One thing I am very curious about is the handling. I care a lot about a camera feeling good in my hands and having a well thought-out layout (my main reason for shooting on Nikon). The GH2 seems a tad small, if anyone gets their hands on one I'd be curious to know.
I need 25p for PAL but I'm assuming that will get fixed somewhere down the line as the camera is clearly capable of doing it....

Oh, I followed the shootout series, I remember eagerly awaiting every new episode! The GH1 was pretty good, but no match against the Canons. However, when I read about the GH2 recently I thought it might actually be worth the money I don't have.
I'm still unsure though, because it does imply buying at least one lens and adaptors for lenses, which (if I go Novoflex) aren't that cheap either.

One user posted this link in another thread, which I found to be very helpful:

http://www.zacuto.com/shootout

Should be of use to you even more.:-)
Contains Nikon, 7d and gh1 as far as I can remember.:-)

Cheers,
V

Hey there, phosphoro!

Good to see another filmmaker here as well! Yeah, I was a little concerned over the GH1/D90 noise comparisons myself. The GH1 at ISO 800 wasn't very pretty, and anything above, seemed pretty much unusable. The GH1 was clearly a lot noisier than the D90. Hopefully, the GH2 is a bit improved in that area, although, one reviewer of the GH2 mentioned that he thought it was fairly noisy at only ISO 160.

Still, this little Lumix offers a lot of bang for the buck. Your Tokina does work on the GH2, albeit without AF (however, most of us will be pulling focus manually anyway). Your post sparked a huge interest on my part in this camera--thanks! Too bad we all have to wait for this body now, too (end of November?)!

Hey all, thanks for the replies, nice to know there are fellow filmmakers here. Glad I could confirm the GH2 as an option. I'm not too concerned about the 4/3 format either, exccept that I would probably need to buy at least one wide lens. I have the Tokina 11-16, which is fairly decent, good to know I could probably use it on the GH2. I also have 4 Nikon primes and I think 6 Pentax primes. We pull focus manually on sets, so AF isn't important.

I wasn't impressed by the GH1 in the ISO test compared to the 7D, but I think the GH2 has covered some ground there.
I am really interested in the 50fps or 60fps option, but not sure of the specs (interlaced or not) or if I'm understanding everything in the first place. Also unsure of how much of a difference it makes for what type of shot, ugh.

It may seem odd, but I actually prefer working on dslrs to working with video cams, obviously because of DOF and picture quality, but also because they are so familiar to me. Also, I mainly work as a gaffer or somewhere in the electrical department, and find it really important when communicating with the DOP to understand exactly what (s)he's doing with the camera.

Mike, to answer your question: practically all the sets I've worked on were fiction films, with crews of at least 10 people (not counting actors), sound recorded separately, and anywhere between 2kW and 40kW worth of lights. I've produced, written and directed shorts myself, and it's what I aim to do in the future, but making a living off it is... well, I think you all know how it is. I've shied away from doing camera work but there are times when I want a very small crew (recently filmed a choreography with only the dancer and an AC) and so I want my own equipment. Which, apart from the camera, I pretty much have.

There's no rush right now so I can wait a little longer, maybe until the D800 comes along, but Nikon would really need to step it up on the video side, and judgung by their latest releases that is not their priority.

Sorry this got kinda long-winded....

Hi Delie

"I'm no pro, but I tend to use manual focus for nearly everything on the GH1. When I use a Steadicam (equivalent) I tend to shoot wider to avoid focussing issues, unless I can guarantee that my subjects are going to be relatively stationary. However, I'm waiting to see some more reviews/samples, before judging how good the AF tracking is on the new GH2.

The 2x crop factor doesn't worry me too much on my GH1. I use a Canon 50mm 1.4 FD amongst others (so that's 100mm with the form factor), because it's cheap (second-hand on EBay) and they yield very nice results in low light and have attractive bokeh/dof. I've also got a 50mm 1.4g Nikkor, but I need to buy the Novoflex adapter before I can use it on the GH1. There's a ton of videos on Vimeo.com featuring the GH1/40mm 1.4 FD combo, here's a nice low-light test, for example:
http://vimeo.com/16233233

(GH13 = GH1 with hacked firmware).

Having said that, I also own the 20mm 1.7 and it's a very nice lens when you want less than 100mm."

