Stuart Hooper
Forum Replies Created
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I second the HFS100 suggestion. Great little camera!
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The GH1 seems to get a bad rap sometimes due to posts based on suppositions from folks who don’t actually own the camera.
Most have already been corrected above, but on the lenses, one of the advantages of the micro 4/3 system is that is can be mechanically adapted to almost any lens ever made. It is true that Canon EOS lenses have no aperture ring and so much be used wide open on a GH1, but older Canons and Nikons and Leica and PL mount Cine lenses…many things, are very popular on the GH1.
Some general observations:
The 17 mps codec is definitely something that needs to be watched out for in high motion or high detail situations, but it is not a deal breaker. All these DSLRs have the potential for image artifacts, and some prefer the 7D which is harder to break, some prefer the GH1 which seems to better avoid severe aliasing and moire.
The lens selection is truly marvelous, but the crop factor does make finding very wide, very fast lenses a little difficult.
The portability, exposure histogram, and articulating LCD, continuous record times and potential for autofocus make the GH1 the DLSR more suited to event and run and gun work, though many would argue no DSLR is ideal.
I own a GH1 and hope to be purchasing the 7D soon. Both have strengths and weaknesses and offer some amazing abilities.
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To be clear, was the Rebel T1i on the list of allowed cameras? I know they say Canon bodies, but I thought they specified 7D, 5D, or 1D and 1080p.
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Awesome video, Peter. It is extremely interesting because the apparently it was the BBC that released some kind of white-paper deeming the 5D unsuitable for broadcast. Certainly doesn’t look that way.
Also, on the 30p issue, Canon has announced they will be bringing 24p to the camera in a firmware update, in the ‘first half of 2010’. Many thought this impossible.
Tests on other forums seem to be showing the new 7D coming up short of the 5D. Others are talking about how the actual resolving power of even the 5D is low in comparison to real video cameras, and riddled with issues. But we keep seeing amazing footage. With 24p, I’m certainly going to be tempted to pick one up…
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Understood, it’s just odd that it never did it before, with higher data rate footage converted from AVCHD, and now, with the GH1, it does.
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I wasn’t aware that Final Cut could view AVCHD files natively, unless you mean in log and transfer.
At any rate, it’s happening to me with my transcoded to pro-res stuff, but yeah, only in final cut.
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Thomas, I’m glad I’m not crazy!
It only happens inside FCP and I’ve only noticed it after Snow Leopard. I also have an HFS100 and I’ve edited hours of hours of footage before Snow Leopard (well, before the new FCS too) and never had a problem.
Just these latest GH1 clips and it’s definitely not file corruption, as the log and transferred pro res clips play fine anywhere outside of final cut.
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I’ve got a little better with the search terms and have found several of the other threads mentioned! My apologies for the overlap!
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First off, thanks for the quick responses, and Walter, I’m sorry if this is somewhat redundant. I did some searches before posting, and found a few specifics but didn’t run into anything considering the whole system, so I thought I’d ask, especially with an eye towards someone who sells these solutions pre-assembled. I will continue to dig a little deeper, and of course your profile information has already been helpful.
Michael, we are editing mostly AVCHD and some XDCAM EX, with really no current broadcast or cinema aspirations. The two main users will be a retiree and video buff, and myself, a performer and traveler. Between his pet projects and what I collect on the road, we tinker with quite a bit of HD video! The desire to move to seriously powerful system just comes from the now fragile and sluggish response in tweaking ten or so 50-120 minute HD projects on an iMac.
So…if we weren’t serious enough about color correction right now to buy a proper monitor for it, and we aren’t going to be delivering or capturing from tape, then would there be any reason to get one of the Konas? And if we do one day go that route, these capture cards don’t count as the multiple video cards you say interfere with Color, right?
On the hard-drive, would a RAID 0 starting with say two 1 terabyte drives and regular backup to the Drobos be inline with what you are suggesting? Would all four slots make a RAID 0 dangerous?
Hopefully these questions aren’t too week, it’s a little confusing to piece together the overall interactions from the posts around the forums about specific components. Maybe this should have been in the ‘basics’ forum…
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I actually found my answer awhile back on the Apple forums…it was a 3rd party plugin that I had installed, FX Factory. Here is the Apple thread https://support.apple.com/kb/TA25088
Got rid of it, and everything started working again immediately.