Comparision with Blackmagic Production Camera 4K and Panasonic Lumix GH4

This paper can teach us the individual characteristic between Blackmagic Production Camera 4K and Panasonic Lumin GH4.

As impressive footages from both the Blackmagic 4K Production Camera and Panasonic Lumix GH4, most cinematographers and indie filmmakers would like to edit the footage in editing systems.

 

Both of two products are creating quite a buzz in the indie-filmmaking community. But how do they compare to each other? In the following article we take a look at test footage and differences between these two cameras.

The Blackmagic Production Camera 4K

Features:

Premium Quality, compact solid metal design. It is precision engineered for quality in an incredibly small size.
Large Super 35 Sensor. With a large Super 35 size sensor you get familiar framing and behavior from the lenses you already own! The sensor features a global shutter so  you get perfect panning and with minimal crop factor you also get beautiful wide angle shots from your wide angle lenses.
EF Compatible Lens Mount, supports the world's best lenses. With the EF compatible lens mount you can choose high quality optics that are designed to take advantage of the large Super 35 size sensor with minimal cropping.
Easy to Use Touchscreen. Use the capacitive touchscreen to access menus to change settings such as recording format, shutter angle and more! Double tap the screen to zoom into the image for fast and accurate focus.

Offering the sleek design of the original BMCC with 4K resolution, the highly anticipated Blackmagic 4K Production has got early test footage shows that the quality is every bit as beautiful as its predecessor.

The camera, which just started shipping, has been plagued with release delays over the past year. Blackmagic CEO Grant Petty says that the delay is caused because the company needed to “replace a bunch of the software in the camera that handles the sensor calibration and image processing“ What’s more, generally speaking, the formats Blackmagic 4K output are uauslly MXF, XAVC, MTS,M2TS. Not compatible with many editing software.

The Panasonic Lumix GH4

The GH4 is not quite as cinematic as the BMCC, partly due to it’s MOV compression, as opposed to BMCC’s RAW recording. That being said it is still producing high quality footage that rivals even the most state-of-the-art DSLRs (we’re looking at you Canon Mark III)

The mirrorless GH4 doubles as a still photography camera when it’s not taking 4K footage. With an updated sensor and 4K compatibility, the GH4 offers DSLR lovers a camera for the modern age. Preliminary footage of the GH4 shows its capability and we are impressed.

Features:
Panasonic Lumix GH4 design and controls. The Panasonic Lumix GH4 will be immediately recognizable to anyone who's used the earlier GH3 as it shares essentially the same body and controls. 
Panasonic Lumix GH4 lenses. The Lumix GH4, like all Panasonic G-series cameras, is based on the Micro Four Thirds standard co-developed by Olympus and Panasonic, which means it can use any lens designed for this system.
Panasonic Lumix GH4 viewfinder and screen. The Lumix GH4 employs 100% electronic live-view composition and is equipped with a large viewfinder and a 3in screen which tilts vertically.

Additional suggestion: In order to make two camera videos be more compatible with most software for editing or play on PC. We here also offer you a professional converter for you ! Pavtube HD Video Converter for Mac.

To some editing systems :FCP, Avid and Premiere.
To some devices: Windows PC or Tablets

More:
Import 4K MXF Recordings to Final Cut Pro X
Ways to Load XDCAM MXF Files to Avid Media Composer

Two Efficient Ways to Load Sony XDCAM MXF Files to Avid Media Composer

Can’t find a way of loading Sony XDCAM MXF files in Avid Media Composer for editing? Here we may tell you some efficient solutions.

 

From a Sony user ‘I can view the footage fine on a normal browser but cannot find a way to get the mxf into avid and I have not found anything on the forums here and am confused by the mass of info on the web. Could anyone post me to offer me a solution.Thanks a lot!’

As non-active video files to Avid Media Composer, we all know that it can’t be worked well. Cause the professional editing software, it has its own best supported format—DNxHD MOV. If you want to edit your mxf files in Avid, you should do some changes of your original footage. Do you agree that? So now we just got the problem is how to convert mxf files to mov that supported by Avid. Surely, you’re right, a kind of MXF plug-in we can take as a helper, and anything else? Yes! Also, we can use Pavtube Video Converter Ultimate to transcode our format. Both of these methods are offered for you here.

Method 1. Sony XDCAM MXF Plug-in.

At first, Using the Sony XDCAM EX Clip Browser software, select a memory card or drive where the EX media is stored. The clips load and I can play them in the viewer. Decide on the clips to use in the Media Composer and select File, Export, MXF. Choose a location for the files and click Start. The clips are quickly rewrapped as MXF files, like the files from an XDCAM™ HD camera.

