Lumix GH4 Test: Faces II [Updated]

I wanted to get this up as soon as possible, so I’ll be adding more information about the clip at the beginning of next week. Here are the settings used for the test: C4K, Natural Picture Profile, Contrast -4, Sharpness -4, NR 0, Saturation -2, Luminance Level 0-255, ISO 200. Because I was carrying the camera every day during working hours, I couldn’t bring along my stabilizer, and since I’m a pretty shaky fellow, some of the shots are a bit wobbly. All but the first and second-to-last shots were taken with the Panasonic Vario 35-100mm f/2.8 lens. Only minor color corrections were made in post, like adding vignettes and boosting reds slightly in the shadows. When uploading to YouTube, the image becomes darker, more contrasty and reds are exaggerated, which can enhance some shots, such as lipstick and clothing, but which can also make mottled skin complexions appear even more splotchy. I welcome your comments.

[Update] I replaced the video with a new one with increased luminance and lowered red channel, which more closely matches the original clips.

GH4 Test: Faces II

Screen Shot 2014-07-13 at 5.40.07 PMI’ve been shooting with the Lumix GH4 now for around ten days, and have amassed something like 250 clips, many of which I hope to be able to post in the next week or so. Since my sole interest is street life in Vietnam, the focus of the test will be on how well the camera responds in situations that change in the blink of an eye: things like how well autofocus works, overall ergonomics, color balance, the user interface, as well as how the experience differs from using the Lumix GH3. I believe the video will also be of especial interest to those who found the color rendition of the GH4’s predecessor less than satisfactory, and I will be sharing what I consider to be the best profile settings to achieve beautiful looking images. While there have already been dozens of laboratory and real-life tests posted of the camera, measuring or comparing low-light ability, noise levels, rolling shutter, moire and aliasing and so on, I think this one will still be of value for those who are primarily concerned with capturing  ‘the decisive moment’.