Comments on: 17 Tips for Shooting with the Panasonic Lumix DMC-GH1 http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1 We Build Photographic Hot Rods! Fri, 27 Jan 2012 02:12:50 +0000 hourly 1 http://wordpress.org/?v=3.2.1 By: Jake Gardner http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-21 Jake Gardner Thu, 12 Nov 2009 22:27:11 +0000 http://www.hotrodcameras.com/?p=292#comment-21 Hey Is there a particular reason that you guys chose to develop a mount for the GH1 over the canon? Are there areas that you know of where the GH1 out performs the Canon or vice versa. Jake Hey

Is there a particular reason that you guys chose to develop a mount for the GH1 over the canon? Are there areas that you know of where the GH1 out performs the Canon or vice versa.

Jake

]]> By: admin http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-19 admin Sat, 07 Nov 2009 04:07:45 +0000 http://www.hotrodcameras.com/?p=292#comment-19 Hi Jake, The Post Production Supervisor of REJOUER did a test. He said it was close, but he gave the prize to CineForm. I don't know the details of the work, but in the next 4-weeks or so I plan to get a lot more content up on the site including more BTS information from REJOUER. I. Hi Jake,

The Post Production Supervisor of REJOUER did a test. He said it was close, but he gave the prize to CineForm. I don’t know the details of the work, but in the next 4-weeks or so I plan to get a lot more content up on the site including more BTS information from REJOUER.

I.

]]> By: Jake Gardner http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-18 Jake Gardner Fri, 06 Nov 2009 15:06:31 +0000 http://www.hotrodcameras.com/?p=292#comment-18 Hey there again I was also wondering if anybody has done a comparison of cineform vs. Compressor when doing a reverse telecine on the GH1 24p footage. Its not insanely expensive and would be worth it if it did something better. Cineform talks about how it interpolates the color space. I know compressor turns the 4:2:0 to 4:2:2 but I'm curious as to which program might do it better. Any thoughts? Jake Hey there again

I was also wondering if anybody has done a comparison of cineform vs. Compressor when doing a reverse telecine on the GH1 24p footage. Its not insanely expensive and would be worth it if it did something better. Cineform talks about how it interpolates the color space. I know compressor turns the 4:2:0 to 4:2:2 but I’m curious as to which program might do it better. Any thoughts?

Jake

]]> By: admin http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-16 admin Tue, 27 Oct 2009 04:59:10 +0000 http://www.hotrodcameras.com/?p=292#comment-16 Hi Jake, Thanks for the comment. The workflow that doesn't require any non-Apple software I've outlined on my website <a href="http://www.hotrodcameras.com/2009/10/08/gh1compressor-workflow/" rel="nofollow">here</a>. Otherwise CineForm makes a piece of software called NeoHD which also works quite well. I believe they have their GH1 workflow posted somewhere on their website www.cineform.com. I definitely think that shooting FHD 1920x1080/23.98p is going to give you a better 'film look' than 720/60p and transcoding to 23.98. Once you have a 1920x1080/23.98 timeline (not a 29.97 timeline!) you can export your 24p master and then transcode to a SD NTSC finish (there are number of ways to accomplish this successfully). Shoot and work in the maximum quality available to you, that will preserve your best 'film look' when you reach SD. BTW, awesome website and company name!! I. Hi Jake,

Thanks for the comment. The workflow that doesn’t require any non-Apple software I’ve outlined on my website here. Otherwise CineForm makes a piece of software called NeoHD which also works quite well. I believe they have their GH1 workflow posted somewhere on their website http://www.cineform.com.

I definitely think that shooting FHD 1920×1080/23.98p is going to give you a better ‘film look’ than 720/60p and transcoding to 23.98. Once you have a 1920×1080/23.98 timeline (not a 29.97 timeline!) you can export your 24p master and then transcode to a SD NTSC finish (there are number of ways to accomplish this successfully). Shoot and work in the maximum quality available to you, that will preserve your best ‘film look’ when you reach SD.

BTW, awesome website and company name!!

I.

]]> By: JakeG_Minneapolis http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-15 JakeG_Minneapolis Mon, 26 Oct 2009 19:27:59 +0000 http://www.hotrodcameras.com/?p=292#comment-15 Hey Shooting a commercial next week with the GH1 and your PL mount and I cant wait. If we decide to go with 1080 24p, whats the best workflow you've worked out so far? As of now the spot will get trasncoded to ProRes 422HQ. The final delivery will be a SD letterbox version for local/Midwest TV/cable. Is the 24p going to give us the best "film" look or are we better off doing 60? And regardless of the answer to that question I'm still interested in what people have come up with for a 24p work flow for a 29.97 finish. Thanks Jake Hey
Shooting a commercial next week with the GH1 and your PL mount and I cant wait. If we decide to go with 1080 24p, whats the best workflow you’ve worked out so far? As of now the spot will get trasncoded to ProRes 422HQ. The final delivery will be a SD letterbox version for local/Midwest TV/cable. Is the 24p going to give us the best “film” look or are we better off doing 60? And regardless of the answer to that question I’m still interested in what people have come up with for a 24p work flow for a 29.97 finish.

