British filmmaker Andrew Reid of EOSHD.com has published his long-awaited review of the Panasonic GH4 4K hybrid video and stills camera and has released the first edition of The EOSHD Panasonic GH4 Shooter’s Guide. Get your copy while it’s hot!
Even compared to the full frame 14bit raw from the 5D Mark III the GH4 holds its own. It represents a big return to form for Panasonic, a consumer camera that pushes way beyond the image provided by the GH3 and AF100. As a 4K camera never has the format been so practical to shoot as it is with the GH4. With file sizes 8x less than on the nearest competitor and a price 5x less expensive than the Canon 1D C, the GH4 is the most exciting camera I have ever shot with at EOSHD.
The GH4 has yet to make an appearance in Australia.
ABC News: Cate Blanchett describes budget cuts to the arts as ‘short-sighted’
PhilipBloom.net: The evolving review of the Panasonic GH4
It has been suggested that Screen Australia’s budget for movie production financing be radically cut in the coming federal budget. The Guardian reports.
“Culturally it would put us back in the stone age,” said John L Simpson, producer and founder of the film distribution company Titan View of the Commission of Audit’s recommendation. “I thought that Australians had got over the cultural cringe, the idea that the only culture engaging with is the culture imported into this country, but that’s what’s going to happen. We’ll be a cultural backwater if we don’t invest.”
The whole point of starting Black+White magazine all those years was to help kill the Great Australian Cultural Cringe which wreaked so much havoc upon Australian creativity, innovation, business, lives and careers. It would be a tragedy if those dark days of the Cringe returned.
Cutting budgets at the ABC and SBS would be equally destructive given those two public broadcasters still fund a small (though increasingly limited) number of documentary films and other independent productions.
I certainly have major misgivings about how the state film funding bodies, the ABC, SBS and Film Australia dictate onerous, unconstructive, conditions to new, independent documentary filmmakers but I would hate to see them closing down funding of all independent documentaries due to lack of money.
Australian stories continue to need to be told. New Australian documentary storytellers need real assistance in telling those stories. They don’t need their own projects snatched out from under them by discriminatory film funders or interfering politicos.