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Should You Invest in a Camera or Lenses? It’s all too easy to feel like the story is the only thing that matters in a film. And to a large extent, the story is the most important aspect of making a movie. If the screenplay is weak and the plot is boring, it doesn’t matter what tools you use to try to make the film come to life. It probably won’t.

As an emerging filmmaker, once you do find that inspired screenplay you feel good about working with, you know that the story isn’t the only thing that matters—now you’ve got a good plot to work with, it’s up to you to tell that story, and to make it look as great as you can. Of course that means you’re going to be asking yourself: “What camera should we film on?” And that seemingly simple question always leads to more queries: “Do we need to film on a RED camera (which can do raw recording of video and stills)? Obviously both the cameras and the lenses you film on are important. Let’s take a moment to consider how digital film cameras work. Bayer filter array. The RED WEAPON. GH4 Review: The king of Guerrillas | Sherif Mokbel | BLOG.

The privilege of having an early preproduction GH4 camera falling on my lap when only a few in the world barely had the opportunity to see it from behind glass was the most obvious sign to start this blog… So here it is… my first article will be a GH4 Camera review. In this review I was mainly focusing on the video features of the camera, which IMHO outshines its photographic capabilities, not that they’re poor, but because the video features are beyond AWESOME!

But before I start, here’s a little disclaimer: 1- This review is based on a preproduction camera with an early firmware 0.5, the final release might have some improvements to many of the points I have mentioned in my review. 2- All opinions mentioned here are purely subjective as they reflect my personal experience with the camera. This review is not affected by any official or none official affiliation or sponsorship from Panasonic or any other commercial entity. My First impressions… Compared to the GH3 Design flaws Responsiveness. Color Finale - Professional Color Grading in Final Cut Pro X. Watch Color Finale in Action Experience Grading in a Whole New Way Industry standard grading tools in your FCP X timeline Layer Based Grading The power and elegance of grading via layers. We incorporate the best features of image editing applications. Industry standard 3 Way Color Corrector and RGB Curves. We incorporate the best that the telecine suite has to offer.

Telecine Tools Apply industry standard Look Up Tables like OSIRIS and ImpulZ to accurately emulate the look of 35mm film. LUT Utility Powerful vector based grading to apply quick and accurate secondaries. Vector Grading You Can Trust Our Experience Some of our clients include top studios Don't take our word, see the testimonials What Customers are Saying I’ve been using Color Finale for about 2-3 days now and can't get over how fantastic the application is! Very nice plugin... Featured Filmmaker Chris Mckechnie Chris uses Color Finale in his professional client work Frequently Asked Questions How does the free trial works? Apple Mac (2011+) V-Log L on the GH4 revisited, part 1 by Adam Wilt - ProVideo Coalition. The release of the V-Log L upgrade for the Panasonic GH4 brought new attention to log capture in affordable cameras, resulting in new waves of both interest and confusion.

I’ve previously taken a first look at the GH4’s V-Log capabilities, focusing mostly on the luma and chroma noise implications of squishing a log image’s wider dynamic range into a narrower range of code values, and the limitations of recording log with a low-bitrate codec. Now I look further at the GH4’s log mode, and discuss why you might want to use it. In Part 2 of this article, I’ll look at its drawbacks and side effects, and reveal some, um, interesting aspects of the GH4’s signal processing. TL;DR version (because this is a long article): V-Log L on the GH4 doesn’t buy you much if any more usable DR; what it gains in headroom it loses to noise in the shadows.Log does however give you different tonal-scale handling and color rendering, which makes it an interesting and useful addition to the palette of GH4 looks. G-Cup (Panasonic GH3 & GH4) – Miller & Schneider. The G-Cup is a custom eyecup designed for the Panasonic GH3 & GH4, improving the electronic viewfinder and overall ergonomics.

The G-Cup is designed to look and feel like an extension of the camera. It can be used with either eye, providing a comfortable, flexible cushion to push against and a solid third point of contact. It wraps around the eye to block out light, and it doesn't disrupt the camera's shape or balance. Simply put, the G-Cup allows you to comfortably use your camera's EVF, allowing handheld shooting with comfort and ease.

We've designed the G-Cup as simply as possible so that we can make it as cheaply as possible. Reviews planet5DFocusPullingSuggestion of Motion International Buyers EU Customers can now purchase the G-Cup within the EU from lovinpix (Paris) and colorfoto (Lisbon). We ship from the United States. Rigging the Panasonic GH4 / GH3: D|Cage, G-Cup, Atomos Power Station, Tascam DR-70D, RØDE Mics, Zacuto, Lenses, Mounts & more. Watch Is The GH4 Interface Unit Worth It? Online | Vimeo On Demand. The 3 DSLR Lenses You Need (and 2 More You'll Crave) Royalty Free Music Library from

Five important tools for video & film professionals [Sponsored] Here are five useful tools that should enhance the workflow of video and film professionals. Picking the right tools for the job is key if you're working on big projects, especially when it comes to video production. Let's take a look at a few of the most important video production tools to use on your next video production project. 1. Light Leaks One of the best ways to give your video project an organic look is to use light leaks.

If you're unfamiliar with the term, light leaks are footage elements that feature glowing light orbs that can be dropped over footage using a 'screen' or 'add' blending mode. The result is a beautifully customized look that can quickly give your footage an authentic design. 2. A lot of filmmakers want their digital footage to look like it was shot on physical film, but that can be hard to accomplish without using secondary elements. There are a lot of good film grain effects out there. 3. 4. One of the best places to find music is 5. 1.