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Hack that GH2!

 
 
RichA
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      11-11-2011
No doubt Panasonic didn't allow this because you can't do that and
expect to sell old-school $2000 video cameras if the little GH2 does a
better job.

http://www.eoshd.com/content/5248/la...ilm-like-grain

 
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Bruce
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      11-11-2011
RichA <(E-Mail Removed)> wrote:
>No doubt Panasonic didn't allow this because you can't do that and
>expect to sell old-school $2000 video cameras if the little GH2 does a
>better job.
>http://www.eoshd.com/content/5248/la...ilm-like-grain



Funny how "film-like grain" gets oohs and aahs from those who shoot
video, but is a near-complete turn-off for stills shooters.

 
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Bruce
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      11-12-2011
Rich <(E-Mail Removed)> wrote:
>Bruce <(E-Mail Removed)> wrote in
>news(E-Mail Removed) :
>
>> RichA <(E-Mail Removed)> wrote:
>>>No doubt Panasonic didn't allow this because you can't do that and
>>>expect to sell old-school $2000 video cameras if the little GH2 does a
>>>better job.
>>>http://www.eoshd.com/content/5248/la...-stunning-iso-
>>>12800-with-film-like-grain

>>
>>
>> Funny how "film-like grain" gets oohs and aahs from those who shoot
>> video, but is a near-complete turn-off for stills shooters.
>>
>>

>
>Well, now that movies in theatres have gone almost completely digital, I
>feel no loss. I hated the (especially toward the end) problems films
>had, with inconsistent colour from reel to reel to irregular illumination
>caused by density variations in the film to dirt to horrible grain in
>dark scenes. Some video shooters are stuck in the past, with their
>horrible 24fps speeds they remind me of people who don't realize the 3:2
>format of 35mm sensors should be gone in favour of something better
>suited to the needs of shooters.



Ironically, the 3:2 format is superior to the 4:3 format when it comes
to using the same sensor for 16:9 video, because more of the sensor is
usable.

I still own, but no longer use, a Panasonic LUMIX DMC-LX2 which has a
10 MP 16:9 sensor. I found it a pleasure to use. The 4:3 sensor in
my Panasonic LUMIX DMC-G3 is much more limiting.

Not everyone prefers 4:3 to 3:2.

 
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Robert Coe
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      11-12-2011
On Fri, 11 Nov 2011 20:03:22 -0600, Rich <(E-Mail Removed)> wrote:
: Bruce <(E-Mail Removed)> wrote in
: news(E-Mail Removed):
:
: > RichA <(E-Mail Removed)> wrote:
: >>No doubt Panasonic didn't allow this because you can't do that and
: >>expect to sell old-school $2000 video cameras if the little GH2 does a
: >>better job.
: >>http://www.eoshd.com/content/5248/la...-stunning-iso-
: >>12800-with-film-like-grain
: >
: >
: > Funny how "film-like grain" gets oohs and aahs from those who shoot
: > video, but is a near-complete turn-off for stills shooters.
: >
: >
:
: Well, now that movies in theatres have gone almost completely digital, I
: feel no loss. I hated the (especially toward the end) problems films
: had, with inconsistent colour from reel to reel to irregular illumination
: caused by density variations in the film to dirt to horrible grain in
: dark scenes. Some video shooters are stuck in the past, with their
: horrible 24fps speeds they remind me of people who don't realize the 3:2
: format of 35mm sensors should be gone in favour of something better
: suited to the needs of shooters.

One irritant I haven't seen for a while is old silent movies, notably WW1
newsreels, that were shot at an older, slower frame rate (18 fps maybe?) and
played back at 24 fps, resulting in all motion being jerky and unnaturally
fast.

Bob
 
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RichA
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Posts: n/a
 
      11-14-2011
On Nov 12, 10:58*am, Robert Coe <(E-Mail Removed)> wrote:
> On Fri, 11 Nov 2011 20:03:22 -0600, Rich <(E-Mail Removed)> wrote:
>
> : Bruce <(E-Mail Removed)> wrote in
> :news(E-Mail Removed):
> :
> : > RichA <(E-Mail Removed)> wrote:
> : >>No doubt Panasonic didn't allow this because you can't do that and
> : >>expect to sell old-school $2000 video cameras if the little GH2 does a
> : >>better job.
> : >>http://www.eoshd.com/content/5248/la...-stunning-iso-
> : >>12800-with-film-like-grain
> : >
> : >
> : > Funny how "film-like grain" gets oohs and aahs from those who shoot
> : > video, but is a near-complete turn-off for stills shooters. *
> : >
> : >
> :
> : Well, now that movies in theatres have gone almost completely digital, I
> : feel no loss. *I hated the (especially toward the end) problems films
> : had, with inconsistent colour from reel to reel to irregular illumination
> : caused by density variations in the film to dirt to horrible grain in
> : dark scenes. Some video shooters are stuck in the past, with their
> : horrible 24fps speeds they remind me of people who don't realize the 3:2
> : format of 35mm sensors should be gone in favour of something better
> : suited to the needs of shooters.
>
> One irritant I haven't seen for a while is old silent movies, notably WW1
> newsreels, that were shot at an older, slower frame rate (18 fps maybe?) and
> played back at 24 fps, resulting in all motion being jerky and unnaturally
> fast.
>
> Bob


Same thing happens with video shot at that stupid 24fps. The moment
there is any movement in the scene, it just blurs. Maybe the average
person simply doesn't see it, but it drives me crazy when watching a
movie. I hope they go 60fps and never look back.
 
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