Shooting 4K Anamorphic and V-Log with Panasonic’s GH4. Ten Valuable Lessons.
UPDATED: I just added two video tutorials: one comparing “Panasonic’s V-Log L vs. Cinelike D” and the second one “Conforming 4K Anamorphic Footage in Adobe Premiere Pro.”
Anamorphic is enjoying a huge comeback. The reasons to go this route vary from project to project, but generally it’s the desire to achieve a different look and use as many pixels from the sensors as possible. Panasonic’s Firmware Update v.2.2 (available here) enables an Anamorphic (4:3) Mode capable of recording video in 3328 x 2496 pixel (equivalent to approx. 8.3-megapixel) resolution at a frame rate of either 23.98, 24, 25 or 29.97 fps. With an anamorphic lens such as 2x Lomo lenses (see below) we now can capture and un-squeeze a 3356×2496 image in post-production. To make things even better, 4:2:2 / 10 bit HDMI output is also available.
Just like in 2013 when we had the opportunity to field test a GH3 in the Middle East and last year when we shot with one of only three prototypes world-wide of the GH4, for the past couple of weeks I had the privilege to work with director Davis Northern, DP and tech wizard Sean Davis and many other talented people on one of the very first GH4 Anamorphic AND V-Log L projects, shot exclusively for Panasonic North America and produced by The Digital Distillery.
The project was exciting and very challenging, as working with hardware prototypes and beta versions of software or firmware always is. We had a lot of moving pieces and an extremely tight deadline, but I’m proud of the final results and very satisfied with the lessons learned. This article covers some of the most significant ones, and it is written from my very own personal perspective. As always, I try my best to be as objective and brand agnostic as possible. The lessons aren’t in any specific order and some links will take you to articles with additional information . Please consider using our links to help support our very time consuming articles and tutorials.
Ready? Let’s go!
1. Shooting Anamorphic
It can definitely be achieved by a very small crew on a small budget. We mostly shot with a crew of three, with very limited gear and time. I’ve always assumed you needed a 2-ton truck and a crew of 30 to pull this off. Clearly, this was not the case for us.
In terms of lenses, we opted to keep a “low profile” while keeping our options open. In other words, we rented a set of vintage anamorphic Lomo lenses (35, 50, and 75mm) and tested an SLR Magic as well as a Letus AnamorphX 1.8X Pro Adapter and a Veydra Mini Prime.
The lenses are huge and heavy. Lomo 50mm + 75mm with case = 25lbs. Lomo 35mm with case = 35lbs with each case weighting about 30lbs. Not ideal for the “guerilla” approach we needed for this project. They definitely have a unique look, but are very hard to focus, especially when using a very flat profile. We rented the set for $500/day or about $1,700 for a week including tax. Not cheap by any means but definitely worth the investment in terms of time and quality.
If I were to shoot this project again (or on upcoming anamorphic projects) I probably would test the Cooke Anamorphic/i Lenses (25, 32, 40, 50, 75, 100, and 135mm with a 2x squeeze). Unfortunately these lenses cost about $30,000 each, and the rental rate is about $500 per lens, per day.
B. SLR Magic:
We had access to a very nice selection of Panasonic glass that we wanted to use with an SLR Magic adapter. The first challenge was that the front diameter on all the lenses has to be below 62mm in order to use the step down rings. The second limitation was (for the Panasonic lenses) that anything wider than 28mm would vignette. We could have used the Panasonic 12-35mm lens, at 28mm or longer (kind of pointless), but for some odd reason with the SLR Magic adapter it vignetted all the way even at 35mm. The Panasonic 35-100mm didn’t vignette at 35mm. Go figure. The next usable lens on our Panasonic arsenal was the beautiful 42.5mm Noticron f/1.2, but we needed a step DOWN ring (from 67mm to 62mm) that wasn’t included with the kit. The last option was the Panasonic 35-100mm f/2.8 lens, which worked well but focusing was a MAJOR issue (not Panasonic’s fault). I found the SLR Magic system very finicky and unreliable and unfortunately I can’t recommend using it.
C. Letus Anamorphx:
The Letus Adapter worked much better than SLR Magic but it was also cumbersome. A matte box is pretty much required and there was an issue with one of our widest lenses. The lesson here is, if you are shooting anamorphic, use the real thing.
