OSGFilms Ultimate GH3 Guide : Jump to other content:
1. The Hybrid Mentality | 2.Whats new? wifi and more | 3.Choosing the right SD Card | 4.Choosing the right Lens | 5. Essential Gear | 6. The GH3 for Video & Filmmaking | 7. The GH3 for Photography | 8. Workflow for Film and Video | 9. Workflow for Photography | Conclusion
Panasonic GH3 Guide Ch.7 Photography Setup and Menus
Setting up for Photography
There are a variety of settings that allow for the use of photo as well as video. For now we are leaving the Custom selections for another chapter featuring the use of Custom Dials and F1, F2 buttons etc. When working with photography the main mode I use is MANUAL mode which gives you the full range of photo features entirely under your control as is with a Manual mode. Set the dial on top of the camera to the setting that shows the letter M, now you are in manual photo mode and can access the “REC” menu through your Viewfinder or lcd. Now lets go over the options and how to make the most of them.
This option gives you a series of preset colour curves, or color profiles. Choosing one will deter- mine the look of footage. Same as what we coverd in the Film section is available here.
Standard | This setting is meant to be the “normal” setting.
Vivid | This setting is high in saturation and has a bit of extra contrast than standard. This setting is meant to make images pop. This is generally the kind of image i would not use unless i am shooting JPG and do not plan to edit the image.
Natural This setting gives a look that is meant to be naturalistic and softer, meaning nothing pops and has a more even color and exposure curve. It has low saturation, much softer look than vivid and a touch more than standard.
Mono | Mono is basically black and white, a monochromatic color profile. Using this will result in black and white image but if you set the color balance towards yellow you can get a SEPIA from this setting
Portrait | Portrait has a good saturation but focuses on giving a warmer look to the skin tones. Custom This setting allows you create a style of your choosing and save it. All the styles can be tweaked for contrast, sharpening, saturation and noise reduction and saved in that modified form to custom.
This section will select the shape of your image. The shape of your frame or aspect ratio is key in how you handle the look and cinematography of your photography.
This choice is the most efficient use of the sensor’s usable area and provides the biggest image size and uses the most resolution. However this the old television format we have recently abandoned for 16:9 in video use and common home televisions. Typically square or near square compostions are veiwed as the least rewarding in film or photo.
This one you know well because it is the common 35mm film ratio to which many photogra- phers have become accustomed. If you have taken a photograph with a film camera, you most likely used this. Choose this if you are transitioning from your old film camera and wish to stick with fame you are comfortable working with, or want the most common aspect ratio.
This is the commonly used aspect ratio in video and the current standard for home widescreen television sets. 16:9 images will preview in your widescreen TV without black bars on the sides. Images shot in this frame will blend with your videos with out the need for corrections.
This frame is a perfect square, I mentioned before Few photographers find the square format artistically rewarding so I recommend you stick with 3:2 or 16:9…
This setting applies to the JPG files only and may not be availabe if you are currently set to
RAW. Raw files use the maximum quality possible with no compression added so RAW will not use such a setting.
Large will record the best quality and provied the most detailed image but takes up the most space on your SD card. Apprx 12M -16Mper image
Medium For medium sized images. Apprx 6M -10M per image
Small records the least detail dramatically increasing possible image count. Apprx 2M -8M per image
This controls the amount of compression applied to JPG images in order to further reduce the file size. When compression is too strong it results in muddy images with less resolution and sharpness. In the GH3 it does fairly well with its JPG compression but its best to test this to know if you are losing more than you are willing to accept.
Six blocks is the least compression applied to JPG,
Three blocks is in between a medium/heavy compression.
RAW with 6 blocks takes a lightly compressed JPG as well as full quality raw simultaneously.
RAW with 3 blocks takes a medium compressed JPG as well as full quality raw simultaneously.
RAW with no blocks takes a full quality RAW image only.
This sets the way in which the camera reads and exposes the image.
Multiple | The whole screen is read and judges according to the average of many readings through the frame.
Center Weighted | Assumes the subject of the image is in the center of the screen and thus reads and exposes for the center more heavily.
Spot Metering | Exposes a very precise area where the spot is present, A small green cross appears on the screen to tell you it is spot metering.
SH Super High | Shoot about 20 frames per second! Up to 80images can be taken in a single burst. This selection cannot be used with RAW due to the buffer size limitations. It would be too much to processes or hold in memory due to size of RAW images. The view finder will lag and not show you images taken in real time.
H High | Can shoot 6 frames per second and is compatible with RAW quality shooting. The viewfinder will lag less severly during the preview.
M | Can shoot 4 Frames per second and the view finder will not lag during the preview.
L | Can shoot 2 Frames per second, no lag.
This tweaks the exposure and contrast to achieve a better exposure, protect highlights or lift shadows as needed. Nice to keep on.
This tweaks the sharpness setting. not needed.
HDR (High Dynamic Range)
Using the HDR feature subtly will result in images that are closer to what the human eye can see for pleasing natural looking results. The edited image would not be possible with out the extra couple of steps bringing back the shadows in the foreground which are typically very hard to keep in backlit image like this.
Choose between 1, 2 or 3 stops dynamic range or let the camera choose on Auto, I find I most often use 2 for enough control in post. Set to 3 you may find it very hard to manage handheld and should reach for the tripod.