You sound 'Pro enough'. Those are the points any DP would use to work around the 2x crop factor.

Extending focal length, opening up the f-stop works fine.

In my experience with many cameras, I haven't seen any bad pixels except with the D7K's video mode. Not in the HVX200 or any of other much higher-end Panasonic's P2 cameras. I've tried pushing the D90 for some, but it's not budging either.

My replacement is supposed be in today, and from what I'm holding my optimism in check.

My best,

Mike

Ok you got me thinking, so I've just run a few tests on the hallway/bathroom tiles and to my eyes there is no significant barrel distortion, and if there is any it's minimal. However, I believe there is software-based barrel distortion correction when this lens is used, but it does an extremely good job. There's quite a collection of 20mm 1.7 videos on Vimeo too, that you might want to check out.

The 50mm 1.4 FD + adaptor is the lens I use the most, followed by the 20mm. I don't really use the 14-140mm lens unless I'm filming casually, and i'm outdoors. I would use my nikon glass too, but like I say, I don't yet own the Novoflex adapter so these are only used on my D300 at the moment.

I've owned the GH1 for 7 months now, and I don't have a single stuck/dead pixel. I was pretty nervous about getting a camera that wasn't a Nikon at first, but the GH1 has been a pleasure to use from start to finish where video is concerned. And, although it's not as good as my d300 for stills, the stills are very reasonable too and the GH2 improves on this.

I'm planning on ebaying my GH1, and picking up a GH2 when they become available in the UK. I'm also keeping my eyes open for a d400/d800 to see if Nikon ups their game video-wise (i'm sure they'll be amazing for stills, that's almost a given), but I'll have to be patient for a little while longer yet :)

Delie said:
Having said that, I also own the 20mm 1.7 and it's a very nice lens when you want less than 100mm . . . The 14mm is smaller still, but not yet released so I'm waiting for reviews on this one.

Hey there, Delie!

How do you like the Lumix 20mm f/1.7? I'm dying to know how much noticeable barrel distortion there is in the 20mm Lumix (40mm-equivalent). I'd like to use this as a "normal" lens for Steadicam tracking shots through hallways and such, but I hate seeing barrel distortion in hallways, which are naturally, very rectilinear. Would rather be at 50mm or longer, but I really need speed, and the 20mm and the 14mm Lumix primes are the fastest lenses Panasonic has available at this time.

P.S. How long have you had your GH1? And, were there any stuck pixels at purchase? And, have any developed since? Thanks!

NOTICE!

I have some factual errors in my earlier posts on the Panasonic Lumix GH2:

GH2 records 60p only at 720p.
GH2 maximum variable frame-rate is reportedly 300% (i.e., 3x overcranking).
GH2 sensor generates 1080p, but subsamples 1080i into 24p (or something weird like that).

I'm sure I have some of this wrong--too tired to correct. Will edit this post later. I'm getting a GH2 and the two lenses I mentioned as soon as it's available (late November). Still considering the $979 Lumix 7mm-14mm f/4.0 OIS zoom (apparently, people are using the Tokina 11-16mm f/2.8, using an F-mount-to-MFT adapter, on the current GH1 with success--however, no AF, no OIS).

Oh, early hands-on reviews report virtually "NO ROLLING SHUTTER" (jello) on the GH2! This, and the 300% overcranking, is what sold me on the GH2 (still planning to get a D7000 as well).

I'm no pro, but I tend to use manual focus for nearly everything on the GH1. When I use a Steadicam (equivalent) I tend to shoot wider to avoid focussing issues, unless I can guarantee that my subjects are going to be relatively stationary. However, I'm waiting to see some more reviews/samples, before judging how good the AF tracking is on the new GH2.

The 2x crop factor doesn't worry me too much on my GH1. I use a Canon 50mm 1.4 FD amongst others (so that's 100mm with the form factor), because it's cheap (second-hand on EBay) and they yield very nice results in low light and have attractive bokeh/dof. I've also got a 50mm 1.4g Nikkor, but I need to buy the Novoflex adapter before I can use it on the GH1. There's a ton of videos on Vimeo.com featuring the GH1/40mm 1.4 FD combo, here's a nice low-light test, for example:
http://vimeo.com/16233233

(GH13 = GH1 with hacked firmware).