There’s some heavy math involved when shooting Anamorphic. An anamorphic lens produces roughly a 2X horizontal squeeze of the image onto film. Traditional anamorphic lenses were designed to work on a 4:3 standard. The anamorphic footage captured with the GH4 on the Atomos Shogun is 3840×2160, so not technically 4K but pretty close. Shooting internally (to an SD card) the footage is 3328×2496, so greater vertical resolution than the 4K standard, but not full 4K horizontal resolution. To keep things in perspective, the 4K footage out of the GH4 4096×2160.
As you would expect, the files are huge. Shooting ProRes 422 you need about 4GB per minute of footage. Two cameras: 8GB, after only one backup you are at 16GB per minute. So somewhere around 20GB per minute is a pretty safe storage estimate for a two-camera setup. As always, we trusted all our very valuable assets to G-Tech Hard Drives.
Regarding Solid State Drives, Atomos has a great chart with all the supported drives for the Shogun and other devices. Make sure you triple check the chart before investing in one.
One SECOND of footage takes about 50MB so even if you are shooting into seemingly endless Solid State Drives, being smart about when to start rolling and when to stop can save a lot of storage.
As we were shooting, Atomos was literally finishing writing the Shogun’s firmware update (available in May or June as a free download) will enable a number of awesome features:
- Anamorphic de-squeeze for Panasonic GH4 and standard lenses
- RAW recording to ProRes, DNxHR and Cinema DNG for compatible RAW formats
- Expanded RAW compatibility to include Sony FS series, Canon, Arri and AJA
- 3D LUTs on HDMI/SDI output
- Cinema 4K DCI support
- Uncompressed V210 support
We had to use a Small HD Pro7 (to de-squeeze) and the Shogun (to record in 4K). The setup seems pretty obvious after a lot of trials but it wasn’t at first. Here’s the executive summary that will hopefully save you some time and stress:
1. Micro HDMI to Standard HDMI cable from the GH4’s HDMI OUT to the Atomos Shogun HDMI IN
2. Standard HDMI to Standard HDMI cable from the Atomos Shogun HDMI OUT to the Small HD HDMI IN
3. In the Shogun, the 4K downconvert option should be OFF while connecting the Small HD and turned ON when everything is properly connected.
Our Small HD had a nasty tendency to constantly lose signal for no apparent reason, so step #3 had to be repeated many times throughout each shoot.
5. Premiere Pro CC 2014 Workflow
To be totally honest, I was shocked by how easy it was to conform the footage in post. Here’s what you need to do:
1. Import the footage the way you normally do.
2. Select the anamorphic clips.
3. Go to clip > Modify > Interpret Footage
4. Under “Pixel Aspect Ratio” select “Conform To” and “Anamorphic 2:1 (2.0).
5. Create a “new sequence from clip” and start cutting.
6. Done and done. Wow!
Here are some screen grabs from the camera’s LCD:
Focus is super, extra, hyper critical, especially when shooting with a very flat profile like the one we used. Unfortunately we couldn’t trust the SmallHD and had to rely 100% on the Shogun at a 1:2 zoom.
• A sun hood for your external monitor is absolutely essential (if given the option get the black version).
• Obviously you will need lens adapters if you are planning to use the SLR Magic or Letus AnamorphX options.
• Make sure you get plenty of batteries, The small battery that comes with the Shogun lasts about 30 min only and we got about one hour of recording time with TWO Canon batteries on the Small HD. Instead of buying tons of batteries I’m a big fan of renting them (more here). The same goes for additional Solid State Drives.
8. Bonus lessons:
• Shooting anamorphic takes a lot practice and fine-tuning. I’d recommend scheduling at least a full day to test all the gear before a shoot.
• If we keep a small footprint and move fast, we can get a lot done.
• The “shoot without lens” on the GH4 must be turned on in order to work with the Anamorphic lenses.
The future ahead of schedule.
NHK 8K World
Less than nine years ago we were all living in a standard definition world. Things were a lot simpler — the broadcast world had something that is now considered a novelty, something called broadcast standards, a set of guidelines that everyone adhered to. Then came high definition, which seemed to turn everything into the wild west. Broadcasters in the U.S. still have no official standard for what constitutes broadcast quality high-definition (HDV is still accepted by quite a few U.S. broadcasters).
So, last year Sony had a tagline for their new F series 4K line of cameras: “the future ahead of schedule.” What Sony didn’t tell you was that this was only a small part of the future. They forgot to mention the 8K cameras they’ve been developing and building with NHK Japan.
