Reliable In Camera Playback Patch V2
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Reliable In Camera Playback Patch V2 2
Reliable In-Camera Playback Patch - updated for PTool 3.55d and higher As you've no doubt heard, PTool 3.55d and higher have liberated all previously unhackable versions of GH1, GF1, and G2 cameras. In addition, PTool provides several new patches that I've been able to incorporate into the Reliable In-Camera Playback Patch, making it more versatile than ever. To make use of these new features, download the latest version of PTool from the following link: Version 2 of the Reliable In-Camera Playback Patch supports the following features:. Works on all Panasonic GH1, GF1, and G2 cameras, both hacked and unhacked.
Reliable In Camera Playback Patch V2 3
Switchable between NTSC and PAL modes, in all interface languages. No 30-minute AVCHD time limit, all compatible batteries supported. In-camera playback available in all video modes. 40Mbps FHD mode - AVCHD 1920x1080 24p/25p video (interlaced) - GH1 only. 40Mbps SH mode - AVCHD 1280x720 50p/60p video (progressive). 35Mbps HD mode - MJPEG 1280x720 30p video in 4:2:2 color (4:2:0 color on G2). 30Mbps VGA mode - MJPEG 960x720 30p video (iPad-compatible) - GH1 only Reliable In-Camera Playback Patch Settings File: This zipped INI file can be used to apply complete patch settings to firmware loaded into PTool.
To use, unzip the INI file into the same folder as the PTool application. Launch PTool and load the firmware for GH1 v1.32, GF1 v1.22, or G2 v1.1. The settings contained in the INI file will automatically be installed in the ' J' button at the bottom of the PTool main window. Note that with the following PTool Settings File, you may at any time re-install the original Panasonic GH1 v1.32, GF1 v1.22, or G2 v1.1 firmware into the appropriate camera model. You may also copy each type of patched or original firmware to separate SD cards, and use them to quickly switch between patches as often as you like. In its standard 1920x1080 FHD mode, the GH1 scans the sensor progressively at either NTSC 24p or PAL 25p.
However, the AVCHD encoder then splits the 24/25p progressive video stream into an interlaced 50i/60i stream and encodes it into an MTS file. When in NTSC mode, it also adds 3:2 pulldown to the 24p stream before interlacing it into a 60i stream. Since it's a rather confusing process, the NTSC results are often described as 'interlaced 1080p24' rather than 1080i60, which would hide the fact that a 24p video stream is packaged inside a 60i container. Does the FHD file that comes out of the camera still need to be reverse telecined?? Just shot some footage with the new patch, and wow!!! Huge difference between un-hacked and hacked.
Was going to wait because I only have a Kingston Class 4 card.glad I didn't wait. Totally usable.so far.
I shot some indoor footage(not very stressful) at FHD, and dropped it into a 24p timeline in Sony Vegas Pro 9, and rendered to MP4 and looks beautiful. Took awhile to render a short clip, but it went from having a white interlaced cast over the whole video, to 24fps completely watchable video. Quick Navigation. Site Areas. Forums.
Yes it's easy to move from one track to the next. Simply setup a number of dolly tracks, disable the cameras and turn ones on when you'd like to blend to them. You can set custom blends between any camera so you can control the blend method and duration between each dolly track. Blending from any CM virtual camera to the next is as easy as calling it on Timeline or turning the camera on with a game event, trigger volume, or from the new State Driven Camera module which allows you to trigger cameras from animations. Thanks for the quick response! I've been playing with the dolly tracks for a few hours now and noticed that when setting the Damping to zero the camera jumps around the segments on the path (increasing the segment count obviously reduces that stuttering effect).
Looking into the code this is intentional, but is there a way to smoothly interpolate (linear would be good) between the segments without having to use the damping feature? In my case, even setting damping to 1 lets the camera look like it's lagging behind and only catch up when the player's standing still. Also, is there a way to blend between two cameras based on a percentage or not duration? Other than that, the new version looks fantastic! The way the Aim has been set up now makes much more sense.
However, is an option to let the camera snap to a certain position over time? We don't want to have the camera move up and down on every jump, but when the player jumped on a platform/rock/box it should slowly move towards the bottom end of the soft zone - is there a way to achieve this? Edit: Just figured it out using the Soft Zone and Vertical Damping (Leave no Deadzone and change the tracked object offset accordingly. Many thanks in advance! Awesome stuff.
Oc835 V2 Camera
I have a few questions/suggestions (using an orthographic camera): 1) Is it possible to have separate settings for Frame Damping for zooming in or out? (Virtual Camera Aim - Group Composer Frame Damping) I have objects I want in frame at all times no matter how fast they move, so if one flies away from the others, it needs to zoom out quickly, however, if it bounces back into close to the others, I don't want it zoom back in just as fast. It should leisurely zoom in as long as all objects are in frame.
2) In general, it'd be nice if the framing worked using the deadzones and softzones. Don't bother zooming if objects are in the deadzone, soft zooming for the softzones, and reliable speedy zooming with damping outside that. 3) I'm using this for a side-scrolling camera, but I need the group composition. For the most part I've got the settings so it never turns the camera, and I can just use group compose for the framing, but if I tweak some settings too far I get some angle changes. Any possibility of a group transform / framing option? 4) The deadzones and softzones operate on the objects' exact positions, right?
Is it possible to make it so they operate on the objects' visual bounding boxes, so if any part of the object would visually be outside both, the camera adjusts? EDIT: Just noticed the radius option for the target group members, that helps a lot, but still curious if using bounding boxes might be a possibility in the future 5) Min and Max zoom for group framing? Click to expand.Thank you, Adam, I've been taking the time to dive into Unity basics before attempting to even dip my toes into CM (Hence not having read the docs yet) but with my background, was one of the first and important questions I had from the top of my head (Consistency and quality of color. Well, I need not preach to the choir here) - Everything aside from the integration and workflow specifics seem very easily understandable if framed from a traditional cinematography standpoint and you know. Hats the eff off to you, what you've created is absolutely incredible and such an amazing tool for storytellers and I'm thoroughly excited to explore it myself and watch grow.
I don't get excited easily, but I feel like a lil'kid again. Rediscovering cinematography in a new way. Ok back into my learning cave! Thanks again.