For the second, Now in the Media Composer, select File, Import. The import box opens. Navigate to the folder where the MXF files are and select them. The files are added to the Media Composer very quickly, because they aren’t actually being imported. Instead, the clip information is being created in the bin and the media is being copied to the Avid media files folder. Once the clips are in, I’m ready to edit and combine them with other clips in my project. And that’s how you use media from an XDCAM EX camera with the Avid Media Composer.

Comparing to this method above, we all can see a big bug that it only be used with Media Composer 3.0 / NewsCutter 7.0 and it is a bit more expensive for common people. Maybe the following method would be better.

Method 2. Professional MXF converter. 

A tool can help you convert Sony MXF files to DNxHD MOV format for editing smoothly in Avid Media Composer. There is also a discount here if you want to buy.

Step 1.Load your Sony MXF files and preview in the window to make a sure.

 

Step 2. Choose correct format as ‘Avid Media Composer>>DNxHD (*.mov)



Step 3. More ‘Settings’ for you, just click the button.

 

Finally, don’t forget to click’ Convert’ to wait for your output videos .

In all, you can take a try of both methods above we mentioned, Please leave some comments if you want. Wish you enjoy a good day!

Other guides:

• Why Avid DNxHD MXF Not Loaded to FCP X?
• Convert MXF files to MKV/AVI/MOV/MP4/MPEG/WMV/FLV on Windows/Mac

 

Two Ways of Importing Premiere Pro CC DNxHD MXF Files to Avid Media Composer

 Wanna some tips of loading Premiere Pro DNxHD MXF files to Avid Media Composer? Here are two pieces of suggestions for you, just follow my steps.

As professional editors, we all have a knowledge of how to edit different video files in compatible editing software. But sometimes we got some issues in transcoding different  video formats. Just as you see below:’ After editing my MXF video files in Premiere Pro CC, Why I failed to import them to Avid Media Composer for further editing?’ 

 

For more editing functions you like in Avid, here offers you two main way to import MXF files from Premiere Pro to Avid Media Composer. MXF AMA Plug-in and Pavtube MXF MultiMixer/iMixMXF.

Method 1. Avid Plug-in for you---Avid Op1a MXF AMA Plug-in.

1.Download Avid’s Op1a MXF AMA plug-in. Media Composer 7 may already include this plugin.


2.Once installed, load your Premiere MXF files via AMA into a project bin in Media Composer.

3.When all files are loaded, select them, right click, and select consolidate.

4.The consolidation process will copy/consolidate your Premiere MXF files into proper Avid MXF files within Avid’s MediaFiles folder, as well as give you the option to delete your Premiere MXF files if you plan on a permanent hand off.

Method 2. iMixMXF---a professional MXF video converter for you. Not only be compatible with Avid Media Composer, but also for some other editors like FCP,iMovie. Additional Steps of starting using are here for you:

Step 1.Download MXF converter correctly and import your DNxHD MXF files.

 

Step2.Choose output format ‘Avid Media Composer’>>’Avid DNxHD(*.mov)’.

 

Step 3. A ‘Settings’ button also offered for you.

 

At last just ‘Convert’ to make it work.

Frankly speaking, comparing with two methods above, you’ll find the plug-in above will be limited by our updated system. On the other hand, MXF video converter has a better stability. How do you think?

More:
Make Avid DNxHD MXF Load to DaVinci Resolve Possible

Get Apple ProRes Encoded on Windows PC by Redcine X Pro and FFMPEG

If you run a Windows system like most users do, you must have trouble in encoding Apple ProRes on Windows PC. Now you can read the following article for a help.

As a Windows system user, we can’t avoid receiving some edited Apple ProRes codec videos from FCP --- a professional editor produced by Apple Company. In fact, we all know that Windows PC can’t accept these types of videos, they are incompatible with each other. So what should we do to encode Apple ProRes on Windows PC?

 

Today, I’ve found an alternative workflow that is semi-automated and cheap using FFMPEG---This is a command line encoder and decoder for many video formats including ProRes (or more specifically, a version called FFMBC with extra features for broadcast formats) and a neat Python script to bridge it with Redcine X Pro, or any other batch media encoder like Adobe Media Encoder or Sorrenson Squeeze. 

If you want to transcode multiple files without supervision, or at least minimal supervision, maybe it’s a good choice for you.