Having said that, I also own the 20mm 1.7 and it's a very nice lens when you want less than 100mm. It does make a faint noise when auto-focussing though, so you'll want to use an external mic. Comparatively, the 14-140mm lens is amazingly, completely silent when auto-focussing in video, but obviously isn't ideal for low light. The added bonus with the 1.7 is that it's tiny, and very light. It makes for a very mobile solution - I hardly notice the camera in my bag when i've got this lens mounted, it almost feels like you're cheating. The 14mm is smaller still, but not yet released so I'm waiting for reviews on this one.

Vall said:
One additional plus is that you can mount your Nikkor lenses on GH2 (via adapters). :-)
So no real need to buy additional glass.

Yes, but with a 2.0x crop factor. I would need to buy at least one Lumix lens to take advantage of the GH2's tracking auto-focus feature for Steadicam work (wireless follow-focus units are hideously expensive). The most likely purchases being the Lumix 20mm f/1.7 (40mm-equivalent), and the Lumix 14mm f/2.5 (28mm-equivalent).

One additional plus is that you can mount your Nikkor lenses on GH2 (via adapters). :-)
So no real need to buy additional glass.

Yeah, the GH2 is pretty impressive from what I've read. I think I may buy a GH2 just for its overcranking feature alone! I'll use the D7000 for general video coverage, and relegate the GH2 for high-speed sequences, and possibly for a bit of Steadicam work, if its focus-tracking feature turns out to be more effective for that application than the D7000's.

I currently use a GH1 & D300 combo. The cameras you mention are all very capable, but I would personally recommend a GH2 to anyone whose main concern is video, and a D7000 to anyone whose main concern is stills. The video quality of the GH1 (with GH13 settings) is stunning. The GH2, although it has a lower bit rate than the hacked settings on the GH1, has added a lot of new features including better low-light performance and live hdmi out, and the few samples that exist so far are looking very decent.

If you've got the budget (I haven't), you might want to consider the new Panasonic AF100: http://vimeo.com/15765280

Also, apparently, the GH2 will perform a true, slow-motion frame-rate of 60-frames progressive "over 24p," for a true 2.5x overcrank (in 24p mode). Something pretty cool for an $899 body. I haven't confirmed this, but this is what I inferred from reading the various reviews. The GH2's specs explicitly state that it does "60p over 1080i" (since there's no compatible recording standard for 60p "over 1080p"), and that the camera will crank at 60p "over" its other supported frame-rates as well.

Yes, the GH2 is so attractive, that I may have to consider owning multiple V-DSLRs for accomplishing all of the lensing tasks I plan for my next project. They're inexpensive enough to justify, and you would have multiple bodies for multi-camera angles (stunts, car-mounts, etc.). I'm considering the affordable, and very capable GH2 for general video photography, and a DX- or APS-form factor body for wide-angle video photography. Owning a single V-DSLR, in this age, may no longer be the best solution, at least for me.

Hi Alex,

I notice that you are in Switzerland. What is the purpose of your film making? Video to film or broadcasting? Will you be going to PAL or film - you mention a cinema screen - you are specifically going to film from video? If you're shooting 24P or 25P or 50i? Is your project(s) crewed are one manned? Scripted or unscripted? How will you be handling audio and light?

The GH1/2 will work wonders for a one-/2-man crew for its 'lightness' and agility. The 4/3rds format should be fine for most projects and there are adapters for nearly all lenses on the market. The gamma controls from the hacked version are supposed to do wonders. From what I've seen on Vimeo, it looks terrific. You should, with clever technique, be able to control DOF nicely.

I'm a film guy, too, but my video equipment is aging and I will upgrade this year or next. My shows have gone off air so I have time to consider what I want to do, and what I'm planning is just for personal projects. I will either go to a GH1/2 (likely a used GH1 if that route), or a Canon 7d (with Nikon adapters), or go all in for a Panasonic AG-AF101 - assuming the Nikon D7K is toes up on video, what I'd rather do.

So I think a GH1/2 would do. You might be able to ask around in your circle to see if you can borrow or rent a GH1 for a trial.