Some might be wondering what’s up with 8K, after all, 4K just recently became “a thing.” The fact is that 8K has been around for longer than you think. The London Olympics were shot on NHK 8K cameras and displayed on Panasonic 8K projectors in London.
We got to view the NHK 8K world display at NAB this year. It’s making this list not particularly because we loved it, but because it’s important and whether we like it or not, it is the future.
When Sony is behind something it’s only a matter of time before you’re left with no choice but to deal with it as a reality.
Exhibit A: Red digital cinema was screaming 4K since 2007 and everyone scoffed at it. Sony decided to make 4K a priority last year. In my opinion this was because they needed a new revenue stream after the push for 3-D failed miserably—and guess what, we’re all talking about 4K a year later, and this time it’s a serious conversation. When Sony and Panasonic are behind something together I know enough not to put up a fight.
Exhibit B: AVCHD, the now ubiquitous HD acquisition codec developed jointly by Sony and Panasonic.
We watched an 8K projected demo from NHK at NAB. The first film we saw was meant to demonstrate the mobility of the NHK 8K cube camera, the second was an 8K fashion show, which was followed by a presentation of the Sochi Olympics in 8K and a FIFA confederations cup match.
My gut reaction to most of the stuff was that the resolution was clearly there and for the first time I found myself thinking there is such a thing as too much resolution. It was all rather distracting. I could see everything, and at one point I could make out the brand of cellphone a spectator was holding in the stands at the FIFA confederations cup match. The only application where I thought the 8K resolution was appropriate was for some sporting events. Overall that much resolution looks and feels like staring out the window. There’s absolutely nothing artistic about it.
The part of the 8K display that really made me question the future was a lack of dynamic range. The highlights were clipped, there was no detail in the blacks, and the color reproduction left a lot to be desired. I’ll withhold judgment on 8K and give it the “new technology” pass for now with the hopes that the dynamic range and color issues get sorted out by the Japanese engineers before all being sold 8K TVs at CES 2020.
But if you have the opportunity to view an 8K sports display, I’d highly recommend it. The question I left the NHK 8K demo with was: how is it ever going to be broadcast in the U.S. while we’re still currently barely able to broadcast 1080P? What are your thoughts?
NAB 2012 wrap-up.
• Blackmagic announced a hard-to-believe camera featuring a 2.5K image sensor, 13 stops of dynamic range, built-in SSD recorder, popular open standard uncompressed RAW and compressed file formats, compatibility with quality EF and ZF mount lenses, and LCD touchscreen monitoring.
• Adobe Premiere Pro CS6 is out with and enhanced 64-bit playback engine that can handle 5K resolutions, and higher, new trimming options, compatibility with Mac touchpad gestures, a Warp Stabilizer that was previously confined to After Effects, and expanded multicam editing for more than four cameras. Taking a page from its sister app, “the audio oriented Audition, Premiere Pro CS6 offers a redesigned and more functional audio mixer. Adobe also introduced SpeedGrade, a film finishing and color grading app, and Prelude, for ingesting, logging, and transcoding.
• Autodesk announced Smoke 2013 for the Mac, a new version of what the company is now calling video editing software and at users of Apple’s Final Cut Pro or Avid Media Composer who want high-end editing and finishing tools in one app. The new price is “only” $3495, down from $14,995 for the 2012 version.
• Panasonic announced a bittersweet firmware update for the AG-AF100 that provides 1080 50p and 60p modes. That’s the sweet part. The bitter? They want users to pay $300 for the upgrade.
• Canon announced the 1D C ($15,000), which has the same chassis and still shooting features of the EOS-1D X ($6,800), and captures 4096 x 2160 8-bit 4:2:2 video to a CF card at 24 fps. Unlike the X, the C swaps a headphone jack for the X’s PC sync.
• The higher-end Canon EOS C500 ($30,000) offers the same ISO range as the C300 (320-20,000) and requires a dedicated external recorder, but captures in two full-RAW flavors: 4096 x 2960 (for motion picture), and 3840 x 2160 (for 4K TV). Both of these modes offer 10-bit 4:4:4 at 60 frames-per-second. There are two additional RAW option, 4096 x 1080 or 3840 x 1080 resolutions, which are also 10-bit 4:4:4, but at 120 fps. The camera also offers