Step 1. Download the RedToProRes. Open it up in Komodo Edit and look at the settings area. You’ll need to edit this gingerly. Do not remove the r or the single quotes, but edit your path to FFMBC. What follows is mostly command switches for FFMBC: 16 threads is acceptable on a quadcore machine, the input which is filled in automatically, the ProRes codec and profile .You can encode Proxy, LT, Standard, HQ, and 4444.

Step 2. Install Blackmagic Design’s 10bit Quicktime codec

Step 3. Open Redcine X Pro and create the following export preset with these compression settings.

 

Step 4. Start your batch, then double-click on the Python script

 

Step 5. After the encoding is finished, create an export preset in Redcine X Pro with the file format Avid AAF & MXF. Click Setup and select ALE Only and ignore the codec quality. Process the same batch of files in the previous step. 

 

Step 6. Open QtChange and on the left click Source Folder. Find the folder containing your ProRes files. Next click Use ALE Data and load the ALE file we created in the previous step .Then that’s are all set!

 

Additional Notes: Although this two encoders are free and able to encode Apple ProRes on Windows PC, there are still some advantages we need to pay attention to:

1. The operation of encoding codec is complex for our primary users.
2. This two encoders’ version can’t be always compatible with update of our Windows system so we can’t ensure it can work all the time.
3. Safety is not guaranteed, right?

Here we also recommend you another Apple ProRes for Mac called Pavtube Mac HD Video Converter. Some basic steps are also offered for you here. If you want know more abot various kinds of video formats converted to Apple ProRes by this Mac Video Converter, such as MXF, MTS, MP4,MOV, etc. Other items maybe you don't know:

1. Some simple editing you can also do here:'Trim''Crop''Subtitle'etc. 

2.'Settings' button also offered for your output format.

  

Some related guides:

• Apple ProRes Specifications
• Working with Apple ProRes Codecs
• Edit 2014 World Cup MXF recordings in FCP X  
• Work with Sony F55/F5 XAVC in FCP/iMovie/Premiere/Avid MC

Talking about Video Formats: Containers, Compression, and Codec

Do you know clearly about the following video formats: containers, compression andcodec? Let’s make a further recognization to these formats!

As you see, there are so many video formats in videos world, such as MOV, H.264, MPA, AVCHD, MXF, WMV, AVI, etc. But usually we can’t get enough knowledge of each kind of them, especially containers, compression and codec. Now, would you like to make a distinguish and learn more about them?

In order to make clear understanding of these three items, we should break down the parts of a video file. We may imagine the video file as a bookshelf filled with books.  It may not be the most dead on exact analogy as I’m about to eschew some of the very deeply technical details.

Multimedia Container – A Bookshelf
The multimedia container is like the bookshelf in that it can hold many tracks of audio and video just like a bookshelf can hold many books. Common container formats include MOV, MXF, and AVI.

Compression Scheme – The Language of the Book
Inside of each audio and video track, the information is represented in the language of the compression scheme. Common compression schemes include H.264, MPEG4 part 2, ProRes, DNxHD, and so on.

Codec – The Author of the Book
A codec (encoder/decoder) is a piece of hardware or software that interprets an audio or video signal and compresses it. Each compression scheme can be implemented in different ways which creates different codecs for the same compression scheme.

Categories of common multimedia containers:

1. Microsoft AVI
For all intent and purpose, Microsoft AVI is considered a legacy container in the film industry. In its standard form, the container does not support files larger than 4GB, does not properly support timecode, and doesn’t properly support pixel aspect ratios. There are non-standard extensions to the container format, like OpenDML which overcomes the 4GB file limit, but support is dubious in professional software.

2. Apple Quicktime MOV
The Apple Quicktime MOV container is a proprietary container that allows the user to store multiple tracks of audio, video, and text as well as metadata like timecode. Installing support for this format includes a number of “native” Quicktime audio and video codecs to be installed on a system as well, although the codecs themselves may not be the quickest or highest quality. It is a common format for acquisition, editing, and delivery and is a ubiquitous container format in the motion picture industry.

3. Adobe Flash Video
Adobe’s Flash Video actually takes advantage of two different containers: the older FLV and newer F4V. This container is common, but almost strictly used as a delivery container for Flash applications, video players, or other multimedia uses.

4. MPEG MP4
MPEG’s MP4 container is an industry standardized format based on Apple Quicktime MOV with some additional extending features. It is commonly an acquisition and delivery format. Although it can contain different codecs, the most commonly used codecs in the MP4 container like h.264 aren’t totally suitable in an editing environment.
  