My best,

Mike

Since you have your stills covered already I would look at the GH2 -- it follows are really great camera with the GH1 for video, and it sounds like it's going to be a step up for sure. I own a D90 and GH1 (hacked) and I would definitely get the GH2 if I could justify it. Probably just wait a bit before making that upgrade.

Here's a good early write up on it:
http://www.luminous-landscape.com/reviews/cameras/panasonic_gh2_first_look.shtml

phosphoro said:
After looking at all the options I'm wondering if anyone has had the opportunity to try the Lumix GH2. How is handling, ISO, resolution, etc, and how would the GH2 hold up on a cinema screen? Also, are there any other unknown alternative VDSLRs out there that are being passed by the media.

Wow! You've really run the gamut, on-set! I too, have been surveying the field to make sure I didn't miss any viable new filmmaking tools among the current crop of new V-DSLRs . . .

Proponents of the GH1 seem to love 'em for video, but unfortunately, I don't know anyone personally who has one. But since the GH1/2 is still micro-4/3rds, I've pretty much discounted them out-of-hand, simply because I'm dying to use my Nikon lenses at less than a 2.0x crop factor.

Still, it's an attractive option for filmmakers interested in 1080p24 video. if you can live with a 2.0x crop factor, the GH2 does have some unique features for video (e.g., touchscreen focus, 300% overcranking, etc.). At only $899 for the Lumix body, I'd be all over this if it weren't for its micro-4/3rds format. Both Sony's Alpha- and NEX-series cameras, and Pentax' K5, omit 24p support, and instead employ 30p and 25p, respectively.

While expected to be a lot pricier than a simple V-DSLR, Sony's new "35mm Digital Cinema Camera" (rumored to be announced/released in January 2011) seems most promising right now. I'm guessing that this camera (of unknown sensor dimensions, but presumed to be DX-ish or larger) will price out just above the $4,995 Panasonic AG-AF101 (micro-4/3rds), at perhaps, $7,000-$8,000 USD.

If you can possibly hold on until April 2011, NAB (National Association of Broadcasters' annual convention), next year's show should bring some interesting new players to the table.

Regulator75 said:
Perhaps an actual video camera would better suit your video needs?

Since the appearance of the V-DSLR, even high-end 2/3" 24p-capable video cameras (e.g., Sony HDW-F900, the camera used to lens Star Wars I, II, III) are fast falling out of favor for use by filmmakers, largely due to the V-DSLR's increased sensor size, as well as the huge array of available high-quality, inexpensive 35mm Nikon and Canon optics.

Micro-budget filmmakers have been struggling to isolate their subjects for years using small-sensor, 1/3" 24p cameras (e.g., Panasonic DVX100/HVX200), employing the most exotic mix of spinning optics and expensive 35mm adapters to achieve the same kind of shallow depth-of-field characteristics inherent to large sensors. These cameras cost nearly as much as a D3s, with nowhere near the image quality. For us, the current crop of V-DSLRs represent the poor man's version of a RED or Sony F35, both of which are many, many, many times the cost of a D7000, 7D, or GH2.

we You have problems with us talking about different brands, maybe canon or sony users are very closed minded whilemwe nikonians aren't, but seriously why any one should recommend nikon v-dslr for video as the only one option if there are other brands on the market that might do this job better, we all know that Nikon cameras are the best solution for still pictures, but that's it

WOW....can't believe you guys are talking about CANON's, SONY and other DSLR here in Nik Rumors. Just can't believe 1 particular ADMIN hasn't closed this yet....lol. ( you know who you are).

Any way here's my 2 cents. IF you need a VDSLR now the get 5Dm2, 7D or even 60D.
Lumix GH2. is pretty good as well. I dont think u will go wrong with either of these.

Also you know u can HACK old GH1.

Canon 7D vs Hacked GH1 1080p lowlight sharpness test
http://www.youtube.com/watch?v=SPBWFT-oyQM&feature=channel

Hope this helps.

Perhaps an actual video camera would better suit your video needs?

No, the Sony is not in the race. I need more options, not fewer! That means at least full manual controls. Besides, it's too small, no dop would get close to that thing :-D

At the risk of sounding like a broken record on this forum, how about the Sony NEX-5? It won't do 1080p at 24fps (it's 1080i60), but you can get mount adapters for it for Nikon f-mount and most likely almost any other mount you can think of because it's mirrorless.