Thanks

Jake

]]> By: admin http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-13 admin Thu, 24 Sep 2009 07:14:35 +0000 http://www.hotrodcameras.com/?p=292#comment-13 > Thank you SO much for the tips and knowledge to jump start the rest of us. My pleasure. So glad you're enjoying the the Hot Rod system. I can't wait to see the ambulance crash! I. > Thank you SO much for the tips and knowledge to jump start the rest of us.

My pleasure. So glad you’re enjoying the the Hot Rod system. I can’t wait to see the ambulance crash!

I.

]]> By: Robert McLachlan ASC,CSC http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-12 Robert McLachlan ASC,CSC Thu, 24 Sep 2009 05:48:25 +0000 http://www.hotrodcameras.com/?p=292#comment-12 Thank you SO much for the tips and knowledge to jump start the rest of us. I just bought a Deluxe rig for my new GH1 after testing it practically and having Technicolor Vancouver "process it" as well well as sending it to my long time timer in LA, Phil Azenzer, at Encore Hollywood. At Technicolor Vancouver I viewed the material with master colorist Gary Shaw and we both cracked up when we saw it. It's SO good. Gary had timed 16mm and 35mm stuff I shot 20+ years ago and was amazed. The camera was sitting on the bench beside us. Phil meanwhile looked hard at the colorimetry and declared it really good. So.... on Sunday I mounted it in an unmanned ambulance going 40 mph. that we crashed into a concrete barrier and the footage is terrific. It will appear in the new FOX series Human Target in January following American Idol... so stay tuned. I can't wait to get one of my nice Cooke S4i's on it. The main cameras for the show are D21's which I'm liking a lot. Oh and FYI. I used the stock lens on the crash at 200 iso , wide open at 1080 at 30 for the failing light. The camera went all blurry a beat after the impact but recovered and is fine in spite of taking a REALLY hard shock. I used a small mount the EFX guys made for me. I'll send photos soon if you like. Thanks again. Rob McLachlan ASC,CSC Thank you SO much for the tips and knowledge to jump start the rest of us. I just bought a Deluxe rig for my new GH1 after testing it practically and having Technicolor Vancouver “process it” as well well as sending it to my long time timer in LA, Phil Azenzer, at Encore Hollywood. At Technicolor Vancouver I viewed the material with master colorist Gary Shaw and we both cracked up when we saw it. It’s SO good. Gary had timed 16mm and 35mm stuff I shot 20+ years ago and was amazed. The camera was sitting on the bench beside us. Phil meanwhile looked hard at the colorimetry and declared it really good. So…. on Sunday I mounted it in an unmanned ambulance going 40 mph. that we crashed into a concrete barrier and the footage is terrific. It will appear in the new FOX series Human Target in January following American Idol… so stay tuned. I can’t wait to get one of my nice Cooke S4i’s on it. The main cameras for the show are D21′s which I’m liking a lot.

Oh and FYI. I used the stock lens on the crash at 200 iso , wide open at 1080 at 30 for the failing light. The camera went all blurry a beat after the impact but recovered and is fine in spite of taking a REALLY hard shock. I used a small mount the EFX guys made for me. I’ll send photos soon if you like.

Thanks again.

Rob McLachlan ASC,CSC

]]> By: admin http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-9 admin Sat, 18 Jul 2009 04:31:02 +0000 http://www.hotrodcameras.com/?p=292#comment-9 Dear Augusto, I've never seen the phenomenon you're describing. If you can email me a sample I'll take a look, illyafriedman@gmail.com I. Dear Augusto,

I’ve never seen the phenomenon you’re describing. If you can email me a sample I’ll take a look, illyafriedman@gmail.com

I.

]]> By: Augusto Alves da Silva http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-8 Augusto Alves da Silva Wed, 15 Jul 2009 10:30:25 +0000 http://www.hotrodcameras.com/?p=292#comment-8 I have a problem with the GH1 and didn´t figure out what is due to... When I film moving objects i.e. cars I get like a stuttery image sideways like I had no fields in normal video... When I slo-mo those images the cars "jump" from one frame to the next giving the impression of jumpy stuttery video...Can you help me on this? Thank you I have a problem with the GH1 and didn´t figure out what is due to… When I film moving objects i.e. cars I get like a stuttery image sideways like I had no fields in normal video… When I slo-mo those images the cars “jump” from one frame to the next giving the impression of jumpy stuttery video…Can you help me on this? Thank you

]]> By: admin http://www.hotrodcameras.com/panasonic/17-tips-for-shooting-with-the-panasonic-lumix-dmc-gh1/comment-page-1#comment-7 admin Fri, 19 Jun 2009 05:19:02 +0000 http://www.hotrodcameras.com/?p=292#comment-7 Ah... I follow you now. I actually leave all the settings in "smooth" at zero. In fact, for most thing -1/+1 seems to be enough for any alteration to normal shooting. In my testing I didn't like any of the -2 or +2 settings. -1/+1 seemed like a small but noticeable adjustment -2/+2 just seemed to move things too much for my taste. Ah… I follow you now. I actually leave all the settings in “smooth” at zero. In fact, for most thing -1/+1 seems to be enough for any alteration to normal shooting. In my testing I didn’t like any of the -2 or +2 settings. -1/+1 seemed like a small but noticeable adjustment -2/+2 just seemed to move things too much for my taste.

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