5. MPEG Transport Streams and Program Streams
With extensions like .ps, .ts, .vob, and .m2ts these robust containers are designed for use in broadcast, on DVDs and on Blu-Rays where the container may be damaged due interference or damage. While predominately delivery containers, the AVCHD camera format takes advantage of the Blu-Ray-based .m2ts container as an acquisition container.

Categories of Compression Schemes

Before talking about compression, we need to learn uncompression first. Uncompressed video is the basis of all compressed video. There may be different levels of fidelity due to bit depth (8, 10, 12 and so on) or chroma subsampling (4:4:4, 4:2:2, 4:2:0, and so on). Uncompressed video was common in the days of SD video but is now less common as uncompressed HD video requires large and fast hard drives to work with efficiently. Rarely a common delivery format.

DV
The grandaddy of digital video compression schemes. Common as a acquisition, editing, and delivery format. Originally designed for tape-based SD footage, a variation known as DVCPRO HD is used in some HD camcorders including a number of Panasonic P2 format camcorders.

HDCAM
Based on betacam compression, this tape-based compression scheme is designed by Sony. Common as a acquisition, editing, and delivery format.

MPEG2 part 2
Also known as h.262, MPEG2 part 2 is widespread in the film industry. Implemented with different bitrates, chroma subsampling, and resolutions based on cost and recording media, MPEG2 part 2 powers DVDs, the defunct HD DVD, Blu-ray, HDV, XDCAM, XF, and others. Common as an acquisition, editing, and deliver format. As an editing format it is usually carried over directly from acquisition as some delivery implementations are highly compressed and not suitable for editing.

MPEG4 part 2
A more modern compression scheme, it’s considered the little brother of the more ubiquitous MPEG4 part 10/h.264. As a professional format it is implemented as part of HDCAM SR. HDCAM SR is Sony’s high-end tape format used for both acquisition up to 4K and as a common tape delivered to major broadcasters. More common implementations usually stay within the domain of consumer products and consumer codecs like Xvid and DivX.

Avid DNxHD
Similar to Apple ProRes in terms of size and performance, DNxHD, also known as SMPTE VC-3, is Avid’s choice for an editing compression scheme. With codecs for Windows and Mac, as well as being deemed a SMPTE standard, DNxHD may be a more future-proof alternative to Apple ProRes. Common as an editing and delivery format, it is gaining speed as an acquisition format.

H.264
H.264, also known as MPEG4 part 10 or AVC depending on what standardization group you ask, is another Swiss Army Knife codec like MPEG2 part 2. Implemented with different bitrates, chroma subsampling, and resolutions based on cost and recording media, you’ll see this compression scheme everywhere from camera formats like Canon dSLR MOV files, AVC-Intra cameras, and AVCHD, all the way to hardware-based decoders in your mobile phone. Common as an acquisition, editing, and deliver format. Like MPEG2 part 2, as an editing format it is usually carried over directly from acquisition as some delivery implementations are highly compressed and not suitable for editing.
  
JPEG
An implementation of JPEG image compression. Videos are compressed frame by frame. A fairly ubiquitous, cross-platform compression scheme, it has been overshadowed by editing codecs like ProRes, DNxHD, and Cineform. A decent choice for intermediate storage, you may find JPEG compression heavy on CPU usage.
  
Apple ProRes
A codec designed specifically for editing. Introduced by Apple for use in Final Cut Pro, it has become a popular compression scheme in many areas of the post production pipeline. It’s designed to balance size, playback quality, and CPU usage. Because of it’s fairly light compression when using ProRes HQ or ProRes4444 it is commonly used when rendering video through multiple generations as it can stand some generation loss. Common as an editing and delivery format, less common as an acquisition format. Know more about Apple ProRes: Types of Propes and Work with ProRes

Definition of Codec
Again, codecs are simply the hardware or software that does the encoding to a particular compression scheme. Codecs have less of a bearing on workflow but different codecs from different vendors may offer better quality, increased speed, or better control over advanced features. For example, if you value speed over quality then you may want to use an h.264 codec that takes advantage of your nVidia GPU’s CUDA cores.

Additional focus:

 

Along with so many kinds of video formats in our life, we have to admit that we often need to play, edit or burn videos for other usages. Thus, converting these video formats to each other has become an attractive point. Here , we also recommend you a professional conversion tool: Pavtube HD Video Converter for Mac. You won’t get troubles in converting video formats with this HD Video Converter for Mac.

Another guide for reading:

• Load M4V Files into FCP for Editing by Apple Prores 422 HQ/LT
• Load and edit Canon EOS C300 PL MXF files in FCP 6/7 
• Work with Sony F55/F5 XAVC in FCP/iMovie/Premiere/Avid MC