Hacked my GH2

Hack processes was simple and easy.
Dowloaded the "hack pack" from here..
http://osgfilms.com/hack-the-panasonic-gh2

Ran the executable, created a firmware image and installed on camera.

Piece of cake.

One thing: The FW images are only 16 MB, I for some reason thought they were 16GB and hence was waiting until I got a new 16GB class 10 card to do the hack. Silly me..

Now I have UNHACKED firmware sitting on a 2gb card in case I need to UNHACK in the field.

Will play with it more this week.
 
First impressions with an 88mb hack..
Lots more noise even at low ISO. But cleans up easy with Neatvideo, after that .. wow..

The noise is the primary reason to use the hack if you're talking resolution. Or, the fact that you're seeing much more noise is a characteristic of getting closer to uncompressed space. If you've ever actually seen high quality uncompressed raw footage from cinema cameras like the Viper or those eras, then it becomes a bit clearer what you're dealing with.

Cleaning it up (too much) just reverts you back to the original GH2 footage for the most part.

Your gains at that point are retaining detail in motion, retained detail in complex scenes (foliage, waterfalls, etc), and the GOP motion depending on which hack. But, when you denoise too far, it goes away.

The noise also allows you to move the footage from a 4:2:0 8-bit space to a 4:2:2 10-bit+ with the right conversion tools.
 
I just realized I blurbed that too fast at nearly 2:00AM.

Clarifying, so that it makes more sense as I know we're not a very noise-friendly batch: the noise in the image helps to smooth out flaws inherent in the chain of processing, from DSP to Encoder, down to Card. Things like banding etc are reduced (some say the appearance of only), the lack of over-processed noise reduction also increases perceived detail.

There will be a true amount of detail left in the image, but will be strictly dependent on scene or moment, meaning to a degree, one basic setting will not cure all if the overall amount of noise present is something unpleasant.

It's also more important for a workflow chain not intended for web base, although you can still benefit from employing the same techniques as you would on a larger scale production.

Capture > Offline Edit > Online XML though proper conversion channels, graduating 4:2:0 8-bit to at least 4:2;0 10-bit or better, 4:2:2 10-bit > Proper finishing suite (32-bit float. DaVinci, etc) > final denoise for display format.

Web = A mild bit heavier is acceptable.
Television = Some noise is fine
Theatrical = Noise can be great

All scalable by taste as far as the final chain is concerned.
 
yup yup.. get you, thanks for the detail...

I don't denoise the footage as a rule. Sometime the shot NEEDS it. For example large expanses of mid to dark tone that crawls to the point of distraction. And it most cases other techniquies will cure it ...

I do note that conversion to 4:2:2 with cineform seams to make it somehow "nicer"
 
Top