonne visualisation Panasonic GH2 . 14-140 HD . firmware 1.1 . 1920x1080 50i AVCHD

Shot in Hong Hong in killer humidity two weeks ago, minimalistic, everything in a 10kg carry-on bag No tripod. ( I wore the same shorts and top for three days - how's that for commitment ...lol)

Watch the video in 1080p to see what I mean, anyone else get this? I'm wondering if it's a sensor problem, I'm using Sedna AQ1 patch.

I'm using a GH2 as a wide-shot B cam for a Christmas Parade next weekend. I will be doing a multi-cam edit in Premiere using the footage of the GH2 and the tripod panning shots of a Panasonic AG-HMC80 using the PH mode: Approx. 21 Mbps (VBR).

I noticed the stock 1080/60i preset in the GH2 only goes to 17Mbps. I know there's a ton of talk about progressive hacks, but is there a good hack that spans properly and gives me a higher quality and bit rate for 1080/60i footage?

The show is being produced for broadcast on a local cable channel.

Thanks, Nick

http://indiegogo.com/thedealfilm

I just launched a campaign for a short film I'll be working on – shot in Dallas, on the GH2. Feel free to check out the campaign video and let me know what you think. It's called "The Deal", and I'm looking forward to shooting it – in not just that it has good messages about respecting women and addressing greed, but in that it will have especially good production quality – with special focus on Sound as well (for an independent, you know what I mean).

I appreciate any help I can get, even just a quick forward or mention would be great. Thanks!

It would be helpful if a patch would add an extra moveable line to the Custom Guide, which from factory, the GH2 brings only one. The addition of the line would help in marking internally the top of the LCD and with the second one the bottom. Hackers, would be this possible?

Here is the wished two lines and GH2 factory (single) Custom Guide.

Can anybody say to me if there is a 1080p 50p hack?

Thanks for you help!

I found some VERY good offers for super8 film cameras like these:

http://www.super8data.com/database/cameras_list/cameras_revue/cameras_revue.htm

http://www.super8camera.com/netsearch.php?sq=canon+518&page=2

http://www.super8data.com/database/cameras_list/cameras_nizo/nizo_156xl.htm

http://super8arena.com/braun-nizo-4080-p-188.html

Unfortunately, I heard from the sellers that they have unchangeable lenses.

As I understood the zoom distance of this lenses can be changed from a button on the camera body, so probably it would be difficult to take off the lens from the cam... One of the sellers told me the lens has electric control of the zoom and the aperture is changed also from the camera.

I don't know anything about this, but these zoom lenses are pretty fast and VERY cheap (Revue Reflex Zoom f: 1.7 \ F: 8-40 mm and Canon 9.5 - 47.5mm f/1.8 and especially Schneider Macro-Variogon 1,4 / 7 - 80 mm from the Brown cameras) .

I think they could be useful for GH2/3 with a ETC mode, so I wondered if someone already achieved some adaptation of this lens type to micro 4/3?

Thank you in advance.

GH2 (Hacked): -Better Resolution -Higher ISO values -More native lenses -External Mic Jack -Swivel out LCD

NEX5N: -Better Low light Capability -Sensor has better crop factor -60p!( better Full HD slow motion potential) -Flatter Pictures Profiles

...and I sure I'm missing something for both, but it would be helpful if anyone could add anything else they know. I don't know which one has better AF/AF tracking for its lenses. Just thought that the Sony NEX 5N may, if hacked, have everything we have in the GH2, and more (of course with no mic jack). SOMEONE PLEASE HACK THE SONY NEX 5N, PLEASE!!!!

And i wanted to test canis majoris, so for me it was a win-win :) Now, first of all, i did use log and transfer in fcp. I've not used 5DToRGB. Because, i didn't know, till a few minutes ago. Next time i will test 5DToRGB. (is it so much better?)

so i used: GH2 with canis majoris night patch with nokton 25mm f0,95 lens

other shortfilm (8 minutes)

I am selling this VERY VERY RARE great lens in excellent condition!

I am from Hungary, Europe.

I can receive money via Paypal.

Price: 799 USD + 29 USD shipping cost worldwide (as priority and registered mail with tracking code)

Worths to take a look about this rare lens:

http://camerajunky.wordpress.com/tag/carl-zeiss-jena-pancolar-80mm-f1-8/

If anybody is interested, please PM me! ;)

Have a nice weekend for everybody on this forum! ;)