My full thoughts are on the blog here - eoshd.com/content/12445/panasonic-gh4-4k-production-diary-day-3-shootout
This is not an artistic / creative test - for my other GH4 footage go here - vimeo.com/90683855
Camera is a pre-production model, firmware v0.5
Music by Mike Lindup - itunes.apple.com/gb/artist/mike-lindup/id25436923
This test is a simple example of how the different 4K and 1080p modes and picture profiles compare on the GH4 and to other cameras. These were -
- 5D Mark III (H.264 and raw modes)
- Panasonic GH3
- Blackmagic Pocket Cinema Camera (Raw)
- Nikon D7100
Note - no grading or sharpening in post has been applied to any of the images, they are all direct from the camera. In the case of raw on the 5D Mark III and Pocket Cinema Camera the workflow was Resolve 10 > Rec 709 > ProRes 422 HQ.
The lens used on the Panasonic GH4, GH3, Pocket Cinema Camera and Nikon D7100 was the Sigma 18-35mm F1.8. On the mirrorless cameras the adapter was Metabones Speed Booster. The lens in all cases is stopped down to F2.8. The lens on the 5D Mark III was Canon 50mm F1.2L stopped down to F2.8. The image is darker in the slow-mo modes on the GH4 due to higher shutter speed required for overcrank - 1/100 for 96fps and 1/60 for 60fps, otherwise shutter speed was 1/50 on all shots. (180 degrees).
Frame rate is 24p on all cameras. The aspect ratio is different between 4K DCI on the GH4 and Ultra HD or 1080p. In 1080p it is 16:9 and in 4K DCI it is the wider 1.85:1 academy ratio. This file was edited on a 4096x2160 timeline for 4K DCI 1.85:1 so that is the reason for black edges on the 16:9 1080p segments. The GH4 can shoot 4K at 16:9, this is the Ultra HD mode at 3840 x 2160. Aside from being 24p only I prefer the 4K DCI mode as it uses more of the full sensor width.